Louis de Leon

Aula de fray Luis de León in the major schools of the University of Salamanca.

Fray Luis de León (in Latin, F. Luyssi Legionensis; Belmonte, Cuenca, 1527 or 1528- Madrigal of the High Towers, Ávila, August 23, 1591) was a Spanish Augustinian theologian, poet, astronomer, humanist and religious of the Salamanca school.

Fray Luis de León is one of the most important poets of the second phase of the Spanish Renaissance along with Francisco de Aldana, Alonso de Ercilla, Fernando de Herrera and San Juan de la Cruz. His work is part of the ascetic literature of the second half of the XVI century and is inspired by the soul's desire to get away from everything earthly in order to achieve what was promised by God, identified with peace and knowledge. Moral and ascetic themes dominate all his work.

In addition, Fray Luis de León was one of the experts consulted to change the Julian calendar used in the West since the time of Julius Caesar to the current Gregorian calendar, named after Pope Gregory XIII who supervised it.

Biography

Fray Luis de León was born in Belmonte in 1527 or 1528 and was of Jewish-convert origin on both sides. His father was the lawyer Lope de León and his mother was Inés Varela. He lived and completed his first studies in Madrid and Valladolid, places where his father performed the distinguished work of royal counselor. When he was fourteen, he went to Salamanca to join the Augustinian Order, probably in January 1543, and professed on January 29, 1544. Since then Salamanca has been the center of his intellectual life as a professor of your university.

He studied philosophy with Fray Juan de Guevara and theology with Melchor Cano. In the course of 1556-1557 he met Fray Cipriano de la Huerga, an orientalist professor of the Bible in Alcalá de Henares, and this meeting was a key experience in the intellectual formation of Fray Luis. Likewise, an uncle of his, Francisco de León, professor of law at the University of Salamanca, tutored him at that time, since his family had gone to Granada following the vicissitudes of his father's profession, who had been appointed judge in his Chancery in 1542.

Between May and June 1560, he obtained the degrees of Licentiate and Master of Theology from the University of Salamanca. He then began his fight for the chairs: that of Bible , which had been left vacant by Gregorio Gallo, later appointed bishop of the diocese of Orihuela, won by Gaspar de Grajal; and that of Santo Tomás, which he obtained the following year (1561) beating seven applicants, including the Dominican master Diego Rodríguez.

In 1565, when he had completed four years in the chair of Santo Tomás, he competed against that of Durando and came out victorious again against Diego Rodríguez himself. He remained there until March 1572. At the end of 1571, together with the musician Francisco Salinas and the rector Diego de Castilla, he was part of the jury for the literary joust for the victory of Lepanto and the birth of Prince Ferdinand.

These and other successes probably drew him to the displeasure of the Dominicans, patrons of the Inquisition, since, in effect, he was denounced, and he spent a season in prison (in Valladolid, on the street that now receives the name of Fray Luis de León) for translating the Song of Songs into the vernacular without a license. His defense of the Hebrew text irritated the most intransigent scholars, especially the canon and professor of Greek León de Castro, author of some commentaries on Isaías, and the Dominican Fray Bartolomé de Medina, upset against him for some academic failures. Fray Luis had defended, in the meetings of theologians held at the University to try to approve the so-called Vatablo Bible, a series of proposals that led him to jail together with the teachers Gaspar de Grajal and Martín Martínez de Cantalapiedra. In prison he wrote Of the names of Christ and several poems, among which is the Song to Our Lady .

After his precautionary stay in prison (from March 27, 1572 to December 7, 1576), he was appointed professor of Moral Philosophy, and a year later he obtained the chair of Sacred Scripture, which he obtained as property in 1579. At the university, one of his students was San Juan de la Cruz, who was then called Fray Juan de San Matías.

In Salamanca, the poetic works that the Augustinian composed as a diversion soon spread and attracted him not only to the praise of his friends, the humanists Francisco Sánchez de las Brozas (el Brocense) and Benito Arias Montano, but also to the poets Juan de Almeida and Francisco de la Torre and others such as Juan de Grail, Pedro Chacón or the blind musician Francisco de Salinas, who formed the so-called first Salamanca or Salamanca School.

The reasons for his imprisonment must be attributed to envy and quarrels between orders and to the denunciations of the professor of Greek León de Castro. The main accusation was to prefer the Hebrew text of the Old Testament to the Latin version (St. Jerome's Vulgate translation) adopted by the Council of Trent, which was true, but also to have translated parts of the Bible., specifically the Song of Songs, to the vulgar language, something expressly prohibited also by that recent council and that this only allowed in the form of paraphrase (that is, using more words than the original). For the first reason, his friends, the Jews Gaspar de Grajal and Martín Martínez de Cantalapiedra, and the professor of the University of Osuna Alonso Gudiel, who, like Grajal, died in the Inquisition prison in Valladolid during his captivity, were also persecuted and imprisoned..

It is true that he had translated the Song of Songs directly from the Hebrew, with glosses and commentaries, but he had done it privately to enlighten his cousin Isabel de Osorio, a nun in the Salamanca convent of Santi Spiritus, which she did not know Latin: someone had made a copy without her consent, of which several more were made. In the Indices of books prohibited by the church of Lisbon (1581) and Toledo (1583) both its version in prose and another, of doubtful attribution, in verse appear. His lengthy defense lengthened the inquisitorial process, which took almost five long years, after which he was finally acquitted.

The more you want to unravel / the captive bird, the more you light, / and the defense of me the more offends me.

Since he paraphrases it in his "Ode XVII, in a hope that came out in vain", it seems certain that he can be attributed the tenth graffiti that allegedly, when leaving jail, wrote on its walls:

Here envy and lies
They kept me locked up.
Blessed is the humble state
of the wise that retires
of the evil world,
and, with poor table and house,
in the delightful field,
with God alone,
and alone his life passes,
neither envious nor envious!

Already exonerated of all guilt, and even when the Inquisition had recognized his right to return to his chair of Writing, he resigned it in favor of Father Castillo who had been performing it since his imprisonment; In this way, little less than forced, the cloister granted him in January 1577 the Theology. His biographers say that during his years of teaching, Fray Luis used to summarize the lessons explained in the previous class and that when he returned to the University to his new chair, he resumed his lessons with the phrase "We said yesterday..." (Dicebamus hesterna die ), as if his four years in prison had not elapsed. astronomical, he was commissioned for the reform of the Julian calendar at the same time that he reached the chair of Moral Philosophy. Likewise, a sympathizer of the Carmelite reform, when Saint Teresa of Jesus was confined in Toledo and prosecuted (also) by the Inquisition because of Having written the book of his Life, he defended it from the calumnies of his enemies and in 1579 he won again by competitive examination the chair of the Bible, a subject he taught until his death.

However, from 1580 he was very busy in the affairs of his order, although he had time to order and correct his Poesías hiding under the pseudonym "Luis Mayor" and putting a prologue and dedication to his friend the inquisitor general Pedro Portocarrero.

In 1582, together with the Jesuit Prudencio de Montemayor, he intervened in the De auxiliis controversy that had been raised at the University by the publication of the Concordia by the Jesuit Luis de Molina; and once again he faced the Dominicans, speaking out in favor of human freedom, which led him to be denounced again before the Inquisition, this time with no other consequence than a mild reprimand from the Inquisitor General, the Archbishop of Toledo and Cardinal Gaspar de Quiroga..

On September 15, 1587, Luis de León dated in Madrid his letter-prologue to the first edition of the Book of Life of Teresa de Jesús. Fray Luis had examined her writings for publication and approved the autograph of the "big book" —as the Saint called it— that she had drawn up in her cell, far from the monastery of San José de Ávila, between the years 1563 and 1565, after having founded, in 1562, the first monastery of his reform. Fray Luis admired the work of that intrepid nun and her vivid and pure language, and had even tried to get him to join her order. On the convenience of publishing the book, Luis de León commented on the goodness of that work:

In judging things it must be taken care of whether they are good in themselves and convenient for their purposes, and not what will make them the misuse of some. That if you look at this, there's none so holy that you can't see it.

On December 5, 1588, after the Toledo chapter, his Order commissioned him to write the Way of Living of the Discalced Augustinian Friars, a document that would lay the spiritual and practical foundations of the new foundations of the Order of Augustinian Recollects. This Way of Living immediately became his first Constitutions and Fray Luis de León was one of its main inspirations, as he collected in his writing the original spirit of this Augustinian movement and translate it into the daily life of the friars.

On August 14, 1591, he was elected provincial of Castile of the order of San Agustín, in the convent of the town of Madrigal de las Altas Torres (Ávila). There death will surprise him nine days later. His remains were transferred to Salamanca, where he was buried. The painter Francisco Pacheco describes it this way in his Description book of true portraits of illustrious and memorable men (1599):

In the natural was small of body, in due proportion; the big head, well formed, populated of hair somewhat crespo; the wax, closed; the forehead, spacious; the most round face that I hallow; trigueño el color; the green and alive eyes. In the morals, the quietest man that has been known, although of singular sharpness in his sayings, with extreme abstinent and tempered in the food, drink and dream; of a lot of secret, truth and fidelity, punctual in words and promises, compound, little or nothing risueño.

The work

Intellectual activity

As a man committed to his time, he did not put aside day-to-day problems, so that in the context of the problems addressed by the School of Salamanca, to which he belonged, Fray Luis intervened in the Polemica De auxiliis, together with the Jesuit Prudencio de Montemayor, defending the freedom of man, which cost him the prohibition to teach these ideas. Montemayor had come out worse off when he was separated from all teaching.

Literature

Fray Luis himself wrote down his concept of poetry: "a communication of heavenly and divine breath", in his De los nombres de Cristo, book I, &# 34;Monte", "so that the style of saying resembles feeling, and the words and things are consistent":

Because" [Christ] He is only worthy subject to poetry; and those who draw it out of him, and, forcing it, employ it, or rather say, lose it in arguments of liviandad, should be punished as public corrupters of two most holy things: of poetry and customs. Poetry corrupted, for no doubt God inspired it in the spirits of men, to, with the movement and spirit of it, to lift them up to heaven, from where it proceeds; for poetry is but a communication of the heavenly and divine breath; and so, in the Prophets almost all, so those who were truly moved by God, as those who, incited by other superhuman causes, spoke to me, the same spirit that lifted up.

His favorite and personal themes, if we leave aside the moral and patriotic ones that he also cultivated occasionally, are, in the long number of odes that he wrote, the desire for solitude and retreat in nature (topic of Beatus Ille), and the search for spiritual peace and knowledge (what he called the pure truth without a veil), since he was a restless, passionate and vehement man, afflicted by all kinds of tormented outbursts, and wanted solitude, tranquility, peace and quiet before anything else:

Living with me,
I want the good that I owe to heaven,
alone, without a witness,
free of love, of zeal,
of hatred, of hope, of remission.

This theme is reiterated in all his lyrics, the search for serenity, calm, tranquility for a nature that, like his, was prone to passion. In it, the classical balance of the Renaissance was already battling with the nascent and dynamic baroque asymmetries, already constituting in fact a living example of poetic mannerism. And that comfort and serenity is found in the heavens or in nature:

Sierra you go to the sky
very high, and you enjoy the calm
who doesn't know the ground,
where the blind vulgo
He loves to die, burning in live fire:

receive me at your summit,
receive me, that I am persecuted
the wrong crowd,
the lost work,
false peace, evil not deserved.

Oda «On the Move»

As a poet, he developed the lyre as a stanza that Garcilaso de la Vega had introduced, composed of heptasyllables and hendecasyllables, but he exclusively preferred the hendecasyllable for translations of Latin and Greek poets, which he generally did in chained triplets or real octaves.

Style

Writing, Fray Luis thinks, is a difficult activity ("because I put concert words into words and choose them and give them their place... because speaking well is not common, but rather a business of particular judgement, so in what is said, as in the way it is said"). Common words will be used, but select ones, since the good writer, among

Those who all speak, choose those who agree and look at the sound of them, and even sometimes count the letters and weights and measure them and compose them so that they not only say clearly what they intend to say, but also with harmony and sweetness.

Harmony was for him the oral balance of the phrase, but in him it dominates over sweetness, since he is not aware of the mellows of, for example, the contemporary bucolic prose of the pastoral novel. He achieves harmony through a perfect correspondence between background and form, learned in the Latin classics, which he studied not only to imitate them, but to reproduce his qualities in Spanish. His language, then, is that of Juan de Valdés: natural, select and without affectation.

Although his style is apparently sober and austere, and according to Marcelino Menéndez Pelayo reflected the sofrosine or Greek balance, current critics have noted that his language and technique reveal the vehement and passionate character of the author. So his style is only simple and austere in terms of images, vocabulary and embellishments: the syntax, which says more about the true essence of the author, is constrained by the demanding shape of the lyre, and resorts to unusual frequency. to the abrupt enjambment and the brachistiquio, as well as to the hyperbaton, thereby expressing a tense and tormented character, which frequently overflows the course of the verse and even the stanza. On the other hand, his vehemence is reflected through the numerous admiring expressions and interjections that punctuate his verses, with a broken rhythm, and both in his prose and in his verse he habitually resorts to pairs of words joined by a nexus or a comma, that is to say, to the doublets of words with complementary meaning, or to the geminations, doublets of synonyms, which rest with their balance that passion that he strives to contain both in his verse and in his prose.

Her communicative desire is expressed in a particular preference for the second person, which is why her texts tend to have a discursive character and moral commentary that exhorts the receiver in some way. This discursive tone, somewhat oratorical, gives rise to frequent enumerations, exclamations and rhetorical questions, and there are also plenty of descriptive passages with which the author makes the interlocutor experience what he evokes in the present tense: hence his frequent use of the historical present.. The odes are short: only two exceed one hundred verses, the XX and the XXI. The most important range from forty to eighty or ninety and, of the twenty-three, seventeen are written in Garcilasian liras. As has already been said, as a manifestation of the tension between his vehemence and his desire to restrain it, there are frequent overlappings, numerous and sometimes violently abrupt, which is why Fray Luis's style is characterized by a particular tension of his own. of Mannerism, in short, parallel to that which is expressed in the severe and contemporary architectural style of Herrera.

He uses a symbolic repertoire taken from classical Latin and Hebrew poetry, which synthesizes three different cultural traditions: classical Greco-Latin (lyric, especially the Odes of his highly admired Horace and the Eclogues of Virgil and philosophical Neoplatonism); Biblical literature (Psalms, Book of Job, Song of Songs) and, finally, both Italianate and traditional poetry of the early Renaissance Spanish.

He began writing prose in 1572 De los nombres de Cristo, a work in three books that he would not finish until 1585. In it he shows the last and definitive elaboration of the themes and ideas that he outlined in his poems in the form of a Ciceronian dialogue where the various interpretations of the names given to Christ in the Bible are commented on: "Sapling", "Faces of God", "Mount", "Father of the Future Century", "Arm of God", "King of God", "Husband" 34;, "Prince of Peace", "Beloved", "Lamb", "Son of God", "Way";, "Shepherd" and "Jesu". His Castilian prose reaches maximum perfection there, of which the following paragraph can be a good example:

You therefore attain the perfection of the things in which each one of us is a perfect world, so that by this way, all of us being in me and me in all others, and having me his being of all of them, and all and every one of them having the being of mine, is embraced and flung all this machine of the universe, and is reduced to unity the multitude of their differences; and remaining unmixed, are mixed, Which is to catch up with the creature to God, of whom mana, which in three people is an essence, and in infinite number of uncomprehensible excellence, a single perfect and simple excellence. (From the names of Christ, lib. I).

For this work, he was inspired by that of his fellow order Alonso de Orozco (1500-1591) Of the nine names of Christ. Fray Luis is also responsible for works of some importance in Latin (De legibus, in three books; In Cantica Canticorum Salomonis explanatio, 1582; In psalmum vigesimumsextum explanatio, 1582; the treatise De agno typicalo, the Expositions on Obadías and Ad Galatas, the Constitutions for the Recollects of San Agustín...) and some other moral works in Spanish on education, such as La perfecta casada (Salamanca, 1584), addressed to his cousin, María Varela Osorio, where he describes what for him is an exemplary wife and establishes the duties and attributes of the married woman in family relationships, daily tasks and love for God. Inspired by classical sources and especially in the Proverbs of Solomon, whose last chapter exposes and illustrates from verse 10, it is a work that must be correlated with others of the same genre written by Luis Vives (De Institutiones Feminae Christianae, translated into Spanish in Valencia in 1528) and other European humanists of the Renaissance.

As a translator, he translated from Hebrew into verse the last chapter of the Book of Proverbs and the Book of Job, which he also commented on, like his classmate and friend Diego de Zúñiga, an important philosopher and defender of Copernican heliocentrism. It took him twenty years to finish the Exposition of the Book of Job, which he began in prison and finished shortly before he died. He first translated fragments into prose, then commented on them and finally versified them.

He also translated the Song of Songs in octaves (the version in lyres is apocryphal), for the nun Isabel Osorio; and some Psalms, specifically 21, including the two versions of “Psalm 102”. For these versions of a poetry constructed by means of semantic parallelism, he sometimes adopted a convenient stanza, the four-line lyre: A11, B7-11, A11, B7-11, which the metric knows as an airy stanza. From Latin he transferred to Spanish the Bucólicas and the first two books of Virgil's Georgics, as well as 23 reliable versions of the Odes of Horace and 7 attributed to him by Father Merino; Also noteworthy is the version of Rura tenent by Albio Tibullus and some fragments of Greek poets (part of the Andromache of the tragic Euripides and the Olympic I of Pindar). Of the Italians there are poems by Pietro Bembo and Petrarca.

Editions

Although Fray Luis himself thought of printing his poems around 1584 and wrote a "Dedication" to his friend Portocarrero who has been preserved in a manuscript, it can be deduced from her that he was going to appear anonymous or without the author's name, and that he composed his poems:

More by the inclination of my star than by judgment or will, not because poetry, mostly if used in due arguments, is not worthy of any person and of any name, of which it is argument to have used of God of it in many parts of his Sacred Books, as it is notorious, but because he knew the erred judgments of our people and his little inclination to everything that has any light of wit or value. [...] and so I had for vanity excused at the expense of my work to put myself to the blows of a thousand judgments unraveled and give matter of speaking to those who do not live otherwise [...] for this cause I never saw this which I composed, nor spent on it more time than I took to forget other works, nor did I put into it more study than I deserved what I did to never go out in the light, of which it itself, and the faults that there is, give sufficient testimony.

His works reached a wide handwritten diffusion, but they remained unpublished until 1631, the year in which Quevedo printed them for the first time together with those of another ingenuity of the School of Salamanca, Francisco de la Torre, as an attack against the excessive stylistic culteranismo of Gongora; they bore the title of His own works, and Latin and Greek and Italian translations, with the paraphrase of some psalms and chapters of Iob. Taken from the bookstore of Don Manuel Sarmiento de Mendoça, Canon of the Magistral of the Holy Church of Seville (Madrid: Imprenta del Reyno, by the widow of Luis Sánchez, 1631) and was reprinted the same year (Milan: Phelippe Guisalfi, 1631). But Quevedo copied the poetry of this Sevillian canon just as he gave it to him, in such a way that he published mixed and mixed original poems by Fray Luis with other apocryphal and spurious belonging to relatives, such as his nephew Fray Basilio Ponce de León, custodian of his papers, friends, religious of his order, disciples, components of the first school of Salamanca and crude imitators.

The illustrated Francisco Cerdá y Rico published some in 1779 and the also illustrated Gregorio Mayáns y Siscar another more complete one (Valencia: Tomás de Orga, 1785), to which he also added a biography, among many other reprints that had as definitive the one made by Quevedo. However, the most faithful manuscripts to his work are those preserved and copied by his nephew and co-religionist, the Augustinian friar and theologian Basilio Ponce de León, since they were given to him at his death by the Augustinian Order for to edit them. In the 18th century an edition of his works was made by a philologist as accredited as Pedro Estala from La Mancha, based on a manuscript Valencian; It is already a critical edition, however, the one produced by the Augustinian fray Antolín Merino (1805-1806) in five volumes, comparing numerous manuscripts, with the title Obras del maestro fray Luis de León, fruit of the fervor that the members of the Second Salamanca poetic school always had for this writer; he established the current canon of texts considered to be strictly Louisian. Salvador Faulí made one of Of the names of Christo, added together the name of Lamb (Valencia: Salvador Faulí, 1770). In the XIX century, it is worth mentioning the edition of the Library of Spanish Authors (Madrid, Manuel Rivadeneyra, 1855).

Among the modern editions, the one on Los nombres de Cristo published by Father Manuel Fraile (1907) and Federico de Onís for the Castilian Classics of Editorial Castalia are worth mentioning in three volumes, corresponding to 1914 the first and 1922 the other two; and the one carried out by the poet of the Generation of '98 Enrique de Mesa of De los nombres de Cristo in 1876 and 1917.

Fray Luis de León made a good edition of the poetic works in 1932-1933 by Father Llobera, in two volumes that contained, respectively, the Original Poems (volume I) and Translations from Greek and Tuscan Latin and imitations (Volume II); It was reissued in facsimile in 2001 by the Cuenca Provincial Council with an introduction by Hilario Priego and José Antonio Silva Herranz.

Luis Astrana Marín produced one of La perfecta casada (Madrid: Aguilar, 1933), widely reprinted, which was followed by that of Elena Milazzo (Rome, 1955); Joaquín Antonio Peñalosa edited this work along with the original poems and the Song of Songs at the Porrúa publishing house in Mexico (1970); They had a lot going on, as well as the editions by the Augustinian Ángel Custodio Vega for the BAC or Biblioteca de Autores Cristianos; a reprint of his ed. of the Poems is still available (Barcelona: Planeta, 1970). Juan F. Alcina made another of his Poetry (Madrid: Cátedra, 1986); We also have those by Cristóbal Cuevas of De los nombres de Cristo (Madrid: Cátedra, 1977), of his Complete Poetry (Madrid: Castalia, 1998) and of Fray Luis de León and the Salamanca school (Madrid: Taurus, 1986); There are editions by José Manuel Blecua of his Complete Poetry (Madrid: Gredos, 1990) and of the Song of Songs of Solomon (Madrid: Gredos, 1994). José María Becerra Hiraldo edited Song of Songs. Literal, spiritual, prophetic interpretations (El Escorial: Ediciones Escurialenses, 1992) and the Commentary on the Song of Songs (Madrid: Cátedra, 2004). Antonio Sánchez Zamarreño made a new one of De los nombres de Cristo (Madrid: Austral, 1991); José Barrientos, on the other hand, printed his Epistolario. Letters, licences, powers, opinions (Madrid, Revista Agustiniana, 2001) and, with Emiliano Fernández Vallina, he produced the bilingual Latin-Spanish edition of his Treatise on the Law (Monasterio de El Escorial: Ediciones Escurialenses, 2005). It has also been edited by Ángel Alcalá The inquisitorial process of fray Luis de León (Salamanca, Junta de Castilla y León, 1991)

Monument in Salamanca

In 1858, on the occasion of the transfer of the remains of Fray Luis de León to the chapel of San Jerónimo of the University, the university cloister raised the possibility of opening a popular subscription to erect a monument. The author's selection process was carried out through a contest, with the first prize being awarded to Nicasio Sevilla in 1866 and the Patio de Escuelas as his place of placement, in front of the façade of the University. The author requests the San Fernando Academy of Fine Arts to travel to Rome to carry out the work. There he studied the fresco of Raphael's School of Athens, taking the figure of Aristotle as a model for its realization. In 1868 the sculpture was cast in Marseille and, after his trip to Spain, it was finally inaugurated on April 25 of 1869 with some great acts and celebrations prolonged several days.

Works by Fray Luis de León

• 16th century writers. I take second. Works by the master Fray Luis de León; give them his life, written by Don Gregorio Mayans and Siscar; and an extract of the process instructed against the author from 1571 to 1576, Madrid, M. Rivadeneyra, 1855.
• Verbatim translation and statement of the book of Solomon's Songs. Salamanca, in the office of Francisco de Toxar, 1798. Other eds.: Madrid, Manuel Rivadeneyra, 1855.
• From Christo's namesin Salamanca, by Juan Fernández, 1583. Other eds.: Valencia, in the Print of Benito Monfort, 1770; Madrid, Manuel Rivadeneyra, 1855.
• The perfect weddingSalamanca, Juan Fernández, 1583. Second impression, added and amended, in Salamanca, at Cornelio Bonardo's house, 1586. Madrid, M. Rivadeneyra, 1855.
• Book of Job Exhibition (Ms.219) [Manuscript]. Madrid, M. Rivadeneyra, 1855.
• Poetic works, divided into three books, Madrid, M. Rivadeneyra, 1855.
• In Cantica canticorum explanatioSalamanca, 1580.
• In Psalmum vigesimumsextum explanatioSalamanca, 1580-1582?
• De utrisque agni typici atque inmolationis legitimo temporeSalamanca, 1590.
• Sing from the songs. Interpretations: literal, spiritual, prophetic.
• From legibus or Treaty on the Law
• De fide
• Spe
• De charitate
• From creatione rerum
• De incarnatione
• Funeral prayer to Master Domingo de Soto
• [Dictamen Relating to the Exploitation of the Late Mines of Peru by Pedro de Contreras. 28 March 1588].
• Epistolary: letters, licenses, powers, opinions
• Written from prison. Autographs of the first inquisitorial process.