Maria Ding's Profile

ARTICLE 2. Should one of the High Contracting Parties be attacked by another Power, the other High Contracting Party binds itself hereby, not only not to support the aggressor against its high Ally, but to observe at least a benevolent neutral attitude towards its fellow Contracting Party.

This is critical to an understanding of Sor Juana because at the end
of La Respuesta she tells Sor Filotea that she will write nothing
more without approval, and, in fact, she writes little afterwards. Two
years later, in 1693, she becomes subject to an ecclesiastical tribunal
that examines her work for the presence of heresy (Trabulse, Los Años
Finales). The tribunal was conducted in private, and little is known
about the details of the proceedings. What resulted was a public confession
by Sor Juana in 1694, which included official documents signed in blood,
repentance for her former sins, renewal of her vows, and a self-declaration
that María Luisa Bemberg has used as a title to her 1990 film about
Sor Juana: "I, the worst of all." These acts remain the central mystery
of Sor Juana’s life. They have been variously interpreted as a sincere
renewal of faith (this is the conservative approach that helped to paint
her as a saintly figure, originated by her 1700 biographer, Diego Calleja),
or a necessary bow to authority with furtively defiant gestures (this is
the more recent, feminist interpretation). There are those who construe
her as victim (Ward) and others who believe she miscalculated her political
strength (Trabulse, Paz). The final tragic note to this story is that a
year after the public confession, at the age of 46, Sor Juana died, after
contracting an illness (some say intentionally) when caring for victims
of a Mexico City plague.

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