the most sublime and marvellous in history
were attempted to be enforced.

It has already been observed that this rancorous extravagance of the
religious spirit in Spain had its origin in a political and patriotic
struggle; but long and sanguinary as that was, it could not eradicate the
primitive type of the nation, nor prevent its characteristic qualities
from reflecting themselves in worship, devotion, and every thing else
that constitutes a national religion. Thus it was, that, with those
intolerant and persecuting propensities, were also associated, in Spanish
Catholicism, the gorgeous, romantic, and poetic, which are still
preserved among that semi-oriental race. The Spaniard, endowed with a
lively imagination, appears to identify himself with the objects of his
endearment; his soul is transported by them, and he dresses them up in
his imagination till he fancies they reciprocate his own affections.
This vehement expansion of sentiments frequently opposes his reason, and
transforms his real existence into a perpetual vision. Hence also we
find that his devotion is not only tender and sympathetic, but passionate
and warm. His fervour in prayer arrives at such a pitch as to produce
copious tears. The language of Spain's mystical writers, especially that
of the elegant Santa Teresa de Jesus, contains the same expressions as
those which are used in addressing profane objects of the affections.
One of her most celebrated spiritual songs differs in nothing from those
which might have been written by Ovid or Tibullus. Its burden is this:--

Cubridme de flores,
Que muero de amores. {15}

The word _amores_, in the plural, does not signify merely the abstract
feeling of love, the application of which is as various as are the
objects which inspire it; for example, the divine love, the parental, the
filial, and the sexual. _Amores_ signifies courtship, flirtation,
interchange of sentiments between two lovers; and yet we find this word,
at every turn, in the prayers and ejaculations of devout Spaniards.

The distinguished woman to whom we have alluded carried, even to an
incredible excess, this mixture of the sacred affections with the
profane. In her voluminous writings, unrivalled in purity of language
and elegance of style, she considers herself, always, as the bride of
Jesus Christ, to whom she addresses herself with the same transports of
love, and with the same demonstrations of tender submission and e