Sor Juana Inés de la Cruz wrote these redondillas in a convent in New Spain, and published them in Inundación castálida (Madrid, 1689) — the first volume of her work to reach print in her lifetime. Old indexes list them under what is less a title than a description: arguye de inconsecuentes el gusto y la censura de los hombres, on the inconsistency of men's desire and men's blame.
The argument is built almost like a legal one. It does not simply call the accusation unfair and stop there: redondilla after redondilla, it shows that the accuser is the one who created the occasion for what he condemns. The clamp closes seventeen times, and every quatrain stands on its own — read four and the whole reasoning is already in your hand.
Seventeen redondillas are sixty-eight octosyllabic lines rhymed abba. The form is the light verse of her day, the shape of songs; using it to press a formal charge is part of what the poem does. It ends without conceding anything: the reproach moves from the behaviour to whoever sustains it.
The verse is kept in Spanish. Translating it in passing would replace the work with a paraphrase of it.