Besides these two general points to prepare for meditation, there is a third which is not common to ever of meditation. Some call it the composition of place, and others the interior presentation. This consists in presenting to one’s imagination the scene of the mystery taken for meditation, as if it was really and truly taking place before us. For example, if you wish to meditate on our Lord on the cross, imagine that you are on Mount Calvary seeing and hearing all that was done and said on the day of the Passion. Or, if you wish, for it is the same thing, imagine that in the very place where you are the crucifixion of our Lord is being done, in the way the Evangelists describe it. Follow the same method when you meditate on death, as I have noted in the meditation on it (First Part, Chapter 13). So also for the meditation on hell and on all similar mysteries connected with things that can be seen or which are perceptible to the senses.
With regard to other mysteries such as the greatness of God, the special goodness of virtue, the purpose for which we have been created, as these are invisible things do not try to make use of the imagination. It is true that we could use some illustration or comparison to help us in our reflection on such matters. But these are in some way difficult to find, and I wish to instruct you very simply so that your mind may not be wearied in looking for such representations.
By means of the imaginary scene, we fix our mind on the mystery on which we wish to meditate, so that it may not wander to and from just as we shut a bird in its cage or as we secure a hawk[2]. Yet, some will tell you that to represent these mysteries it is better to use the simple thought of faith and a simple understanding entirely mental and spiritual, or to think that the events are taking place within your own spirit. But this is too abstract for beginners. So until God raises you higher, I advise you, Philothea, to remain in the low valley which I have shown you.
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[1] Literally “The Setting Forth of the Mystery”
[2] Literally “as a hawk (trained for hunting) is secured by its jesses (leg straps) so that it remains on the fist.”