Abstract
The living universe of Renaissance, with its legacy from the Antiq- uity and the Middle Ages, had an Early Mexican expression in the late Renais- sance or Baroque period: sor Juana Ines de la Cruz. In this paper I will essay an account of Marsilio Ficino’s teachings on sor Juana’s concept of a sympathetic and pneumatic universe, and of the hidden meanings and echoes in her writings from other accomplished creators from the 15 th to the 17 th centuries who were not only poets, philosophers or theologians, but also musicians and composers. Although we have already been able to read excellent essays on the musical fea- tures in sor Juana’s work, there are still uninvestigated areas concerning the phil- osophical and spiritual relationship that she established with the musical art. Besides commenting overlooked passages by Pietro Cerone which are relevant regarding sor Juana, I will also explore the parallels between her and Franchino Gaffurio and Bartolome Ramos Pareja.
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