It would be an unnecessary digression from our subject to work out in detail the stages by which the Pope came to take his place first as the Italian vicar of a distant emperor, and at length, as the result of astute statecraft and the necessities of the case, among the princes of Europe, as their chief and arbiter. So much as has been said was, however, necessary for the comprehension of the task with which Catherine measured, for the time, successfully her strength. It was given to the Popolana of Siena, by the effect of her eloquence in persuading the wavering will of the Pope to return to his See, to bring about what was, for the moment, the only possible solution of that Roman question, which, hanging perpetually round the skirts of the Bride of Christ, seems at every step to impede her victorious advance.
* * *
Nevertheless, it is neither the intrinsic importance nor the social consequences of her actions that constitute the true greatness of St. Catherine. Great ends may be pursued by essentially small means, in an aridity and narrowness of temper that goes far to discount their actual achievement. History, and in particular the history of the Church, is not wanting in such instances. Savonarola set great ends before himself—the freedom of his country and the regeneration of the state; but the spirit in which he pursued them excludes him from that Pantheon of gracious souls in which humanity enshrines its true benefactors. “Soul, as a quality of style, is a fact,” and the soul of St. Catherine’s gesta expressed itself in a “style” so winning, so sweetly reasonable, as to make her the dearest of friends to all who had the privilege of intimate association with her, and a permanent source of refreshment to the human spirit. She intuitively perceived life under the highest possible forms, the forms of Beauty and Love. Truth and Goodness were, she thought, means for the achievement of those two supreme ends. The sheer beauty of the soul “in a state of Grace” is a point on which she constantly dwells, hanging it as a bait before those whom she would induce to turn from evil. Similarly the ugliness of sin, as much as its wickedness, should warn us of its true nature. Love, that love of man for man which, in deepest truth, is, in the words of the writer of the First Epistle of St. John, God Himself, is, at once, the highest achievement of man and his supreme and satisfying beatitude. The Symbols of Catholic theology were to her the necessary and fitting means of transit, so to speak. See, in the following pages, the fine allegory of the Bridge of the Sacred Humanity, of the soul in viâ on its dusty pilgrimage towards those gleaming heights of vision. “Truth” was to her the handmaid of the spiritualized imagination, not, as too often in these days of the twilight of the soul, its tyrant and its gaoler. Many of those who pass lives of unremitting preoccupation with the problems of truth and goodness are wearied and cumbered with much serving. We honor them, and rightly; but if they have nothing but this to offer us, our hearts do not run to meet them, as they fly to the embrace of those rare souls who inhabit a serener, more pellucid atmosphere. Among these spirits of the air, St. Catherine has taken a permanent and foremost place. She is among the few guides of humanity who have the perfect manner, the irresistible attractiveness, of that positive purity of heart, which not only sees God, but diffuses Him, as by some natural law of refraction, over the hearts of men. The Divine nuptials, about which the mystics tell us so much, have been accomplished in her, Nature and Grace have lain down together, and the mysteries of her religion seem but the natural expression of a perfectly balanced character, an unquenchable love and a deathless will.
* * *
The Dialogue of St. Catherine of Siena was dictated to her secretaries by the Saint in ecstasy. Apart from the extraordinary circumstances of its production, this work has a special interest.
The composition of the Siennese dyer’s daughter, whose will, purified and sublimated by prayer, imposed itself on popes and princes, is an almost unique specimen of what may be called “ecclesiastical” mysticism; for its special value lies in the fact that from first to last it is nothing more than a mystical exposition of the creeds taught to every child in the Catholic poor-schools. Her insight is sometimes very wonderful. How subtle, for instance, is the analysis of the state of the “worldly man” who loves God for his own pleasure or profit! The special snares of the devout are cut through by the keen logic of one who has experienced and triumphed over them. Terrible, again, is the retribution prophesied to the “unworthy ministers of the Blood.”
And so every well-known form of Christian life, healthy or parasitic, is treated of, detailed, analyzed incisively, remorselessly, and then subsumed under the general conception of God’s infinite loving-kindness and mercy.
The great mystics have usually taken as their starting-point what, to most, is the goal hardly to be reached; their own treatment of the preliminary stages of spirituality is frequently conventional and jejune. Compare, for instance, the first book with the two succeeding ones, of Ruysbrock’s Ornement des Noces spirituelles, that unique breviary of the Christian Platonician. Another result of their having done so is that, with certain noble exceptions, the literature of this subject has fallen into the hands of a class of writers, or rather purveyors, well-intentioned no doubt, but not endowed with the higher spiritual and mental faculties, whom it is not unfair to describe as the feuilletonistes of piety. Such works, brightly bound, are appropriately exposed for sale in the Roman shop-windows, among the gaudy objets de religion they so much resemble. To keep healthy and raise the tone of devotional literature is surely an eighth spiritual work of mercy. St. Philip Neri’s advice in the matter was to prefer those writers whose names were preceded by the title of Saint. In the Dialogo we have a great saint, one of the most extraordinary women who ever lived, treating, in a manner so simple and familiar as at times to become almost colloquial, of the elements of practical Christianity. Passages occur frequently of lofty eloquence, and also of such literary perfection that this book is held by critics to be one of the classics of the age and land which produced Boccaccio and Petrarch. To-day, in the streets of Siena, the same Tuscan idiom can be heard, hardly altered since the days of St. Catherine.
One word as to the translation. I have almost always followed the text of Gigli, a learned Siennese ecclesiastic, who edited the complete works of St. Catherine in the last century. His is the latest edition printed of the Dialogo. Once or twice I have preferred the cinquecento Venetian editor. My aim has been to translate as literally as possible, and at the same time to preserve the characteristic rhythm of the sentences, so suggestive in its way of the sing-song articulation of the Siennese of today. St. Catherine has no style as such; she introduces a metaphor and forgets it; the sea, a vine, and a plough will often appear in the same sentence, sometimes in the same phrase. In such cases I have occasionally taken the liberty of adhering to the first simile when the confusion of metaphor in the original involves hopeless obscurity of expression.
VIAREGGIO, September 1906.
A Treatise of Divine Providence
HOW A SOUL, ELEVATED BY DESIRE OF THE HONOR OF GOD, AND OF THE SALVATION OF HER NEIGHBORS, EXERCISING HERSELF IN HUMBLE PRAYER, AFTER SHE HAD SEEN THE UNION OF THE SOUL, THROUGH LOVE, WITH GOD, ASKED OF