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This paper focuses on the examination of the differences and similarities existing in Novelas amorosas y ejemplares (1637) and its second part, Desenganos amorosos (1647). It also tries to illuminate the connection between the heated arguments that denounce the cultural conventions supporting man’s superiority, woman’s inferiority, and the tragic end of the female characters in Desenganos amorosos. Moreover, it analyzes how the defense of the woman is organized and presented, such defense is a remarkable trait of the collections of writings that had been discussed by the 20 th . Century critics, bearing in mind the feminist conductress. Supported on the treatises about ars poetica present in the 17th. Century, on the treatises about behavior, on the philosophical, political and religious doctrines that guided the social practices and the arts of such period, this research shows the aspects that distinguish and, at the same time, join both collections. With this support, it highlights the function of the frame speeches and tales, emphasizing its coherence. Besides, it shows that the defense of the woman is expressed by means of praise to virtue and invective against vices, according to the ethical and religious patterns of the Counter-Reformation, but also relating to the 17 th . Century Spanish women’s demands. By means of the analysis of the frame and of two short novels of each collection, this paper brings to mind the complex structural organization of the work, while showing how the meaning of each short tale is enriched when it is placed alongside the other stories of its collection and successively, when Novelas and Desenganos are added to. Such organization reveals that the works by Zayas follow a project of unit. Her careful planning and attentive execution makes it clear that the writer competes against the invention of her contemporaries, aiming to receive the authorization of the women’s writing and the consequent admission of the woman in the circle of professional authors. Confirming Zaya’s frequent accusation against women’s detraction in the belles-lettres of the 17 th . Century first half, the thesis proposes that the short-story writer makes up her own work as a response to the widespread model of female picaroons, celestinas (panderesses) and courtesans. As a consequence, when representing women who are examples of virtue and men who are a reason for disillusion because of their faults, the ingenious writer inverts the paradigms and encourages the reader to reject the generalized slander against women, presenting persuasive reasons for respecting and dignifying them. Key-words: Maria de Zayas; 17th. Century Poetry; Delight in Teaching; Picaresque Novels; Women’s Writing

Exemplo e desengano: defesa da mulher na obra de María de Zayas