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John of the Cross

1542 – 1591Persona storicamente documentata

Frate carmelitano castigliano (1542–1591), cofondatore con Teresa d'Avila dei Carmelitani Scalzi e uno dei massimi poeti di lingua spagnola. Figlio di una tessitrice vedova, conobbe la povertà, il carcere del proprio ordine a Toledo e l'emarginazione alla fine della vita. Le sue poesie — Cantico spirituale, Notte oscura, Fiamma viva d'amore — e i trattati in prosa che le commentano descrivono il cammino dell'anima verso l'unione con Dio attraverso il «nulla» e la notte. Fu canonizzato nel 1726 e proclamato dottore della Chiesa nel 1926.

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Retrato de san Juan de la Cruz (atribuido a Zurbarán)

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

Con le sue parole

«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

The Ascent of Mount Carmel — John of the Cross

Per cominciare, un'opera

The Ascent of Mount Carmel

La sua idea 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.

Biografia

5 min di lettura

Traduzione assistita dall'originale spagnolo, in attesa di revisione da parte di un traduttore madrelingua.

Un bambino povero di Castiglia

Juan de Yepes Álvarez nacque nel 1542 a Fontiveros, un borgo di tessitori della Moraña, nella provincia di Ávila; la data del 24 giugno è tradizionale. Il padre, Gonzalo de Yepes, proveniva da una famiglia agiata di Toledo che lo diseredò per aver sposato Catalina Álvarez, una povera tessitrice. Gonzalo morì intorno al 1545 e la vedova, con tre figli, chiese invano aiuto ai parenti ricchi di Toledo e di Torrijos. Il secondogenito, Luis, morì di fame o di malattia. La famiglia emigrò ad Arévalo e, intorno al 1551, a Medina del Campo, la grande città delle fiere di Castiglia.

A Medina Juan fu allievo del Colegio de la Doctrina, un ospizio per bambini poveri dove si imparava a leggere e un mestiere; provò senza successo a fare il falegname, il sarto, l'intagliatore e il pittore. Lavorò poi come infermiere nell'ospedale della Concepción, destinato ai malati di sifilide, il cui amministratore gli permise di studiare umanità presso i gesuiti tra il 1559 e il 1563. Lì acquisì il latino e la formazione retorica che si intuiscono nella sua prosa.

Frate e riformatore

Nel 1563 vestì l'abito nel Carmelo di Medina con il nome di fra Giovanni di San Mattia e tra il 1564 e il 1568 studiò arti e teologia all'università di Salamanca, vivendo nel collegio carmelitano di Sant'Andrea. Ordinato sacerdote nel 1567, pensava di passare alla Certosa quando, quell'autunno, Teresa di Gesù, che stava facendo una fondazione a Medina, lo convinse a intraprendere con lei la riforma dei frati. Teresa lo descrisse in una lettera come piccolo di statura ma «grande agli occhi di Dio».

Il 28 novembre 1568 inaugurò con Antonio de Heredia, in una casa colonica di Duruelo, il primo convento di carmelitani scalzi, e assunse il nome di Giovanni della Croce. Fu maestro dei novizi a Mancera e a Pastrana, rettore del collegio di Alcalá e, dal 1572, confessore del monastero dell'Incarnazione di Ávila, di cui Teresa era priora. Lì disegnò, secondo la tradizione dopo una visione, il piccolo Cristo crocifisso visto dall'alto che avrebbe ispirato Dalí nel 1951.

Il carcere di Toledo

La riforma contrappose scalzi e calzati in un conflitto di giurisdizioni tra il nunzio, il generale dell'ordine e il re. Nella notte tra il 2 e il 3 dicembre 1577 i calzati catturarono Giovanni ad Ávila e lo condussero al convento del Carmine di Toledo. Per quasi nove mesi visse in uno stanzino quasi privo di luce, subì flagellazioni pubbliche nel refettorio e fu sottoposto a pressioni perché abbandonasse la riforma. In quella cella compose a memoria la maggior parte del Cantico spirituale, la romanza sul prologo di Giovanni e il canto «Qué bien sé yo la fonte» («Ben so io la fonte»), che poi trascrisse in un quaderno procuratogli da un nuovo carceriere.

A metà agosto del 1578 fuggì di notte calandosi da una finestra con strisce ricavate dalle coperte e si rifugiò nel convento delle carmelitane scalze di Toledo, dove recitò i versi composti in prigione. I testimoni dei processi aggiunsero al racconto luci e protezioni miracolose della Vergine; il fatto della fuga e le sue circostanze materiali sono ben attestati.

L'Andalusia e i grandi trattati

Trascorse gli anni seguenti in Andalusia: priore del Calvario, nella sierra di Jaén, confessore delle carmelitane scalze di Beas, rettore del collegio di Baeza e, dal 1582, priore dei Martiri di Granada. Per rispondere alle domande di frati e monache cominciò a commentare in prosa le sue poesie: nacquero così la Salita del Monte Carmelo e la Notte oscura, entrambe incompiute, la dichiarazione del Cantico spirituale, terminata nel 1584 per Anna di Gesù, e la Fiamma viva d'amore, scritta per la vedova Ana de Peñalosa. In seguito rielaborò il Cantico e la Fiamma, e l'autenticità di queste seconde redazioni fu discussa nel Novecento finché la critica non l'accolse in larga maggioranza.

Accanto ai grandi trattati scrisse brevi testi di direzione spirituale: i Detti di luce e d'amore, sentenze che consegnava su fogli sciolti e di cui si conserva un autografo ad Andújar; le Cautele e gli Avvisi a un religioso; la censura sullo spirito di una monaca e alcune decine di lettere, molte alle carmelitane scalze di Beas, Granada e Segovia. Per le monache di Beas disegnò anche il «Monte di perfezione», uno schema del Monte Carmelo il cui sentiero centrale dice «niente, niente, niente» e sulla cui cima si legge che «qui ormai non c'è più cammino». Buona parte della sua corrispondenza andò perduta o fu distrutta negli anni della persecuzione del 1591.

La sua dottrina si riassume in un paradosso: per giungere a possedere tutto bisogna non voler possedere nulla. L'anima attraversa una «notte» attiva e passiva del senso e dello spirito in cui la fede, la speranza e la carità svuotano l'intelletto, la memoria e la volontà di ogni appoggio che non sia Dio, fino all'unione trasformante, che egli descrive come un legno penetrato dal fuoco.

Come poeta, Giovanni unì la lira italianizzante di Garcilaso, la lirica popolare volta «a lo divino» e il Cantico dei Cantici in una lingua di densità senza precedenti. Dámaso Alonso ha studiato questa sintesi, e Luce López-Baralt ha indicato paralleli con la mistica sufi che sono tuttora discussi.

Gli ultimi anni

Fu vicario provinciale dell'Andalusia e, nel 1588, priore di Segovia e consigliere nel governo centrale dell'ordine sotto Nicolás Doria, con cui si scontrò per il trattamento riservato a Jerónimo Gracián e alle monache. Nel capitolo di Madrid del giugno 1591 rimase senza incarichi; destinato a La Peñuela, si ammalò di febbri e di piaghe a una gamba e fu portato a Úbeda, dove il priore lo accolse con freddezza mentre un visitatore raccoglieva testimonianze contro di lui. Morì a mezzanotte tra il 13 e il 14 dicembre 1591.

Il suo corpo fu trasferito in segreto a Segovia nel 1593. Le sue opere in prosa furono stampate ad Alcalá nel 1618, senza il Cantico, che apparve in traduzione francese nel 1622 e in castigliano a Bruxelles nel 1627. Fu beatificato nel 1675, canonizzato nel 1726 e proclamato dottore della Chiesa da Pio XI nel 1926; nel 1952 fu dichiarato patrono dei poeti spagnoli.

Nel Novecento la sua opera passò dalla spiritualità alla letteratura e alla filosofia: Jean Baruzi la studiò come problema dell'esperienza mistica, Edith Stein gli dedicò la sua Scientia Crucis, T. S. Eliot parafrasò la Salita in «East Coker» e poeti come Jorge Guillén o Claudio Rodríguez lo considerarono un maestro.

Fonti: 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.

Cronologia

La vita, anno per anno

Ogni punto è un evento documentato. Fai clic per leggerlo, con la sua fonte e il suo grado di certezza.

  1. 1542 · 0 anni

    Birth

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

    Documentato

  2. ca. 1545 · 3 anni

    Death of his father

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

    Probabile

  3. ca. 1551 · 9 anni

    Move to Medina del Campo

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

    Probabile

  4. 1559 · 17 anni

    Studies with the Jesuits

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

    Documentato

  5. 1563 · 21 anni

    Takes the Carmelite habit

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

    Documentato

  6. 1564 · 22 anni

    Studies at Salamanca

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

    Documentato

  7. 1567 · 25 anni

    Meeting with Teresa of Jesus

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

    Documentato

  8. 28 novembre 1568 · 26 anni

    First Discalced friary

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

    Documentato

  9. 1572 · 30 anni

    Confessor at the Incarnation

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

    Documentato

  10. 2 dicembre 1577 · 35 anni

    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.

    Documentato

  11. agosto 1578 · 36 anni

    Escape

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

    Documentato

  12. 1579 · 37 anni

    Rector of the college at Baeza

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

    Documentato

  13. 1582 · 40 anni

    Prior of Los Mártires

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

    Documentato

  14. 1584 · 42 anni

    Spiritual Canticle in prose

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

    Documentato

  15. 1588 · 46 anni

    Prior of Segovia

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

    Documentato

  16. giugno 1591 · 49 anni

    Loss of office

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

    Documentato

  17. 14 dicembre 1591 · 49 anni

    Death

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

    Documentato

  18. 1618

    First edition of his works

    The prose works are printed, without the Spiritual Canticle.

    Documentato

  19. 27 dicembre 1726

    Canonisation

    Benedict XIII canonises him.

    Documentato

  20. 24 agosto 1926

    Doctor of the Church

    Pius XI declares him a Doctor of the universal Church.

    Documentato

  21. 1952

    Patron of Spanish poets

    He is proclaimed patron of Spanish-language poets.

    Documentato

Opere

Opere essenziali

Le opere senza le quali non si comprende la sua eredità.

The Ascent of Mount Carmel — John of the Cross

Opera scritta · ca. 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.

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9 edizioni

The Dark Night — John of the Cross

Opera scritta · ca. 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.

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9 edizioni

Spiritual Canticle (redaction A) — John of the Cross

Opera scritta · 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.

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4 edizioni

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

Opera scritta · ca. 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.

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6 edizioni

Citazioni

Citazioni localizzate in un'opera precisa. Ciascuna porta con sé la sua provenienza e il suo grado di affidabilità.

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.

VerificataNoche oscura, estrofa 1

1 / 9
Citazioni apocrife o di attribuzione discussa (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.

Ultime parole

Racconto posteriore di testimoni

«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.

Fonte: 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).

Chiedi

Ciò a cui risponde la sua opera

Dodici grandi domande dell'umanità e ciò che i suoi testi permettono di rispondere, con riferimenti. Non gli mettiamo mai parole in bocca.

  • Che cos'è l'Assoluto? Dio esiste?

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

    Un Dio personaleLo dice espressamente

    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.

    Confronta questa domanda con altri maestri
  • Chi sono io? Esiste un vero sé?

    The soul is a creature that can become God by participation

    Un'anima creata e immortaleLo dice espressamente

    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.

    Confronta questa domanda con altri maestri
  • Perché soffriamo?

    The dark night hurts because it purifies for union

    La separazione da DioLo dice espressamente

    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.

    Confronta questa domanda con altri maestri
  • Che cosa accade dopo la morte?

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

    Vita eterna e resurrezioneLo dice espressamente

    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.

    Confronta questa domanda con altri maestri
  • Come si raggiunge la liberazione o la salvezza?

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

    Attraverso la grazia e l'amoreLo dice espressamente

    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.

    Confronta questa domanda con altri maestri
  • Serve un maestro?

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

    Utile ma non indispensabileLo dice espressamente

    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.

    Confronta questa domanda con altri maestri
  • Il mondo è reale?

    God passed through the groves and left them clothed in beauty

    Una creazione buona e realeLo dice espressamente

    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.

    Confronta questa domanda con altri maestri
  • Che cos'è l'amore?

    Living flame of love: the longing that wounds and unites

    Anelito e unioneLo dice espressamente

    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.

    Confronta questa domanda con altri maestri
  • Siamo liberi o è tutto determinato?

    Union is the conformity of two free wills

    Un libero arbitrio realeSi deduce dalla sua dottrina

    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.

    Confronta questa domanda con altri maestri
  • Perché meditare o pregare?

    From meditation to loving attentiveness in God

    Amicizia con DioLo dice espressamente

    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.

    Confronta questa domanda con altri maestri
  • Può la ragione conoscere l'ultimo?

    Transcending all knowledge: God is reached by dark faith

    L'ultimo è al di là della menteLo dice espressamente

    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.

    Confronta questa domanda con altri maestri
  • Ritirarsi dal mondo o trasformarlo?

    Forgetting the created, remembering the Creator

    Ritirarsi per trovareLo dice espressamente

    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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Aneddoti e racconti

Aneddoti e racconti

Tradizione 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 del racconto: 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.

Fonte: 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.

Testimonianzaagosto 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 del racconto: 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).

Fonte: 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).

Racconto agiograficoc. 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 del racconto: 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.

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

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

Fonte: 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).

Testimonianzaseptiembre–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 del racconto: Beatification processes (BMC 14); Crisógono de Jesús (1946).

Fonte: 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).

Insegnamenti

Insegnamenti

Le nozioni che articolano il suo pensiero, spiegate nel loro contesto.

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.

Fonte: 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.

Fonte: 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.

Fonte: 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.

Fonte: 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.

Fonte: 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).

Video

Video

Registrazioni, interviste e documentari. I video vengono riprodotti da YouTube; non sono ospitati qui.

  • Paisaje con figuras: Juan de la Cruz

    Documentario· ES· 1984· 44 min

    RTVE ArchivoCanale ufficiale

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

    Conferenza· ES· 2024· 52 min

    Universidad Pontificia ComillasCanale ufficiale

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

    Conferenza· ES· 2026· 49 min

    Carmelitas Descalzos ÚbedaCanale ufficiale

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

    Conferenza· ES· 2026· 109 min

    Centro de Estudios de HermenéuticaCanale ufficiale

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

    Registrazione originale· ES· 2015· 2 min

    Carmelitas DescalzosCanale ufficiale

  • Adónde te escondiste

    Registrazione di terzi· ES· 2016· 3 min

    Amancio PradaCanale ufficiale

  • José María Rodero lee a San Juan de la Cruz

    Registrazione di terzi· ES· 2014· 5 min

    SCM1974spain

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

    Conferenza· EN· 2014· 70 min

    Lumen Christi InstituteCanale ufficiale

  • Carmelite Authors 101: St. John of the Cross

    Conferenza· EN· 2018· 68 min

    Boston College Clough School of Theology and MinistryCanale ufficiale

  • The Dark Night of the Soul

    Analisi· EN· 2021· 41 min

    Bishop Robert BarronCanale ufficiale

  • Gottes Gegenwart erfahren: Die Mystik des Johannes vom Kreuz

    Conferenza· DE· 2023· 55 min

    CTS Hochschule MünsterCanale ufficiale

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

    Conferenza· DE· 2025· 58 min

    CTS Hochschule MünsterCanale ufficiale

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

    Conferenza· IT· 2018· 51 min

    Pontificia Facoltà Teologica Teresianum – RomaCanale ufficiale

  • La Chiesa ricorda San Giovanni della Croce

    Documentario· IT· 2018· 14 min

    Tv2000itCanale ufficiale

Galleria

Galleria

Immagini con licenza verificata. Ciascuna conserva la sua paternità e la sua attribuzione.

Manoscritti

Manoscritti

Testimoni manoscritti e testi antichi, con il loro custode e le loro condizioni di consultazione.

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

    Dichos de luz y amor (autógrafo)

    Testimone conservato
    Autógrafo parcial (códice de Andújar)
    Custode
    Carmelitas descalzas de Andújar (Jaén)
  • ES · Latina · 1584

    Cántico espiritual (manuscrito de Sanlúcar de Barrameda)

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

    Cántico espiritual y poesías (manuscrito de Jaén)

    Testimone conservato
    Testigo principal de la redacción B
    Custode
    Carmelitas descalzas de Jaén
  • ES · — · c. 1572–1577

    Cristo crucificado (dibujo)

    Testimone conservato
    Dibujo original a pluma
    Custode
    Monasterio de la Encarnación, Ávila
Manoscritti →

Relazioni

Relazioni

Influenze, discepolati e affinità. Si distingue la relazione documentata dalla somiglianza individuata per analisi.

  • Incontrò

    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).

    Relazione documentata

  • Ricevette l'influenza di

    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.

    Relazione documentata

  • Ricevette l'influenza di

    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.

    Relazione documentata

  • Ricevette l'influenza di

    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.

    Somiglianza individuata per analisi

  • Idee affini a

    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.

    Somiglianza individuata per analisi

  • Idee affini a

    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.

    Somiglianza individuata per analisi

  • Idee affini a

    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.

    Somiglianza individuata per analisi

  • Influenzò

    Thomas Merton

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

    Somiglianza individuata per analisi

Fonti

Fonti

Bibliografia e cataloghi consultati per questa scheda.

  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.
Titolare dei diritti
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…).

In attesa di conferma

Ciò che questa scheda non ha ancora potuto chiarire. Preferiamo dirlo piuttosto che riempirlo.

  • 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.

Ricerca effettuata il 2026-10-25