“Seeing such Beauty, I have been drawn out of myself … and the heart now gets undone, melted as though it were wax, and finds itself again, with the likeness of Christ upon it,” v. 11, must have stimulated, by its first part, some of her own experiences, and will, by its second part, taken literally, have helped on the fantastic expectations of her attendants. “Love rises to such ardour, that the heart seems to be transfixed as with a knife,” v. 14, no doubt both expressed an experience of Jacopone and helped to constitute the form of a similar experience on the part of Catherine. “As iron, which is all on fire, as dawn, made resplendent by the sun, lose their own form (nature) and exist in another, so is it with the pure mind, when clothed by Thee, O Love,” v. 21, contains ideas, (all but the symbol of clothing,) very dear to Catherine. But the astonishingly daring words: “Since my soul has been transformed into Truth, into Thee, O Christ alone, into Thee Who art tender Loving,--not to myself but to Thee can be imputed what I do. Hence, if I please Thee not, Thou dost not please Thine Own Self, O Love!” v. 22, remain unechoed by her, no doubt because her states shift from one to another, and she wisely abstains from pushing the articulation of any one of them to its own separate logical limit. “Thou wast born into the world by love and not by flesh, O Love become Man (_humanato Amore_),” v. 27, is like her in its interesting persistence in the “Love” (not “Lover”) designation, but is unlike her in its definite reference to the historic Incarnation. “Love, O Love, Jesus, I have reached the haven,” v. 32, is closely like her, all but the explicit mention of the historic name; and “Love, O Love, Thou art the full-orbed circle,” “Thou art both warp and woof,” beginning and end, material and transforming agency, v. 33, is Catherine’s central idea, expressed in a form much calculated to impress it upon her.