Classic and Contemporary Poetry: Explained

Juana Inesde la Cruz's poem "Arguing that There Are Inconsistencies" boldly challenges the conventional societal norms that unjustly accuse women of being the originators of sin and vice. Written in the 17th century, when the roles and rights of women were narrowly defined and predominantly controlled by men, this poem can be seen as a proto-feminist work that calls out male hypocrisy and argues for a more nuanced understanding of female agency.

Juana Inesde la Cruz, born in 1648 in San Miguel Nepantla near Mexico City, was a 17th-century nun, self-taught scholar, and acclaimed writer. She lived during the colonial era in Mexico, a time when women were largely relegated to domestic spheres and had very limited access to formal education. Despite these restrictions, de la Cruz became known for her intellect and literary talent. Therefore, the historical and cultural context in which Juana Inesde la Cruz wrote adds deeper layers of meaning to her poem. As an educated woman in a society that often silenced women, her poetic voice not only questioned the established norms but also laid the groundwork for future feminist discourse. Despite the manifold societal limitations she faced, her courage to question, critique, and articulate her thoughts on gender inequality continue to resonate to this day.

The opening lInesset the tone for the entire poem, accusing men of being the very cause of the flaws for which they blame women. This turns the tables on the accusers, putting them in the position of the accused. If men ardently pursue women and push them into sin, the poem argues, how can they then turn around and accuse women of lacking virtue?

The crux of the poem lies in its examination of double standards. Men want women to be like Thais (a courtesan, often seen as an epitome of sexual allure) when being pursued, yet expect them to become like Lucretia (a Roman matron who is a symbol of chastity and virtue) once they are in a relationship. The inconsistency here is blatant, reflecting not on the character of women but on the unrealistic and contradictory expectations set by men.

The poem also discusses the dynamics of power and agency, especially in the lInesthat ask who bears the greater blame in a sinful relationship: "She who fails on being entreated, Or he who fails to make entreaty?" Here, the poem brings forth the question of consent and coercion, subtly hinting at the manipulative tactics that might be used to win a woman's 'favor.' In asking, "She who sins for payment, Or he who pays for the sin?" de la Cruz sharpens this point, raising ethical questions about the commodification of women's virtue, or lack thereof, by men.

Furthermore, the poet criticizes the logical inconsistency of men who make women "wicked" but then "wish them virtuously to live." This line captures the contradictory expectations society has for women, molded by male-dictated norms, yet punished for adhering to them. Essentially, the poem argues that if men are the architects of these contradictory molds, they have no right to castigate women for fitting into them.

Finally, the poem concludes with an incisive point about the different weapons- "persistence and promises"-that men have in their arsenal to manipulate women, uniting "Devil, world, and flesh." It's a clear denunciation of the systems of power that men employ, often unfairly, to shape female behavior and then judge them by it.

Juana Inesde la Cruz's poem thus serves as an early critique of gender inequality and the unfair moral standards imposed upon women. With its piercing analysis of male hypocrisy and its call for a more equitable understanding of female virtue and vice, the poem remains a relevant and powerful commentary, centuries after it was written.