Turning, then, to the First Part, which was composed as a Proem or Preface to the Song or Poem, I say that it is fitly divided into three parts. In the first place, it alludes to the ineffable condition of this theme; secondly, it describes my insufficiency to speak of it in a perfect manner; and this second part begins: "If I would tell of her what thus I hear." Finally, I excuse myself for my insufficiency, for which they ought not to lay blame to my charge; and I commence this part when I say: "If my Song fail." I begin, then: "Love, reasoning of my Lady in my mind," where in the first place it is to be seen who this speaker is, and what this place is in which I say that he is speaking. Love, taking him in his true sense, and considering him subtly, is no other than the spiritual union of the Soul with the beloved object; into which union, of its own nature, the Soul hastens sooner or later, according as it is free or impeded. And the reason for that natural disposition may be this: each substantial form proceeds from its First Cause, which is God, as is written in the book of Causes; and they receive not diversity from that First Cause, which is the most simple, but from the secondary causes, and from the material into which it descends. Wherefore, in the same book it is written, when treating of the infusion of the Divine Goodness: "The bounties and good gifts make diverse things, through the concurrence of that which receives them." Wherefore, since each effect retains somewhat of the nature of its cause, as Alfarabio says when he affirms that that which has been the first cause of a round body has in some way an essentially round form, so each form in some way has the essence of the Divine Nature in itself; not that the Divine Nature can be divided and communicated to these, but participated in by these, almost in the same way that the other stars participate in the nature of the Sun. And the nobler the form, the more does it retain of that Divine Nature.