Canciones XX y XXI
The Soul's Preparation for Spiritual Marriage
The Bridegroom explains that the soul must be purified and strengthened to reach the high state of spiritual marriage, and the Holy Spirit prepares her through the words of the Song of Songs.
Annotation for the following songs To reach so high a state of perfection as the soul aims for here—spiritual marriage—it is not enough for her only to be clean and purified of all the imperfections, rebellions, and imperfect habits of the lower part, in which, once the old self has been stripped away, she is already subject and surrendered to the higher part; she also needs great strength and a very lofty love for so strong and close an embrace of God. For in this state the soul not only attains very high purity and beauty, but also formidable strength, because of the tight and strong bond formed through this union between God and the soul.1 That is why, to come to it, she needs to be at the due measure of purity, strength, and love; and for that reason the Holy Spirit—who is the one who intervenes and effects this spiritual joining—desiring that the soul should come to have these qualities so as to merit it, speaking with the Father and the Son in the Song of Songs, said: "What shall we do for our sister on the day she is to come forth to be spoken for?" For she is little, and her breasts are not yet grown. If she is a wall, let us build on it silvered fortifications and defenses; and if she is a door, let us panel her with cedar boards: Our sister is little and has no breasts.✦2 What shall we do for our sister on the day when she is to be spoken for? If she is a wall, let us build silver bulwarks upon her; if she is a door, let us join her together with cedar boards. Understanding here by the silvered fortifications and defenses the strong heroic virtues wrapped in faith—for faith is what silver signifies—and these heroic virtues are already those of spiritual marriage, which rest upon the strong soul, signified here by the wall, in whose strength the peaceful Bridegroom is to rest without any weakness disturbing him; and understanding by the cedar boards the affections and qualities of lofty love, which cedar signifies—and this is the love of spiritual marriage; and to panel the bride with it, she needs to be a door, that is, so the Bridegroom may enter, and with the door of her will held open to him by a whole and true yes of love, which is the yes of betrothal, already given before spiritual marriage.3 Understanding also by the bride's breasts that same perfect love she needs to have in order to appear before the Bridegroom, Christ, for the consummation of this state. But the text says there that the bride answered at once, with the desire she had to come out to this meeting, saying, "I am a wall, and my breasts are like a tower"; Ego murus; et ubera mea sicut turris.✦ That is as much as to say: "My soul is strong and my love very high, so that nothing will fall short on that account"—which here too the bride-soul, in the desire she has for this perfect union and transformation, has been making known in the preceding songs, and especially in the one we have just explained, where she sets before the Bridegroom the virtues, riches, and dispositions she has received from him, so as to bind him all the more.4 And for that reason the Bridegroom, wanting to bring this matter to a close, speaks the two following songs, in which he finishes purifying the soul, making her strong and preparing her—according to the sensory part as well as the spiritual—for this state; speaking them against all the opposing forces and rebellions, both of the sensory part and on the part of the devil.5
The Bridegroom's Song of Adjuration
The Bridegroom speaks a poetic adjuration to all disturbances—birds, animals, mountains, waters, winds, and fears—commanding them to cease so the bride may sleep securely.
To the swift birds, lions, deer, and leaping fallow deer, mountains, valleys, riverbanks, waters, winds, and burning heats, and the fears that keep watch through the nights: by the pleasant lyres and the songs of sirens I implore you— cease your rages, and do not touch the wall, so the bride may sleep more securely.✦
Calming the Soul's Powers and Passions
The Bridegroom explains the meaning of the adjuration, showing how he commands the imagination, the irascible and concupiscible powers, the memory, understanding, and will, and the four passions to cease their disordered acts.
Exposition In these two songs the Bridegroom, the Son of God, sets the bride-soul in possession of peace and calm, bringing the lower part into conformity with the higher, cleansing her of all her imperfections, bringing the soul's powers and natural reasonings under the rule of reason, and quieting all her other appetites, as these two songs contain. Their meaning is as follows: first, the Bridegroom adjures and commands the useless digressions of fantasy and imagination to cease from this point on, and he also brings under the rule of reason the two natural powers—the irascible and the concupiscible—which had previously afflicted the soul to some degree; and he brings the three powers of the soul—memory, understanding, and will—to the perfection of their objects, as far as that is possible in this life.6 Besides this, he adjures and commands the four passions of the soul—joy, hope, sorrow, and fear—to be from now on mitigated and brought under the rule of reason. All these things are signified by those names set down in the first song, whose troublesome workings and movements the Bridegroom now causes to cease in the soul through the great sweetness, delight, and strength she possesses in the spiritual communication and self-giving that God makes of himself to her at this time. In that communication, because God transforms the soul livingly into himself, all the soul's powers, appetites, and movements lose their natural imperfection and are changed into divine ones.7 And he says: To the light birds. By light birds he means the digressions of the imagination, which are light and subtle as they fly this way and that; when the will is quietly enjoying the Beloved's delightful communication, they usually spoil its savor and quench its delight with their subtle flights; of these the Bridegroom says that he conjures them by the pleasant lyres, and so on. That is: since the soul's soft delight is already so abundant and frequent, they won't be able to hinder it as they used to, back when it hadn't yet reached the point where their restless stir, impulses, and excesses would cease. This is likewise to be understood of the other parts we have explained, namely:8 Lions, deer, leaping bucks. By the lions he means the harshnesses and impulses of the irascible power, because it is bold and daring in its acts, like lions; and by the deer and leaping gazelles he means the concupiscible power, which is the faculty of desire and has two affections: one of cowardice, the other of boldness. It exercises the affection of cowardice when it doesn't find things suited to itself, for then it shrinks back, withdraws, and grows timid—and in this it is matched to the deer; for just as they have this power more intensely than many other animals, so they are very timid and withdrawn.9 It exercises the affection of boldness when it finds things suited to itself, because then it neither shrinks back nor grows timid, but dares to desire them and take them in with its desires and affections. And it is in these bold affections that this power is compared to the gazelles, which have such craving for what they desire that they not only run toward it but even leap—that is why he calls them leapers here. So by adjuring the lions here, he reins in the impulses and excesses of anger; and by adjuring the deer, he strengthens desire against the cowardice and faintheartedness that used to shrink it back; and by adjuring the leaping gazelles, he satisfies it and calms the desires and appetites that used to run restless, leaping like gazelles from one thing to another to satisfy craving—which is already satisfied by the pleasant lyres, whose sweetness it enjoys, and by the song of the sirens, on whose delight it feeds.10 And it is worth noting that the Bridegroom does not adjure anger and desire here—because these powers never leave the soul—but rather their troublesome and disordered acts, signified by the lions, deer, and leaping gazelles; because these, in this state, must leap away.11 Mountains, valleys, and riverbanks. These three names refer to the vicious and disordered acts of the soul's three powers—memory, understanding, and will. Those acts are disordered and vicious when they are extremely high or extremely low and slack, or when, even if they aren't extreme, they lean toward one of the two extremes. And so the mountains, which are very high, represent the extreme acts that go too far; and the valleys, which are very low, represent the acts of these three powers that fall short of what is fitting. And the riverbanks—which are neither very high nor very low, but because they aren't quite level, share something of each extreme—signify the acts of the powers when they exceed or fall somewhat short of the mean and level of what is just. Though these aren't extremely disordered the way they would be if they reached mortal sin, they are still disordered in part, amounting to venial sin or imperfection, no matter how slight, in the understanding, memory, and will.12 She also adjures all these acts that exceed what is just to cease, through the pleasant lyres and songs already mentioned. Those hold the soul's three powers so precisely at the point of their proper effect, and keep them so occupied in the rightful operation that belongs to them, that they not only avoid the extreme but share in no part of it at all.13 Waters, airs, ardors, and fears of the watching nights. Also, by these four things he's referring to the affections of the four passions, which, as we said, are sorrow, hope, joy, and fear. By 'waters,' he means the affections of sorrow that afflict the soul, because they enter it like water. Hence David, speaking to God about them, says: Salvum me fac Deus quoniam intraverunt aquae usque ad animam meam; “Save me, my God, for the waters have entered even to my soul.” By 'airs,' he means the affections of hope, because like air they fly out to desire what is absent—what is hoped for. As the same David said: Os meum aperui, et attraxi Spiritum: quid mandata tua desiderabam; meaning: I opened the mouth of my hope and drew in the air of my desire, because I hoped for and desired your commandments.14 By 'ardors,' he means the affections of the passion of joy, which inflame the heart like fire. That is why the same David says: Concaluit cor meum intra me: et in meditatione mea exardescet ignis, which means: Within me my heart grew hot, and in my meditation a fire will kindle. That is: In my meditation joy will kindle. By 'fears of the watching nights,' he means the affections of the other passion—fear. And these, in those who are spiritual but have not yet reached this state of spiritual marriage we are speaking of, are often very great: sometimes from God's side, when He wants to grant them some favors (as we have said above), for He usually causes fear in the spirit and dread, and a shrinking of the flesh and the senses, because they do not yet have their natural powers strengthened, perfected, and habituated to those favors; sometimes also from the devil's side, who, when God gives the soul recollection and sweetness in Himself, being filled with great envy and grief at that good and peace of the soul, tries to put horror and fear in the spirit to hinder that good, and sometimes as if threatening it there in the spirit; and when he sees that he cannot reach the soul's interior, because it is deeply recollected and united with God, at least he tries from the outside, in the sensory part, to put distraction and restless variety, and pressures and pains and horror upon the sense, to see if by this means he can unsettle the bride in her bridal chamber.15 And he called them 'fears of the nights' because they come from the demons, and because the devil uses them to spread darkness in the soul, to obscure the divine light it enjoys. And he calls these fears 'watchers' because they themselves make the soul keep watch and wake from its sweet interior sleep, and also because the demons who cause them are always watching to put them there.16 These fears that come passively from God, or from the devil, as I have said, attach themselves to the soul—I mean in the spirit—of those who are already spiritual.17 I'm not talking about other temporal or natural fears here, because having them isn't a mark of spiritual people in the way that having the other fears I mentioned is.
The Peace and Transformation of the Bride
The Bridegroom describes the resulting state of peace, where the soul is so filled with God's sweetness that no disturbance can reach her, and she enjoys a continual feast of divine delight.
So the Beloved also charges all these four kinds of affections that come from the four passions of the soul, making them cease and grow calm, because in this state he already gives his bride abundance, strength, and satisfaction in the pleasant lyres of his sweetness and the sirens' song of his delight, so that they not only do not reign in her, but cannot even cause her the slightest distress. For the soul's greatness and stability in this state are so great that things which formerly brought the waters of pain into the soul — even her own sins or others', which is what spiritual people usually feel most — although they still esteem them, no longer cause them pain or anguished feeling; and even compassion, which is the feeling for them, they do not have, though they have the works and the perfection of it.18 Because here the soul is free from what was weak in the virtues, and what remains of them is the strong, constant, and perfect. For what happens to the soul in this transformation of love is similar to what happens to the angels, who perfectly recognize things that involve pain without feeling pain, and carry out works of mercy without the feeling of compassion.19 Although sometimes, on certain occasions, God treats her specially, allowing her to feel and suffer in these things so that she may merit more and grow more fervent in love, or for other reasons, as he did with his Virgin Mother and with Saint Paul and others; but the state itself doesn't by its nature involve this.✦20 She is not distressed by the desires of hope either; for, already satisfied with this union with God as far as this life allows, she has nothing to hope for in the world, nor anything spiritual left to desire, since she sees and feels herself filled with God's riches, though she can still grow in charity. And so, in both dying and living, she is conformed and adapted to God's will, saying with both her senses and her spirit: Fiat voluntas tua, without any surge of other cravings or appetites. And so her desire to see God is without pain. Likewise, with the affections of joy that used to make the soul feel more or less, she does not notice any diminishment in them, nor does abundance strike her as something new. For the abundance she ordinarily enjoys is so great that it is like the sea, which neither shrinks when rivers flow out of it nor grows when rivers flow into it—because this is the soul in which that spring has been made of which Christ says, through Saint John, that its water leaps up to eternal life. And because I've said that such a soul receives nothing new in this state of transformation—which might seem to strip her of the accidental joys that even the glorified don't lack—I mean this: although this soul isn't without these accidental joys and sweetnesses (on the contrary, those she ordinarily has are beyond counting), that doesn't mean anything is added to this joy in what is the substantial communication of spirit; because everything that could newly come to her, she already had; and so what she holds within herself is more than what newly comes to her. Hence, whenever things of joy and gladness—outward, or inward and spiritual—are offered to this soul, she at once turns to enjoy the riches she already has within herself, and she's left with much greater joy and delight in those than in the ones that newly come to her, because in this she somehow has God's own property: though he delights in all things, he doesn't delight in them as much as in himself, because he has within himself an eminent good above them all.21 And so all the novelties of joys and tastes that come upon this soul serve her more as reminders to delight in what she already has and feels within herself than in the novelties themselves; because, as I say, that is more than they are.22 And it's natural that when something gives joy and contentment to the soul, if she has something else she esteems more and that gives her greater pleasure, she at once remembers that other thing and settles her pleasure and joy in it. And so the accidental side of these spiritual novelties, and what they newly put into the soul compared with the substantial good she already has within herself, is so little that we can't say anything about it; because the soul that has reached this fullness of transformation, in which she is fully grown, doesn't keep growing as regards her state through spiritual novelties the way souls that haven't reached it do. But it's wonderful to see that, though this soul receives no new delight, it always seems to her that she's receiving them newly, and also that she already had them. The reason is that she always tastes them as new, because her good is always new; and so it seems to her that she's always receiving novelties without needing to receive them. But if we wanted to speak of the illumination of glory that God sometimes works in the soul within this ordinary embrace He has given her—which is a certain spiritual conversation in which He makes her see and enjoy all at once this abyss of delights and riches He has placed in her—nothing could be said that would make any of it clear. For just as the sun, when it strikes the sea full on, lights even its deep recesses and caverns, and the pearls and richest veins of gold and other precious minerals appear, so this divine sun of the Bridegroom, turning toward the bride, brings the soul's riches so fully into the light that even the angels marvel at her and say that word from the Song of Songs: "Who is this who comes forth like the morning rising, beautiful as the moon, chosen as the sun, terrible and ordered like the ranks of armies?" Who is this who comes forth like the rising dawn, beautiful as the moon, chosen as the sun, terrible as an army set in array?23 In that illumination, though it is of such excellence, nothing is added to the soul; it simply brings her into the light so that she may enjoy what she already had. Finally, the fears of the night watches no longer reach her, now that she is so clear and strong, resting so firmly settled in God that the demons can neither darken her with their darkness, terrify her with their terrors, nor awaken her with their assaults. So nothing can reach or disturb her, since she has withdrawn from all things into her God, where she enjoys complete peace, tastes every sweetness, and delights in every delight, as far as the condition and state of this life allow. For of such a soul one understands what the Wise Man says: Secura mens quasi juge convivium; that is, 'A calm and settled soul is like a continual feast.'24 For just as at a feast there is the savor of every dish and the sweetness of every music, so the soul, in this feast she already has in the bosom of her Bridegroom, enjoys every delight and tastes every sweetness. And what we have said about what happens here, and what can be put into words, is so little that one would always be saying the least of what passes in the soul that reaches this blessed state. For if the soul succeeds in finding the peace of God, which, as Saint Paul says, surpasses all understanding, every sense would fall short and go mute when it comes to speaking of it.
The Final Adjuration and the Bride's Sleep
The Bridegroom concludes by reiterating the adjuration through the lyres and sirens, commanding that the wall of the soul's enclosure not be touched, so that the bride may sleep securely in the Beloved's embrace.
By the lovely lyres and the song of sirens I adjure you. We've already explained that by the pleasant lyres, the Bridegroom refers to the sweetness He gives of Himself to the soul in this state, which puts an end to all the troubles we've mentioned. Just as the music of lyres fills the soul with sweetness and delight, soaking and suspending her so that she remains withdrawn from bitterness and pain, this sweetness holds the soul so completely that nothing painful can reach her. It is as if He were saying: Because of the sweetness I place in the soul, let everything that isn't sweet to her cease. We've also noted that the song of the sirens represents the ordinary delight the soul possesses. And He calls this delight the song of sirens because, just as they say the song of the sirens is so delicious and delightful that whoever hears it is so enraptured and captivated with love that it makes him, as if carried away, forget all things, so the delight of this union so absorbs the soul into itself and refreshes her that it leaves her as if enchanted against all the troubles and disturbances of the things already mentioned, which are understood in this verse:25 And let your anger cease. She calls those disturbances and annoyances—the disordered affections and operations we've spoken of—'angers'; because, just as anger is an impulse that disturbs peace by going beyond its limits, so all the affections already mentioned, with their movements, exceed the bounds of the soul's peace and tranquility, unsettling it when they touch it—and that's why she says: And do not touch the wall. By the wall, we understand the enclosure of peace and the fence of virtues and perfections with which the soul herself is enclosed and guarded—she is the garden spoken of above, where her Beloved pastures among the flowers, enclosed and kept for him alone—which is why he calls her in the Song of Songs an enclosed garden, saying: My sister is an enclosed garden; Hortus conclusus soror mea sponsa. And so he says here that they must not even touch the fence and wall of this garden of hers. So the Bride can sleep more securely.26 That is, so she can more fully savor the quiet and sweetness she enjoys in the Beloved.27 And here it should be known that already at this point there is no closed door for the soul; rather, it is in her power to enjoy this gentle sleep of love whenever she wants, as the Bridegroom makes clear in the Song of Songs when he says: I adjure you, daughters of Jerusalem, by the goats and the stags of the fields, not to awaken the beloved or make her keep watch until she herself wishes; Adjuro vos filiae Jerusalem por capreas, cervosque camporum, ne suscitetis, neque evigilare faciatis dilectam donec ipsa velit.2829
Read the original Spanish
Anotación para las canciones siguientes
Para llegar a tan alto estado de perfección como aquí el alma pretende, que es el matrimonio espiritual, no sólo no le basta estar limpia y purificada de todas las imperfecciones y rebeliones y hábitos imperfectos de la parte inferior, en que, desnudado el viejo hombre, está ya sujeta y rendida a la superior, sino que también ha menester grande fortaleza y muy subido amor para tan fuerte y estrecho abrazo de Dios; porque, no solamente en este estado consigne el alma muy alta pureza y hermosura, sino también terrible fortaleza por razón del estrecho y fuerte nudo que por medio de esta unión entre Dios y el alma se da. Por lo cual, para venir a él, ha menester ella estar en el punto de pureza, fortaleza y amor competente; que por eso, deseando el Espíritu Santo, que es el que interviene y hace esta junta espiritual, que el alma llegase a tener estas partes para merecello, hablando con el Padre y con el Hijo en los Cantares, dijo: ¿Qué haremos a nuestra hermana en el día que ha de salir a vistas y hablar? Porque es pequeñuela y no tiene crecidos los pechos. Si ella es muro, edifiquemos sobre él fuerzas y defensas plateadas, y si es puerta, guarnezcámosla con tablas cedrinas: Soror nostra parva et ubera non habet. Quid faciemus sorori nostrae in die quando alloquenda est? Si murus est, aedificemus super eum propugnacula argentea: si ostium est, compingamus illud tabulis cedrinis. Entendiendo aquí por las fuerzas y defensas plateadas las virtudes fuertes heroicas envueltas en fe, que por la plata es significada; las cuales virtudes heroicas son ya las del matrimonio espiritual, que asientan sobre el alma fuerte, que es aquí significada por el muro, en cuya fortaleza ha de reposar el pacífico Esposo, sin que le perturbe alguna flaqueza; y entendiendo por las tablas cedrinas las aficiones y accidentes del alto amor, el cual es significado por el cedro, y este es el amor del matrimonio espiritual; y para guarnecer con él a la esposa, es menester que ella sea puerta, es a saber, para que entre el Esposo, y teniendo ella abierta la puerta de la voluntad para él por entero y verdadero sí de amor, que es el sí del desposorio, que está dado antes del matrimonio espiritual. Entendiendo también por los pechos de la esposa ese mismo amor perfecto que le conviene tener, para parecer delante del Esposo, Cristo, para consumación del tal estado.
Pero dice allí el texto que respondió luego la esposa, con el deseo que tenía de salir a estas vistas, diciendo Yo soy muro, y mis pechos son como una torre; Ego murus; et ubera mea sicut turris. Que es como decir: Mi alma es fuerte y mi amor muy alto, para que no quede por eso; lo cual también aquí el alma esposa, en el deseo que tiene de esta perfecta unión y transformación, ha ido dando a entender en las canciones precedentes, y especialmente en la que acabamos de declarar, en que pone al Esposo delante las virtudes, riquezas y disposiciones que de él tiene recibidas, para más le obligar. Y por eso el Esposo, queriendo concluir con este negocio, dice las dos siguientes canciones, en que acaba de purificar al alma hacera fuerte y disponerla, así según la parte sensitiva como según la espiritual, para este estado; diciéndolas contra todas las contrariedades y rebeliones, así de la parte sensitiva como de parte del demonio.
A las aves ligeras, Leones, ciervos, gamos saltadores, Montes, valles, riberas, Aguas, aires, ardores, Y miedos, de las noches veladores Por las amenas liras Y cantos de sirenas os conjuro Que cesen vuestras iras, Y no toquéis al muro, Porque la esposa duerma más seguro.
DECLARACIÓN
En estas dos canciones pone el Esposo, Hijo de Dios, al alma esposa en posesión de paz y tranquilidad, en conformidad de la parte inferior con la superior, limpiándola de todas sus imperfecciones, poniendo en razón las potencias y razones naturales del alma, sosegando todos los demás apetitos, según se contiene en las sobredichas dos canciones, cuyo sentido es el siguiente: primeramente, conjura el Esposo y manda a las inútiles digresiones de la fantasía e imaginativa que de aquí adelante cesen, y también pone en razón a las dos potencias naturales irascible y concupiscible, que antes algún tanto afligían al alma; y pone en perfección de sus objetos las tres potencias del alma: memoria, entendimiento y voluntad, según se puede en esta vida. Demás de esto, conjura y manda a las cuatro pasiones del alma, que son gozo, esperanza, dolor y temor, que ya de aquí adelante estén mitigadas y puestas en razón; todas las cuales dichas cosas son significadas por todos aquellos nombres que se ponen en la canción primera, cuyas molestas operaciones y movimientos hace el Esposo que ya cesen en el alma, por medio de la gran suavidad y deleite y fortaleza que ella posee en la comunicación y entrega espiritual que Dios le hace de sí en este tiempo; en la cual, porque Dios transforma vívamente al alma en sí, todas las potencias, apetitos y movimientos del alma pierden su imperfección natural y se mudan en divinos. Y dice así:
A las aves ligeras.
Llama aves ligeras a las digresiones de la imaginativa, que son ligeras y sutiles en volar a una parte y a otra; las cuales, cuando la voluntad está gozando en quietud de la comunicación sabrosa del Amado, suelen hacerle sinsabor y apagarle el gusto con sus vuelos sutiles; a las cuales dice el Esposo que las conjura por las amenas liras, etc. Esto es, que, pues ya la suavidad de deleite del alma es tan abundante y frecuente, que ellas no le podrán impedir, como antes solían, por no haber llegado a tanto que cesen sus inquietos bullicios, ímpetus y excesos; lo cual se ha de entender así en las demás partes que habemos declarado, como son:
Leones, ciervos, gamos saltadores.
Por los leones entiende las acrimonías e ímpetus de la potencia irascible, por ser como osada y atrevida en sus actos, como los leones; y por los ciervos y gamos saltadores entiende la concupiscible, que es la potencia de apetecer, la cual tiene dos afectos: el uno de cobardía y el otro de osadía; el de cobardía ejercita cuando no halla las cosas para sí convenientes, que entonces se encoge, retira y acobarda, en lo cual es compasada a los ciervos; porque, así como tienen esta potencia más intensa que otros muchos animales, así son muy cobardes y encogidos. El afecto de osadía ejercita cuando halla las cosas convenientes para sí, porque entonces no se encoge ni acobarda, sino atrévese a apetecerlas y admitirlas con los deseos y afectos; y en estos afectos de osadía es comparada esta potencia a los gamos, los cuales tienen tanta concupiscencia en lo que apetecen, que, no sólo van a ello corriendo, mas aun saltando, y por eso los llama aquí saltadores. De manera que en conjurar aquí los leones, pone rienda a los ímpetus y excesos de la ira, y en conjurar los ciervos, fortalece la concupiscencia en las cobardías y pusilanimidades que antes la encogían, y en conjurar los gamos saltadores, la satisface y apacigua los deseos y apetitos que antes andaban inquietos, saltando como gamos de uno en otro, para satisfacer a la concupiscencia, la cual está ya satisfecha por las amenas liras, de cuya suavidad goza, y por el canto de sirenas, en cuyo deleite se apacienta. Y es de notar que no conjura el Esposo aquí a la ira y concupiscencia, porque estas potencias nunca faltan en el alma, sino a los molestos y desordenados actos de ellas, significados por los leones, ciervos y gamos saltadores; porque éstos, en este estado, es necesario que salten.
Montes, valles, riberas.
Por estos tres nombres se denotan los actos viciosos y desordenados de las tres potencias del alma, que son memoria, entendimiento y voluntad; los cuales actos son desordenados y viciosos cuando son en extremo altos o en extremo bajos y remisos, o cuando no lo sean en extremo, declinan hacia uno de los dos extremos. Y así, por los montes, que son muy altos, son significados los actos extremados que son en demasía; y por los valles que son muy bajos, se significan los actos de estas tres potencias, extremados en menos de lo que conviene. Y por las riberas, que ni son muy altas ni muy bajas, sino que, por no ser muy llanas, participan algo del un extremo y del otro, son significados los actos de las potencias cuando exceden o faltan algo del medio y llano de lo justo; los cuales, aunque no son extremadamente desordenados, como lo serían en llegando a pecado mortal, todavía lo son en parte, tocando a venial o imperfección, por mínima que sea, en el entendimiento, memoria y voluntad. A todos estos actos excesivos de lo justo conjura también que cesen por las amenas liras y cantos dichos; los cuales tienen puestas a las tres potencias del alma tan en su punto de efecto, que están tan empleadas en la justa operación que les pertenece, que, no sólo no es lo extremo, pero ni aun parte de él participan en ninguna cosa.
Aguas, aires, ardores, Y miedos, de las noches veladores.
También por estas cuatro cosas significa las aficiones de las cuatro pasiones, que, como dijimos, son dolor, esperanza, gozo y temor. Por las aguas se entienden las aficiones del dolor que afligen al alma, porque así como agua se entran en ella; de donde David, hablando con Dios de ellas, dice: Salvum me fac Deus quoniam intraverunt aquae usque ad animam meam; «Sálvame, Dios mío, porque han entrado las aguas hasta mi alma». Por los aires entienden las afecciones de la esperanza, porque así como aire vuelan a desear lo ausente; que se espera como el mismo David lo dijo: Os meum aperui, et attraxi Spiritum: quid mandata tua desiderabam; como si dijera: Abrí la boca de mi esperanza y atraje el aire de mi deseo, porque esperaba y deseaba tus mandamientos. Por los ardores se entienden las afecciones de la pasión del gozo, las cuales inflaman el corazón a manera del fuego; por lo cual el mismo David dice: Concaluit cor meum intra me: et in meditatione mea exardescet ignis: que quiere decir: Dentro de mí se calentó mi corazón, y en mi meditación se encenderá fuego. Que es tanto como decir: En mi meditación se encenderá el gozo. Por los miedos, de las noches veladores, se entienden las afecciones de la otra pasión, que es el temor, las cuales en los espirituales que aún no han llegado a este estado del matrimonio espiritual de que vamos hablando, suelen ser muy grandes a veces de parte de Dios al tiempo que les quiere hacer algunas mercedes, como habemos dicho arriba, que le suele hacer temor en el espíritu y pavor, y encogimiento de la carne y sentidos, por no tener ellos fortalecido y perficionado el natural, y habituado a aquellas mercedes, a veces también de parte del demonio, el cual al tiempo que Dios da al alma recogimiento y suavidad en sí, teniendo él grande envidia y pesar de aquel bien y paz del alma, procura poner horror y temor en el espíritu por impedirle aquel bien, y a veces como amenazándole allá en el espíritu; y cuando ve que no puede llegar al interior del alma, por estar muy recogida y unida con Dios, a lo menos procura por de fuera en la parte sensitiva poner distración y variedad, y aprietos y dolores y horror al sentido, a ver si por este medio puede inquietar a la esposa de su tálamo. Y llamolos miedos de las noches por ser de los demonios, y porque con ellos el demonio procura difundir tinieblas en el alma, por escurecerle la divina luz de que goza. Y llama veladores a estos temores porque de suyo hacen velar y recordar al alma de su suave sueño interior, y también porque los demonios, que los causan, están siempre velando por ponellos.
Estos temores que pasivamente de parte de Dios hay, o del demonio, como he bicho, se inhieren al alma, digo en el espíritu, de los que son ya espirituales. Y no trato aquí de otros temores temporales o naturales, porque tenerlos no es de gente espiritual, como lo es tener los otros temores ya dichos.
Pues a todas estas cuatro maneras de afecciones de las cuatro pasiones del alma conjura también el Amado, haciéndolas cesar y sosegar, por cuanto él da ya en este estado a su esposa caudal y fuerza y satisfacción en las amenas liras de su suavidad y canto de sirenas de su deleite, para que, no sólo no reinen en ella, pero ni en algún tanto le puedan dar sinsabor; porque es la grandeza y estabilidad del alma tan grande en este estado, que antes le llegaban al alma las aguas del dolor de cualquiera cosa, y aun de los pecados suyos o ajenos, que es lo que más suelen sentir los espirituales, aunque los estiman, no les hacen dolor ni sentimiento congojoso, y aun la compasión, que es el sentimiento de ellos, no le tienen, aunque tienen las obras y la perfección de ella. Porque aquí le falta al alma lo que tenía de flaco en las virtudes, y le queda lo fuerte, constante y perfecto de ellas. Porque, a modo de los ángeles, que perfectamente estiman las cosas que son de dolor sin sentir dolor, y ejercitan las obras de misericordia sin sentimiento de compasión, le acaece al alma en esta transformación de amor. Aunque algunas veces y en algunas sazones dispensa Dios con ella, dándole a sentir cosas y a padecer en ellas, porque más merezca y se afervore en el amor, o por otros respectos, como hizo con su madre Virgen y con San Pablo y otros; pero el estado de suyo no lo lleva.
En los deseos de la esperanza tampoco se aflige; porque, estando ya satisfecha con esta unión de Dios, cuanto en esta vida puede, ni cerca del mundo tiene qué esperar, ni acerca de lo espiritual qué desear, pues se ve y siente llena de las riquezas de Dios, aunque puede crecer en caridad; y así, en el morir y en vivir está conforme y ajustada con la voluntad de Dios, diciendo, según la parte sensitiva y espiritual: Fiat voluntas tua, sin ímpetu de otra gana y apetito; y así, el deseo que tiene de ver a Dios es sin pena. También las afecciones del gozo, que en el alma solían hacer sentimiento de más o menos, no echa de ver mengua en ellas, ni le hace novedad la abundancia, porque es tanta la abundancia que ella ordinariamente goza, que es a manera de la mar, que ni mengua por los ríos que de ella salen, ni crece por los que en ella entran; porque esta alma es en la que está hecha esta fuente de que dice Cristo, por San Juan, que su agua salta hasta la vida eterna.
Y porque he dicho que esta tal alma no recibe novedad en este estado de transformación, en lo cual parece que le quitó los gozos accidentarios, que aun en los glorificados no faltan; es a saber, que aunque a esta alma no le faltan estos gozos y suavidades accidentarias, porque antes las que ordinariamente tiene son sin cuento, no por eso en lo que es sustancial comunicación de espíritu se le aumenta nada de este gozo; porque, todo lo que de nuevo le puede venir, ya ella se lo tenía; y así, es más lo que en sí tiene que lo que de nuevo le viene; de donde, todas las veces que a esta alma se le ofrecen cosas de gozo y de alegría exteriores o espirituales interiores, luego se convierte a gozar las riquezas que ella tiene ya en sí, y se queda con mucho mayor gozo y deleite en ellas que en las que de nuevo le vienen, porque tiene en alguna manera la propiedad de Dios en esto; el cual, aunque en todas las cosas se deleita, no se deleita tanto en ellas como en sí mismo, porque tiene él en sí eminente bien sobre todas ellas. Y así, todas las novedades que a esta alma acaecen de gozos y gustos, más le sirven de recuerdos para que se deleite en lo que ya tienen y siente en sí, que en las mismas novedades; porque, como digo, es más que ellas. Y cosa natural es que cuando una cosa da gozo y contento al alma, si tiene otra que más estime y más gusto le dé, luego se acuerda de aquella, y asienta su gusto y gozo en ella. Y así, es tan poco lo accidentario de estas novedades espirituales, y lo que ponen de nuevo en el alma en comparación de lo sustancial que ella ya en sí tiene, que no podemos decir nada; porque el alma que ha llegado a este cumplimiento de transformación en que está toda crecida, no va creciendo en cuanto al estado con las novedades espirituales, como las que no han llegado a él; pero es cosa admirable de ver que, con no recibir esta alma novedad de deleite, siempre le parece que las recibe de nuevo, y también que se las tenía. La razón es, porque siempre las gusta de nuevo, por ser su bien siempre nuevo; y así, le parece que recibe siempre novedades sin haber menester recibirlas.
Pero, si quisiésemos hablar de la iluminación de gloria que en este ordinario abrazo que tiene dado al alma algunas veces hace Dios en ella, que es cierta conversación espiritual, en que le hace ver y gozar en junto este abismo de deleites y riquezas que ha puesto en ella, nada se podría decir que declarase algo de ello; porque, a manera del sol, cuando de lleno embiste la mar, esclarece hasta los profundos senos y cavernas, y parecen las perlas y venas riquísimas de oro y otros minerales preciosos; así este divino sol del Esposo, convirtiéndose a la esposa, saca de manera a luz las riquezas del alma, que hasta los ángeles se maravillan de ella, y dicen aquello de los Cantares: ¿Quién es esta que procede como la mañana que se levanta, hermosa como la luna, escogida como el sol, terrible y ordenada como las haces de los ejércitos? Quae est ista, quae progeditur quasi aurora consurgens, pulchra ut luna, electa ut sol, terribilis ut castrorum acies ordinata? En la cual iluminación, aunque es de tanta excelencia, no se le acrecienta nada a la tal alma, sino sólo sacarla a luz a que goce lo que antes tenía.
Finalmente, ni los miedos, de las noches veladores, llegan a ella, estando ya tan clara y tan fuerte, y reposando tan de asiento en Dios, que ni la pueden obscurecer los demonios con sus tinieblas ni atemorizar con sus terrores ni recordar con sus ímpetus; y así, ninguna cosa le puede llegar ni molestar, habiéndose ella entrado de todas las cosas en su Dios, donde goza de toda paz, y de toda suavidad gusta y en todo deleite se deleita, según sufre la condición y estado de esta vida; porque de esta tal alma se entiende aquello que dice el Sabio: Secura mens quasi juge convivium; es a saber: «El alma tranquila y sosegada es como un convite continuo». Porque, así como en un convite hay sabor de todos manjares y suavidad de todas las músicas, así el alma, en este convite que ya tiene en el pecho de su Esposo, goza de todo deleite y gusta de toda suavidad. Y es tan poco lo que habemos dicho de lo que aquí pasa, y lo que se puede decir con palabras, que siempre se diría lo menos que pasa por el alma que llega a este dichoso estado; porque, si el alma atina a dar en la paz de Dios, que, como dice San Pablo, sobrepuja todo sentido, quedara todo sentido corto y mudo para hablar en ella.
Por las amenas liras Y canto de sirenas os conjuro.
Ya habemos dado a entender que por las amenas liras entiende aquí el Esposo la suavidad que de sí da al alma en este estado, por la cual hace cesar todas las molestias que habemos dicho en ella; porque, así como la música de las liras llena el alma de suavidad y recreación, y la embebe y suspende de manera que la tiene ajenada de sinsabores y penas, así esta suavidad tiene al alma tan en sí, que ninguna cosa penosa le llega. Y así, es como si dijera: Por la suavidad que yo pongo en el alma cesen todas las cosas no suaves al alma. También se ha dicho que el canto de sirenas significa el deleite ordinario que el alma posee. Y llama a este deleite canto de sirenas porque, así como, según dicen, el canto de las sirenas es tan sabroso y deleitoso, que al que lo oye, de tal manera lo arroba y enamora, que le hace, como trasportado, olvidar de todas las cosas, así el deleite de esta unión de tal manera absorbe el alma en sí y la recrea, que la pone como encantada a todas las molestias y turbaciones de las cosas ya dichas, las cuales son entendidas en este verso:
Y cesen vuestras iras.
Llamando iras a las dichas turbaciones y molestias de las afecciones y operaciones desordenadas que habemos dicho; porque, así como la ira es cierto ímpetu que turba la paz saliendo de los límites de ella, así todas las afecciones ya dichas, con sus movimientos, exceden el límite de la paz y tranquilidad del alma, desquietándola cuando la tocan, y por eso dice:
Y no toquéis al muro.
Entendiendo por el muro el cerco de paz y vallado de virtudes y perfecciones con que la misma alma está cercada y guardada; siendo ella el huerto que arriba ha dicho, donde su Amado pace las flores, cercado y guardado solamente para él; por lo cual la llama en los Cantares huerto cercado, diciendo: Mi hermana es huerto cercado; Hortus conclusus soror mea sponsa. Y así, dice aquí que ni aun a la cerca y muro de este su huerto le toquen,
Porque la Esposa duerma más seguro.
Es a saber, porque más a sabor se deleite de la quietud y suavidad que goza en el Amado. Donde es de saber que ya aquí para el alma no hay puerta cerrada, sino que en su mano está gozar cada y cuando que quiere de este suave sueño de amor; según lo da a entender el Esposo en los Cantares, diciendo: Conjúroos, hijas de Jerusalén, por las cabras y los ciervos de los campos, que no recordéis ni hagáis velar a la amada hasta que ella quiera; Adjuro vos filiae Jerusalem por capreas, cervosque camporum, ne suscitetis, neque evigilare faciatis dilectam donec ipsa velit.
Scripture echoes
- ↩Song.8.9 — If she is a wall, we will build upon her a battlement of silver; but if she is a door, we will enclose her with a plank of cedar.
- ↩Song.8.10;Song.8.8-Song.8.9 — I am a wall, and my breasts are like towers; then I was in his eyes as one who finds peace. Song.8.8 — We have a little sister, and she has no breasts. What shall we do for our sister on the day when she is spoken for? Song.8.9 — If she is a wall, we will build upon her a battlement of silver; but if she is a door, we will enclose her with a plank of cedar.
- ↩Song.8.10 — I am a wall, and my breasts are like towers; then I was in his eyes as one who finds peace.
- ↩Luke.2.35 — and a sword will pierce through your own soul also, so that the thoughts of many hearts may be revealed.
Notes
- 1 ↩Source reads "consigne"; translated as "attains," the likely intended "consigue."
- 2 ↩After the wall/door paraphrase, the source appends the Latin of Song 8:8a (Soror nostra parva...), which belongs with the preceding Spanish clause rather than with this wall/door sentence; English follows the supplied order.
- 3 ↩"accidentes" rendered as "qualities" in the scholastic sense (properties/attributes of lofty love), not mishaps.
- 4 ↩"para que no quede por eso" rendered as "so that nothing will fall short on that account": the idiom means the meeting/union will not fail for want of the strength and high love just claimed.
- 5 ↩Source reading "hacera fuerte" treated as corrupt for "hacerla fuerte" ("making her strong"); translated from that corrected sense.
- 6 ↩"poniendo en razón" / "pone en razón": rendered as bringing under the rule of reason—ordering faculties so they no longer run wild, not merely "giving them a reason."
- 7 ↩"vívamente" (source spelling): taken as vivamente—livingly / with living force—describing God's transformative action, not mere vividness of feeling.
- 8 ↩The clause 'por no haber llegado a tanto que cesen...' is read as explaining the former state ('como antes solían'): the digressions used to hinder the will because delight had not yet grown strong enough for their restless movements to fall quiet. An alternate attachment takes the birds themselves as still not having ceased those movements, which is why the Bridegroom still conjures them.
- 9 ↩"potencia irascible" / "concupiscible": rendered as the scholastic faculties (irascible / concupiscible powers), not as ordinary anger or lust.
- 10 ↩"conjurar" rendered as "adjure" (Song-of-Songs solemn charge), not as magical conjuring.
- 11 ↩"es necesario que salten": rendered as "must leap away" (the disordered acts must depart in this state); alternative reading is that they must be made to leap aside under the adjuration.
- 12 ↩"medio y llano de lo justo" rendered as "the mean and level of what is just," preserving the landscape image (llano) together with the moral mean.
- 13 ↩Subject of "conjura" is unstated in Spanish; rendered as "She" for the Bride/soul speaking in the canticle. "en su punto de efecto" kept as "at the point of their proper effect" to retain the tuning/precision sense.
- 14 ↩The Latin citation reads quid, but the Vulgate of Ps 118:131 has quia, and San Juan’s own paraphrase is clearly causal (“because I hoped for and desired…”).
- 15 ↩Source spelling distración is treated as distracción, “distraction.” Golden Age recordar in hacer velar y recordar (s8) is “awaken,” not “remember.”
- 16 ↩recordar here is Golden Age Spanish for “awaken/rouse,” not “remember.”
- 17 ↩Normalized reading takes «como he dicho» for the corrupt source «como he bicho»; context in the preceding section («como habemos dicho arriba») supports the correction.
- 18 ↩Spanish 'antes le llegaban' read temporally as 'formerly reached,' contrasting the soul's earlier vulnerability with its present stability; 'conjura' rendered as 'charges' in the canticle's adjuration sense.
- 19 ↩'Estiman' rendered as 'recognize' (right judgment of what is grievous) rather than mere emotional esteem; 'sin sentimiento de compasión' kept as absence of compassionate feeling, not absence of merciful deeds.
- 20 ↩'Dispensa Dios con ella' rendered as 'deals specially with her' (temporary exception from the ordinary impassibility of the state), not sacramental dispensation.
- 21 ↩"Accidental" here is scholastic: joys and sweetnesses that are incidental gifts, not the substance of the soul's transformed union itself.
- 22 ↩Source reads "lo que ya tienen y siente"; plural "tienen" with singular "siente" is awkward. Rendered as the soul already having and feeling the good within herself (likely intended "tiene").
- 23 ↩Source Latin reads 'progeditur'; most plausible intended form is 'progreditur' ('comes forth / advances').
- 24 ↩Archaic Spanish recordar here means awaken/stir (despertar), not merely remind: the demons cannot rouse her with their assaults.
- 25 ↩encantada a: the soul is left as if spellbound in relation to the troubles—impervious to them—not enchanted by the troubles themselves.
- 26 ↩Porque here is purposive (so that / in order that), continuing the preceding prohibition that nothing touch even the garden's fence and wall; not causal 'because'.
- 27 ↩más a sabor: literally 'more to (her) taste / with more savor'; rendered as 'more fully savor' to keep San Juan's relish sense in plain English.
- 28 ↩recordéis: in this Golden Age / Song of Songs register means 'awaken/rouse,' not 'remember.'
- 29 ↩cabras: Spanish surface is 'goats'; the embedded Vulgate has capreas (gazelles/roes). Kept 'goats' for fidelity to the Spanish wording.
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