Abstract
Pinar Florencia’s poetry has been subject to various interpretations throughout the twentieth century, especially since Alan D. Deyermond analyzed in 1978 two of her songs –‘El amor ha tales manas’ y ‘Destas aves su nacion’- and gave rise to a lively debate about the symbolism of the worm and the partridges, a debate starred mainly by feminist criticism. Worms and partridges became the symbol of female desire and the symbol of female struggle for freedom. To analyze the critical reception of Pinar’s poetry will allow us to know why Pinar is considered a canonical writer in Spanish Medieval Literature, and will help us to provide a new reading of her poems.
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