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John of the Cross

1542 – 1591Personne historiquement documentée

Carme castillan (1542–1591), cofondateur avec Thérèse d'Avila des Carmes déchaux et l'un des plus grands poètes de langue espagnole. Fils d'une tisserande veuve, il connut la pauvreté, la prison de son propre ordre à Tolède et la disgrâce à la fin de sa vie. Ses poèmes — Cantique spirituel, Nuit obscure, Vive Flamme d'amour — et les traités en prose qui les commentent décrivent le chemin de l'âme vers l'union à Dieu par le « rien » et par la nuit. Il fut canonisé en 1726 et proclamé docteur de l'Église en 1926.

œuvres
29œuvres
éditions
125éditions
citations
9citations
vidéos
14vidéos
images
5images
Retrato de san Juan de la Cruz (atribuido a Zurbarán)

Retrato de san Juan de la Cruz (atribuido a Zurbarán) · Public domain

Dans ses propres mots

«One dark night, fired with love's urgent longings, ah, the sheer grace!, I went out unseen, my house being now all stilled.»

Noche oscura, estrofa 1

Son idée centrale

The dark night: The 'night' is John's name for the whole process of purification by which the soul passes from attachment to creatures to union with God.

Biographie

5 min de lecture

Traduction assistée à partir de l'original espagnol, en attente de relecture par un traducteur natif.

Un enfant pauvre de Castille

Juan de Yepes Álvarez naquit en 1542 à Fontiveros, bourg de tisserands de la Moraña, dans la province d'Ávila ; la date du 24 juin est traditionnelle. Son père, Gonzalo de Yepes, appartenait à une famille tolédane aisée qui le déshérita pour avoir épousé Catalina Álvarez, une pauvre tisserande. Gonzalo mourut vers 1545, et la veuve, avec trois fils, implora en vain l'aide des parents riches de Tolède et de Torrijos. Le deuxième fils, Luis, mourut de faim ou de maladie. La famille émigra à Arévalo puis, vers 1551, à Medina del Campo, la grande ville de foires de Castille.

À Medina, Jean fut élève du Colegio de la Doctrina, un hospice pour enfants pauvres où l'on apprenait à lire et un métier ; il s'essaya sans succès comme charpentier, tailleur, sculpteur sur bois et peintre. Il travailla ensuite comme infirmier à l'hôpital de la Concepción, voué aux malades atteints de syphilis, dont l'administrateur lui permit d'étudier les humanités chez les jésuites entre 1559 et 1563. Il y acquit le latin et la formation rhétorique que l'on devine dans sa prose.

Frère et réformateur

En 1563, il prit l'habit au carmel de Medina sous le nom de frère Jean de Saint-Matthias et, de 1564 à 1568, étudia les arts et la théologie à l'université de Salamanque, en résidant au collège carmélitain de San Andrés. Ordonné prêtre en 1567, il songeait à passer à la Chartreuse lorsque, cet automne-là, Thérèse de Jésus, qui fondait alors à Medina, le persuada d'entreprendre avec elle la réforme des frères. Thérèse le décrivit dans une lettre comme petit de taille mais « grand aux yeux de Dieu ».

Le 28 novembre 1568, il inaugura avec Antonio de Heredia, dans une maison de ferme de Duruelo, le premier couvent de carmes déchaux, et prit le nom de Jean de la Croix. Il fut maître des novices à Mancera et à Pastrana, recteur du collège d'Alcalá et, à partir de 1572, confesseur du monastère de l'Incarnation d'Ávila, dont Thérèse était prieure. C'est là qu'il dessina, selon la tradition après une vision, le petit Christ crucifié vu d'en haut qui inspirera Dalí en 1951.

La prison de Tolède

La réforme opposa déchaux et chaussés dans un conflit de juridictions entre le nonce, le général de l'ordre et le roi. Dans la nuit du 2 au 3 décembre 1577, les chaussés s'emparèrent de Jean à Ávila et le conduisirent au couvent des carmes de Tolède. Pendant près de neuf mois, il vécut dans un réduit presque sans lumière, reçut la discipline publique au réfectoire et subit des pressions pour qu'il abandonne la réforme. Dans ce cachot, il composa de mémoire la plus grande partie du Cantique spirituel, la romance sur le prologue de Jean et le chant « Que bien sé yo la fonte » (« Je sais bien la source »), qu'il transcrivit ensuite dans un cahier que lui procura un nouveau geôlier.

À la mi-août 1578, il s'évada de nuit en se laissant glisser d'une fenêtre au moyen de bandes découpées dans ses couvertures et se réfugia au couvent des carmélites déchaussées de Tolède, où il récita les vers composés en prison. Les témoins des procès de béatification ajoutèrent au récit des lumières et des protections miraculeuses de la Vierge ; le fait de l'évasion et ses circonstances matérielles sont bien attestés.

L'Andalousie et les grands traités

Il passa les années suivantes en Andalousie : prieur du Calvario, dans la sierra de Jaén, confesseur des carmélites déchaussées de Beas, recteur du collège de Baeza et, à partir de 1582, prieur des Mártires de Grenade. Pour répondre aux questions de frères et de moniales, il commença à commenter ses poèmes en prose : ainsi naquirent la Montée du Carmel et la Nuit obscure, toutes deux inachevées, le commentaire du Cantique spirituel, achevé en 1584 pour Anne de Jésus, et la Vive Flamme d'amour, écrite pour la veuve Ana de Peñalosa. Plus tard, il remania le Cantique et la Vive Flamme ; l'authenticité de ces secondes rédactions fut discutée au XXᵉ siècle jusqu'à ce que la critique l'admette dans sa majorité.

À côté des grands traités, il écrivit de courtes pièces de direction spirituelle : les Dits de lumière et d'amour, sentences qu'il remettait sur des feuillets volants et dont un autographe est conservé à Andújar ; les Précautions et les Avis à un religieux ; la censure sur l'esprit d'une religieuse, et quelques dizaines de lettres, beaucoup adressées aux carmélites déchaussées de Beas, de Grenade et de Ségovie. Pour les moniales de Beas, il dessina aussi le « Mont de perfection », schéma du mont Carmel dont le sentier central porte « rien, rien, rien » et au sommet duquel on lit que « par ici il n'y a plus de chemin ». Une bonne part de sa correspondance se perdit ou fut détruite pendant les années de la persécution de 1591.

Sa doctrine se résume en un paradoxe : pour parvenir à tout posséder, il faut ne vouloir rien posséder. L'âme traverse une « nuit » active et passive du sens et de l'esprit, dans laquelle la foi, l'espérance et la charité vident l'intelligence, la mémoire et la volonté de tout appui qui ne soit pas Dieu, jusqu'à l'union transformante, qu'il décrit comme une bûche pénétrée par le feu.

Comme poète, Jean unit la lyre italianisante de Garcilaso, la lyrique populaire tournée « a lo divino » et le Cantique des cantiques dans une langue d'une densité sans précédent. Dámaso Alonso a étudié cette synthèse, et Luce López-Baralt a relevé avec la mystique soufie des parallèles qui restent débattus.

Les dernières années

Il fut vicaire provincial d'Andalousie puis, en 1588, prieur de Ségovie et conseiller au gouvernement central de l'ordre sous Nicolás Doria, avec qui il se heurta au sujet du traitement infligé à Jerónimo Gracián et aux moniales. Au chapitre de Madrid de juin 1591, il se retrouva sans charge ; envoyé à La Peñuela, il tomba malade, atteint de fièvres et d'ulcères à une jambe, et fut transporté à Úbeda, où le prieur l'accueillit avec froideur tandis qu'un visiteur recueillait des témoignages contre lui. Il mourut à minuit, dans la nuit du 13 au 14 décembre 1591.

Son corps fut transféré en secret à Ségovie en 1593. Ses œuvres en prose furent imprimées à Alcalá en 1618, sans le Cantique, qui parut en traduction française en 1622 et en castillan à Bruxelles en 1627. Il fut béatifié en 1675, canonisé en 1726 et déclaré docteur de l'Église par Pie XI en 1926 ; en 1952, il fut proclamé patron des poètes espagnols.

Au XXᵉ siècle, son œuvre passa de la spiritualité à la littérature et à la philosophie : Jean Baruzi l'étudia comme problème de l'expérience mystique, Édith Stein lui consacra sa Science de la Croix, T. S. Eliot paraphrasa la Montée dans « East Coker », et des poètes comme Jorge Guillén ou Claudio Rodríguez le tinrent pour un maître.

Sources: San Juan de la Cruz. Obras completas. Ed. José Vicente Rodríguez; introducciones y notas doctrinales de Federico Ruiz Salvador. Madrid: Editorial de Espiritualidad, 1980 (ed. revisada 2008, ISBN 9788470683459). · Ruiz Salvador, Federico (dir.). Dios habla en la noche: vida, palabra, ambiente de San Juan de la Cruz. Madrid: Editorial de Espiritualidad, 1990. · Crisógono de Jesús Sacramentado, O.C.D. Vida de San Juan de la Cruz. Madrid: BAC, 1946; ed. revisada por Matías del Niño Jesús en San Juan de la Cruz, Vida y obras (BAC 15), 1964. · John of the Cross. The Collected Works of St. John of the Cross. Trad. Kieran Kavanaugh y Otilio Rodriguez. Ed. revisada. Washington, D.C.: ICS Publications, 1991 (ISBN 9780935216936). · Alonso, Dámaso. La poesía de San Juan de la Cruz (desde esta ladera). Madrid: CSIC, 1942.

Chronologie

La vie, année après année

Chaque point est un événement documenté. Cliquez pour le lire, avec sa source et son degré de certitude.

  1. 1542 · 0 ans

    Birth

    Juan de Yepes Álvarez is born to Gonzalo de Yepes and the weaver Catalina Álvarez. The date of 24 June is traditional.

    Documenté

  2. v. 1545 · 3 ans

    Death of his father

    Gonzalo de Yepes dies; the family's destitution begins.

    Probable

  3. v. 1551 · 9 ans

    Move to Medina del Campo

    After a stay in Arévalo, the family settles in Medina; Juan enters the Colegio de la Doctrina.

    Probable

  4. 1559 · 17 ans

    Studies with the Jesuits

    A nurse at the hospital of the Conception, he studies humanities at the Jesuit college (1559–1563).

    Documenté

  5. 1563 · 21 ans

    Takes the Carmelite habit

    He enters the Carmel of Medina as Fray Juan de Santo Matía.

    Documenté

  6. 1564 · 22 ans

    Studies at Salamanca

    He studies arts and theology at the University of Salamanca (1564–1568).

    Documenté

  7. 1567 · 25 ans

    Meeting with Teresa of Jesus

    Newly ordained, he is won over by Teresa to the reform of the friars.

    Documenté

  8. 28 novembre 1568 · 26 ans

    First Discalced friary

    With Antonio de Heredia he inaugurates the friary at Duruelo and takes the name John of the Cross.

    Documenté

  9. 1572 · 30 ans

    Confessor at the Incarnation

    Confessor at the monastery of the Incarnation, where Teresa is prioress (1572–1577).

    Documenté

  10. 2 décembre 1577 · 35 ans

    Imprisonment in Toledo

    Seized by the Calced Carmelites on the night of 2–3 December and imprisoned in their Toledo convent; there he composes much of the Canticle.

    Documenté

  11. août 1578 · 36 ans

    Escape

    He escapes at night through a window and takes refuge with the Discalced nuns of Toledo.

    Documenté

  12. 1579 · 37 ans

    Rector of the college at Baeza

    He founds and directs the Discalced college beside the University of Baeza (1579–1582).

    Documenté

  13. 1582 · 40 ans

    Prior of Los Mártires

    Prior in Granada (1582–1588); he writes most of his treatises.

    Documenté

  14. 1584 · 42 ans

    Spiritual Canticle in prose

    He completes the commentary on the Canticle dedicated to Ana de Jesús (first redaction).

    Documenté

  15. 1588 · 46 ans

    Prior of Segovia

    Prior of Segovia and councillor of the Consulta governing the order under Nicolás Doria.

    Documenté

  16. juin 1591 · 49 ans

    Loss of office

    The general chapter leaves him without office; he is sent to La Peñuela.

    Documenté

  17. 14 décembre 1591 · 49 ans

    Death

    He dies at midnight in the convent of San Miguel, Úbeda.

    Documenté

  18. 1618

    First edition of his works

    The prose works are printed, without the Spiritual Canticle.

    Documenté

  19. 27 décembre 1726

    Canonisation

    Benedict XIII canonises him.

    Documenté

  20. 24 août 1926

    Doctor of the Church

    Pius XI declares him a Doctor of the universal Church.

    Documenté

  21. 1952

    Patron of Spanish poets

    He is proclaimed patron of Spanish-language poets.

    Documenté

Œuvres

Œuvres essentielles

Les œuvres sans lesquelles on ne comprend pas son héritage.

The Ascent of Mount Carmel — John of the Cross

Œuvre écrite · v. 1585

The Ascent of Mount Carmel

Subida del Monte Carmelo

A commentary, soon abandoning the poem, on the 'Dark Night' as an active night: what the soul can do to empty the senses of appetites (book I) and the intellect, memory and will through faith, hope and charity (books II–III). It contains the verses 'to come to enjoy everything', the critique of visions and revelations and the claim that in Christ God has said everything.

9 éditions · amazon.com

The Dark Night — John of the Cross

Œuvre écrite · v. 1585

The Dark Night

Noche oscura (declaración de las canciones)

A treatise on the passive night, what God does in the soul: the night of sense, with the signs for leaving discursive meditation and passing to contemplation, and the night of the spirit, a painful purification by infused contemplation, a 'ray of darkness'. Its description of dryness and abandonment has given it relevance beyond Christian spirituality.

9 éditions · amazon.com

Spiritual Canticle (redaction A) — John of the Cross

Œuvre écrite · 1584

Spiritual Canticle (redaction A)

Declaración de las canciones que tratan del ejercicio de amor entre el alma y el Esposo Cristo (Cántico A)

A stanza-by-stanza commentary on the poem, reading the Bride's itinerary as the passage from the purgative to the illuminative and unitive ways, with long meditations on the beauty of creatures as the Beloved's trace. It is the most lyrical of his treatises.

4 éditions · amazon.es

The Living Flame of Love (commentary) — John of the Cross

Œuvre écrite · v. 1586

The Living Flame of Love (commentary)

Declaración de las canciones que tratan de la muy íntima y calificada unión y transformación del alma en Dios (Llama de amor viva)

A commentary on the poem's four stanzas describing transforming union from within: the soul as a log already turned to fire, the action of the Holy Spirit, the 'lamps of fire' of the divine attributes and God's awakening in the soul. It includes a stern warning against bad spiritual directors.

6 éditions · amazon.com

Citations

Citations localisées dans une œuvre précise. Chacune porte sa provenance et son degré de fiabilité.

One dark night, fired with love's urgent longings, ah, the sheer grace!, I went out unseen, my house being now all stilled.

En una noche oscura, / con ansias, en amores inflamada, / ¡oh dichosa ventura!, / salí sin ser notada, / estando ya mi casa sosegada.

VérifiéeNoche oscura, estrofa 1

1 / 9
Citations apocryphes ou d'attribution contestée (2)
  • «In the evening of life we shall be judged on love.»

    A widespread modern paraphrase of the authentic saying 'In the evening you will be examined in love' (Sayings of Light and Love). It is not false in meaning, but it is not his wording.

  • «To reach a point you do not know, you must take a road you do not know.»

    A free version of Ascent I,13,11 ('To come to what you know not, you must go by a way you know not'), circulating without reference and with its meaning shifted towards self-help.

Dernières paroles

Récit postérieur de témoins

«Into your hands, Lord, I commend my spirit.»

In manus tuas, Domine, commendo spiritum meum.

He died in Úbeda at midnight on 13–14 December 1591, surrounded by friars of the convent. According to the testimonies gathered at the beatification processes, shortly before he asked that the commendation of the soul not be read to him but the Song of Songs, remarking 'What precious pearls!'; on hearing the bell for matins he said he was going to say them in heaven, and he died uttering the words of Psalm 30 that Jesus repeated on the cross. The witnesses agree on the essentials and vary in the details.

Source: Procesos de beatificación y canonización de San Juan de la Cruz. Ed. Silverio de Santa Teresa, O.C.D. Biblioteca Mística Carmelitana, vol. 14. Burgos: El Monte Carmelo, 1931 (vol. 5 de las Obras).

Interroger

Ce que répond son œuvre

Douze grandes questions de l'humanité et ce que ses textes permettent d'y répondre, références à l'appui. Nous ne lui prêtons jamais de paroles.

  • Qu'est-ce que l'Absolu ? Dieu existe-t-il ?

    God is the Beloved who hides and gives himself in dark faith

    Un Dieu personnelIl le dit expressément

    For John of the Cross, God is the Beloved: someone who wounds, hides, calls and finally unites himself to the soul. The Spiritual Canticle opens with the question «Where have you hidden, Beloved?», and the Living Flame of Love describes the soul's transformation in the Holy Spirit, who works in it as a flame. The Trinity lies at the centre of union: in the commentary on the Flame, the soul shares in the life of the Father, the Son and the Spirit. At the same time, no concept or image reaches this God: the Ascent of Mount Carmel teaches that the only means proportionate to union with him is faith, which is dark to the intellect. The Absolute is thus personal and loving, but known in darkness, through love rather than representation.

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  • Qui suis-je ? Existe-t-il un vrai soi ?

    The soul is a creature that can become God by participation

    Une âme créée et immortelleIl le dit expressément

    John of the Cross thinks of the self as a created soul, with its faculties —intellect, memory and will— and a «centre» that is God himself. The Ascent of Mount Carmel offers the decisive image: a clean window, struck by a ray of sunlight, looks like the ray itself without ceasing to be a window; so the soul, once purified, «seems more God than soul, and is even God by participation», though its natural being remains distinct from God's. The path requires emptying the faculties of every appetite and every possession, including that of spiritual experiences. The self is not dissolved: it is transformed by love without losing its creaturely condition.

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  • Pourquoi souffrons-nous ?

    The dark night hurts because it purifies for union

    La séparation d'avec DieuIl le dit expressément

    John of the Cross distinguishes two kinds of suffering. The first comes from the appetites: in the Ascent of Mount Carmel he describes how they weary, torment, darken, defile and weaken the soul, because they bind it to what is not God. The second is that of the dark night, which God himself works: infused contemplation, entering a still impure soul, is darkness and torment to it, as excessive light blinds a diseased eye. That pain —feeling abandoned, dry, undone— is not punishment but purification. Suffering arises from the distance between the soul and God and is also the path by which that distance is cancelled.

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  • Que se passe-t-il après la mort ?

    I die because I do not die: death is meeting the Beloved

    Vie éternelle et résurrectionIl le dit expressément

    John of the Cross awaits eternal life as the consummation of the union of love. In the stanzas «I live without living in myself» the present life is exile and the soul dies because it does not die, longing to see God. The first stanza of the Living Flame of Love asks God to tear the veil of this sweet encounter, that is, the mortal life that separates the soul from vision; and its commentary states that the death of those who have reached this state, though natural, is far sweeter and gentler than their life, for they die in impulses and encounters of love. Death is not an end: it is the passage to seeing God face to face.

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  • Comment atteint-on la libération ou le salut ?

    The soul disposes itself in the night; God works the union

    Par la grâce et l'amourIl le dit expressément

    John of the Cross describes liberation as union with God through love, and distinguishes two movements. In the active night, treated in the Ascent of Mount Carmel, the soul does what it can: it denies its appetites, empties its faculties and walks by faith, hope and charity, with the watchword of desiring to taste nothing in order to come to taste everything. But the decisive purification is passive: the Dark Night shows that it is God who, through infused contemplation, purges what the soul cannot reach. In the Living Flame of Love he insists that the principal agent and guide is the Holy Spirit. Effort prepares; union is a gift.

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  • Faut-il un maître ?

    A good director helps; the principal guide is the Holy Spirit

    Utile mais pas indispensableIl le dit expressément

    John of the Cross attaches great importance to spiritual direction and, at the same time, criticises it harshly. In the Sayings of Light and Love he compares the soul that is alone and without a master, even if virtuous, to a burning coal left alone, which cools rather than kindles. But in the Living Flame of Love he devotes severe pages to spiritual masters who, not understanding the ways of contemplation, force the soul to go on meditating when God is already leading it by another path, and compares them to blacksmiths who only know how to hammer. He recalls that the principal agent and guide of souls is the Holy Spirit; the human director must serve him, not hinder him.

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  • Le monde est-il réel ?

    God passed through the groves and left them clothed in beauty

    Une création bonne et réelleIl le dit expressément

    John of the Cross holds at once the beauty of the world and its nothingness before God. In the Ascent of Mount Carmel, compared with God's infinite being, all creatures are nothing, and the soul that binds itself to them becomes like what it loves; hence one must pass through the night of sense. But the Spiritual Canticle sings of creatures as traces of the Beloved: pouring out a thousand graces, he passed through these groves in haste and, looking at them, left them clothed in beauty by his gaze alone. In consummated union, the soul knows creatures from God and finds them more beautiful. The world is good; what hinders is possession.

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  • Qu'est-ce que l'amour ?

    Living flame of love: the longing that wounds and unites

    Le désir ardent et l'unionIl le dit expressément

    John of the Cross is, in the Spanish language, the great poet of love as longing for union. In the Spiritual Canticle the soul is the wounded bride who goes out after the Beloved, seeks him over mountains and riverbanks and rests only in union; the Dark Night recounts the beloved's going forth, «inflamed with love», until she lies with her face reclined upon the Beloved. The Living Flame of Love describes consummated love as the fire of the Holy Spirit wounding tenderly in the soul's deepest centre. That love is also a criterion of life: in the evening, says one of his sayings, you will be examined on love. And in a letter he advises putting love where there is none in order to draw love out.

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  • Sommes-nous libres ou tout est-il déterminé ?

    Union is the conformity of two free wills

    Un libre arbitre réelCela se déduit de sa doctrine

    John of the Cross does not treat the problem of determinism, but his whole doctrine presupposes a free will. In the Ascent of Mount Carmel he defines the union he seeks not as substantial union but as union of likeness, which occurs when two wills, the soul's and God's, are conformed in one, with nothing in the one repugnant to the other. To reach it, the soul must freely deny its voluntary appetites: not the natural ones, which do not depend on it, but those it consents to. In the passive night, God works where the soul cannot reach, but the will goes on cooperating through its consent and its love.

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  • Pourquoi méditer ou prier ?

    From meditation to loving attentiveness in God

    L'amitié avec DieuIl le dit expressément

    John of the Cross distinguishes two moments of prayer. At the beginning, discursive meditation is fitting, using images and reasoning to fall in love with God. But a time comes when that meditation dries up, and the Ascent of Mount Carmel gives three signs to recognise it: one can no longer reason, one has no desire to fix the imagination on other things, and the soul delights in remaining alone with loving attentiveness to God, without particular considerations. Then reasoning must be set aside and one should remain in that loving, quiet and passive knowledge. Prayer culminates in a communication of love between the soul and the Beloved, which the Spiritual Canticle describes as the intimacy of spouses.

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  • La raison peut-elle connaître l'ultime ?

    Transcending all knowledge: God is reached by dark faith

    L'ultime est au-delà du mentalIl le dit expressément

    John of the Cross, trained at the University of Salamanca, does not despise theology, but denies that the intellect can reach God by its own powers. In the Ascent of Mount Carmel he maintains that nothing the imagination and intellect can conceive is a proximate means to union, because God falls under no distinct form or knowledge; the only proportionate means is faith, which is dark night for the soul. His stanzas «I entered where I did not know» sing it: whoever truly arrives there faints from himself, and remains unknowing, transcending all knowledge. Reason serves to discern and to avoid deception; union takes place beyond it.

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  • Se retirer du monde ou le transformer ?

    Forgetting the created, remembering the Creator

    Se retirer pour trouverIl le dit expressément

    John of the Cross is the master of solitude and nakedness. His brief Summary of Perfection condenses it into four lines: forgetfulness of the created, remembrance of the Creator, attention to what is within, and remaining in love with the Beloved. The Precautions advise the religious to guard against the world, the devil and the flesh, and not to meddle in what is not his concern. The Spiritual Canticle sings of solitude: in solitude the dove lived, and in solitude her beloved guides her alone. Yet John did not live in a cave: he was a reformer, prior, confessor, tireless traveller and prisoner. The withdrawal he asks for is above all inward: detachment from everything, so that nothing takes God's place.

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Anecdotes et récits

Anecdotes et récits

Tradition orale1567–1568

'A friar and a half'

In the autumn of 1567 Teresa of Jesus was looking for friars to extend her reform to the male branch of Carmel. In Medina del Campo she was told of a young, newly ordained, very recollected Carmelite who was thinking of becoming a Carthusian. Teresa persuaded him that he could find within his order the life he was seeking outside it, on one condition he set: that she not delay. The following year, in a letter to Francisco de Salcedo, she described him as small in body but great in the eyes of God, and in the Book of Foundations she told of the poverty of the little house at Duruelo where he and Antonio de Heredia began. To this period belongs a phrase that tradition attributes to a pleased and teasing Teresa: that she now had 'a friar and a half' for the reform, alluding to John's small stature and Antonio's age. The phrase is not in her writings and should be read as Carmelite oral tradition; the meeting and Teresa's judgement, on the other hand, are documented.

Origine du récit: Teresa of Jesus, Foundations 3 and 13–14 and letter to Francisco de Salcedo (September 1568). The phrase 'a friar and a half' comes from later Carmelite tradition.

Source: Teresa de Jesús. Libro de las fundaciones, caps. 3 y 13–14, y carta a Francisco de Salcedo (Valladolid, septiembre de 1568), en Obras completas, ed. Efrén de la Madre de Dios y Otger Steggink. Madrid: BAC, 1962.

Témoignageagosto de 1578

The escape from Toledo

For nine months John lived in a cubbyhole about two metres by three that had served as a privy for a guest room in the Carmelite convent of Toledo, with a single high slit letting in a little light. He was fed bread, water and sardines, flogged in the refectory and urged to abandon the reform. A new, more compassionate jailer, Fray Juan de Santa María, gave him paper and ink and let him out to empty the slop bucket, which allowed him to study the layout of the house. One night in mid-August 1578 he loosened the screws of the lock, tied strips of blanket to a lamp hook, lowered himself from a window over the wall above the Tagus, jumped into an enclosed yard and managed to reach the street. At dawn he knocked at the convent of the Discalced nuns, where the prioress hid him in the enclosure on the pretext that a nun needed a confessor; there he recited the poems composed in the cell. Witnesses at the processes added a light and a voice of the Virgin that guided him; the material details come from his own account to his brothers.

Origine du récit: Statements at the beatification processes (BMC 14) and accounts by Inocencio de San Andrés and Magdalena del Espíritu Santo; critical synthesis in Crisógono de Jesús (1946).

Source: Procesos de beatificación y canonización de San Juan de la Cruz. Ed. Silverio de Santa Teresa, O.C.D. Biblioteca Mística Carmelitana, vol. 14. Burgos: El Monte Carmelo, 1931 (vol. 5 de las Obras).

Récit hagiographiquec. 1572–1577

The Christ drawn at the Incarnation

During the years he was confessor at the Incarnation in Ávila, John drew in pen, on a scrap of paper a few centimetres across, a Christ crucified seen from above and from the side, as if from the Father's eyes, with the body slumping forward and away from the cross. According to Carmelite tradition he drew it after a vision while praying in the monastery's gallery and gave it to a nun, Ana María de Jesús, in whose community it was kept as a relic. The drawing is authentic and is kept in the monastery; the vision that supposedly gave rise to it is known only from later testimony. In 1950 Father Bruno de Jésus-Marie, a French Carmelite, showed a reproduction to Salvador Dalí, who the following year painted his Christ of Saint John of the Cross, now in the Kelvingrove museum in Glasgow.

Origine du récit: The drawing is kept in the monastery of the Incarnation in Ávila; the vision comes from testimony at the processes. The connection with Dalí is documented by the painter himself and by Father Bruno.

Source: Ruiz Salvador, Federico (dir.). Dios habla en la noche: vida, palabra, ambiente de San Juan de la Cruz. Madrid: Editorial de Espiritualidad, 1990.

Témoignagec. 1589

'To suffer and be despised for you'

His brother Francisco de Yepes, a poor and devout weaver whom John always wanted near, testified at the processes to a confidence John had supposedly made to him in Segovia around 1589. While at prayer before a painting of Christ carrying the cross, he heard the Lord say to him: 'Fray Juan, ask me for whatever you wish, and I will grant it for this service you have done me.' He replied: 'Lord, what I want you to give me is trials to suffer for you, and that I be despised and held of little account.' Two years later he was stripped of his offices, sent to a hermitage in Jaén, and a visitor went around the convents of Andalusia gathering testimony to expel him from the order. The scene belongs to family and hagiographic memory, but his biographers have read it as the key to how he lived the end of his life, without defending himself.

Origine du récit: Statement by Francisco de Yepes at the beatification processes (BMC 14). It is second-hand testimony of an inner experience.

Source: Procesos de beatificación y canonización de San Juan de la Cruz. Ed. Silverio de Santa Teresa, O.C.D. Biblioteca Mística Carmelitana, vol. 14. Burgos: El Monte Carmelo, 1931 (vol. 5 de las Obras).

Témoignageseptiembre–diciembre de 1591

The last days in Úbeda

In September 1591 John reached Úbeda from La Peñuela with fever and an inflamed leg that turned into open sores. He chose that convent, it is said, because no one knew him there. The prior, Francisco Crisóstomo, whom he had corrected years before, received him coldly, assigned him the worst cell and complained about the costs of his illness; meanwhile the visitor Diego Evangelista was gathering accusations against him. The doctors operated on him several times without anaesthesia. Towards the end the prior repented and asked his forgiveness. On the evening of 13 December John repeatedly asked the time; at midnight, hearing the bell for matins, he died. The nuns of Úbeda and the townspeople came in crowds to venerate the body. The story is known from numerous witnesses at the processes, who agree in substance though they embellish some details, such as the fragrance and light said to have filled the cell.

Origine du récit: Beatification processes (BMC 14); Crisógono de Jesús (1946).

Source: Procesos de beatificación y canonización de San Juan de la Cruz. Ed. Silverio de Santa Teresa, O.C.D. Biblioteca Mística Carmelitana, vol. 14. Burgos: El Monte Carmelo, 1931 (vol. 5 de las Obras).

Enseignements

Enseignements

Les notions qui structurent sa pensée, expliquées dans leur contexte.

The dark nightnoche-oscura
The 'night' is John's name for the whole process of purification by which the soul passes from attachment to creatures to union with God. It is night for three reasons: because of the point of departure, the privation of pleasure in things; because of the road, faith, which is dark to the intellect; and because of the goal, God, who is darkness to the soul in this life. The Ascent deals with the active night (what the soul does) and the Dark Night with the passive one (what God does in it); both have a phase of sense and another, deeper and more painful, of spirit. In the night of sense the soul loses the savour of meditation and finds it in nothing created: John gives three signs to discern that this is not lukewarmness but the beginning of contemplation. In that of spirit, infused contemplation illumines so intensely that it blinds, as the sun blinds weak eyes. The expression has passed into common language as a synonym for crisis or depression, with a broader meaning than his.

Scholastic mystical theology and the Dionysian tradition of divine darkness.

Source: San Juan de la Cruz. Obras completas. Ed. José Vicente Rodríguez; introducciones y notas doctrinales de Federico Ruiz Salvador. Madrid: Editorial de Espiritualidad, 1980 (ed. revisada 2008, ISBN 9788470683459).

All and nothingnada
At the summit of the Mount drawn for the nuns of Beas and in the verses of Ascent I,13, John formulates the central paradox of his asceticism: 'to come to be all, desire to be nothing'. The 'nothing' is neither contempt of the world nor nihilism, but detachment of appetite: it is not things that hinder union but the possessive willing that clings to them, even to spiritual goods (consolations, visions, feelings), which can be the subtlest obstacle. That is why the side paths of the Mount, which seek goods of earth or of heaven, go astray, and only the central path of nothing leads to the summit. The 'all' attained is not a sum of goods but God himself, who fits into no particular appetite. The doctrine has parallels in the poverty of spirit of Rhineland mysticism and in the emptiness of other traditions, but in John it is always joined to love: the soul empties itself so that the Beloved may fill it.

Christian ascetic renunciation and negative theology; a possible echo of Rhineland mysticism through Tauler.

Source: San Juan de la Cruz. Obras completas. Ed. José Vicente Rodríguez; introducciones y notas doctrinales de Federico Ruiz Salvador. Madrid: Editorial de Espiritualidad, 1980 (ed. revisada 2008, ISBN 9788470683459).

Transforming unionunion-de-amor
The goal of the path is the soul's union with God by love, which John also calls spiritual marriage. It is not a fusion of substances: the soul remains a creature but becomes 'God by participation', like the log that, penetrated by fire, becomes fire without ceasing to be wood, or the window that, pierced by the sun, seems to be the sun. In the Canticle union is described with the nuptial imagery of the Song of Songs; in the Flame, from within, as the action of the Holy Spirit who 'wounds' the soul's centre and makes it breathe in God the same spiration of love as the Father and the Son. John distinguishes between habitual union, which coincides with the conformity of the human will to the divine, and transient touches and flames. He insists that what is decisive is not extraordinary phenomena but the transformation of love; hence his distrust of visions.

Nuptial mysticism (Bernard of Clairvaux), Trinitarian theology and the Thomist doctrine of grace as participation.

Source: San Juan de la Cruz. Obras completas. Ed. José Vicente Rodríguez; introducciones y notas doctrinales de Federico Ruiz Salvador. Madrid: Editorial de Espiritualidad, 1980 (ed. revisada 2008, ISBN 9788470683459).

Infused contemplation and the three signscontemplacion-infusa
John distinguishes between discursive meditation, which works with images and reasoning, and contemplation, a 'general loving knowledge' that God infuses without the soul producing it. One of his most influential contributions to spiritual direction is the three signs for knowing when to leave meditation: that the soul can no longer reason discursively or find savour in doing so; that it has no wish to fix the imagination on other things; and above all that it delights in being alone with loving attention to God, without particular considerations. If all three are present, the director should not force a return to meditation, because it would hinder God's work: hence his harsh criticism, in the Flame, of spiritual masters who, like blacksmiths, only know how to hammer. The doctrine was viewed with suspicion in Inquisitorial Spain, fearful of quietism and Illuminism, and explains some of the caution of the first editions.

Sixteenth-century debate on mental prayer and Illuminism; the tradition of medieval mystical theology.

Source: San Juan de la Cruz. Obras completas. Ed. José Vicente Rodríguez; introducciones y notas doctrinales de Federico Ruiz Salvador. Madrid: Editorial de Espiritualidad, 1980 (ed. revisada 2008, ISBN 9788470683459).

The theological virtues as night of the facultiesfe-esperanza-caridad
John organises the purification of the spirit according to a precise correspondence: faith empties the intellect, hope the memory and charity the will. Each faculty, attached to its natural objects (concepts, memories, affections), becomes capable of God only when the theological virtues strip it of them. Faith is the 'proximate means' of union precisely because it is dark: it does not give God in images or concepts but as he is, though without seeing him. Hence the statement in Ascent II,22 that God, in giving us his Son, 'spoke everything to us at once in this sole Word', and that asking for new revelations would offend him. The structure, Augustinian and Thomist in origin, gives Sanjuanist thought an almost systematic precision that contrasts with the freedom of his poems, and has allowed him to be read as a theologian as well as a poet.

The Augustinian psychology of the three faculties and Salamancan scholastic theology.

Source: San Juan de la Cruz. Obras completas. Ed. José Vicente Rodríguez; introducciones y notas doctrinales de Federico Ruiz Salvador. Madrid: Editorial de Espiritualidad, 1980 (ed. revisada 2008, ISBN 9788470683459).

Vidéos

Vidéos

Enregistrements, entretiens et documentaires. Les vidéos sont lues depuis YouTube ; elles ne sont pas hébergées ici.

  • Paisaje con figuras: Juan de la Cruz

    Documentaire· ES· 1984· 44 min

    RTVE ArchivoChaîne officielle

  • «Y véante mis ojos». El cielo de San Juan de la Cruz. Aula Pedro Fabro

    Conférence· ES· 2024· 52 min

    Universidad Pontificia ComillasChaîne officielle

  • Isabel Ordaz, «La poesía de San Juan de la Cruz. El nombre que multiplica los nombres»

    Conférence· ES· 2026· 49 min

    Carmelitas Descalzos ÚbedaChaîne officielle

  • Silvia Bara Bancel: «San Juan de la Cruz, lector del Maestro Eckhart»

    Conférence· ES· 2026· 109 min

    Centro de Estudios de HermenéuticaChaîne officielle

  • Poesía «Noche oscura» de San Juan de la Cruz

    Enregistrement original· ES· 2015· 2 min

    Carmelitas DescalzosChaîne officielle

  • Adónde te escondiste

    Enregistrement de tiers· ES· 2016· 3 min

    Amancio PradaChaîne officielle

  • José María Rodero lee a San Juan de la Cruz

    Enregistrement de tiers· ES· 2014· 5 min

    SCM1974spain

  • John of the Cross: A Mystic's Poetry with Keith Egan

    Conférence· EN· 2014· 70 min

    Lumen Christi InstituteChaîne officielle

  • Carmelite Authors 101: St. John of the Cross

    Conférence· EN· 2018· 68 min

    Boston College Clough School of Theology and MinistryChaîne officielle

  • The Dark Night of the Soul

    Analyse· EN· 2021· 41 min

    Bishop Robert BarronChaîne officielle

  • Gottes Gegenwart erfahren: Die Mystik des Johannes vom Kreuz

    Conférence· DE· 2023· 55 min

    CTS Hochschule MünsterChaîne officielle

  • Licht – geboren aus der Nacht. Die „Dunkle Nacht“ des Johannes vom Kreuz – Sr. Veronika E. Schmitt

    Conférence· DE· 2025· 58 min

    CTS Hochschule MünsterChaîne officielle

  • Iain Matthew ocd – Giovanni della Croce per i giovani?

    Conférence· IT· 2018· 51 min

    Pontificia Facoltà Teologica Teresianum – RomaChaîne officielle

  • La Chiesa ricorda San Giovanni della Croce

    Documentaire· IT· 2018· 14 min

    Tv2000itChaîne officielle

Galerie

Galerie

Images dont la licence a été vérifiée. Chacune conserve son auteur et son attribution.

Manuscrits

Manuscrits

Témoins manuscrits et textes anciens, avec leur dépositaire et leurs conditions de consultation.

  • ES · Latina (cursiva castellana del s. XVI) · c. 1585–1587

    Dichos de luz y amor (autógrafo)

    Témoin conservé
    Autógrafo parcial (códice de Andújar)
    Dépositaire
    Carmelitas descalzas de Andújar (Jaén)
  • ES · Latina · 1584

    Cántico espiritual (manuscrito de Sanlúcar de Barrameda)

    Témoin conservé
    Redacción A con anotaciones del autor
    Dépositaire
    Carmelitas descalzas de Sanlúcar de Barrameda (Cádiz)
  • ES · Latina · c. 1586–1591 (copia)

    Cántico espiritual y poesías (manuscrito de Jaén)

    Témoin conservé
    Testigo principal de la redacción B
    Dépositaire
    Carmelitas descalzas de Jaén
  • ES · — · c. 1572–1577

    Cristo crucificado (dibujo)

    Témoin conservé
    Dibujo original a pluma
    Dépositaire
    Monasterio de la Encarnación, Ávila
Manuscrits →

Relations

Relations

Influences, filiations et affinités. On distingue la relation documentée de la similitude identifiée par analyse.

  • A rencontré

    Teresa of Ávila

    They met at Medina del Campo in 1567; Teresa won him over to the reform, recounted the foundation of Duruelo in her Foundations and had him as confessor at the Incarnation (1572–1577).

    Relation documentée

  • A reçu l'influence de

    Teresa of Ávila

    From Teresa he received the project of the male reform and the Discalced way of life; his teaching systematises in another register the experience of prayer she describes.

    Relation documentée

  • A reçu l'influence de

    Jesus of Nazareth

    His work is Christocentric: in Ascent II,22 he states that in Christ God has said everything, and his drawing of the crucified and the poem of the young shepherd express his meditation on the Passion.

    Relation documentée

  • A reçu l'influence de

    Meister Eckhart

    Rhineland mysticism reached sixteenth-century Spain through works attributed to Tauler, Eckhart's disciple. John has been studied as an indirect reader of Eckhart in the doctrine of nothingness and the ground of the soul; the exact route of transmission is unproven.

    Similitude identifiée par analyse

  • Idées proches de

    Francis of Assisi

    John's 'nada' and the Franciscan 'without anything of one's own' share the idea of total dispossession, material and spiritual, as the condition of love.

    Similitude identifiée par analyse

  • Idées proches de

    Hildegard of Bingen

    Both are at once mystics and first-rank poets or musicians, but their paths are opposite: Hildegard's symbolic, prophetic vision versus John's distrust of visions and his way of dark faith.

    Similitude identifiée par analyse

  • Idées proches de

    Ibn Arabi

    Luce López-Baralt has pointed to parallels of symbols and vocabulary between John's poetry and Andalusian Sufi mysticism (night, fount, wine, the solitary bird); the hypothesis of a Morisco transmission remains debated.

    Similitude identifiée par analyse

  • A influencé

    Thomas Merton

    Merton studied and commented on John of the Cross as a master of contemplation; it is a relation of reception.

    Similitude identifiée par analyse

Sources

Sources

Bibliographie et catalogues consultés pour cette fiche.

  1. Wikidata, Q190388 «John of the Cross» (P31=Q5; 82 enlaces entre wikis; P569 1542-06-24, P570 1591-12-14).
  2. San Juan de la Cruz. Obras completas. Ed. José Vicente Rodríguez; introducciones y notas doctrinales de Federico Ruiz Salvador. Madrid: Editorial de Espiritualidad, 1980 (ed. revisada 2008, ISBN 9788470683459).
  3. Ruiz Salvador, Federico (dir.). Dios habla en la noche: vida, palabra, ambiente de San Juan de la Cruz. Madrid: Editorial de Espiritualidad, 1990.
  4. Crisógono de Jesús Sacramentado, O.C.D. Vida de San Juan de la Cruz. Madrid: BAC, 1946; ed. revisada por Matías del Niño Jesús en San Juan de la Cruz, Vida y obras (BAC 15), 1964.
  5. Procesos de beatificación y canonización de San Juan de la Cruz. Ed. Silverio de Santa Teresa, O.C.D. Biblioteca Mística Carmelitana, vol. 14. Burgos: El Monte Carmelo, 1931 (vol. 5 de las Obras).
  6. John of the Cross. The Collected Works of St. John of the Cross. Trad. Kieran Kavanaugh y Otilio Rodriguez. Ed. revisada. Washington, D.C.: ICS Publications, 1991 (ISBN 9780935216936).
  7. Alonso, Dámaso. La poesía de San Juan de la Cruz (desde esta ladera). Madrid: CSIC, 1942.
  8. Baruzi, Jean. Saint Jean de la Croix et le problème de l'expérience mystique. París: Alcan, 1924 (trad. esp.: Valladolid, Junta de Castilla y León, 1991).
  9. López-Baralt, Luce. San Juan de la Cruz y el Islam. México: El Colegio de México, 1985 (reed. Madrid: Hiperión, 1990).
  10. Thompson, Colin P. St John of the Cross: Songs in the Night. Londres: SPCK, 2002.
  11. Wikisource en español, página «Autor:Juan de la Cruz» (poemas mayores, glosas, cantares y romances).
  12. Open Library, registros de edición de las obras de Juan de la Cruz (consultados por ISBN y por obra).
  13. Obras de San Juan de la Cruz, Doctor de la Iglesia. Ed. Silverio de Santa Teresa, O.C.D. 5 vols. Burgos: El Monte Carmelo, 1929–1931 (Biblioteca Mística Carmelitana 10–14).
  14. The Complete Works of Saint John of the Cross, of the Order of Our Lady of Mount Carmel. Trad. David Lewis; prefacio del cardenal Wiseman. 2 vols. Londres: Longman, 1864.
  15. Bara Bancel, Silvia. «San Juan de la Cruz, lector del Maestro Eckhart». Conferencia, Centro de Estudios de Hermenéutica, 2026.
  16. Stein, Edith. Kreuzeswissenschaft. Studie über Johannes a Cruce (1942). Lovaina / Friburgo: Nauwelaerts / Herder, 1950 (Edith Steins Werke I).
  17. Teresa de Jesús. Libro de las fundaciones, caps. 3 y 13–14, y carta a Francisco de Salcedo (Valladolid, septiembre de 1568), en Obras completas, ed. Efrén de la Madre de Dios y Otger Steggink. Madrid: BAC, 1962.
Ayant droit
Dominio público (obra del siglo XVI). Las ediciones críticas, traducciones y aparatos modernos están sujetos a los derechos de sus editores (Editorial de Espiritualidad, Monte Carmelo, Alianza, BAC, ICS Publications, Herder…).

En attente de confirmation

Ce que cette fiche n'a pas encore pu établir. Nous préférons le dire plutôt que de combler.

  • Localizar en una fuente apta (Wikisource o equivalente con capítulos) el texto en prosa de la Subida, la Noche, el Cántico, la Llama, los Dichos y las Cartas: Wikisource en español solo tiene los poemas; se han registrado los volúmenes de Silverio (1929) y Gerardo (1912) en Internet Archive, cuyo OCR hay que revisar.
  • Identificar al traductor de The Dark Night of the Soul (J. M. Watkins, 1905) para retirar la marca de precaución.
  • Fijar con la edición crítica la numeración del dicho «A la tarde te examinarán en el amor» (59, 60 o 64 según las ediciones) y la redacción exacta de la carta a María de la Encarnación de 6 de julio de 1591.
  • Añadir ISBN de la edición de la BAC (Vida y obras / Obras completas, Lucinio Ruano) y de una edición francesa de conjunto (Cerf): no localizadas en Open Library.
  • Confirmar signaturas y digitalizaciones de los manuscritos de Sanlúcar, Jaén y Andújar.
  • Las fechas de los vídeos se han deducido de la fecha relativa que muestra YouTube; el programa de RTVE «Paisaje con figuras» se fecha de forma aproximada.
  • Programas de afiliación: ninguno verificado.

Recherche effectuée le 2026-10-25