Canción XVI
The Soul's Delight and the Devil's Envy
The bride enjoys the sweetness of virtues in union with the Beloved, while the devil, envious of her prosperity, stirs up disturbances that only the Lord's angel can quell.
Note on the following song So, since the bride already has the virtues set in her soul at their point of perfection, where she is enjoying ordinary peace in the visits the Beloved makes to her, she sometimes enjoys, in the loftiest way, the sweetness and fragrance of those virtues through the touch the Beloved makes upon them—just as one tastes the sweetness and beauty of lilies and flowers when they are open and are handled. For in many of these visits the soul sees in her spirit all the virtues God has given her, as he works this light in them; and she then, with wonderful delight and savor of love, gathers them all together and offers them to the Beloved like a cluster of beautiful flowers, and as the Beloved receives them (for then he truly receives them), he receives in this a great service. All of this takes place within the soul, where she feels the Beloved to be as on his own bed, because the soul offers herself together with the virtues, which is the greatest service she can give him. And so it is one of the greatest delights she usually receives in her interior dealings with God in this kind of gift the Beloved makes. And the devil, knowing this prosperity of the soul—he who, through his great malice, envies every good he sees in her—uses at this time all his skill and practices all his arts so as to disturb in the soul even the least part of this good. For he prizes more highly keeping this soul from one carat of her riches, glory, and delight than making others fall into many and very grave sins, because the others have little or nothing to lose, and this one has much, since she has gained much that is very precious—just as losing a little of the finest gold is more than losing a great deal of other base metals.1 Here the devil takes advantage of the sensory appetites—though with these, in this state, he can do very little most of the time, or nothing, because they are already deadened—and of the fact that with them he cannot present many varieties to the imagination; and at times he stirs up in the sensory part many movements (as will be said later) and other disturbances he causes, both spiritual and sensory, from which it's not in the soul's power to free herself until the Lord sends his angel, as is said in the psalm, around those who fear him and delivers them: Immittet Angelus Domini in circuitu timentium eum, et eripiet eos.2 And he makes peace and tranquility in both the sensory and the spiritual part of the soul; and she, to mark all this and to ask for this favor—wary from the experience she has of the tricks the devil uses to do her that harm—at this time, speaking to the angels, whose office is to help at this time by driving the demons away, says the following song:3
The Prayer to Catch the Foxes
The soul sings the verse calling for the foxes to be caught, as the vineyard is in bloom.
Catch the foxes for us, because our vineyard is already in bloom, while we gather the roses into a bouquet, and let no one appear on the hillside.4
Explanation of the Verse
The author announces that an explanation of the verse follows.
Explanation
The Vineyard in Bloom and the Foxes
The soul calls on angels to hunt down the foxes of sensual appetites and imaginings that threaten the interior delight of love, comparing them to the flesh's war against the spirit.
So the soul, wanting nothing to interrupt this interior delight of love—which is the flower of her soul's vineyard—neither the envious and malicious demons, nor the furious appetites of sensuality, nor the restless comings and goings of the imagination, nor any other awarenesses and appearances of things, calls on the angels, asking them to hunt down all these things and hold them back, so that they don't hinder the exercise of interior love, in whose delight and savor the virtues and graces are being shared and enjoyed between the soul and the Son of God.5 And so she says: Catch the foxes for us, for our vineyard is already in flower. The vineyard spoken of here is the planting of all the virtues that stand in this holy soul—virtues that give her wine of sweet flavor. This vineyard of the soul is in bloom when she is united in will with the Bridegroom and is delighting in that same Bridegroom according to all these virtues together. And sometimes, as we have said, many and varied forms and imaginings tend to come to the memory and the fantasy, and in the sensory part many and various movements and appetites rise up. Because these are of so many kinds and so varied, when David was drinking this savory wine of the spirit with a great thirst for God, feeling the hindrance and trouble they caused him, he said: "My soul thirsted for you; how manifoldly my flesh [thirsts] for you"; Sitivit in te anima mea, quam multipliciter tibi caro mea.67 The soul calls this whole array of sensory appetites and movements foxes, because of the close likeness they have to them at this time. For just as foxes pretend to be asleep so they can seize their prey when the game comes out, so all these appetites and sensory powers stayed quiet until these flowers of the virtues rise, open, and go out into practice in the soul; and then it also seems that in the sensuality their flowers of appetites and sensual powers awaken and rise, wanting to contradict the spirit and to rule. This is how far the craving goes that Saint Paul says the flesh has against the spirit—for because its inclination toward the sensory is so strong, when the spirit is tasting delight, it takes away the savor and disgusts the sweet spirit; and that is why she says:89
The Foxes as Appetites and Demonic Assaults
The soul repeats the plea to catch the foxes, which are the disordered appetites stirred by demons, who also attack with bodily torments and spiritual horrors, as illustrated by the Song of Songs.
Catch the foxes for us. But the malicious demons, for their part, trouble the soul here in two ways: they stir these appetites to rise with vehemence, and with those appetites and other imaginings they wage war on this peaceful and flowering kingdom of the soul. Second—and what's worse—when they can't do it that way, they charge at her with bodily torments and noises to distract her.10 And what's still worse, they assault her with spiritual fears and horrors, sometimes with terrible torments—which at this time, if leave is given them, they can very well do; because, as the soul puts herself into very naked spirit while she undergoes this spiritual exercise, he can easily make himself present to her, since he too is spirit.11 At other times he makes other assaults of horrors on her before she begins to taste these sweet flowers, at the moment when God begins to draw her a little out of the house of her senses so that she may enter the said interior exercise in the Bridegroom's garden; because he knows that once she enters that recollection she's so sheltered that, no matter what he does, he cannot harm her. And many times, when the devil comes out here to block her path, the soul usually gathers herself with great swiftness into the deep hiding place of her interior, where she finds great delight and shelter; and then she suffers those terrors so much from outside and so far away that they not only do not frighten her, but bring her gladness and joy.12 The Bride mentions these terrors in the Song of Songs, saying: Anima mea conturbavit me propter quadrigas Aminadab; "My soul troubled me because of the chariots of Aminadab."13 Taking Aminadab there to mean the devil, and calling chariots his charges and assaults, because of the great vehemence and rush and noises he brings with them. And the same thing the soul says here—"Catch the foxes for us"—the Bride also says in the Song of Songs to the same purpose, but putting it: Catch for us the little foxes that tear the vineyards to pieces, for our vineyard has flowered Capite nobis vulpes parvulas, quae demoliuntur vineas.✦14
The Vineyard in Flower, Not Yet in Fruit
The soul notes that the vineyard is in flower, not fruit, because virtues in this life are enjoyed as flowers, with fruit reserved for the next life.
For our vineyard has blossomed.✦ And she doesn't say "catch them for me," but "catch them for us"; because she's speaking of herself and of the Beloved, for they are one and are enjoying the flower of the vineyard.✦15 The reason it says here that the vineyard is in flower, and doesn't say in fruit, is that the virtues in this life—even when they're enjoyed in the soul with as much perfection as the one we're speaking of—are like enjoying them in flower; because only in the next life will they be enjoyed as fruit.16 And then it says:
Making a Cluster of Roses
The soul gathers the virtues like a cluster of roses or a pine cone, offering them to the Beloved in a spirit of love, while asking that the foxes be caught to protect this intimate exchange.
While we make a cluster from roses.17 For at this season, when the soul is enjoying the flower of this vineyard and delighting in the breast of her Beloved, it happens that all the soul's virtues come into readiness and clarity, as we have said, showing themselves to the soul and giving her from themselves great sweetness and delight; and the soul feels them to be in herself and in God, so that they seem to her a vineyard richly in flower and delightful, belonging to her and to him, in which both pasture and take delight; and then the soul gathers all these virtues together, making very savorous acts of love in each one of them and in all of them together; and so, gathered together, she offers them to the Beloved with great tenderness of love and sweetness, and in this the Beloved himself helps her; for without his favor and help she could not make this gathering and offering of virtues to her Beloved—which is why she says:1819 We make a pine cone.20 Namely, the Beloved and I. It calls this gathering of virtues a pine cone, because just as a pine cone is a single, solid object that holds many strong parts—the pine nuts—tightly together, so this pine cone of virtues that the soul creates for her Beloved is a single piece of the soul's perfection. It strongly and orderly embraces and contains many perfections, powerful virtues, and rich gifts, because all these perfections and virtues are ordered into and contained within one solid perfection of the soul. While that perfection is being formed through the practice of virtues, and once it is formed and offered by the soul to the Beloved in a spirit of love—as we've been saying—it's fitting that those foxes be caught so they don't hinder such interior communication between the two.21 And in this song, the bride doesn't ask for this alone so she can make the pine cone well, but also for what follows in the next verse, namely:
Let No One Appear on the Little Mountain
The soul asks that no representation or operation of the faculties or senses appear, so that only the will may attend upon the Beloved in unitive love.
And let no one appear on the little mountain.22 For this divine interior exercise also needs solitude and detachment from everything that might present itself to the soul—whether from the lower part, which is the sensory part of the person, or from the higher part, which is the rational; these two parts enclose the whole harmony of the person's faculties and senses, and she calls that harmony here 'the little mountain'; because with all natural knowledge and appetites dwelling and settling there, like game on a mountain, the devil usually hunts and preys on those appetites and bits of knowledge there, to the soul's harm. She says that on this little mountain no one should appear—that is, no representation or figure of any object belonging to any of these faculties or senses we've mentioned should appear before the soul and the Bridegroom. And so it's as if she's saying: In all the soul's spiritual faculties—memory, understanding, and will—let there be no particular knowledge or affections, nor any other kinds of notice. And in all the bodily senses and faculties, interior as well as exterior—imagination, fantasy, seeing, hearing, and so on— let there be no further digressions, forms, images, figures, nor representations of objects to the soul, nor other natural operations. The soul says this here because, in order to enjoy this communication with God perfectly, it's fitting that all the senses and faculties, interior and exterior, be unoccupied, empty, and idle of their own operations and objects; because in that case, the more they themselves go into action, the more they get in the way; for when the soul reaches some kind of interior union of love, the spiritual faculties no longer operate in this, and still less the bodily ones, since the union of love is already accomplished and enacted in the soul in love; and so the faculties have finished working, because once the end is reached, all the operations of the means cease.23 And so what the soul does then is an attendance of love in God, which is love in the continuation of unitive love.24 So let no one appear on the little mountain; let only the will appear, attending upon the Beloved in the surrender of itself and of all the virtues, in the way already described.
Read the original Spanish
Anotación de la canción siguiente
Pues como la esposa tiene ya las virtudes puestas en el alma en el punto de su perfección, en que está gozando de ordinaria paz en las visitas que el Amado le hace, goza algunas veces subidísimamente la suavidad y fragancia de las dichas virtudes, por el toque que el Amado hace en ellas; bien así como se gusta la suavidad y hermosura de las azucenas y flores cuando están abiertas y las tratan; porque en muchas de estas visitas ve el alma en su espíritu todas sus virtudes que Dios le ha dado, obrando él en ellas esta luz; y ella entonces, con admirable deleite y sabor de amor, las junta todas y las ofrece al Amado como una piña de hermosas flores, y recibiéndolas el Amado (porque entonces las recibe de veras), recibe en ello gran servicio; todo lo cual pasa dentro del alma, en que siente ella estar el Amado como en su propio lecho; porque el alma se ofrece juntamente con las virtudes, que es el mayor servicio que ella le puede hacer; y así, es uno de los mayores deleites que en el trato interior con Dios ella suele recibir en esta manera de don que hace el Amado; y conociendo el demonio esta prosperidad del alma, el cual, por su gran malicia, envidia todo el bien que en ella ve, usa a este tiempo de toda su habilidad y ejercita todas sus artes para poder perturbar en el alma siquiera una mínima parte de este bien; porque más precia él impedir a esta alma un quilate de esta su riqueza, gloria y deleite, que hacer caer a otras en muchos y muy graves pecados; porque las otras tienen poco o nada que perder, y ésta mucho, porque tiene mucho ganado y muy precioso; así como, perder un poco de oro muy primo es más que perder mucho de otros bajos metales. Aprovéchase aquí el demonio de los apetitos sensitivos, aunque con éstos, en este estado, puede muy poco las más veces, o nada, por estar ya ellos amortiguados, y de que con esto no puede representar a la imaginación muchas variedades; y a veces levanta en la parte sensitiva muchos movimientos (como después se dirá) y otras molestias que causa, así espirituales como sensitivas, de las cuales no es en mano del alma poderse librar hasta que el Señor envía su ángel, como se dice en el salmo, alrededor de los que le temen y los libra: Immittet Angelus Domini in circuitu timentium eum, et eripiet eos. Y hace paz y tranquilidad, así en la parte sensitiva como en la espiritual del alma; la cual, para denotar todo esto y pedir este favor, recelosa de la experiencia que tiene de las astucias que usa el demonio para hacerle el dicho daño, en este tiempo, hablando con los ángeles, cuyo oficio es favorecer a este tiempo, ahuyentando los demonios, dice la canción siguiente:
Cazadnos las raposas, Que está ya florida nuestra viña, En tanto que de rosas Hacemos una piña, Y no parezca nadie en la montiña.
DECLARACIÓN
Deseando, pues, el alma que no le impidan la continuación de este deleite interior de amor, que es la flor de la viña de su alma, ni los envidiosos y maliciosos demonios, ni los furiosos apetitos de la sensualidad, ni las varias idas y venidas de la imaginación, ni otras cualesquier noticias y presencias de cosas, invoca a los ángeles, diciendo que cacen todas estas cosas y las impidan, de manera que no impidan el ejercicio de amor interior, en cuyo deleite y sabor se están comunicando y gozando las virtudes y gracias entre el alma y el Hijo de Dios. Y así, dice:
Cazadnos las raposas, Que está ya florida nuestra viña.
La viña que aquí dice, es el plantel que está en esta santa alma de todas las virtudes, las cuales le dan a ella vino de dulce sabor; esta viña del alma está florida cuando según la voluntad está unida con el Esposo, y en el mismo Esposo está deleitándose según todas estas virtudes juntas; y algunas veces, como habemos dicho, suelen acudir a la memoria y fantasía muchas y varias formas e imaginaciones, y en la parte sensitiva se levantan muchos y varios movimientos y apetitos; los cuales, por ser de tantas maneras y tan varios, cuando David estaba bebiendo este sabroso vino de espíritu con grande sed en Dios, sintiendo el impedimento y molestia que le hacían, dijo: Mi alma tuvo sed en ti, cuan de muchas maneras sea mi carne a ti; Sitivit in te anima mea, quam multipliciter tibi caro mea. Llama el alma toda esta armonía de apetitos y movimientos sensitivos raposas, por la gran propiedad que tienen a este tiempo con ellas; porque así como las raposas se hacen dormidas para hacer presa cuando sale la caza, así todos estos apetitos y fuerzas sensitivas estaban sosegadas hasta que en el alma se levantan y se abren y salen a ejercicio estas flores de las virtudes; y entonces también parece que despiertan y se levantan en la sensualidad sus flores de apetitos y fuerzas sensuales a querer contradecir al espíritu y reinar; hasta esto llega la codicia que dice San Pablo que tiene la carne contra el espíritu; que, por ser su inclinación grande a lo sensitivo, gustando el espíritu, se desaborea y disgusta al dulce espíritu, y por eso dice:
Cazadnos las raposas.
Pero los maliciosos demonios hacen aquí de su parte molestia al alma de dos maneras; porque ellos incitan a levantar estos apetitos con vehemencia, y con ellos y otras imaginaciones hacen guerra a este reino pacífico y florido del alma. Lo segundo, y lo que peor es, que cuando de esta manera no pueden, embisten en ella con tormentos y ruidos corporales para hacerla divertir. Y lo que es más malo, que la combaten con temores y horrores espirituales a veces de terribles tormentos; lo cual a este tiempo, si se les da licencia, pueden ellos muy bien hacer; porque, como el alma se pone en muy desnudo espíritu pasa este ejercicio espiritual, puede con facilidad él hacerse presente a ella, pues también él es espíritu. Otras veces la hace otros embestimientos de horrores, antes que ella comience a gustar estas dulces flores, a tiempo que Dios la comienza a sacar algo de la casa de sus sentidos, para que entre en el dicho ejercicio interior al huerto del Esposo; porque sabe que si una vez se entra en aquel recogimiento está tan amparada, que, por más que haga, no puede hacerla daño. Y muchas veces, cuando aquí el demonio sale a tomarle el paso, suele el alma con gran presteza recogerse en el fondo escondrijo de su interior, donde halla gran deleite y amparo, y entonces padece aquellos terrores tan de fuera y tan a lo lejos, que, no sólo no le hacen temor, mas le causan alegría y gozo. De estos terrores hace mención la Esposa en los Cantares diciendo: Anima mea conturbavit me propter quadrigas Aminadab; «Mi alma me conturbó por causa de los carros de Aminabad». Entendiendo allí por Aminadab al demonio, llamando carros a sus embestimientos y acometimientos, por la grande vehemencia y tropel y ruidos que con ellos trae. Y lo mismo que aquí dice el alma: «Cazadnos las raposas», dice también la Esposa en los Cantares, al mismo propósito, pero diciendo: Cazadnos las raposas pequeñas que desmenuzan las viñas, porque nuestra viña ha florecido Capite nobis vulpes parvulas, quae demoliuntur vineas.
Nam vinea nostra floruit. Y no dice cazadme, sino cazadnos; porque habla de sí y del Amado, porque están en uno y gozando la flor de la viña.
La causa por que aquí dice que la viña está con flor, y no dice con fruto, es porque las virtudes en esta vida, aunque se gocen en el alma con tanta perfección como esta de que hablamos, es como gozarla en flor; porque sólo en la otra se gozarán como en fruto. Y dice luego:
En tanto que de rosas Hacemos una piña.
Porque a esta sazón que el alma está gozando la flor de esta viña y deleitándose en el pecho de su Amado, acaece así, que las virtudes del alma se ponen todas en pronto y claro, como habemos dicho, mostrándose al alma y dándole de sí gran suavidad y deleite; las cuales siente el alma estar sí misma y en Dios, de manera que le parecen ser una viña muy florida y agradable de ella y de él, en que ambos se apacientan y deleitan; y entonces el alma junta todas estas virtudes, haciendo actos muy sabrosos de amor en cada una de ellas y en todas juntas; y así, juntas las ofrece ella al Amado con gran ternura de amor y suavidad, a lo cual le ayuda el mismo Amado; porque sin su favor y ayuda no podría ella hacer esta junta y ofrenda de virtudes a su Amado, que por eso dice:
Hacemos una piña.
Es a saber, el Amado y yo. Llama piña a esta junta de virtudes, porque así como la piña es una pieza fuerte, y en sí contiene muchas piezas fuertes y en sí abrazadas fuertemente, que son los piñones; así esta piña de virtudes que hace el alma para su Amado es una sola pieza de perfección del alma, la cual fuerte y ordenadamente abraza y contiene en sí muchas perfecciones y virtudes muy fuertes, y dones muy ricos, porque todas las perfecciones y virtudes se ordenan y contienen una sólida perfección del alma; la cual, en tanto que está haciéndose por el ejercicio de las virtudes, y ya hecha, se está ofreciendo de parte del alma al Amado en espíritu de amor, que vamos diciendo, conviene que se cacen las dichas raposas, para que no impidan la tal comunicación interior de los dos. Y no sólo pide esto sólo la esposa en esta canción, para poder bien hacer la piña, mas también lo que se sigue en el verso siguiente, es a saber:
Y no parezca nadie en la montiña.
Porque para este divino ejercicio interior es también necesaria soledad y ajenación de todas las cosas que se podrían ofrecer al alma, ahora de parte de la porción inferior, que es la sensitiva del hombre, ahora de parte de la porción superior, que es la racional; las cuales dos porciones son en quien se encierra toda la armonía de las potencias y sentidos del hombre, a la cual armonía llama aquí montiña; porque, morando en ella y situándose en ella todas las noticias y apetitos de la naturaleza, como la caza en el monte, en ella suele el demonio hacer caza y presa en esos apetitos y noticias para mal del alma. Dice que en esta montiña no parezca nadie; es a saber representación y figura de cualquier objeto perteneciente a cualquiera de estas potencias o sentidos que habemos dicho, no parezca delante el alma y el Esposo. Y así, es como si dijera: En todas las potencias espirituales del alma, como son memoria, entendimiento y voluntad, no haya noticias ni afectos particulares ni otras cualesquier advertencias. Y en todos los sentidos y potencias corporales, así interiores como exteriores, que son imaginativa, fantasía, ver, oír, etc. , no haya otras digresiones y formas e imágenes y figuras, ni representaciones de objetos al alma, ni otras operaciones naturales. Esto dice aquí el alma por cuanto, para gozar perfectamente de esta comunicación con Dios, conviene que todos los sentidos y potencias, así interiores como exteriores, estén desocupados, vacíos y ociosos de sus propias operaciones y objetos, porque en tal caso, cuando ellos de suyo más se ponen en ejercicio, tanto más estorban; porque, llegando el alma a alguna manera de unión interior de amor, ya no obran en esto las potencias espirituales, y menos las corporales, por cuanto está ya hecha y obrada la unión de amor actuada en el alma en amor; y así, acabaron de obrar las potencias, porque llegando al término, cesan todas las operaciones de los medios. Y así, lo que el alma hace entonces es asistencia de amor en Dios, la cual es amor en continuación de amor unitivo. No parezca, pues, nadie en la montiña; sola la voluntad parezca, asistiendo al Amado en entrega de sí y de todas las virtudes, en la manera que está dicha.
Scripture echoes
- ↩Song.2.15 — Catch the foxes for us— the little foxes that ruin our vineyards, while our vineyards are in bloom.
- ↩Song.2.15 — Catch the foxes for us— the little foxes that ruin our vineyards, while our vineyards are in bloom.
- ↩Song.2.15 — Catch the foxes for us— the little foxes that ruin our vineyards, while our vineyards are in bloom.
Notes
- 1 ↩Spanish piña here means a clustered bunch of flowers (not pineapple); matched to the song image of making a piña of roses.
- 2 ↩The clause "y de que con esto no puede representar a la imaginación muchas variedades" is slightly elliptic; rendered as a second object of aprovechase ("takes advantage of ... and of the fact that..."). An alternate reading treats it as a result of the appetites being deadened ("so that with them he cannot...").
- 3 ↩Subject of "Y hace paz" is the angel just mentioned (not the devil); rendered as "And he makes peace..." continuing from the Psalm citation.
- 4 ↩Spanish piña here means a clustered bunch or bouquet of flowers (as in the preceding commentary), not a pineapple.
- 5 ↩Spanish noticias here means cognitions or mental impressions rather than news; rendered as awarenesses.
- 6 ↩Spanish según la voluntad is rendered as united in will, i.e. union of the soul's will with the Bridegroom, not a vague 'as she likes'.
- 7 ↩The Spanish psalm paraphrase (cuan de muchas maneras sea mi carne a ti) is archaic and compressed; English follows its accompanying Vulgate Latin sense (Ps 62:2 Vulg.), retained after the paraphrase.
- 8 ↩Spanish armonía here means the assembled set or concert of movements, not musical harmony; rendered as array.
- 9 ↩Codicia is rendered craving to keep Paul's flesh-against-spirit force (Gal 5:17) without reducing it to mere greed for money.
- 10 ↩Spanish divertir here means to turn aside / distract from recollection, not to entertain.
- 11 ↩licencia rendered as leave (divine permission). desnudo espíritu kept as naked spirit for San Juan's technical sense of stripped, non-sensory spiritual contact.
- 12 ↩tomarle el paso rendered as block her path; fondo escondrijo as deep hiding place of her interior.
- 13 ↩Source Spanish gloss spells the name Aminabad; Latin citation and the next sentence use Aminadab. English follows Aminadab.
- 14 ↩Source gives the Spanish full sense of the verse, including 'porque nuestra viña ha florecido', then appends only the first Latin clause; the nam-clause appears in the next section.
- 15 ↩"están en uno" rendered as "they are one" (mystical union of Bride and Beloved); "gozando" as savoring enjoyment rather than mere pleasure.
- 16 ↩Spanish gozarla is singular feminine while las virtudes is plural; rendered as “enjoying them” (the virtues), continuing the vineyard-in-flower / vineyard-in-fruit metaphor.
- 17 ↩Spanish piña here means a compact floral bunch/cluster (not the fruit pineapple); rendered as cluster to keep San Juan's image of gathering roses (virtues in flower) into one offering.
- 18 ↩Source reads 'estar sí misma y en Dios' (without 'en' before 'sí misma'). Rendered as the usual mystical sense 'to be in herself and in God'; an alternate reading takes 'sí misma' as predicate ('to be herself and in God').
- 19 ↩Rendered as 'into readiness and clarity': the virtues become promptly available and clearly manifest to the soul.
- 20 ↩Spanish piña here is the pine-cone image San Juan later glosses as the soul’s gathered cluster of virtues offered to the Beloved; keep the concrete botanical image rather than paraphrase as “cluster” alone.
- 21 ↩piña: pine cone (with piñones, pine nuts); San Juan's image for a tight cluster of virtues forming one solid perfection.
- 22 ↩montiña is San Juan's diminutive allegory for the soul's ordered harmony of faculties and senses (clarified in the following section); rendered as 'little mountain' to keep the Canticle image rather than paraphrasing it away.
- 23 ↩"unión de amor actuada" rendered as the union of love already accomplished and enacted; SJC's technical sense is an already actuated unitive love in which the faculties no longer mediate.
- 24 ↩"asistencia de amor" kept as attendance of love (loving presence/attending upon God), not modern "assistance".
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