With Luther, the believer could already establish a direct relationship with God without the need for intermediaries. That was a torpedo in the center of the waterline of Pedro's boat. Personal communication with God was going to be carried out through a new prayer that emerged from the old formula that repeated prayers in Latin, without the believer knowing what he was saying. It was the prayer of emotion, of sighing and sobbing, of suffering in the presence of a savagely tortured Christ who prevented us from embracing and kissing his suffering. Then the borders of masochism were brushed: feeling that the wood became flesh and the paint blood and the natural hair of the tortured images of the baroque, hair of Christ. Where to place barriers to an emotion that emerged like lava from magmatic depths in which libido was present camouflaged as second prize? These questions are formulated by Tomás de Becedas in the work in which he dissects mystical abductions until he finds in them the germ of a mystical epilepsy that, throughout the centuries, was known by the euphemism of "sacred evil". Tomás de Becedas follows Teresa's life in her pathetic tightrope walk between the persecution of the Inquisition and the protection of Felipe II, the mayor of God, who in the religious situation of the 16th century understood that it was more diplomatic than Spain to show the Catholic world a a saint better than a witch and an altar better than a brazier. Definitively, Tomás de Becedas stays with the domestic Teresa who cured herself as best she could of her dysfunctions, with the help of a prayer pen. And the work of the most powerful writer has survived, in Spanish, to this day.