premieres: 1724 St John Passion; 1727 St Matthew Passion)²

Leipzig, Good Friday

At a quarter to two, the bells of the City Churches begin to toll: the citizens of Leipzig are called to gather for Vespers. Around two o’clock, the organ takes over and intones the chorale Da Jesus an dem Kreuze stund (“When Jesus was crucified” )

All stanzas are sung, the first and last one inviting the congregation to “muse upon the wounds and words of the Man of Sorrows.” That’s exactly what they are going to do, assisted by the power of ‘Music’…

As they close their hymnals, the Hauptmusic begins. All musicians and singers are positioned at the rear (west-side) of the Church: on the Organ Loft (St. Thomas), in the ‘schoolboys-loft’ in the St. Nicolai (yellow arrow – the red one points to the organ). The Hauptmusik, the Passion, can begin.

It must have taken them by surprise, in 1724, with Bach’s first offering (St. John Passion): Herr, unser Herrscher. And in 1727, entirely different in atmosphere but equally breathtaking: the instrumental lamento (feel the heartbeat) that opens the St. Matthew Passion: Kommt, ihr Töchter, helft mir klagen… (“Come, ye daughters, help me mourn”), followed by the dramatic dialogue: Sehet! — “Wen?” “Den Bräutigam… etc. and then, rising from primeval depths, far above the musical flood, the sopranos singing in unison: O Lamm Gottes, unschuldig (“O innocent Lamb of God”).¹ This opening chorus lasts nearly ten minutes. It heralds the Gospel narrative, in which recitatives alternate with crowd choruses, chorales, and arias. After the figured chorale O Mensch, bewein dein’ Sünde groß (“O man, lament thy grievous sin”)—inserted only in the 1736 version, having been plucked from the St. John Passion—the first part concludes. In earlier versions, a simple SATB chorale, Jesum lass ich nicht von mir (“I shall not let go of Jesus”), closed the first half, as is the case in the St. John Passion with ‘Petrus, der nicht denket zurück (“Peter, who doesn’t remember”)

And then: silence.

After a brief pause, the grand organ begins once more, playing the pulpit hymn: Herr Jesu Christ, dich zu uns wend. The assembly then will sing the frist stanza

In the meantime the priest walks towards the pulpit and ascends it. For many in attendance, this is the heart of the service: the sermon, often lasting an hour. Here, the Passion narrative is transformed into meditation: reflections on personal life, suffering, and the redemptive power of Christ’s own.

After the sermon, the music resumes. Recitatives, arias, choruses, and chorales follow one another once more, until the story reaches Joseph of Arimathea’s garden, where the tomb is sealed. The St. Matthew Passion ends with the final chorus: Wir setzen uns mit Tränen nieder (“We sit down in tears”), closing with the words sanfte Ruh—gentle rest. In the St. John Passion, angelic voices transport the soul to paradise: O Herr, lass dein lieb Engelein. Those who have listened—attuned in breath and spirit—will have undergone catharsis.

But Vespers are not yet over.

The finest singers rise again to perform the motet Ecce quomodo moritur justus (probably by Jacob Handl/Gallus, but this is not stated explicitly). This ancient part (responsory) of Vesper liturgy, composed in rich polyphony, deepens the emotional resonance stirred by the Baroque music. It evokes the image of how the just (‘tsaddiq’) die. On earth, no ones takes notice, but in heaven (s)he is received in peace.

Good Friday 2025, Dick Wursten

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[2] All information about the order of the Good Friday vesper is based on one source: the description of a sexton (custos) of St Thomas Church, Johann Christoph Rost. For completeness the original text (nr. 180 in NBA BachDokumente II). The reference is to 1721 (first performance of Kuhnau’s Passion, but the sexton explicitly says that this order is repeated (het writes Item) in the following years. The reference to the chorale ‘O Lamm Gottes unschuldig‘ at the end of the first halve of the Passion, in my interpretation, not necessarily refers to a hymn sung by the assembly, but can also refer to the closing chorale of Kuhnau’s Passion, part I (text and score not extant).
Aö. 1721. ward am CharFreytag in der vesper, die Passion zum 1sten mahl Musiciret, np. I. Viertel auf 2. wurde gelautet mit dem gantzen gelaute, als ausgelautet, wurd auf dem Chor, das Lied gesungen Da Jesus an den Creütze stund etc, dann ging gleich die Musicirte Passion an, und ward vor der Predigt halb gesungen diese Helffte schloße sich mit dem verß, ô Lamb Gottes unschuldig, damit ging der Prister auf die Cantzel. auf der Cantzel ward a[uch] Herr Jesu Christ dich zu uns wend gesungen. Nach der Predigt dann ging die andere Helffte der Music an, als solche aus, ward die Motete Ecce quomodo moritur justus etc gesungen, alsdenn der Passions verß intoniret u. Colle[c]te gesprochen. alsdenn Nun dancket alle Gott gesungen.

P.S. 1
In 2002 – reprinted 2023, open access now, Denis Laborde did a similar exercise, but his sketch is wanting, for not based on sound historical scholarship. Since his sketch is quite popular, and (re-)produces popular opinions, some remarks: 1. Contrary to what he suggests, no orchestra and singers were placed near the altar – all were on the organ loft (he refers to St. Matthew Passion). 2. The community did not join in in singing the Chorales during a Cantate/Oratorio/Passion. 3. His phrase “In the clamor of the two orchestras playing at both ends of the nave, in the chaos of the two choirs responding to each other in waves of dissonances, while in the center the congregation struck up their Lutheran chorales…” is ludicrous. 4. The community didn’t sing the motet ‘Ecce quomodo moritur’. 5. His inventio (which is also the conclusio, so caveat!) that this performance provoked a clash with Bach’s superiors about the ‘operatic’ character of Church music, is widespread but not correct. Verify your references. Source: Denis Laborde, The unbearable sound: the strange career of musicoclashes, , Iconoclash. Beyond the images war. Cambridge, Massachusetts, MIT Press, 2002 : 253- 280.
A book about liturgical praxis in Saxony by Christian Geber is the source. Here the original quote : “Als in einer vornehmen Stadt diese Paßions-Music mit 12 Violinen, vielen Hautbois [Oboen], Fagots und anderen Instrumenten mehr, zum erstenmal gemacht ward, erstaunten viele Leute darüber und wußten nicht, was sie daraus machen sollten. Auf einer Adelichen Kirch-Stube [Empore] waren viele Hohe Ministri und Adeliche Damen beysammen, die das erste Passions-Lied aus ihren Büchern mit großer Devotion sungen: Als nun diese theatralische Music angieng, so geriethen alle diese Personen in die größte Verwunderung, sahen einander an und sagten: Was soll daraus werden? Eine alte Adeliche Wittwe sagte: “Behüte Gott, ihr Kinder! Ist es doch, als ob man in einer Opera-Komödie wäre.” – Aber alle hatten ein Mißfallen daran und führten gerechte Klage darüber.” (Christian Gerber, Historie der Kirchen-Ceremonien in Sachsen (1732).
Gerber is a pietist and indeed a critic of concerted music in Church. But this quote does not refer to Bach in Leipzig. Why not? Gerber refers to the first time a concerted Passion is performed (In Leipzig this was 1717 – Neue Kirche; 1721 Thomas Kirche – Bach’s firstling is only in 1724). NB: Gerber recounts the story in a general way ‘in einer vornehmen Stadt’ (in a noble city). In this book he is always specific when he refers to Leipzig or Dresden. Of course, that many – more conservative – people objected to Bachs modern music, will be true. But in assessing this différend acts should be distinguished from fiction, otherwise the truth will get lost.

From the book, two tables

This overview is confirmed by a number of ‘church service orders’ (Kirchen Agende). Martin Petzoldt and Robin A. Leaver give similar overviews but with more detail and some variations (a motet at the beginning) and a ‘reading’ of the Passion from a gospel-harmonisation. I doubt that would be maintained when the narrative was also sung (in the Passion). a ‘doublure’. Which Passion? Apparently there was choice, liberty. A list:

For those interested in the context: A sermon by Erdmann Neumeister (1720), a lutheran pastor, who also wrote cantate libretto’s. It’s a versper sermon for the Passion-tide. https://youtu.be/vzaKGXAJ4pE

Here the facsimile of that sermon (with ‘introduction) from the book: “Epistolische Nachlese derjenigen Predigten, welche er ehedessen in der Fürstlichen Schloss-Kirche zu Weissenfelss, uber die Sonn- und Fest-Tags Epistel-Texte, gehalten, und nebst sechs Passions-Predigten, auf Ansuchen, zum Drucke gegeben. Gott der Herre ist Sonn und Schild” (Hamburg, 1720)

The text of this motet is Responsory from the Vigil of Holy Saturday (the Tenebrae). ℟ = Prophecy of Isaiah 57,1-2 = prima pars ; ℣ = Psalm 75:3 = secunda pars. NB: other verses also can be found, f.i. in the Lutheran service book. It’s also part of the Office for the Deceased (funeral music). Idem in the Lutheran tradition. Texts are polyseme.
– The rubric in Hándl/Gallus’ publication is clear: De Passione Domini Nostri Iesu Christi.
– Martin Luther included this text (with gregorian chant) in his ‘hymnbook’ for funerals (1542). It was still in use in Bach’s days, also for both occasions: Passion and Obsequies.
In 1682 the setting of Gallus/Handl was published by Godfried Vopelius in the Neu Leipziger Gesangbuch providing a singable German text as well “Siehe, wie dahin stirbt der Gerechte”. That in Leipzig Hándl/Gallus motet (there are others) was sung, is not a fact but an assumption.
Jacob Hándl (or Gallus, 1550-1591) was born in Carniola (Kranjska), Slovenia. He flourished at the Habsburg court (Graz, Prague).

Just a note: the Latin text of this response differs considerably from the standard Latin text in the most widespread translation (the Vulgate). Idem for the German translation by Luther: ¹Aber der Gerechte kommt um, und niemand ist der es zu Herzen nehme; und heilige Leute werden aufgerafft, und niemand achtet darauf, denn die Gerechten werden weggerafft vor dem Unglück; ² und die richtig vor sich gewandelt haben, kommen zum Frieden und ruhen in ihren Kammern.

As said, the motet is based on the responsory of the vigils of Holy Saturday (Sabbato sancta – Tenebrae).
– See https://gregorien.info/chant/id/2698/10/fr.
Below a manuscript of the Tenebrae with this responsory. The lamentation that precedes it is also very famous (O vos omnes, qui transitis per viam, attendite et videte si est dolor similis sicut dolor meus – Behold and see if there be any sorrow Handel’s Messiah)

Donum superadditum (the pages from Vopelius 1682, with the Latin/German text of Gallus’ motet). This gesangbuch was still in use in Bach’s times. It contains all texts for the celebration of the Char-Freytage. Passion-hymns, but also a complete score to sing the St. Matthew Passion (= precedes Gallus) – see images below

Fragment from Episode 4 of The Age of the Cathedrals

Georges Duby discusses the origins of science, with a particular focus on Pierre Abélard and the concept of ‘reasoning.’ During the broadcast, he pulls a sheet of paper from his pocket containing a quote from Historia Calamitatum about Abélard’s teaching method and reads it aloud. A standout moment on Antenne 2 (France) in 1980—still well worth watching, listening to, and reflecting on today. (English subtitles (cc) ; full text below the fragment.)

TRANSCRIPT (translation plus…)

“The construction of the cathedrals (at a rapid pace in the late 12th and early 13th centuries) was made possible by the growth of the urban economy. Certainly. But at the same time it is also due to another growth, which is inextricably linked to the first: the growth of knowledge (savoir). After all, every cathedral is flanked by a school, and the most dynamic schools are located around the cathedrals in Northern France. Certainly, lessons were also given in monasteries, but the monastery school was closed, the cathedral school was open. That has to do with its function. The cathedral is – by definition – the church of the bishop. The primary function of the bishop is (yes, really! DW) the proclamation of the Word of God and not only in his own church, no, in his entire diocese. He needs helpers, to preach with him. And therefore workshops (ateliers) to train preachers, to educate them. That implied good books (manuscripts), good teachers who could explain these books. And: in a society where travel became increasingly easy, we see intellectual adventurers roaming Europe in search of the best schools. These were precisely where the masterpieces of Gothic art were built: in Laon, Chartres, and Paris. I do not think it is a coincidence that the locations of these intellectual research centers coincide with the hotbeds of artistic creation (artistic = everything that man ‘adds’ to nature: skill, craft, artisanal art)

The cycle of study was the same as in the “first Renaissance” (under Charlemagne), the seven liberal arts – the artes liberales. These can be seen on one of the rose windows of the cathedral of Laon, where they surround the central flower where Wisdom sits enthroned. They form her court, enriching and enlightening. The seven artes consisted of three introductory disciplines: grammar (language), rhetoric (the art of speaking) and dialectic (the art of reasoning), followed by four more in-depth disciplines: the study of numbers, geometry, astronomy and the science of the ‘tones of music’ (and their mutual relationship).

These disciplines revealed the mysterious laws that govern the universe. This path, this road, this boulevard of knowledge, ultimately led to theology – the highest science because it helped man to fathom the secrets of God that he communicates in what he says (his Word) and in the visible signs, scattered in nature.²

In the second half of the 12th century, the schools of Paris were extremely successful. They became the breeding ground for skilled bishops; all the popes of that time came to study there. This success was largely due to the teaching of Abélard³). They started with the language, the words, but dialectics was central: understanding the meaning of the words through reasoning. Not by meditating on them in mystical contemplation, as in the monastery, but by analyzing them. The intellectual tools became increasingly refined. Clergymen traveled with the knights who reconquered Spain and Sicily from the Muslims, and they threw themselves into the magnificent libraries of Toledo and Palermo. They began – together with/at the same time as the Jews – feverishly to translate Arabic works into Latin – works that the Arabs had in turn translated from Greek. What they thus revealed was ancient science: Euclid, Ptolemy, and even more valuable to them: the logic of Aristotle.

The method was refined, perfected and enriched by Abelard. The first step? Doubting! Abelard said: “we arrive at inquiry through doubt, and through inquiry we discover the truth.” Pride, arrogance… Some fiercely condemned this attitude, notably Bernard of Clairvaux, who ultimately brought Abelard down. But what fertility there was in this approach! What enthusiasm arose in the schools. It was no longer a matter of simply listening to lessons, but of discussion. Dialogue, dialectic, debate! “My students,” said Abelard, “want to hear human reasons, explanations that they understand; not propositions and affirmations.” They believed that talking (teaching) was useless, unless one also conveyed the understanding of what one wanted to say, and also that one could not believe anything unless one first understood it.⁴

Ils disaient qu’il est inutile de parler si l’on donne pas l’intelligence de ses propos et que nul ne peut croire s’il n’a pas d’abord compris. Et toute notre science sors de là…

Georges Duby, Le temps des cathédrales – TV-series – 9 episodes, aired 1980.

Sewell’s speech (calling it a prayer would be blasphemous) was almost completely copy-past from Martin Luther King’s ‘I have a dream’ speech of 1963 at the Lincoln Memorial ⁵. He is doing his utmost to imitate his role model. His ‘act’ elicits an approving smile from the president: The new king is entertained by his jester.

BTW: The original parts of Sewell’s speech are few: the opening prayer (with the “millimeter miracle”) and the call for applause at the end. All the rest is plagiarism. But there is a catch: He adds a few cunning transtions to the text, proclaiming the president as God’s chosen instrument. In the text below I highlighted these words.

Fact-check it yourself.

L. Sewell (2025)	M.L. King (1963)
Inauguration Donald J. Trump	March on Washington for jobs and freedom
Let us pray for our 47th president. Heavenly Father, we’re so grateful that you gave our 45th and now our 47th president a millimeter miracle. We are grateful that you are the one that have called him for such a time as this. That America would begin to dream again.	I am not unmindful that some of you have come here out of great trials and tribulations. Some of you have come fresh from narrow jail cells. Some of you have come from areas where your quest for freedom left you battered by the storms of persecution and staggered by the winds of police brutality. … Let us not wallow in the valley of despair, I say to you today, my friends.So even though we face the difficulties of today and tomorrow, I still have a dream. It is a dream deeply rooted in the American dream.
We pray that we would fulfill the true meaning of our creed, that we hold these truths to be self-evident, that all men are created equal.	I have a dream that one day this nation will rise up and live out the true meaning of its creed: We hold these truths to be self-evident, that all men are created equal. I have a dream that one day on the red hills of Georgia, the sons of former slaves and the sons of former slave owners will be able to sit down together at the table of brotherhood. I have a dream that one day even the state of Mississippi, a state sweltering with the heat of injustice, sweltering with the heat of oppression will be transformed into an oasis of freedom and justice.
We pray that you use our president, that we will live in a nation where we will not be judged by the color of our skin but by the content of our character.	I have a dream that my four little children will one day live in a nation where they will not be judged by the color of their skin but by the content of their character. I have a dream today.
	I have a dream that one day down in Alabama with its vicious racists, with its governor having his lips dripping with the words of interposition and nullification, one day right down in Alabama little black boys and black girls will be able to join hands with little white boys and white girls as sisters and brothers. I have a dream today. I have a dream that one day every valley shall be exalted, every hill and mountain shall be made low, the rough places will be made plain, and the crooked places will be made straight, and the glory of the Lord shall be revealed, and all flesh shall see it together. This is our hope. This is the faith that I go back to the South with. With this faith, we will be able to hew out of the mountain of despair a stone of hope. With this faith we will be able to transform the jangling discords of our nation into a beautiful symphony of brotherhood.  With this faith we will be able to work together, to pray together, to struggle together, to go to jail together, to stand up for freedom together, knowing that we will be free one day.
Heavenly Father, in the name of Jesus, we are so grateful today that you will use our 47th president so we will sing with new meaning: My country, ’tis of thee, sweet land of liberty, of thee I sing; Land where my fathers died. Land of the pilgrims’ pride. From every mountainside, let freedom ring. And because America is called to be a great nation, we believe that you will make this come true.	This will be the day when all of God’s children will be able to sing with new meaning: My country, ’tis of thee, sweet land of liberty, of thee I sing. Land where my fathers died, land of the pilgrims’ pride, from every mountainside, let freedom ring. And if America is to be a great nation, this must become true. And so let freedom ring
From the prodigious hilltops of New Hampshire, let freedom ring. From the mighty mountains of New York, let freedom ring. From the heightening Alleghenies of Pennsylvania, let freedom ring. From the snowcapped Rockies of Colorado, let freedom ring. From the curvaceous hilltops of California, but God, we’re asking you not only that; let freedom ring from Stone Mountain, Georgia. Let freedom ring from Lookout Mountain, Tennessee. Let freedom ring from every hill and every molehill in Mississippi, from every state, every city, every village and every hamlet. And when we let freedom ring, we will be able to speed up that day where all of your children, Black men and white men, Protestant and Catholic, Jew and gentile will be able to sing in the meaning of that old Negro spiritual: Free at last free at last. Thank you God almighty, we are free at last,	From the prodigious hilltops of New Hampshire. Let freedom ring from the mighty mountains of New York. Let freedom ring from the heightening Alleghenies of Pennsylvania. Let freedom ring from the snowcapped Rockies of Colorado. Let freedom ring from the curvaceous slopes of California. But not only that, let freedom ring from Stone Mountain of Georgia. Let freedom ring from Lookout Mountain of Tennessee. Let freedom ring from every hill and molehill of Mississippi. From every mountainside, let freedom ring. And when this happens, and when we allow freedom ring, when we let it ring from every village and every hamlet, from every state and every city, we will be able to speed up that day when all of God’s children, black men and white men, Jews and Gentiles, Protestants and Catholics, will be able to join hands and sing in the words of the old Negro spiritual: Free at last. Free at last. Thank God almighty, we are free at last.
If you believe with the Spirit of the Lord, there is liberty. Come on, put your hands together and give your great God great glory.”

Télérama (nr. 3178, 2010), interview with Marcel Gauchet, one of France’s leading intellectuals, who as a secularist (‘laïc’) says pertinent things about Christianity/religion:

Christianity is, after all, the cultural matrix of the world we live in, and if we don’t have this memory, I don’t really see what we can understand about it’.

Le christianisme est quand même la matrice culturelle du monde dans lequel nous sommes, et si l’on n’a pas cette mémoire, je ne vois pas bien ce que l’on peut y (sc. notre monde) comprendre…

Het christendom is per slot van rekening de ‘culturele matrix’ (moederschoot) van de wereld waarin wij leven, en als we ons daarvan geen rekenschap geven, zie ik niet goed in hoe we onze wereld kunnen begrijpen…

 

Further reading: Jean-Luc Nancy about the same topic : The deconstruction of Christianity (two quotes in Dutch)

Trois psaumes (1940-41), nr. 3: Il faut que de tous mes esprits.
Superb Psalm poem by Clément Marot (1543), joyful tune by Guillaume France (1543), and captivating composition by Arthur Honegger (1940/1). Dedicated to Eliette Schenneberg (contre-alto / mezzo) . But this performance with Jean-François Gardeil is my favorite.

Score (All three psalms) – from IMSLP. Enjoy.

Text (Fr-Eng)

Psaume 138	Psalm 138
(poem by Clément Marot, 1543)	(English – Book of Common Prayer)
Il faut que de tous mes esprits ton los et prix j’exalte et prise: Devant les grands me présenter pour te chanter J’ai fait emprise. En ton saint’ Temple adorerai, célèbrerai ta renommée, Pour l’amour de ta grand’ bonté, et féauté tant estimée.	I will give thanks to you, O LORD, with my whole heart; Before the gods I will sing your praise. I will bow down toward your holy temple and praise your Name, Because of your love and faithfulness;

God is back, and with a vengeance. Only sociologists of religion were surprised by his return, ordinary people always have known that God never left the building. ‘Secularization’ was the code word for scholars: Religion was losing its relevance, the impact of faith and faith organizations on society would decline. Max Weber: rationalization and a ‘disenchantment of the world’.  Nothing to be done about it. Or to pay tribute to the most famous sociologist of religion of the second half of the last century, Peter Berger: The sacred canopy that had sheltered us from external threats for centuries is broken, gone. Now, we must survive under the open sky, on our own, whether we like it or not. In 1968, Berger had predicted that by the year 2000 religion would be completely marginalized in society. Only in the form of small sectarian groups, which would come together to protect themselves against the evil effects of secularization, it would survive (NY Times, Sunday, February 25, 1968, ‘A Bleak Outlook is Seen for Religion’). Well, scientists can be wrong. Berger freely admitted it, long before the year 2000. Quote: “If I look back on my earlier work, I would say that I was wrong about secularization, but right about pluralism. I misunderstood the relation between the two: the latter does not necessarily lead to the former (vide the American case). What pluralism does (and there I was right) is to undermine all taken-for-granted certainties, in religion as in all other spheres of life. But it is possible to hold beliefs and to live by them even if they no longer hold the status of taken-for-granted verities. In other words, I would now say that pluralism affects the how of religious belief, but not necessarily the what.” ⁶ The secularization theory was common among scholars looking at things from the outside (sociologists) but also within the church. There, too, ‘secularization’ was the main theme.

Continue reading…

church operating systems (COS) – helpdesk

On TV (23 september 2023) the Bishop of Antwerp, Johan Bonny, admitted that the never-ending story of sexual abuses in Belgium (and other anomalies) were symptoms (signals) of a ‘systemic error‘ in the Church. What he didn’t realize, however, was the gravity of the situation. He still believes a ‘restart’ (albeit in ‘safe mode’) is still possible. But the ‘error’ does not originate in isolated programs (bugs, software), which can be repaired, but in the ‘church operating system’ itself, called ‘the Roman-Catholic Church’: Some critical elements

• The dichotomy of the members in ‘clerics’ (priests) and ‘laity’, the latter being totally dependent on the first for access to Gods grace.
• The ‘hierarchical’ power-structure (priests>bishops), on the top of which resides the pope, ‘who has to answer to no one’ (canon-law).
• Who controls the judges? Answer: the judges. No divide between lawmakers and lawinforcers.

A prefiguration of Easter (chapter 3)

Preparing an Easter sermon about Mary Magdalene wandering about in the garden early in the morning, desperately searching for the Lord, a scene from the Song of Solomon came to mind, in which the bride (the maiden) at night is looking for her beloved. She can’t find him, and – wandering through the city – she addresses the guards, and then – suddenly – she finds him, grabs him and does not want to let go of him anymore… 1600 years ago Cyril of Alexandria saw the same connections as I did (and you, reader). Hypertext. The text in question is Song of Solomon ch. 3:1-4 (translation below). The story of Mary in the garden can be read in John 20:1, 11b-18. I wondered: Did the evangelist use the story from the Song of Solomon as a matrix to tell his story of Mary? A kind of literary device?

Commentary of Cyril of Alexandria

Commentary of Cyril on Canticum canticorum ch. 3, 1: On my bed, during the night, I looked for my beloved… Below the original Greek with latin translation and below that a translation of Cyril’s remarks in English, turning Ch 3, 1-4 into a allegoric description of the meeting between Mary of Magdala and her Lord. NB: koitè (cubicule, lectum) denotes not only the bed, but also the room (bedroom, resting place); mnèma (monumentum – both use the same root: “mnm” = rememberance), memorial, tomb.