Canción VII
The Lover's Lament
The soul laments that every messenger of the Beloved wounds her and leaves her dying from an unspeakable knowledge.
And all who wander about keep telling me a thousand graces of you, and every one of them wounds me the more, and leaves me dying of an I-don't-know-what that they keep stammering.1
Three Degrees of Love's Suffering
The soul presents three ways of suffering for the Beloved: wound from creatures, sore from the Incarnation, and dying from a touch of the Divinity.
Explanation In the previous song, the soul showed she was wounded or sick with love for her Bridegroom, because of the knowledge of him that the irrational creatures gave her; and in this present song, she makes clear she's deeply wounded with love because of another, higher knowledge of the Beloved that she receives through the rational creatures, who are nobler than the others—namely, angels and human beings. And she also says that not only this, but that she's dying of love as well, because of an admirable immensity disclosed to her through these creatures without ever being fully disclosed—which here she calls an I-don't-know-what, because it can't be put into words, since it's of such a kind that it leaves the soul dying.2 From this we can infer that in this affair of love there are three ways of suffering for the Beloved, corresponding to three kinds of knowledge of him that can be had. The first is called a wound, which is milder and passes more quickly, just as a wound does, because it arises from the knowledge the soul receives from creatures, which are the lowest works of God; and of this wound, which here we also call sickness, the Bride speaks in the Song of Songs, saying: Adjuro vos, filiae Jerusalem, si inveneritis dilectum meum ut nuncietis ei, quia amore langueo; which means: "I charge you, daughters of Jerusalem, that if you find my Beloved, you tell him I am sick with love"—understanding by the daughters of Jerusalem the creatures.3 The second is called a sore, which settles more deeply in the soul than the wound, and so lasts longer, because it's like a wound already turned into a sore, by which the soul truly feels herself going about sorely wounded with love; and this sore is made in the soul through knowledge of the works of the Word's Incarnation and the mysteries of the Faith—which, being greater works of God and enclosing in themselves greater love than those of the creatures, produce a greater effect of love in the soul.4 So if the first is like a wound, this second is already like a sore that has been made and that lasts; of which the Bridegroom, speaking to the soul in the Song of Songs, says: Vulnerasti cor meum, soror mea sponsa: vulnerasti cor meum in uno oculorum, et in uno crine colli tui. "You have wounded my heart, my sister; you have wounded my heart with one of your eyes and with one hair of your neck"—for the eye here means faith in the Bridegroom's Incarnation, and the hair means the love of that same Incarnation.5 The third way of suffering in love is like dying; which is like already having the sore fistulated, the soul herself already made entirely fistulous—who lives dying until love, by killing her, makes her live the life of love, transforming her into love; and this dying of love is caused in the soul by a touch of knowledge of his Divinity, which is the I-don't-know-what that, she says in this song, they keep stammering; which touch is neither continuous nor great, because the soul would be loosed from the body; but it passes briefly; and so she remains dying of love, and dies all the more seeing that it's not enough to make her die of love: this is called impatient love, which is treated in Genesis, where Scripture says that Rachel's longing to conceive was so great that she said to her husband Jacob: Da mihi liberos, alioquin moriar; that is: "Give me children; if not, I will die."67 And the prophet said, 'Quis mihi det, ut qui coepit, ipse me conterat,' which means, 'Who will grant me that the one who began me would finish me?'✦8 She says in this song that these two kinds of pains of love—namely, the wound and the dying—are caused in her by these rational creatures: the wound, in what she says about their continually telling her of a thousand graces of the Beloved in the mysteries and wisdom of God that they teach her about the faith; and the dying, in what she says about their being left stammering—that is, the feeling and knowledge of the Divinity that is sometimes disclosed to her in what the soul hears said about God. So she says:
Unfolding the Ineffable
The soul explains each line of the verse, revealing how rational creatures convey a thousand graces, wound her more, and leave her dying from an I-don't-know-what that indicates a lofty awareness of God's immensity.
For everyone who wanders. As we've said, by "those who vagan" he means the rational creatures—angels and human beings—because among all creatures, only these devote themselves to God, occupying themselves with him. That's what the word "vagan" means, which in Latin is "vacant."9 And so it means: all who devote themselves to God—some by contemplating him in heaven and delighting in him, as the angels do, and others by loving him and longing for him on earth, as human beings do. And because the soul knows God more vividly through these rational creatures—sometimes by considering their excellence over all created things, sometimes by what they teach us about God, some inwardly through secret inspirations, as the angels do, and others outwardly through the truths of Scripture—she says:10 They keep recounting a thousand graces of yours to me. That is: helping me understand the marvelous things of your grace and mercy in the works of the Incarnation, and the truths of faith that reveal you to me and keep telling me more and more about you; because the more they try to say, the more graces of you they'll be able to uncover. And they all wound me even more. Because the more the angels inspire me and the more people teach me about you, the more they make me fall in love with you; and so they all wound me even more with love. And leave me dying of an I-don't-know-what that they keep stammering. As if she were saying: But beyond how these creatures wound me with the thousand graces by which they help me understand you, there is such an I-don't-know-what that one feels still left to be said, an unknown thing still left unspoken, a lofty trace of God revealed to the soul but still left to be followed, and a most exalted understanding of God that can't be put into words—which is why she calls it an I-don't-know-what; for if what I do understand wounds me and pierces me with love, this that I never finish understanding, of which I have so lofty a sense, kills me. This sometimes happens to souls that are already advanced, to whom God grants the mercy of giving—through what they hear or see or understand, and sometimes without any of that—a lofty awareness in which the soul is given to understand or sense God's height and greatness; and in that sensing she feels so loftily about God that she clearly understands that everything still remains to be understood; and in that understanding and sensing that the divinity is so immense it cannot be completely understood, there is a very lofty understanding.11 And so one of the great mercies God grants a soul in this life, as a passing gift, is to let her clearly understand and sense God so loftily that she clearly understands that God cannot be understood or sensed completely.12 For it is somehow like those who see heaven, where those who know it most understand more distinctly the infinite that still remains for them to understand; because those who see less of it are the ones to whom what remains to be seen doesn't appear as distinctly as it does to those who see more.✦ I understand that anyone who hasn't experienced this won't fully understand it; but the soul that experiences it, seeing that something of what she loftily senses still remains to be understood, calls it an I-don't-know-what; because just as it isn't understood, so neither can it be said, although, as I have said, it can be felt. That is why she says the creatures are left stammering to her: because they never finish making it understood—and that is what stammering means: the speech of children, which fails to say or make understood what needs to be said.
Read the original Spanish
Y todos cuantos vagan, De ti me van mil gracias refiriendo, Y todos más me llagan, Y déjame muriendo Un no sé qué que quedan balbuciendo.
DECLARACIÓN
En la canción pasada ha mostrado el alma estar herida o enferma del amor de su Esposo, a causa de la noticia que de él le dieron las criaturas irracionales; y en esta presente da a entender estar llagada de amor a causa de otra noticia más alta que del Amado recibe por medio de las criaturas racionales, que son más nobles que las otras, las cuales son ángeles y hombres. Y también dice que, no sólo esto, sino que también está muriendo de amor a causa de una inmensidad admirable que por medio de estas criaturas se le descubre, sin acabársele de descubrir, lo cual aquí llama no sé qué, porque no se sabe decir, porque ello es tal, que hace estar muriendo al alma. De donde podemos inferir que en este negocio de amor hay tres maneras de penar por el Amado acerca de tres maneras de noticias que de él se pueden tener. La primera se llama herida, la cual es más remisa y más brevemente pasa, bien así como herida, porque de la noticia que el alma recibe de las criaturas le nace, que son las más bajas obras de Dios; y de esta herida, que aquí también llamamos enfermedad, habla la Esposa en los Cantares diciendo: Adjuro vos, filiae Jerusalem, si inveneritis dilectum meum ut nuncietis ei, quia amore langueo; que quiere decir: «Conjúroos, hijas de Jerusalén, que si halláredes a mi Amado, le digáis que estoy enferma de amor», entendiendo por las hijas de Jerusalén las criaturas. La segunda se llama llaga, la cual hace más asiento en el alma que la herida, y por eso dura más, porque es como herida ya vuelta en llaga, con la cual se siente el alma verdaderamente andar llagada de amor; y esta llaga se hace en el alma mediante la noticia de las obras de la encarnación del Verbo y misterios de la Fe; los cuales, por ser mayores obras de Dios y que mayor amor en sí encierran que las de las criaturas, hacen en el alma mayor efecto de amor. De manera que si el primero es como herida, este segundo es ya como llaga hecha, que dura; de la cual, hablando el Esposo en los Cantares con el alma, dice: Vulnerasti cor meum, soror mea sponsa: vulnerasti cor meum in uno oculorum, et in uno crine colli tui. «Llagásteme mi corazón, hermana mía, llagásteme mi corazón con el uno de tus ojos y en un cabello de tu cuello; porque el ojo significa aquí la fe de la encarnación del Esposo, y el cabello significa el amor de la misma encarnación. La tercera manera de penar en el amor es como morir; lo cual es como tener ya la llaga afistolada, hecha el alma ya toda afistolada; la cual vive muriendo hasta que, matándola el amor, la haga vivir vida de amor, transformándola en amor; y este morir de amor se causa en el alma mediante un toque de noticia suya de la Divinidad, que es el no sé qué que, dice en esta canción que quedan balbuciendo; el cual toque no es continuo ni mucho, porque se desataría el alma del cuerpo; mas pásase en breve; y así, queda muriendo de amor, y más muere viendo que no sea causa de morir de amor: éste se llama amor impaciente, del cual se trata en el Génesis donde dice la Escritura que era tanto el amor que tenía Raquel de concebir, que dijo a su esposo Jacob: Da mihi liberos, alioquin moriar; esto es: «Dame hijos; si no, moriré».
Y el profeta decía: Quis mihi det, ut qui coepit, ipse me conterat; que es decir: «¿Quién me dará a mí que el que me comenzó ése me acabe?»
Estas dos maneras de penas de amor, es a saber, la llaga y el morir, dice en esta canción que le causan estas criaturas racionales: la llaga, en lo que dice que le van refiriendo mil gracias del Amado en los misterios y sabiduría de Dios que le enseñan de la fe; el morir, en aquello que dice que quedan balbuciendo, que es el sentimiento y noticia de la Divinidad, que algunas veces en lo que el alma oye decir de Dios se le descubre. Dice, pues:
A todos cuantos vagan.
A las criaturas racionales, como habemos dicho, entiende aquí por los que vagan, que son los ángeles y los hombres; porque solos éstos, de todas las criaturas, vacan a Dios, entendiendo en él, porque eso quiere decir este vocablo vagan, el cual en latín se dice vacant. Y así, es tanto como decir, todos cuantos vacan a Dios; lo cual hacen los unos contemplándole en el cielo y gozándole, como son los ángeles; los otros amándole y deseándole en la tierra, como son los hombres. Y porque por estas criaturas racionales más al vivo conoce a Dios el alma, ahora por la consideración de la excelencia que tiene sobre todas las cosas criadas, ahora por lo que ellas nos enseñan de Dios, las unas interiormente por secretas inspiraciones, como lo hacen los ángeles; las otras exteriormente, por las verdades de la Escritura, dice:
De ti me van mil gracias refiriendo.
Esto es: Dándome a entender admirables cosas de gracia y misericordia tuya en las obras de la encarnación, y verdades de fe que de ti me declaran y siempre me van más refiriendo; porque, cuanto más quisieren decir, más gracias podrán descubrir de ti.
Y todos más me llagan.
Porque cuanto los ángeles me inspiran, y los hombres de ti me enseñan, de ti más me enamoran; y así, todas de amor más me llagan.
Y déjame muriendo Un no sé qué que quedan balbuciendo.
Como si dijera: Pero allende de lo que me llagan estas criaturas en las mil gracias que me dan a entender de ti, es tal un no sé qué que se siente quedar por decir, y una cosa que no se conoce quedar por decir, y un subido rastro que se descubre al alma de Dios, quedándose por rastrear y un altísimo entender de Dios, que no se sabe decir, que por eso lo llama no sé qué; que si lo otro que entiendo me llaga y hiere de amor, esto que no acabo de entender, de que altamente siento, me mata. Esto acaece a veces a las almas que están ya aprovechadas, a las cuales hace Dios merced de dar en lo que oyen o ven o entienden, y a veces sin eso y sin esotro, una subida noticia, en que se le da a entender o sentir alteza de Dios y grandeza; y en aquel sentir siente tan alto de Dios, que entiende claro se queda todo por entender; y en aquel entender y sentir ser tan inmensa la divinidad, que no se puede entender acabadamente, es muy subido entender. Y así, una de las grandes mercedes que en esta vida hace Dios a un alma por vía de paso, es darle claramente a entender y sentir tan altamente de Dios, que entienda claro que no se puede entender ni sentir del todo. Porque es en alguna manera al modo de los que lo ven el cielo, donde los que más lo conocen entienden más distintamente lo infinito que les queda por entender; porque aquellos que menos lo ven son a los que no les parece tan distintamente lo que les queda por ver, como a los que más ven. Esto entiendo que no lo acabará bien de entender el que no lo hubiere experimentado; pero el alma que lo experimenta, como ve que se le queda por entender de aquello que altamente siente, llámalo un no sé qué; porque, así como no se entiende, así tampoco se sabe decir, aunque, como he dicho, se sabe sentir. Por eso dice que le quedan las criaturas balbuciendo, porque no lo acaban de dar a entender, que eso quiere decir balbucir, que es el hablar de los niños, que es no acertar a decir ni dar a entender lo que hay que decir.
Scripture echoes
- ↩Job.6.9 — And would that God would crush me, that he would let loose his hand and cut me off.
- ↩1Cor.13.9-1Cor.13.12 — For we know in part, and we prophesy in part. 1Cor.13.10 — But when the complete comes, the partial will be done away. 1Cor.13.11 — When I was a child, I spoke as a child, I thought as a child, I reasoned as a child; but when I became an adult, I put away childish things. 1Cor.13.12 — For now we see in a mirror, dimly; but then face to face. Now I know in part; but then I shall know fully, even as I have been fully known.
Notes
- 1 ↩Spanish 'llagan' is the Sanjuanist wound of love (llaga): not mere hurt, but the piercing ache of desire awakened by partial knowledge of God. 'Un no sé qué' is kept as the ineffable residue creatures can only stammer, not name.
- 2 ↩Spanish «no sé qué» is San Juan's technical phrase for an ineffable remainder of disclosure; rendered as the established English «I-don't-know-what».
- 3 ↩«remisa» rendered «milder» (less intense / more slight), not moral remissness.
- 4 ↩Spanish distinguishes «herida» (wound) from «llaga» (sore); the progression wound → sore → dying is retained deliberately.
- 5 ↩Source opens a Spanish guillemet quote without a clear close before the explanatory «porque»; treated as Song quotation plus San Juan's gloss.
- 6 ↩«afistolada» is the medical image of a sore turned into a fistula; kept as «fistulated» / «fistulous» to preserve San Juan's clinical metaphor rather than flattening to generic «festering».
- 7 ↩«más muere viendo que no sea causa de morir de amor»: rendered as dying all the more because the touch is not sufficient cause to complete death-by-love (intensified impatient longing).
- 8 ↩Latin conterat means "crush" or "grind down"; San Juan's Spanish paraphrase acabe means "finish" or "complete," taking that crushing as the consummation of impatient love.
- 9 ↩Spanish vagan is here equated with Latin vacant (vacare Deo): not aimless wandering, but being free for God / giving one's leisure and attention to God. The poem's surface word is retained; the sense is devotion and occupancy of mind in God.
- 10 ↩Source has singular tiene in 'la excelencia que tiene sobre todas las cosas criadas.' Context favors the rational creatures' excellence over other created things (expected tienen); less likely, God's own excellence. Rendered as the creatures' excellence.
- 11 ↩Noticia here is infused mystical knowledge/awareness, not ordinary information or news.
- 12 ↩Marks a transient favor, not a permanent state of vision.
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