Abstract In Zayas’s tale, three female protagonists symbolize the various forms of male desire: Lucrecia and the African slave are representations of forbidden drives, while the wife, Elena, fills a partial, orthodox drive that fails to satisfy. The result is a narrative where forbidden women manipulate male desire while representing semi-independent feminine erotic energies through the use of the historical imagery of Moors or African slaves and the mythic-folk motif of the mysterious veiled woman. Moors, Africans, and the cloaked foreign woman become significant markers to convey erotic, aesthetic, and cognitive proposals that advance a feminized perspective against a decadent patriarchy.

中文翻译：

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男性欲望的三个面孔/阶段：María de Zayas 的“Tarde llega el desengaño”中的蒙面女人、被动处女和非洲恶魔

摘要 在扎亚斯的故事中，三位女性主人公象征着各种形式的男性欲望：卢克雷西亚和非洲奴隶是被禁止的驱力的代表，而妻子埃琳娜则填补了无法满足的部分正统驱力。结果是一个叙事，其中被禁止的女性操纵男性欲望，同时通过使用摩尔人或非洲奴隶的历史意象和神秘的蒙面女人的神话民间主题来表现半独立的女性色情能量。摩尔人、非洲人和披着斗篷的外国女性成为传达色情、审美和认知建议的重要标志，这些建议推动了女性化的观点，反对颓废的父权制。