Perderse para ser ganada. Realización de la mujer, bajo el símbolo del alma esposa en el Cántico espiritual de Juan de la Cruz = Became Lost to Be Won. The Woman’s Personal Fulfillment, Under the Symbol of the Soul-Wife, in the Spiritual Canticle of Juan De La Cruz
Este artículo indaga sobre la especificidad de la realización de la mujer, latente en la figura de la esposa del Cántico espiritual de Juan de la Cruz. En el último verso de la Canción 20, la esposa declara: “Me hice perdidiza, y fui ganada”. Esta expresión, de cuño evangélico (Mt 16,25) y paulino (...
| Outros títulos: | Became Lost to Be Won. The Woman’s Personal Fulfillment, Under the Symbol of the Soul-Wife, in the Spiritual Canticle of Juan De La Cruz |
|---|---|
| Autor principal: | |
| Tipo de documento: | Recurso Electrónico Artigo |
| Idioma: | Espanhol |
| Verificar disponibilidade: | HBZ Gateway |
| Interlibrary Loan: | Interlibrary Loan for the Fachinformationsdienste (Specialized Information Services in Germany) |
| Publicado em: |
2021
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| Em: |
Theologica Xaveriana
Ano: 2021, Volume: 71 |
| Outras palavras-chave: | B
Alma
B Paradox B Incarnation B Holy Spirit B Fulfilment B Encarnación B Espíritu Santo B Paradoja B Cántico Espiritual B Juan De La Cruz B John of the Cross B Amor B Música soul B Love B Wife B Realización B Spiritual Canticle B Woman B Esposa B Mujer |
| Acesso em linha: |
Volltext (kostenfrei) Volltext (kostenfrei) |
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| 520 | |a Este artículo indaga sobre la especificidad de la realización de la mujer, latente en la figura de la esposa del Cántico espiritual de Juan de la Cruz. En el último verso de la Canción 20, la esposa declara: “Me hice perdidiza, y fui ganada”. Esta expresión, de cuño evangélico (Mt 16,25) y paulino (Flp 1,21), constituye un rasgo específico del amor de la amada y abre el camino para la comprensión de su paradójica realización, lo cual se verifica en el análisis de los demás textos del Cántico relativos al alma esposa. Este estudio privilegia el orden de la primera versión del Cántico sanjuanista, cuya estrofa 20 corresponde además al protocántico y expresa de manera más armoniosa los desplazamientos hacia la interioridad y al “entrambos”. Sin embargo, la transmutación de los amantes del drama, en el dinamismo simbólico, parece desdibujar toda especificidad del amor y de la realización personal consecuente. La unión de amor articula, no sin conflicto, los símbolos relativos a lugares para la esposa y de movimiento para el esposo. El drama comienza con la salida de la esposa en búsqueda del Amado, para un nuevo ingresar en lo más interior de sí misma, donde mora el Esposo. La alternancia movilidad y estabilidad recorre todo el poema. La repentina presencia del Espíritu Santo en el drama, como “aposentador del Verbo en el alma”, explicita un tercero en la relación de amor y elimina cualquier intento de comprenderlo en términos lineales. El Espíritu sostiene y enriquece la reciprocidad en la alteridad propia del amor, cuya matriz es la encarnación y, finalmente, revela en aquel amor esponsal dialógico, el misterio del amor trinitario. Lo específico de la realización de la mujer trasciende como disponibilidad al Espíritu, al cual todo amor que no suprime la dolorosa paradoja, se equipara. | ||
| 520 | |a This article investigates the specificity of the woman’s fulfillment, latent in the figure of the wife of the Spiritual Canticle of John of the Cross. In the last verse of Song 20, the wife declares: “I became lost, and I was won.” This expression, of an evangelical (Mt 16.25) and Pauline (Phil 1.21) stamp, constitutes a specific feature of the wife’s love, and opens the way for the understanding of its paradoxical realization, which is verified in the analysis of the other texts of the Canticle relative to the wife’s soul. This study privileges the order of the first version of the sanjuanista Canticle, whose stanza 20 also corresponds to the proto-canticle and expresses more harmoniously the movements towards the interiority and the entrambos. However, the transmutation of drama lovers into symbolic dynamism seems to blur all specificity of love and the consequent personal fulfillment. The union of love articulates, not without conflict, the symbols related to places for the wife and movement for the husband. The drama begins with the departure of the wife in search of the Beloved, for a new entry into the innermost of herself, where the Husband dwells. The alternation of mobility and stability is transversal to the poem. The sudden presence of the Holy Spirit in the drama, as “lodger of the Verb in the soul”, makes a third party explicit in the love relationship and eliminates any attempt to understand it in linear terms. The Spirit sustains and enriches reciprocity in the alterity proper to love, whose matrix is the Incarnation, and finally reveals—in that dialogical spousal love—the mystery of Trinitarian love. The specificity of the woman’s fulfillment transcends as availability to the Spirit, to which all love that does not suppress the painful paradox, is equated. | ||
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