Teresa of Ávila

After completing her education, she initially resisted the idea of a religious vocation, but after a stay with her uncle and other relatives, she relented. In 1536, aged 20,[17] much to the disappointment of her pious and austere father, she decided to enter the local easy-going Carmelite Convent of the Incarnation, significantly built on top of land that had been used previously as a burial ground for Jews. She took up religious reading on contemplative prayer, especially Osuna's Third Spiritual Alphabet (1527). Her zeal for mortification caused her to become ill again and she spent almost a year in bed, causing huge worry to her community and family. She nearly died but she recovered, attributing her recovery to the miraculous intercession of Saint Joseph. She began to experience bouts of religious ecstasy.[12]

Her reading of the medieval mystics consisted of guides to examination of conscience and spiritual exercises and inner contemplation known in mystical terms as oratio recollectionis or oratio mentalis. She also dipped into other mystical ascetical works such as the Tractatus de oratione et meditatione of Peter of Alcantara.

She reported that, during her illness, she had progressed from the lowest stage of "recollection", to the "devotions of silence" and even to the "devotions of ecstasy", which was one of perceived "perfect union with God" (see § Mysticism). During this final stage, she said she frequently experienced the rich "blessing of tears". As the Catholic distinction between mortal and venial sin became clear to her, she came to understand the awful horror of sin and the inherent nature of original sin. She also became conscious of her own natural impotence in confronting sin and the need for absolute surrender to God.

Around the same time, she received a copy of the full Spanish translation of Augustine of Hippo's autobiographical work Confessions, which helped her resolve and to tend to her own bouts of religious scruples. The text helped her realize that holiness was indeed possible and she found solace in the idea that such a great saint was once an inveterate sinner. In her autobiography, she wrote that she "was very fond of St. Augustine [...] for he was a sinner too."[18]

Around 1556, friends suggested that her newfound knowledge could be of diabolical and not of divine origin. She had begun to inflict mortifications of the flesh upon herself. But her confessor, the Jesuit Francis Borgia, reassured her of the divine inspiration of her thoughts. On St. Peter's Day in 1559, Teresa became firmly convinced that Jesus Christ had presented himself to her in bodily form, though invisible. These visions lasted almost uninterruptedly for more than two years. In another vision, a seraph drove the fiery point of a golden lance repeatedly through her heart, causing her an ineffable spiritual and bodily pain:

I saw in his hand a long spear of gold, and at the point there seemed to be a little fire. He appeared to me to be thrusting it at times into my heart, and to pierce my very entrails; when he drew it out, he seemed to draw them out also, and to leave me all on fire with a great love of God. The pain was so great, that it made me moan; and yet so surpassing was the sweetness of this excessive pain, that I could not wish to be rid of it ...[lower-alpha 2]

The account of this vision was the inspiration for one of Bernini's most famous works, the Ecstasy of Saint Teresa at Santa Maria della Vittoria in Rome. Although based in part on Teresa's description of her mystical transverberation in her autobiography, Bernini's depiction of the event is considered by some to be highly eroticized, especially when compared to the entire preceding artistic Teresian tradition.[19]

The memory of this episode served as an inspiration throughout the rest of her life, and motivated her lifelong imitation of the life and suffering of Jesus, epitomized in the adage often associated with her: "Lord, either let me suffer or let me die."[20]

Teresa, who became a celebrity in her town dispensing wisdom from behind the convent grille, was also known for her raptures, which sometimes involved levitation. It was a source of embarrassment to her and she bade her sisters hold her down when this occurred. Subsequently, historians, neurologists and psychiatrists like Peter Fenwick and Javier Álvarez-Rodríguez, among others, have taken an interest in her symptomatology. The fact that she wrote down virtually everything that happened to her during her religious life means that an invaluable and exceedingly rare medical record from the 16th century has been preserved. Examination of this record has led to the speculative conclusion that she may have suffered from temporal lobe epilepsy.[21][22]

In 1567, Teresa received a patent from the Carmelite General, Rubeo de Ravenna, to establish further houses of the new order. This process required many visitations and long journeys across nearly all the provinces of Spain. She left a record of the arduous project in her Libro de las Fundaciones. Between 1567 and 1571, reformed convents were established at Medina del Campo, Malagón, Valladolid, Toledo, Pastrana, Salamanca, and Alba de Tormes.

As part of the original patent, Teresa was given permission to set up two houses for men who wished to adopt the reforms. She convinced two Carmelite friars, John of the Cross and Anthony of Jesus to help with this. They founded the first monastery of Discalced Carmelite brothers in November 1568 at Duruelo. Another friend of Teresa, Jerónimo Gracián, the Carmelite visitator of the older observance of Andalusia and apostolic commissioner, and later provincial of the Teresian order, gave her powerful support in founding monasteries at Segovia (1571), Beas de Segura (1574), Seville (1575), and Caravaca de la Cruz (Murcia, 1576). Meanwhile, John of the Cross promoted the inner life of the movement through his power as a teacher and preacher.[24]

In 1576, unreformed members of the Carmelite order began to persecute Teresa, her supporters and her reforms. Following a number of resolutions adopted at the general chapter at Piacenza, the governing body of the order forbade all further founding of reformed convents. The general chapter instructed her to go into "voluntary" retirement at one of her institutions.[24] She obeyed and chose St. Joseph's at Toledo. Meanwhile, her friends and associates were subjected to further attacks.[24]

Several years later, her appeals by letter to King Philip II of Spain secured relief. As a result, in 1579, the cases before the inquisition against her, Gracián and others, were dropped.[24] This allowed the reform to resume. An edict from Pope Gregory XIII allowed the appointment of a special provincial for the newer branch of the Carmelite religious, and a royal decree created a "protective" board of four assessors for the reform.[24]

During the last three years of her life, Teresa founded convents at Villanueva de la Jara in northern Andalusia (1580), Palencia (1580), Soria (1581), Burgos, and Granada (1582). In total, seventeen convents, all but one founded by her, and as many men's monasteries, were owed to her reforms over twenty years.[25]

She was buried at the Convento de la Anunciación in Alba de Tormes. Nine months after her death the coffin was opened and her body was found to be intact but the clothing had rotted. Before the body was re-interred one of her hands was cut off, wrapped in a scarf and sent to Ávila. Gracián cut the little finger off the hand and – according to his own account – kept it with him until it was taken by the occupying Ottoman Turks, from whom he had to redeem it with a few rings and 20 reales. The body was exhumed again on 25 November 1585 to be moved to Ávila and found to be incorrupt. An arm was removed and left in Alba de Tormes at the nuns' request, to compensate for losing the main relic of Teresa, but the rest of the body was reburied in the Discalced Carmelite chapter house in Ávila. The removal was done without the approval of the Duke of Alba de Tormes and he brought the body back in 1586, with Pope Sixtus V ordering that it remain in Alba de Tormes on pain of excommunication. A grander tomb on the original site was raised in 1598 and the body was moved to a new chapel in 1616.

The body still remains there, except for the following parts:

• Rome – right foot and part of the upper jaw
• Lisbon – hand
• Ronda, Spain – left eye and left hand (the latter was kept by Francisco Franco until his death after Francoist troops captured it from Republican troops during the Spanish Civil War)
• Museum of the Church of the Annunciation, Alba de Tormes – left arm and heart
• Church of Our Lady of Loreto, Paris, France – one finger
• Sanlúcar de Barrameda – one finger

The Ecstasy of Saint Teresa by Bernini, Basilica of Santa Maria della Vittoria, Rome

Christia Mercer, Columbia University philosophy professor, claims that the seventeenth-century Frenchman René Descartes lifted some of his most influential ideas from Teresa of Ávila, who, fifty years before Descartes, wrote popular books about the role of philosophical reflection in intellectual growth.[34] She describes a number of striking similarities between Descartes's seminal work Meditations on First Philosophy and Teresa's Interior Castle.[32]

Teresa, who reported visions of Jesus and Mary, was a strong believer in the efficacy of holy water, claiming to have used it with success to repel evil spirits and temptations. She wrote: "I know from frequent experience that there is nothing which puts devils to flight better than holy water."[35]

The prayer Nada te turbe (Let nothing disturb you) is attributed to Teresa, having been found within her breviary:[36]

Let nothing disturb you.
Let nothing make you afraid.
All things are passing.
God alone never changes.
Patience gains all things.
If you have God you will want for nothing.
God alone suffices.

— Kirvan 1996

A modern prayer Christ has no body but yours, though widely attributed to Teresa,[37][38] is not found in her writings.[39]

• Marc-Antoine Charpentier composed two motets for the feast of Saint Teresa: Flores, flores o Gallia for two voices, two flutes and continuo (H.374), c. 1680 and the other, for three voices and continuo (H.342), in 1686–87.
• She is a principal character of the opera Four Saints in Three Acts by the composer Virgil Thomson with a libretto by Gertrude Stein.[49][50]
• Saint Teresa is the subject of the song "Theresa's Sound-World" by Sonic Youth off the 1992 album Dirty, lyrics by Thurston Moore.[51]
• Saint Teresa is a track on Joan Osborne's Relish album, nominated for a Grammy Award in 1996.[52]

• Saint Teresa of Ávila's Vision of the Holy Spirit is a 1612-1614 painting by Peter Paul Rubens and is exhibited in the Museum Boijmans Van Beuningen in Rotterdam,[53] and Rubens' c. 1614 painting of the same subject is in the Fitzwilliam Museum, Cambridge.
• Another Rubens portrait of Teresa, from 1615, is now in the collection of the Kunsthistorisches Museum, Vienna.[54]
• Saint Teresa was the inspiration for one of Bernini's most famous sculptures, The Ecstasy of St. Teresa (mid-17th century) in Santa Maria della Vittoria, Rome.[55][56]
• St. Teresa was painted in 1819–20 by François Gérard, a French neoclassical painter.[57]

• Simone de Beauvoir singles out Teresa as a woman who lived the human condition (perhaps the only woman to do so) in her book The Second Sex.[58]
• She is mentioned prominently in Kathryn Harrison's novel Poison.[59] The main character, Francisca De Luarca, is fascinated by her life.
• Don DeLillo in End Zone depicted Teresa as a saint who eats from a human skull to remind herself of final things.
• R. A. Lafferty was strongly inspired by El Castillo Interior when he wrote his novel Fourth Mansions. Quotations from St. Teresa's work are frequently used as chapter headings.[60]
• Pierre Klossowski prominently features Saint Teresa of Ávila in his metaphysical novel The Baphomet.[61]
• George Eliot compared Dorothea Brooke to St. Teresa in Middlemarch (1871–1872) and wrote briefly about the life and works of St. Teresa in the "Prelude" to the novel.[62]
• Thomas Hardy took Saint Teresa as the inspiration for much of the characterisation of the heroine Tess (Teresa) Durbeyfield, in Tess of the d'Urbervilles (1891), most notably the scene in which she lies in a field and senses her soul ecstatically above her.[63]
• The contemporary poet Jorie Graham features Saint Teresa in the poem Breakdancing in her volume The End of Beauty.[64]
• Barbara Mujica's novel Sister Teresa, while not strictly hagiographical, is based upon Teresa's life.[65]
• Timothy Findley's 1999 novel Pilgrim features Saint Teresa as a minor character.[66]
• Vita Sackville-West wrote a double biography contrasting the two Carmelite Theresas, The Eagle and the Dove, re-issued in 2018.[67]
• Zepeda, Reginald (2012). From Spain to Texas: A Cepeda y Ahumada Family Journey. Xlibris. ISBN 9781479770083.

• Performance artist Linda Montano has cited Teresa of Ávila as one of the most important influences on her work and since her return to Catholicism in the 2000s has done performances of her life.[68]
• Teresa de Jesús (1984), directed by Josefina Molina and starring Concha Velasco, is a Spanish made-for-TV mini-series. In it Teresa is portrayed as the determined foundress of new carmelite houses while protecting the infant Jesus statue on her many arduous journeys. The devotion to the Child Jesus spread quickly in Spain, possibly due to her mystical reputation, and then to other places, including France.[69]
• Nigel Wingrove's 1989 short film Visions of Ecstasy was based on Teresa of Ávila. The film features phantasied sexualised scenes of Teresa with the body of Jesus on the cross. It is the only work to be refused certification by the British Board of Film Classification (BBFC) on the grounds of blasphemy.[70]
• Dževad Karahasan. The Delighted Angel drama about Teresa of Ávila and Rabija al-Adavija, Vienna-Salzburg-Klagenfurt, ARBOS 1995.
• Paz Vega stars as Teresa in Teresa, el cuerpo de Cristo, a 2007 Spanish biopic directed by Ray Loriga.[71]
• Marian Álvarez plays the saint in Teresa, a 2015 Spanish television film directed by Jorge Dorado and made for the 500th anniversary of her birth.[72]
• St. Teresa also features prominently in the 2009 Ron Howard film, Angels and Demons, where the Bernini sculpture, The Ecstasy of St. Teresa, is an important clue in helping Robert Langdon (Tom Hanks) find an anti-matter bomb that is hidden in and set to destroy the Vatican.

This article was originally based on the text in the Schaff-Herzog Encyclopedia of Religious Knowledge.