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The Dream, a long philosophical and descriptive silva a poetic form combining verses of 7 and 11 syllables"deals with the shadow of night beneath which a person  falls asleep in the midst of quietness and silence, where night and day animals participate, either dozing or sleeping, all urged to silence and rest by Harpocrates.
The person's body ceases its ordinary operations,  which are described in physiological and symbolical terms, ending with the activity of the imagination as an image-reflecting apparatus: From this moment, her soul, in a dream, sees itself free at the summit of her own intellect; in other words, at the apex of an own pyramid-like mount, which aims at God and is luminous.
Dazzled, the soul's intellect faces its own shipwreck, caused mainly by trying to understand the overwhelming abundance of the universe, until reason undertakes that enterprise, beginning with each individual creation, and processing them one by one, helped by the Aristotelic method of ten categories.
By that time, the body has consumed all its nourishment, and it starts to move and wake up, soul and body are reunited.
The poem ends with the Sun overcoming Night in a straightforward battle between luminous and dark armies, and with the poet's awakening. He proposed that those one thousand words were written by Sor Juana. This comedy of errors is considered one of the most prominent works of late baroque Spanish-American literature.
One of its most peculiar characteristics is that the driving force in the story is a woman with a strong, decided personality who expresses her desires to a nun. Pawns of a House is considered a rare work in colonial Spanish-American theater due to the management of intrigue, representation of the complicated system of marital relationships, and the changes in urban life.
However, in his Essay on Psychology, Ezequiel A. Chavez mentions Fernandez del Castillo as a coauthor of this comedy. He fights against the Minotaur and awakens the love of Ariadne and Fedra. The latter represents an important aspect because, not only because musicality was an intrinsic part of the poetry of the time but also for the fact that she devoted a significant portion of her studies to the theory of instrumental tuning that, especially in the Baroque period, had reached a point of critical importance.
So involved was Sor Juana in the study of music, that she wrote a treatise called El Caracol unfortunately lost that sought to simplify musical notation and solve the problems that Pythagorean tuning suffered.
In the writings of Juana Ines, it is possible to detect the importance of sound. We can observe this in two ways. First of all, the analysis of music and the study of musical temperament appears in several of her poems.
For instance, in the following poem, Sor Juana delves into the natural notes and the accidents of musical notation . Propiedad es de natura que entre Dios y el hombre media, y del cielo el be cuadrado junto al be bemol de la tierra. Villancico On the other, Sarah Finley  offers an interesting idea.
She argues that the visual is related with patriarchal themes, while the sonorous offers an alternative to the feminine space in the work of Sor Juana.
As an example of this, Finley points out that Narciso falls in love with a voice, and not with a reflection. Her works have appeared in translation.
Mexico's Tenth Muse, published in TaxcoGuerrero, in The translator was Elizabeth Prall Anderson who settled in Taxco. One musical work attributed to Sor Juana survives from the archive at Guatemala Cathedral. This is a 4-part villancico, Madre, la de los primores. This work examines and contemplates Sor Juana's poetry and life in the context of the history of New Spainparticularly focusing on the difficulties women then faced while trying to thrive in academic and artistic fields.
Paz describes how he had been drawn to her work by the enigmas of Sor Juana's personality and life paths. How could she renounce her lifelong passion for writing and learning? Octavio Paz's book on Sor Juana is perhaps his most personal search.
It is unavoidable to see the coincidences between these two writers, separated by more than 3 centuries, and who are the product of a Mexico that has yet to resolve its own historical identity.
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