Exclamación XVI
The Wounded Heart
The soul expresses the painful longing of being separated from God, finding no comfort in anything but the divine wound itself.
O true God and my Lord! For a soul wearied by the loneliness of being apart from you, it’s a great comfort to see that you are everywhere. But when the force of love and the fierce surges of this pain grow stronger, what good does that comfort do, my God? For the mind becomes confused, and the reason that could recognize this truth withdraws, so that the soul can neither understand nor recognize it. The soul knows only that it is separated from you, and it will accept no remedy, because a heart that loves deeply will take neither counsel nor comfort from anyone but the one who wounded it; for it looks to him to relieve its pain. Whenever you will it, Lord, you quickly heal the wound you gave; until then, there is no health or joy to hope for except the joy drawn from suffering for so worthy a cause.
The Paradox of Divine Love
The soul reflects on how God heals the wounds of love with even more love, rendering human remedies useless.
O true Lover, with such compassion, such tenderness, such delight, such comfort, and such overwhelming displays of love, you heal the wounds you made with the arrows of that same love! O my God, the relief of every sorrow, I am beside myself! How could any human remedy heal those whom the divine fire has made ill? Who could know how deep this wound goes, what caused it, or how such a painful and delightful torment can be soothed? It wouldn't make sense for such a precious affliction to be soothed by anything as lowly as the remedies mortals can devise.1 How rightly the Bride says in the Song of Songs, “My beloved is mine, and I am my Beloved's, and my Beloved is mine,” because a love like this could never begin in anything as lowly as my own love.2
The Battle of the Soul
The soul describes the internal struggle and search for the Beloved, where surrender to God becomes the ultimate victory.
If my love is so lowly, my Bridegroom, why does it refuse to rest in anything created until it reaches its Creator? Oh, my God! Why, then, am I my Beloved’s?3 You, my true Lover, initiate this war of love, which seems to be nothing but the unrest and abandonment felt by all the soul’s faculties and senses as they go out through the squares and streets, imploring the daughters of Jerusalem to tell them about their God.4 So, Lord, once this battle has begun, whom can they go and fight except the one who has made himself lord of the fortress where they once lived—the highest part of the soul—and driven them out, so that they may return and conquer their conqueror?5 And now, weary of finding themselves without him, they quickly surrender and devote themselves to spending all their strength, and so they fight better; for in surrendering, they conquer their conqueror.6
Union in the Beloved
The soul celebrates the finality of union, where the two fires of love have become one.
O my soul, what an astonishing battle you've fought in this suffering—and how truly it all comes to pass! For my Beloved is mine, and I am my Beloved's: who could step between us and extinguish two such blazing fires? It would be a wasted effort, because the two have already become one.
Read the original Latin
—¡Oh verdadero Dios y Señor mío! Gran consuelo es para el alma que le fatiga la soledad de estar ausente de Vos, ver que estáis en todos cabos. Mas cuando la reciedumbre del amor y los grandes ímpetus de esta pena crece, ¿qué aprovecha, Dios mío? , que se turba el entendimiento y se esconde la razón para conocer esta verdad, de manera que no puede entender ni conocer. Solo se conoce estar apartada de Vos, y ningún remedio admite; porque el corazón que mucho ama no admite consejo ni consuelo, sino del mismo que le llagó; porque de ahí espera que ha de ser remediada su pena. Cuando Vos queréis, Señor, presto sanáis la herida que habéis dado; antes no hay que esperar salud ni gozo, sino el que se saca de padecer tan bien empleado.
—¡Oh verdadero Amador, con cuánta piedad, con cuánta suavidad, con cuánto deleite, con cuánto regalo y con qué grandísimas muestras de amor curáis estas llagas, que con las saetas del mismo amor habéis hecho! ¡Oh Dios mío y descanso de todas las penas, qué desatinada estoy! ¿Cómo podía haber medios humanos que curasen los que ha enfermado el fuego divino? ¿Quién ha de saber hasta dónde llega esta herida, ni de qué procedió ni cómo se puede aplacar tan penoso y deleitoso tormento? Sin razón sería tan precioso mal poder aplacarse por cosa tan baja como es los medios que pueden tomar los mortales. Con cuánta razón dice la Esposa en los «Cantares»: Mi amado a mí, y yo a mi Amado y mi Amado a mí, porque semejante amor no es posible comenzarse de cosa tan baja como el mío.
—Pues si es bajo, Esposo mío, ¿cómo no para en cosa criada hasta llegar a su Criador? ¡Oh mi Dios! , ¿por qué yo a mi Amado? Vos, mi verdadero Amador, comenzáis esta guerra de amor, que no parece otra cosa un desasosiego y desamparo de todas las potencias y sentidos, que salen por las plazas y por los barrios conjurando a las hijas de Jerusalén que le digan de su Dios. Pues, Señor, comenzada esta batalla, ¿a quién han de ir a combatir, sino a quien se ha hecho señor de esta fortaleza adonde moraban, que es lo más superior del alma y echádolas fuera a ellas para que tornen a conquistar a su conquistador? Y ya, cansadas de haberse visto sin Él, presto se dan por vencidas y se emplean perdiendo todas sus fuerzas y pelean mejor; y, en dándose por vencidas, vencen a su vencedor.
—¡Oh ánima mía, qué batalla tan admirable has tenido en esta pena, y cuán al pie de la letra pasa así! Pues mi Amado a mí, y yo a mi Amado: ¿quién será el que se meta a despartir y a matar dos fuegos tan encendidos? Será trabajar en balde, porque ya se han tornado en uno.
Notes
- 1 ↩Rendered as “precious affliction” to preserve the source's paradox: the suffering is painful but treasured because divine love causes it.
- 2 ↩The wording appears to combine closely related refrains from the Song of Songs; its precise scriptural anchor should be resolved at the later reference stage.
- 3 ↩The compressed phrase echoes the reciprocal language of the Song of Songs and depends syntactically on the surrounding sentences.
- 4 ↩“Potencias” refers to the soul’s interior faculties, while “sentidos” refers to its senses; the source personifies them as searchers wandering through the city.
- 5 ↩The soul’s faculties and senses remain the implied plural subject. The “fortress” is identified with the soul’s highest part, now possessed by God.
- 6 ↩The paradox is deliberate: the soul’s faculties overcome their divine conqueror precisely by surrendering themselves to him.
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