Acknowledgments
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f
Introduction
The fascination with the unknown is deeply rooted in the innate curiosity of human beings. This curiosity, marked by an insatiable desire for exploration and understanding, motivates us to explore the mysteries of the Unknown; the topics that defy easy explanation and push the boundaries of knowledge. The allure of the ineffable emanates from a deep emotional and spiritual resonance. Whether encountered through introspective contemplation, religious practices or divine grace, the ineffable evokes profound emotions that resonate at the very core of the human experience, inspiring us to seek a connection beyond the ordinary and engage with the extraordinary. Furthermore, the ineffable plays a significant role in the metaphysical and philosophical aspects of human existence. Existentially, the draw to the unknowable and the ineffable is entwined with the human pursuit of meaning and purpose. The unknown represents uncharted territories that prompt individuals to grapple with profound questions about life, consciousness, and reality. This existential quest for meaning drives individuals toward the ineffable, seeking significance and transcendence beyond the mundane aspects of daily existence. 1
This dissertation provides an insight into the transcendence of the ordinary experience through religious mysticism in search of the Divine2. I will be examining the transcendental writings of St. John of the Cross, and St. Teresa of Ávila, considered to be two of the most influential mystics within not only the Catholic Church but also by some of the world’s most highly renowned artists
1Mander, W.J. (2020) ‘The Unknowable: A Study in Nineteenth-Century British Metaphysics’, The Unknowable, pp. 1–6. doi:10.1093/oso/9780198809531.003.0001.
2Divine definition & meaning (2024) Merriam-Webster Available at: https://www.merriamwebster.com/dictionary/divine (Accessed: 19 January 2024). ‘of, relating to, or coming directly from God or a god’
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who became inspired either directly by the writings of the mystics or by the themes they express and cover within their work.
Defining the Unknowable
To attempt to define the unknowable is an onerous task, often eluding most as attempting to comprehend something so intangible pushes the boundaries of what is generally considered to be within the ability of human cognition. The concept of ‘Unknowability’3 refers to the idea that there are certain aspects of reality that are inherently beyond the scope of human knowledge, and often, comprehension. This concept arises in various contexts, notably in philosophy and theology. Within philosophy, the concept of unknowability touches upon many complex and profound questions regarding the nature of reality, knowledge and the boundaries of human cognition. In the realm of metaphysics, Kantian Epistemology4 argues that there are inherent limits to human knowledge. ‘It follows that we do not know reality as it might be ‘in itself’- apart from how our minds structure experience of ‘mind-independent reality.’ We do not know ‘noumena.’ We only
3 Unknowability (2023) Wikipedia. Available at: https://en.wikipedia.org/wiki/Unknowability#citenote-1 (Accessed: 03 January 2024).
4Nuwara, Y. (2021) The epistemology of Immanuel Kant, Medium. Available at: https://yohanesnuwara.medium.com/the-epistemology-of-immanuel-kant-5e5e7fbd1e48 (Accessed: 11 December 2023).
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know reality in terms of how our active minds structure / organize / form our experiences of mindindependent reality. We only know ‘phenomena.’5
He distinguished between ‘phenomena’6, being the world as we experience it, and ‘noumena’7 being the world as it is in itself, suggesting that we can only know the former, and the latter remains unknowable.
Within Existentialist movements, thinkers such as Jan-Paul Sartre struggled with the inherent ambiguity and uncertainty of human existence, viewing ‘the universe as an irrational, meaningless sphere. Existence was absurd and life had no sense, no purpose, no explanation. (The sheer unknowability about aspects of existence, meaning and purpose all contribute to the feeling and concept of ‘existential angst’, being an anxiety about the meaning of life.) He felt ‘nauseated’ by the vastness of this empty, pointless predicament, and he wrestled many hours for a meaningful solution.’8 In theology, unknowability is often associated with the nature of God or
5Ramos, H.J. (no date) A brief summary of Immanuel Kant’s epistemology, A Brief Summary of Immanuel Kant’s Epistemology. Available at: https://pressbooks.cuny.edu/philosophyashorthistory3/chapter/immanuel-kantexperience-and-reality/ (Accessed: 22 December 2023).
6Kemerling, G. (2011) Kant: Experience and Reality, Kant: Knowledge. Available at: http://www.philosophypages.com/hy/5g.htm (Accessed: 17 December 2023) ‘Phenomena are the appearances, which constitute the our experience; noumena are the (presumed) things themselves, which constitute reality.’
7 Ibid.
8Critical Essays Sartrean Existentialism: An Overview (n.d) CliffsNotes. Available at: https://www.cliffsnotes.com/literature/n/no-exit/critical-essays/sartrean-existentialism-an-overview (Accessed: 02 January 2024).
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other divine entities. Religious traditions within Christianity, Islam, Hinduism, Buddhism and Judaism9 maintain the belief that there are aspects of the Divine which are inherently beyond human comprehension, emphasising the transcendental and ineffable nature of the Divine.
It is important to differentiate when discussing the ‘Unknowable’, as there is a distinct difference between the Unknowable and the Transcendent. The unknowable refers to subject matter that we, as humans, experience to be inaccessible. The constraints we deal with when referring to the unknowable are due to the limitations of our current knowledge10, technology and perception11. In the grand scale, these constraints are considered temporary, with the view that as science, technology and our understanding progress in time, this knowledge and understanding will become available to us in the future. The nature of the unknowable is dynamic and at all times, subject to change. What is unknowable to us today may become knowable tomorrow. With scientific and technological advancements, this progress continually pushes the boundaries of our knowledge, challenging our current limitations.
9Adamson, M. (n.d) Connecting with the Divine, Connecting with the divine Available at: https://www.leaderu.com/everystudent/religions/divine/divine.html (Accessed: 14 December 2023).
10Carbon, C.-C. (2014) ‘Understanding human perception by human-made illusions’, Frontiers in Human Neuroscience, 8. doi:10.3389/fnhum.2014.00566.
11 Tomlin, E.W. (2019) ‘The limitations of perception’, The Approach to Metaphysics, pp. 63–81. doi:10.4324/9780429202209-5.
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The ‘Transcendent’ deals with subject matter that goes beyond the limits of human experience, and therefore, knowledge. It suggests a realm or existence that is not bound by the constraints of observable or tangible knowledge. The Transcendent is related to metaphysical, mystical or spiritual concepts that surpass the constraints of the empirical realm. Concepts like the Divine, ultimate reality12 or spiritual realms are often considered transcendent. Mystical experiences are often considered to be in the realm of the transcendent, where individuals claim to have experienced something that transcends the realms of ordinary human perception. Due to the nature of the transcendent, there is a limitation on our ability to conceptualise and express our relationship with it as our language and even conventional thought fall short in being able to express and capture the essence of the transcendent. Discussions about the transcendent often lead to philosophical inquiries about the true nature of existence, consciousness and our reality. Unlike the Unknowable, the Transcendent is not necessarily expected to, at some point become knowable through technological advancements or scientific knowledge, it is something that is beyond the reach of empirical investigation, and it is fundamentally beyond the reach of human knowledge.
The notion of ‘Unknowability’ holds great significance in theology, especially when examining the essence of the Divine, the nature of God and the enigmatic aspects of religious convictions. Some aspects of theological unknowability include the notion of ‘Apophatic Theology’.
Also known as ‘negative theology’, Apophatic theology states the idea that human language and concepts are unable to adequately capture and convey the true essence of God. The ineffability of
12 Laibelman, A.M. (1992) ‘Ultimate reality and meaning according to the perennial philosophy: Evidence from the mathematical and Physical Sciences’, Ultimate Reality and Meaning, 15(3), pp. 216–236. doi:10.3138/uram.15.3.216.
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God refers to the belief that God’s true nature is beyond the abilities of human expression. Due to language being a human construct, it is believed to be inadequate in describing the infinite and transcendent nature of the Divine. It asserts that it is often more accurate to describe God by stating what God is not, rather than attempting to define the Divine in finite or anthropomorphic descriptions. This acknowledges the limitations of human language and our conceptual capabilities when approaching the topic of the Divine.13
Transcendence plays a key role when looking at Unknowability. Many theological traditions state the belief in the transcendence of God, suggesting that the Divine exists outside the scope of human knowledge. The belief is that God is beyond all categories and limitations, making aspects of God inherently incomprehensible to the finite human mind.14
At its essence, transcendence defies all simplistic categorisation, eluding the rigid confines of our conventional comprehension. Nevertheless, it remains a formidable force that shapes the narrative of human existence. In the realms of philosophy, transcendence refers to the act of surpassing or exceeding ordinary limits - the pursuit of attaining a state beyond the reach of empirical understanding or observation, ‘Philosophical definitions of transcendence often emphasize the idea of going beyond or exceeding the limits of human experience, and may focus on concepts
13 Scott, M. and Citron, G. (2016) ‘What is apophaticism? ways of talking about an ineffable god’, European Journal for Philosophy of Religion, 8(4), p. 1. doi:10.24204/ejpr.v8i4.1716.
14 Petrov, G.D. (2021) ‘The concept of transcendence in philosophy and theology’, Technium Social Sciences Journal, 21, pp. 846–852. doi:10.47577/tssj.v21i1.3832.
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such as rationality, consciousness, or the nature of reality.’15 Within religious contexts16, transcendence often manifests as a pilgrimage towards a higher plane of existence or consciousness, leading the devout towards a divine reality beyond the tangibility of the material world. The human experience itself serves as a platform for transcendence, as individuals strive to surpass the constraints of the mundane and touch the sublime.
A Catholic Pilgrimage
Religiousness is a timeless and inevitable pursuit driven by the human spirit to explore the unknowable. Its core tenet is the belief in a higher power and divine realm that transcends our human understanding. Whether reached through sacred prayer, meditation, sacramental worship, or acts of devotion, religious practices are grounded in the aspiration to connect with the Divine.17
15Transcendence (philosophy) (2024) Wikipedia. Available at: https://en.wikipedia.org/wiki/Transcendence_(philosophy)#:~:text=Philosophical%20definitions%20of%20transcen dence%20often,or%20the%20nature%20of%20reality. (Accessed: 08 January 2024). 16 Ibid.
17 Plante, T.G. et al. (2023) ‘Human interaction with the divine, the sacred, and the deceased: Topics that warrant increased attention by psychologists’, Current Psychology, 42(36), pp. 31961–31975. doi:10.1007/s12144-02204226-0.
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Mysticism, as a spiritual or religious phenomenon, manifests when individuals experience direct and personal communion with the divine, transcendent or divine realm. Mysticism involves the transcendence of ordinary states of consciousness, encompassing altered states of awareness and perception, and ultimately leading to a feeling of unity.18 The mystic, being in pursuit of experiencing profound and transformative connections with the Divine, transcends conventional human understanding.
Mystical religious experiences19 can evoke intense emotions and profound insights that provide us with glimpses into a reality that generally surpasses the ordinary experience. Mystical encounters and visions of the divine, revelatory experiences and a sense of oneness and unity are all facets of the religious experience when exploring the unknowable. In the context of such mystical reflections, the detailed visions of Blessed Anne Catherine Emmerich provide a vivid example. Describing her vision of Jesus’ death on the cross, Emmerich details, ‘When Jesus, after uttering a loud cry, expired, I saw his heavenly soul under the form of a bright meteor pierce the earth at the foot of the Cross, accompanied by the angel Gabriel and many other angels.’ 20
18Cook, C.C.H., McLean, J. and Tyler, P. (2017) ‘Concluding reflections’, Mystical Theology and Contemporary Spiritual Practice, pp. 121–122. doi:10.4324/9781315605388-9.
19Webb, M. (2022) Religious experience, Stanford Encyclopedia of Philosophy Available at: https://plato.stanford.edu/entries/religious-experience/ (Accessed: 27 December 2023). 20 Emmerich, A.K., Brentano, C. and Griese, N.L. (2005) ‘CHAPTER LIX A detached Account of the Descent into Hell.’, in The dolorous passion of our lord jesus christ: After the meditations of Anne Catherine Emmerich as told to Clemens Brentano. Atlanta, GA: Anvil Publishers, p. 318.
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Within the broader scope of religiousness, I will specifically delve into Catholic mysticism and analyse some of its notable figures. In this context, mysticism is characterized by ‘The belief in attaining union with the divine nature through ecstatic contemplation and the belief in the power of spiritual access to ultimate reality or to domains of knowledge that are beyond ordinary thought.’21 Catholic mysticism encompasses mystical experiences, teachings, and practices within the Catholic Church, embodying the pursuit of direct communication or union with the divine, as well as the exploration of intrinsic truths about the human experience through personal contemplation, sacred prayer, and other spiritual practices such as receiving Eucharist or partaking in the sacraments.
A critical aspect regarding the search for the Divine through religious transcendence lies within the works of the Mystics. The central and most profound experience of Mysticism is the complete sense of oneness and union shared with God.22 The intimate connection where there are no earthly boundaries between the self and the Divine. A common experience of the mystics falls into the category of extrasensory experience. They believe their experiences exist in the realm of an ‘extrasensory dimension of reality: phenomena whose existence cannot be detected through sense
21Mysticism (n.d) Oxford Reference. Available at: https://www.oxfordreference.com/display/10.1093/oi/authority.20110803100220424 (Accessed: 27 December 2023).
22 Barrett, F.S. and Griffiths, R.R. (2017) ‘Classic hallucinogens and mystical experiences: Phenomenology and neural correlates’, Behavioral Neurobiology of Psychedelic Drugs, p. 393. doi:10.1007/7854_2017_474. ’ A critical definitional feature of the mystical experience is a sense of unity, or the experience of becoming one with all that exists.’
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perception become apparent during mystical experience.’23 These experiences fall into the transcendental category as they are purely spiritual, most do not claim to have tangibly experienced the divine through sensory input, but through extrasensory presence. ‘During mystical experiences, extrasensory phenomena are said to be directly perceived, whether by the soul, the mind, the imagination, or some other faculty.’24 For the mystics, the Divine is not something to only be thought about, but also must be encountered and first-hand experienced.
In the search for this divine intervention, many Catholic mystics are drawn to the practice of contemplative prayer, where they seek to experience this profound and intimate bond with God through peaceful moments of meditation and introspection. The ultimate goal is to transcend the limitations of language and cognition and experience God's divine presence directly, leading to states of deep peace, joy and communion with God.25
Mystics have reported having undergone intense spiritual experiences including visions, ecstasies or even complete union with the Divine. Although these experiences are often difficult to convey through ordinary language, they are considered deeply personal, subjective and highly
23Merkur, D. (n.d) Mysticism and reason, Encyclopædia Britannica. Available at: https://www.britannica.com/topic/mysticism/Mysticism-and-reason (Accessed: 28 December 2023). 24 Ibid.
25 Barany, S. (2019) How to practice Centering Prayer, to pray and be with god, McGrath Institute Blog. Available at: https://mcgrathblog.nd.edu/how-to-practice-centering-prayer-to-pray-and-be-with-god (Accessed: 28 December 2023).
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transformative. One of the most iconographic and profound divine encounters was experienced by the Virgin Mary herself, transcribed in ‘The Annunciation’26,
And in the sixth month, the angel Gabriel was sent from God unto a city of Galilee, named Nazareth, To a virgin espoused to a man whose name was Joseph, of the house of David; and the virgin's name was Mary. And the angel came in unto her, and said, 'Hail, thou that art highly favoured, the Lord is with thee: blessed art thou among women.'
And when she saw him, she was troubled at his saying and cast in her mind what manner of salutation this should be. And the angel said unto her, 'Fear not, Mary: for thou hast found favour with God. And, behold, thou shalt conceive in thy womb, and bring forth a son, and shalt call his name Jesus. He shall be great and shall be called the Son of the Highest: and the Lord God shall give unto him the throne of his father David. And he shall reign over the house of Jacob for ever, and of his kingdom there shall be no end.'
Then said Mary unto the angel, 'How shall this be, seeing I know not a man?'
And the angel answered and said unto her, 'The Holy Ghost shall come upon thee, and the power of the Highest shall overshadow thee: therefore also that holy thing which shall be born of thee shall be called the Son of God. And, behold, thy cousin Elisabeth, she hath also conceived a son in her old age: and this is the sixth month with her, who was called barren. For with God, nothing shall be impossible.
26Petruzzello, M. (n.d) Annunciation, Encyclopedia Britannica. Available at: https://www.britannica.com/topic/Annunciation-Christianity (Accessed: 29 December 2023).
‘Annunciation, in Christianity, the announcement by the angel Gabriel to the Virgin Mary that she would conceive a son by the power of the Holy Spirit to be called Jesus (Luke 1:26–38).’
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And Mary said, 'Behold the handmaid of the Lord; be it unto me according to thy word.' And the angel departed from her.’27
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The Annunciation by Fra Angelico28
27 ‘Luke 1:26-38’ (1976) in The Holy Bible: King James Version. Minneapolis, MN: World Wide Publications.
28 The Annunciation, fresco by Fra Angelico, 1438–45; in the Museum of San Marco, Florence.
On mystical visions and experiences, St. Teresa of Ávila relayed in her autobiography ‘The Life of Teresa of Jesus’ ‘While I was at prayer one day, I found myself in a moment, without knowing how, plunged apparently into Hell. I understood that it was Our Lord's will I should see the place which the devils kept in readiness for me, and which I had deserved by my sins.’29 She felt that at the will of divine grace, she was momentarily allowed to perceive Hell as a reflection of the possible consequences of her own sins.
Additionally, mystics may receive visions or revelations that offer insights into spiritual truths, involving symbolic imagery, encounters with angels or saints, and a deeper understanding of divine mysteries, as exemplified by figures such as St. Teresa of Ávila and St. John of the Cross in the Catholic mystical tradition. Mystical visions can take various forms, including visions of angels, encounters with Jesus Christ, prophetic visions giving insights into the future or revelations about spiritual truths, or the experience of divine union with God.30 Mystics may undergo these visionary experiences or revelations that unveil profound insights into spiritual truths, giving a heightened understanding of divine mysteries, and ultimately bringing them closer to the divine union they had been searching for.
In the context of Catholic spirituality, ‘An ecstasy is where all of the individual's internal and external senses are completely occupied by God. The mind, the will, the heart, the imagination, and the senses are completely absorbed and occupied by God. The individual will not be aware of
29 Teresa, Lewis, D. and Zimmerman, B. (2011) ‘Chapter XXXII’, in The Life of St. Teresa of jesus, of the order of our lady of carmel: Teresa, of Avila, saint, 1515-1582. Charleston, S.C. Nabu Press.
30 Zahnd, B. (2008) Christian mysticism, Brian Zahnd Available at: https://brianzahnd.com/2007/03/christianmysticism/ (Accessed: 29 December 2023).
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anything, both mentally and physically, other than God.’31 They describe an intense and immersive feeling of love and presence of the Divine that entirely transcends the ordinary human experience.
Throughout history, Catholic mystics have reported these experiences, considering them a form of mystical union with God. Reports detailing episodes of ecstasy have been documented by various mystics in detail, such as St John of the Cross, St Teresa of Ávila and St Padre Pio. The mystical experiences recounted by the mystics present interesting and intriguing ontological and epistemological implications, particularly regarding the existence of God. The question arises from these writings, do these experiences provide substantial evidence for the existence of a transcendent realm or of a Divine being - God? These experiences prompt reflection on whether they signify and have been in direct connection to a higher realm, challenging our current conventional perceptions of our reality. This ontological inquiry extends to the ultimate question of whether these experiences can be taken to truly confirm the existence of the Divine. While the mystics may interpret their encounters as direct personal connections with the Divine, there is debate over whether these experiences can be considered evidence of a higher being.
32
The experiences and encounters as reported by the mystics overall showcase the depth and ability of the human consciousness and its potential for connection with something transcendent and beyond our material, tangible existence. The knowledge of these encounters suggest that there may be dimensions of reality which are beyond the limits of our ordinary ability to comprehend such
31 Arnold, J. (2020) The nine grades of prayer - 8th and 9th Grades - Corpus Christi Catholic Church, Phoenix, AZ, http://www.corpuschristiphx.org. Available at: https://www.corpuschristiphx.org/blog?month=202005&id=752245460&cat=931661708 (Accessed: 30 December 2023).
32 Tobin, T.W. (2010) ‘Toward an epistemology of mysticism’, International Philosophical Quarterly, 50(2), pp. 221–241. doi:10.5840/ipq201050220.
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realities. Philosophically, the writings of these experiences inspire contemplation of the nature of the limits of human perception, our subjective reality, and the possibility of the existence of realms that truly elude empirical understanding. 33
On the epistemological front, the nature of knowledge gained from these mystical encounters continues to raise profound questions: How can these highly subjective and personal experiences with the divine be interpreted to validate the knowledge gained from these encounters?
Several figures play a significant role in the development of Catholic Mysticism as previously mentioned, as many mystics have written extensively about their insights and experiences. The writings of mystics such as St. Teresa of Ávila and St. John of the Cross are extremely influential. These writings often describe a spiritual journey or ascent towards union with the divine. These journeys are typically characterised by various stages one may go through, such as purification, illumination and ultimately union.34 The two mystics I will be focusing on discussing are two of the most significant mystics, as they have extremely well-documented works delving into transcendence and the search for the Divine through their own experience, eventually inspiring the Church to canonize both and continuously inspire the teachings of the Church, the follower and even the creative, affirming their significant contribution within Catholic theology.
San Juan de la Cruz, more recognisably known as St. John of the Cross (1543-1591), was a Spanish mystic, poet, and Carmelite friar who played a significant part in the counter-reformation
33 Freeman, Mark, 'The Possibility of Transcendence', The Priority of the Other: Thinking and Living Beyond the Self (2013; online edn, Oxford Academic, 16 Apr. 2014), https://doi.org/10.1093/acprof:oso/9780199759309.003.0006, accessed 2. Jan. 2024.
34 Spitzer, R.J. (2016) The stages of Christian mysticism: A summary , Magis Center. Available at: https://www.magiscenter.com/blog/the-stages-of-christian-mysticism-a-summary (Accessed: 02 January 2024).
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movement. He is best known for his mystical writings, and his written works and contributions have established him as a prominent figure from this period. One of his most renowned works is ‘The Dark Night of the Soul’35, a spiritual treatise that explores the soul's journey towards unity with God. St. John describes the dark night as a period of intense purification, where the soul undergoes detachment from all worldly attachments and experiences a sense of complete spiritual darkness.36
Analysing the stages of “The Dark Night of the Soul” by St. John of the Cross through examining each stanza gives a deep insight into, in my opinion, one of the most profound and significant written insights into the religious mystical experience.
Dark Night of the Soul
I.
35 Krzyża, J. od and Peers, E.A. (2003) ‘Stanzas of the Soul’, in Dark night of the soul Mineola, NY: Dover Publications.
36 This concept has become central to Christian mysticism and has had a notable influence on numerous spiritual thinkers and creators. St. John of the Cross articulated the stages of the soul's journey towards union with God, emphasizing the purgative, illuminative, and unitive stages. He highlighted the significance of detachment, purification, and the development of a deeper relationship with God through contemplative prayer. Despite enduring periods of profound spiritual darkness and anguish, St. John also documented instances of euphoria and of his communion with God. These mystical encounters and revelations are fundamental to his teachings on the soul's journey towards divine union, and they have had a significant and enduring impact on Catholic mysticism. The Catholic Church recognized St. John of the Cross's sanctity and canonized him as a saint in 1726, and his significant insights into mystical theology are still actively explored and venerated.
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On a dark night,
Kindled in love with yearnings -oh, happy chance!-
I went forth without being observed
My house being now at rest
II. In darkness and secure, By the secret ladder, disguised –oh, happy chance!–
In darkness and in concealment, My house being now at rest.
III.
In the happy night, In secret, when none saw me, Nor I beheld aught,
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Without light or guide, save that which burned in my heart.
IV. This light guided me More surely than the light of noonday
To the place where he (well I knew who!) was awaiting me–
A place where none appeared.
V. Oh, night that guided me, Oh, night more lovely than the dawn, Oh, night that joined Beloved with lover, Lover transformed in the Beloved!
VI.
Upon my flowery breast, Kept wholly for himself alone,
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There he stayed sleeping, and I caressed him, And the fanning of the cedars made a breeze.
VII. The breeze blew from the turet
As I parted his locks;
With his gentle hand he wounded my neck And caused all my senses to be suspended.
VIII. I remained, lost in oblivion;
My face I reclined on the Beloved. All ceased and I abandoned myself,
Leaning my cares forgotten among the lilies.37
37 Krzyża, J. od and Peers, E.A. (2003) ‘Stanzas of the Soul’, in Dark night of the soul Mineola, NY: Dover Publications, pp. 1–2.
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I.
The opening line sets the tone for the entire poem with a sense of mystery, symbolising the soul's initial stage of spiritual darkness or unknowing. The darkness can also be interpreted to represent the obscurity of divine understanding. ‘Kindled in love with yearning’ introduces the theme of divine love and union being the motivating force to get through this time of hardship. This sentiment could be applied to the Aristotelian concept of the ‘Unmoved Mover’38, regarding God and the Divine. In Aristotle's concept, the Unmoved Mover is the primary cause and creator, serving as the ‘mover of all the motion in the universe’39. This aligns with the theological ideas of God being the creator of the universe, setting the universe into motion. Additionally, with the idea that everything in the natural world has an end, Aristotle's emphasis on teleology40 agrees with the spiritual belief that union with the Divine is often seen as the end goal, to which we are all inherently drawn to, and all things are naturally directed towards. Naturally, this signifies the relevance to the Aristotelian idea that Divine love propels us and is an inherent motivating force.
II.
38Kenny, A.J.P. (n.d) The Unmoved Mover, Encyclopædia Britannica. Available at: https://www.britannica.com/biography/Aristotle/The-unmoved-mover (Accessed: 03 January 2024).
39 Unmoved mover (2023) Wikipedia Available at: https://en.wikipedia.org/wiki/Unmoved_mover (Accessed: 04 January 2024).
40 ‘Teleology Definition’ (1992) in The Oxford Dictionary. Oxford: Oxford University Press. ’The explanation of phenomena in terms of the purpose they serve rather than of the cause by which they arise.’
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The exclamation of ‘happy chance’ suggests a sense of divine grace leading the soul into the dark night. This seems paradoxical, however the paradoxical in itself can carry philosophical implications, challenging rational understanding and, at times, defying reason.41 In using the line ‘happy chance’, St. John introduces a paradox that challenges conventional cause-and-effect reasoning. This leads to further exploration into the limits of human reason when confronted with the nature of the Divine. In trying to grapple with this concept we must again acknowledge the constraints we face through language and our limited ability of conceptualisation.42 The paradox becomes a way of pointing towards the ineffable realms that are beyond the reach of conventional understanding. The effect of paradoxical mystical writings prompts philosophers to reconsider their epistemological frameworks and the nature of reality they adhere to, leading to a re-evaluation of the nature of experience and knowledge. In accepting this paradox, we recognise the Divine wisdom in leading the soul through what may seem like a challenging experience. Stating that the soul went without being observed would suggest that the soul goes on this transformative journey alone. This helps emphasise the personal and contemplative nature of this journey. The last line in this stanza uses the ‘house’ to represent the soul, implying the soul is now at rest after the initial stages of the purgation. This helps to signify the departure from the mundane and movement towards the Divine.
41 Bharath (2023) The enigma of paradoxes: Unveiling the profound questions of existence, Medium. Available at: https://medium.com/@bharath_keshav/the-enigma-of-paradoxes-unveiling-the-profound-questions-of-existencecf148e12be79#:~:text=The%20paradox%20challenges%20our%20understanding,a%20clear%20point%20of%20ori gin (Accessed: 06 January 2024).
42Ticciati , S. (2016) Apophatic theology, St John’s Timeline. Available at: https://stjohnstimeline.hymnsam.co.uk/apophatictheology/#:~:text=Two%20important%20doctrines%2C%20creation%20ex,apophatic%20theology%20embraces%2 0this%20limitation. (Accessed: 04 January 2024).
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The juxtaposition of pairing the words ‘darkness’ and ‘secure’ in the second stanza again suggests the paradoxical trust in divine grace. That the soul finds safety in the divine presence. The ‘Secret Ladder’ implies a mystical ascent, getting closer towards the divine. Consecutive repetition of the exclamation ‘oh, happy chance’ restates the trust in divine providence. The further repetition of the word ‘darkness’ reinforces the theme of obscurity. Repetition being key here, the final line repeating that the house is now at rest, restates that the soul having undergone purification is prepared for the experience of the divine.
Notably in the third stanza, night is no longer being described as ‘dark’. The ‘happy’ night signifies a shift in the soul's perception. This introduces an element of joy. Affirming that this journey is done in secret emphasises that the soul’s progress continues, without the need for external recognition. The stated absence of light or guide, except that which burns within the heart, is a clear metaphor for the strength of the guiding power, being drawn towards the divine presence, leading the soul through this journey of purification ever closer towards the union with the divine.
IV.
The ‘light’ in the fourth stanza represents the inner divine guidance the soul feels which directs this journey. The comparison here to the light of noonday emphasises the absolute certainty of this inner guiding light. Confirming this inner light has successfully led the soul to this destination, the deliberate ambiguity of the ‘he (well I knew who!)’ line helps to heighten the anticipation of
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III.
meeting someone or something. The final line in this stanza obscures the tangibility of the destination the soul was being led to. This line clearly states the solitude of this encounter. Despite arriving at the designated place, there is an absence of any visual entity. Here is where the soul is led to a realm beyond the ordinary, taking the divine encounter out of the experiences of the senses, and into the realm of divine experience.
V.
In the fifth stanza, the soul addresses the night directly, with a sense of gratitude for the journey it has been enduring. By comparing the night with the dawn, the soul suggests that the experiences it has undergone during the mystical night surpass the significance associated with the dawn of a new day. This emphasises the profound insights the soul has gained during the dark night. By personifying the night as a force that brought the beloved (the Divine) and the lover (the soul) together, the final line in this stanza expresses the profound metamorphosis of the soul becoming one with the divine, highlighting the sense of divine union.
VI.
The imagery the soul describes in the sixth stanza changes the tone of the poem from here forward. A ‘flowery breast’ suggests an air of beauty and purity. The use of the word ‘flowery’ could be to signify the idea of spiritual blossoming. By stating ‘for himself alone’ implies a sense of exclusivity. Perhaps suggesting that the heart is dedicated only to the divine. ‘There he stayed sleeping’, indicates a sense of mutual trust between the soul and the divine, and the act of caressing
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suggests an intimate connection. A mutual exchange of affection and love, reinforcing the theme of unity with one another. The natural imagery of this last line and the entire stanza help to convey the imagery associated with the tranquillity and bliss within this encounter.
VII.
The added element of the turret in the seventh stanza adds a new element to the imagery. The breeze coming from the turret suggests that the breeze is coming from an elevated or powerful place. This could be to convey a celestial quality to the divine source. The act of the parting of the locks could be symbolic of unveiling the mysteries that lay behind them. The mysteries of the divine. This again suggests a moment of intimacy. Reinforcing the powerful presence of the divine, the juxtaposition of the “gentle hand” with the wounding of the neck suggests the powerful and transformative presence of the Divine. The last line here implies that this encounter with the divine is so overwhelming and profound that the soul can no longer comprehend with its ordinary senses. This could be taken to signify the transcendence of an ordinary state of consciousness into a higher realm.
VIII.
In the final stanza St. John describes the soul being lost in oblivion, this details that having experienced this intense encounter with the Divine, has left the soul in a state where ordinary awareness and concerns are overturned by the overwhelming experience. The act of reclining on
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the Beloved, conveys a sense of complete surrender and trust. It suggests that the soul has found rest and support from the divine presence. “All ceased and I abandon myself” reinforced the central belief of wholly relinquishing all worldly or personal concerns. The surrender of the self signifies letting go of the ego and individual identity, ultimately becoming one with the divine presence. Finally, to end this poem, the metaphor of leaving cares among the lilies revisits the natural imagery associated with transcendence and bliss. Lillies are often associated with purity and spiritual renewal, further emphasising the profound transformative nature of this enduring journey the soul has just undergone, finally emerging as at one with the divine presence.
Within St. John’s poem, the stages of the soul's journey are not distinctly specified. Upon examination, I believe that the stages can be categorised into two main aspects, active purification and passive purification. This can then be further subdivided into active purification of the senses, active purification of the soul, passive purification of the senses and passive purification of the soul. The terms ‘spirit’ and ‘senses’ differentiate between different aspects of the human soul and its faculties. The ‘spirit’ refers to the higher faculties of the soul.43 The ‘senses’ refers to the external and internal senses of the soul.4445 During active purification, both the spirit and the senses are actively engaged in the purification process. The soul willingly and actively engages in achieving purification by detaching from worldly distractions and attachments. This involves
43 Dubray, C. (1909). Faculties of the Soul. In The Catholic Encyclopedia. New York: Robert Appleton Company. http://www.newadvent.org/cathen/05749a.htm
This represents the aspects of the soul capable of higher reasoning, contemplation and direct communication with the divine. This covers intellect, will and understanding.
44 The ’senses‘ are inclusive of the 5 bodily senses; touch, taste, sight, hearing and smell, along with internal senses such as memory and imagination.
45Kärkkäinen, P. (1970) Internal senses, SpringerLink. Available at: https://link.springer.com/referenceworkentry/10.1007/978-1-4020-97294_246#:~:text=The%20notion%20of%20internal%20senses,%2C%20estimative%20power%2C%20and%20memor y. (Accessed: 07 January 2024).
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personal effort and self-discipline, actively and consciously pursuing spiritual growth. In passive purification, the soul entirely surrenders and becomes receptive to divine grace. Passive purification involves a more profound level of divine intervention. Having undergone the purification process, the soul enters a role where the divine takes a more direct role in the transformative process of the soul. As the soul becomes passive, the Divine is able to purify the deeper layers of the soul. Relying on divine grace for further transformation to come out the other side of this journey, the soul experiences a sense of helplessness and abandonment, putting all of the faith in the divine.
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The Spirit and the Senses
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‘The Agony in the Garden‘, Giovanni Bellini47
‘The Agony in the Garden’ by Giovanni Bellini is an excellent example to portray the stage of the souls' journey in active senses. The depiction of Christ facing away, kneeling in prayer, and looking towards the sky suggests a deep personal engagement with the inward-focused practices of contemplative prayer. In this painting, Christ, representative of the soul, is actively participating in detaching from sensory outward distractions, seeking a deeper more intimate connection to the divine. The intensity and emotional depth of this scene again reflects the active aspect within the souls' journey as it grapples with both external and internal challenges, whilst pursuing spiritual
46Available: https://en.wikipedia.org/wiki/AgonyintheGarden(Bellini)#/media/File:GiovanniBelliniOrazionenell'orto.jpg (Accessed: 09 January 2024)
47 Bellini, G (1458-60) The Agony in the Garden, [Egg tempera on wood]. National Gallery, London.
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growth. Bellini overall captures the emotional depth within this atmospheric scene, with a particular focus on the personal contemplative engagement necessary in the journey of achieving spiritual growth through a transcendental transformation.
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‘The Penitent Magdalene’, Georges de La Tour49
In portraying the scene of passive senses, ‘The Penitent Magdalene’ by Georges de La Tour depicts a moment of profound penance and surrender. Sitting with her head bowed and clasped hands suggests she is in deep contemplation of her internal spiritual state. This moment of deep introspection suggests an air of humility, indicating her passive reception to the divine grace. Magdalene, sitting alone in a room appears to be spiritually turning inward, focusing on the idea of passive purification through contemplation, the soul surrenders seeking the divine influence. With the atmospheric use of candlelight in a darkened room, La Tour could be alluding to the illumination of the soul through introspection leading to divine illumination.
48 Available: https://www.wga.hu/art/l/latour/georges/1/09magdal.jpg (Accessed: 07 January 2024)
49 La Tour, G, (1640) The Penitent Magdalene, [Oil on canvas]. Louvre, Paris.
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‘Saint Jerone in the Wilderness’, Leonardo da Vinci51
‘Saint Jerome in the Wilderness’ by Leonardo da Vinci portrays the stage of the active spirit.
Depicted holding a rock in his right hand engaging in penitential acts, this shows intentional acts of self-discipline and mortification. This conscious engagement of the soul in practices that lead
50Available:
https://en.wikipedia.org/wiki/SaintJeromeintheWilderness%28Leonardo%29#/media/File:SaintJeromeLeon ardo - imageonly(Q972196).jpg (Accessed: 07 January 2024)
51da Vinci, L (1480-1490) Saint Jerome in the Wilderness, [Tempera and oil on walnut panel]. Vatican Museums, Rome.
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to spiritual growth is an act of the active pursuit of the purification of the soul. Appearing to be in the wilderness, this shows a deliberate choice to separate himself from the distractions of worldly affairs also suggests a deliberate act of withdrawal and isolation from society, where the soul can seek solitude enabling more fitting environment for introspection. St. Jerome's furrowed brow and expression in this painting could suggest an inner conflict. This inner struggle is widely acknowledged to be a part of the purification process where the soul engages in intentional efforts to overcome any obstacles and attachments the soul may still be battling with.
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‘The Ascent of the Blessed’, Hieronymus Bosch53
52Available: https://upload.wikimedia.org/wikipedia/commons/1/16/HieronymusBosch013.jpg (Accessed: 07 January 20240
53 Bosch, H (1505-1515) The Ascent of the Blessed, [Oil on canvas]. Gallerie dell’Accademia, Venice.
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‘The Ascent of the Blessed’ by Hieronymus Bosch illustrates the stage of the passive spirit. Depicting a group of figures seemingly ascending towards a radiant light, this ascent beautifully visually captures the metaphor of the souls’ passive journey towards the end point of divine union. The figures in the painting seem to be carried upwards, suggesting a complete passive surrender to the higher force of the divine. The radiant light is symbolic of divine illumination and the presence of the higher power, or God. The divine leads the way in this depiction, with the figures, symbolic of the soul, in the stage of passive spirit, receiving the divine light, spiritual radiance and guidance without active effort, signifying their passive engagement during the final journey towards complete unity with the divine.
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‘Christ of Saint John of the Cross’, Salvador Dalí55
Directly engaging with the concepts within ‘The Dark Night of the Soul’ Salvador Dalí’s masterpiece ‘Christ of St. John of the Cross’ depicts the crucifixion of Christ from a deeply
54Available: https://en.wikipedia.org/wiki/ChristofSaintJohnoftheCross#/media/File:ChristofSaintJohnoftheCross. jpg (Accessed: 09 January 2024)
55 Dali, S (1951) Christ of Saint John of the Cross, [Oil on canvas]. Kelvingrove Art Gallery and Museum, Glasgow.
38 54
unusual, extraordinary and highly symbolic manner, presenting a clear departure from traditional takes of this profound scene.
The most striking aspect of Dalí's masterwork is the distinctive composition of the painting. It is a highly unusual depiction of Christ on the cross, with Christ placed in a hyper-angular position, with arms outstretched and an elongated, almost fluid-looking body. The elongated, fluid form of Christ mirrors the spiritual fluidity and transformation described by St. John in the soul's journey through the dark night. This departure from the traditional representation of the crucifixion is intentional and contributes to the symbolic depth of the piece. Creating the circular form, the composition of Christ’s head in this painting suggests a halo or the essence of divine light. The proportional aspects of the circle are carefully considered to emphasise the sacred aspect of Christ’s head, highlighting the divine nature of the subject depicted. Known for being a universal symbol of eternity, wholeness and the divine, the circle, in this context could be taken to represent the transcendental nature of Christ's sacrifice and his divine essence. The use of the circle here really suggests a timeless and infinite reality, aligning with the theological concepts of the eternal nature attributed to the Divine. Christ being suspended in this geometric form adds complexity to the composition, symbolising the air of a higher spiritual realm from which the viewer is looking down, a dimension beyond the ordinary, reflecting St. John’s exploration of Divine encounters and the soul's ascent to higher realms in its mystical journey. The angular positioning and suspended nature of Christ evoke a sense of weightlessness to the body, giving an overall sense of ascension creating a visual metaphor for the divine transcendence aligning with St. John’s emphasis on the ineffable aspects of the Divine. The depiction of light in the artwork mirrors St. John’s descriptions of Divine illumination, while the frozen timeless moment is representative of the eternal significance of the soul's union with God as portrayed in his writings.
39
‘Christ of Saint John of the Cross’ serves as a profound artistic synthesis that bridges the realms of art and spirituality, establishing and conveying a clear dialogue with St. John’s mystic insights. The painting becomes a visual representation of the intricate and profound theological insights expressed in ‘The Dark Night of the Soul’, inviting viewers of the piece on a contemplative journey through the transformative and transcendental mystical concepts conveyed through both of these works.
Saint Teresa of Ávila
In ‘The Life of Teresa of Jesus’56, an autobiographical work by St. Teresa of Ávila the soul also embarks on a transcendental journey in search of the Divine. St. Teresa’s ability to articulate the ineffable experiences of divine encounters has had such an influence on subsequent generations of mystics, religious followers and seekers of the Divine that it would be hard to overlook her as one of the most significant mystics within the religion. St. Teresa’s autobiography offers a firsthand, detailed account of her spiritual journey and mystical experiences; encounters with the Divine, visions and moments of ecstasy provide an insight into the personal life and relationship with the Divine from the life of a mystic. The significance St. Teresa had is further underscored by the inclusion of her metaphorical literary masterpiece “The Interior Castle”. In this work, she, much
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56 Ahmuda, T (1562-1565) La Vida de la Santa Madre Teresa de Jesús (The Life of the Holy Mother Teresa of Jesus), Avila.
like St. John of the Cross in his work, outlines the stages of the soul's journey towards a union with the Divine.
Within ‘The Interior Castle’, the soul embarks on a personal and transcendental journey through seven mansions, each mansion representing a distinct stage in the soul’s purist for divine union. Staring with the first mansion, the first stage is the awakening of the soul. Here the soul becomes aware of its own spiritual needs, having a desire for prayer and self-reflection, gaining a general awareness for a deeper connection to the Divine. ‘This knowledge of ourselves is so very important, that I wish you never to admit any relaxation therein, however highly elevated you may be, because while we live on this earth, nothing is more necessary for us than humility… for, in my opinion, we shall never be able to know ourselves, except we endeavour to know God.’ 57 Next, the second mansion signifies turning inward. The soul begins to engage in regular practices that nurture the spiritual life, such as regular prayer. The soul then becomes more aware of the need for inward progression, detaching from outward worldly concerns. She conveys this through the metaphor ‘The gate for entering this castle is prayer’ 58
In the third mansion, the soul actively strives for spiritual perfection through further intensifying the commitment to prayer, self-awareness and detachment from worldly desires. The soul's awareness of the Divine becomes more profound, leading to a feeling of spiritual joy. ‘Perfection does not consist in having sweetnesses, but in this; in loving most (and so the reward will be in proportion), and in striving who will labour the best in justice and in truth’ 59
57 Ahmuda, T (1852) The Interior Castle Or, The Mansions (J, Dalton., Trans.). Crossreach Publications, (2019) Waterford, Ireland. pp. 11,12
58 Ibid. p. 25
59 Ibid. p. 37
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As the soul progresses to the fourth mansion, it experiences divine consolations and an even more profound sense of the Divine presence. The soul may begin to undergo periods of profound detachment and even moments of spiritual ecstasy, however these experiences are few and not constant. ‘Because the most pleasing and substantial service we can do for God is, to have only His honour and glory in view, and to forget ourselves, our own benefit, delight, and pleasure’60
In the fifth mansion, the soul experiences a union with the Divine. This stage is marked by a more significant sense of divine love and intimacy. The soul is said to be able to undergo a ‘spiritual marriage’ with God, a metaphorical union that signifies a deep communion with the Divine. - ‘O, what a desirable union is this! Happy the soul which has obtained it! she will live with comfort in this life, and none of the evils of this life will trouble her, unless it be from some fear of losing God, or of seeing Him offended. Neither sickness, nor poverty, nor the death of any one can disturb her, except it be the death of one which God’s Church might miss. Such a soul sees clearly that our Lord knows better what to do, than she knows what she desires’61
Transformative encounters mark the sixth mansion, being one of the most significant pieces of writing describing divine ecstasy. This mansion involves intense mystical experiences including visions, ecstasies and firsthand encounters with angels. The soul undergoes an intense transformation. St. Teresa describes an episode of ecstasy where an angel pierces her heart with a golden arrow, the ‘Transverberation of the Heart’.62
60 Ibid. pp. 57-58
61 Ibid. p. 80
62 Transverberation of St Teresa of jesus (2023) Carmel of the Immaculate Heart of Mary. Available at: https://launcestoncarmel.com/sharing-theword/transverberation#:~:text=The%20transverberation%20is%20a%20mystical,is%20all%20afire%20with%20lov e. (Accessed: 11 January 2024).
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The seventh and final mansion represents the culmination of the spiritual journey. The soul has achieved a profound and lasting union with God. This stage is marked by deep peace and serenity, having reached the highest level of union with the Divine, achieving true spiritual fulfilment. ‘That which God here communicates to the soul in an instant is so great a secret, and so sublime a grace, and what she feels is such an excessive delight, that I know nothing to compare it to, except that our Lord is pleased at that moment to manifest to her the glory which is in heaven; and this He does in a more sublime way than by any vision or spiritual delight’ 63
Although St. Teresa’s journey can be broken down into distinct mansions, the stages the soul progresses through are not seen to be linear or rigid. The first to the third mansions can be separated by the soul's journey to attain a closer relationship with the divine, and the fourth to seventh representing the progress which comes from the divinity of God's grace. The overall theme of the writing is of spiritual growth, inward progression and the deepening of the soul's connection with the Divine, leading towards complete unity.
In the sixth mansion, St. Teresa experiences the mystical phenomenon known as ‘The Transverberation of the Heart’. The Transverberation took place in the context of a mystical vision that St. Teresa had, where she describes a religious ecstasy where an angel pierced her heart with a golden arrow.
63 Ibid. p. 179
43
I saw an angel beside me toward the left side, in bodily form. He was not very large, but small, very beautiful, his face so blazing with light that he seemed to be one of the very highest angels, who appear all on fire. They must be those they call Cherubim…I saw in his hands a long dart of gold, and at the end of the iron there seemed to me to be a little fire. This I thought he thrust through my heart several times, and that it reached my very entrails. As he withdrew it, I thought it brought them with it, and left me all burning with a great love of God. So great was the pain, that it made me give those moans; and so utter the sweetness that this sharpest of pains gave me, that there was no wanting it to stop, nor is there any contenting of the soul with less than God. 64
In this vivid portrayal, St. Teresa outlines the divine experience she encountered. With the spear representing a mystical instrument being a way in which the Divine communicates with the soul, and the angel thrusting the spear into her heart, symbolising a deep spiritual penetration of the body, this is a graphic expression for the divine love piercing the deepest core of the soul. St. Teresa emphasises the intense and profound pain experienced from the piercing, in more graphic detail, yet paradoxically states that there is a feeling of overwhelming sweetness. The combination of pain and joy or similar seems to be a common theme within mystical writings, as also seen with St. John of the Cross, as this illustrates the transformative and ineffable nature of divine encounters.65 The Transverberation results in conveying the deep, personal, transformative
64 Teresa and Peers, E.A. (2004) ‘Chapter 29’, in The life of Teresa of Jesus: The autobiography of Teresa of Avila. New York: Image Books.
65 Bueno-Gómez, N. (2019) ‘I desire to suffer, lord, because thou didst suffer’: Teresa of Avila on suffering, Hypatia Available at:
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experience of love for God and seeking his union, and the core of St. Teresa's journey is the practice of contemplative prayer.66
St. Teresa’s profound spiritual experiences, the documentation of her journey and her unwavering dedication to her faith has solidified her as such a significant figure within catholic mysticism.67 The exploration of her mystical writings not only reveals her intimate journey towards a union with the divine, but also establishes a meaningful connection to Gian Lorenzo Bernini's renowned sculpture, ‘The Ecstasy of Saint Teresa.’68 This sculpture, commissioned by Cardinal Federico Cornaro, serves as a testament to her enduring impact on the world of Catholic mysticism, immortalising the moment she experienced true spiritual union with the Divine.
https://www.ncbi.nlm.nih.gov/pmc/articles/PMC6899697/#:~:text=The%20union%20with%20God%20causes,pleas ure%20(%E2%80%9Cgusto%E2%80%9D). (Accessed: 23 January 2024).
66Rossini, C. (2015) Rapture and Ecstasy, Contemplative Homeschool Available at: https://contemplativehomeschool.com/2015/08/18/raptures-and-ecstasy/ (Accessed: 15 January 2024).
67 St. Teresa of Avila (2020) Catholic Saint Medals. Available at: https://catholicsaintmedals.com/saints/st-teresa-ofavila/ (Accessed: 23 January 2024).
68 Ecstasy of saint teresa (Gian Lorenzo Bernini, 1645-1652) (no date) Artchive. Available at: https://www.artchive.com/artwork/ecstasy-of-saint-teresa-gian-lorenzo-bernini-1645-1652/ (Accessed: 15 January 2024).
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‘The Ecstasy of Saint Teresa’ Gian Lorenzo Bernini 70
Gian Lorenzo Bernini, one of the most influential artists of his time and of the Baroque movement, known for his dynamic and dramatic artistic style was commissioned to create the sculptural masterpiece ‘The Ecstasy of St. Teresa’.
69 Available: https://en.wikipedia.org/wiki/Ecstasy_of_Saint_Teresa#/media/File:Ecstasy_of_St._Teresa_HDR.jpg (Accessed: 09 January 2024)
70 Bernini, G. L (1647-1652) The Ecstasy of Saint Teresa, [Marble], Santa Maria della Vittoria, Rome.
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This exceptional sculpture serves as a remarkable visual translation of St. Teresa of Ávila’s mystical encounter, specifically of the Transverberation of the Heart. Bernini's unparalleled craftsmanship and his understanding of the Baroque aesthetic are evident in every detail of this work. From the intricately sculpted feathers adorning the angels wing, to the texture of the cloud and the expressions captured on both figures' faces, every detail is meticulously considered. Bernini's masterpiece intricately captures the very essence of divine ecstasy, spiritual rapture and transcendence, aligning with St. Teresa’s vivid descriptions. The visual components contributing to this piece, combined with the ecstatic expression on St. Teresa's face and the angel's presence, align with the transcendental experiences detailed in her mystical writings. Bernini visually captures the climax of St. Teresa’s search for the Divine, the moment of divine intervention, the Transverberation of the Heart. This piece offers a profound visual dialogue with her mystical journey, emphasising the transformative and otherworldly essence of this divine mystical encounter.
Central to both St. Teresa's writings and Bernini's sculpture is the angel wielding a golden arrow, a deeply symbolic element representing the divine instrument that pierces St. Teresa's heart during the Transverberation. This elegance and precision of the arrow further attribute to Bernini's attention to detail. The symbolism within the sculpture resonates with St. Teresa's depiction of her divine intervention, embodying a visual metaphor for the challenging journey her soul endured to achieve such an intense spiritual unity. Bernini's theatrical approach to his work heightens the
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emotional experiences detailed in St. Teresa's writings, incorporating light play, dynamic composition, and a frozen moment of divine intervention.71
The dynamic composition of the sculpture creates a theatrical flair, portraying St. Teresa in a reclined position, on a flowing cloudlike structure. This astute use of space allows her to seemingly float, enhancing the otherworldly ethereal atmosphere and emphasising the transcendent nature of the scene. The meticulously sculpted cloth that envelops St. Teresa further adds to the sculptures overall dynamism, with careful attention to the folds and nuances contributing to the sculptures emotional resonance. The facial expressions of both St. Teresa and the angel are carved with masterful precision, capturing the depth of ecstasy in the moment of divine intervention. The contorted facial expressions convey the emotional spectrum of the mystical encounter, depicting ecstasy, agony, and bliss.72 Bernini's intentional carving of these expressions extends to the angel's face, which reflects a sense of bliss and divine purpose, aiding in the moment of the Divine intervention. Contrasting with the intensity of the scene, the angel's serene expression suggests a higher understanding of the spiritual union and the importance of the transformative event. The illuminated features symbolise the divine light, underlining the spiritual nature of the encounter.73 St. Teresa's gaze, directed slightly upwards, adds an element of sublime contemplation, emphasising a deep connection to the divine in that moment. The use of the light shining on her
71 Ecstasy of saint teresa (1647-52) Cornaro Chapel, santa maria della vittoria, Rome (no date) Ecstasy of Saint Teresa by Bernini: Composition, Meaning. Available at: http://www.visual-arts-cork.com/sculpture/ecstasy-of-saintteresa.htm (Accessed: 17 January 2024).
72 Ibid.
73 Bernini: Ecstasy of Saint Teresa - mystic-hysteric- sexuality (2023) Mara Marietta. Available at: https://www.maramarietta.com/the-arts/painting-drawing-sculpture/artists-b-g/bernini/ (Accessed: 23 January 2024).
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face adds to the radiant and ethereal quality, symbolising spiritual enlightenment and divine illumination in the presence of the angel. Her blissful surrender in the moment of union, depicted through slightly parted lips and half-closed eyes, communicates a state of ecstatic joy in a sublime and inward-focused manner.74
Capturing the essence of St. Teresa’s written account of her ecstatic experience, Bernini translates her mystical writings into a dynamic, atmospheric and emotionally charged sculpture. Vividly conveying the moment of Divine intervention, this acts as a visual connection for viewers to experience an insight into this profound transcendental encounter.
Reflection
In this dissertation I have explored the profound mystical writings of St. John of the Cross and St. Teresa of Ávila, and by analysing and comparing the artistic interpretations of these writings from Salvador Dali and Gian Lorenzo Bernini, this analysis provides a multidimensional exploration of the religious search for the Divine. Contributing to a deeper understanding of the transformative and transcendental nature of the search for the Divine, this dissertation connects philosophical inquiries about the unknown to the theological Catholic concepts of transcendence and union. Tackling a topic in which there is inherently no definable conclusion is a tremendous task, as the truth to what lies in the realm of the Unknowable may forever remain beyond human comprehension. During my exploration of these concepts I have aimed to investigate the notion of the Unknowable by delving into the realms of religious transcendentalism, as I believe that for as
74 Content, I.M.H. of (2023) ‘The ecstasy of saint teresa’ by Gian Lorenzo Bernini - An analysis, Art in Context Available at: https://artincontext.org/the-ecstasy-of-saint-teresa-gian-lorenzo-bernini/ (Accessed: 20 January 2024).
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long as we do not have a definable answer to these theological questions regarding our existence, we will forever rely on religion to bring us as close to a sense of unity with the Divine as we are capable of tangibly experiencing and ultimately able to comprehend. The innate draw to discuss and contemplate the transcendent is an ongoing human quest for the answers to the meaning of our purpose, and whether that be expressed through philosophical inquiries, religious contemplations or other mind-altering states of awareness, at the heart of it all is the desire to feel connected, understood, and loved. Ultimately, I believe this to be what is at the heart of the human quest for transcendence.
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