Jesus’s Æon Found in Western Greece


What follows is a addition to The Gospel of John, my restoration of that original text, free from the later interpolations and excisions of the organized Christian religion, and translated afresh from the Greek. Ordering information here, but coming soon is the new two-volume edition!

The word “Æon” (αιον) is the word used in the Gospel of John (and elsewhere in early Christian texts) as the Greek equivalent of the Hebrew word םלוע (olam) and the Aramaic word ܥܠܡܐ (almah). These two Semitic words literally mean “concealed” or “hidden”. In temporal references the concept is of a length of time rendered indefinite by virtue of proportion: a time period so long that the end of it is hidden/concealed from the vantage point of its beginning moment, and the present moment as well. It could thus be rendered into English as “time immemorial” or “time out of mind”; the New World Translation renders it well as “indefinitely lasting” in English, and tiempo indefinido in Spanish. The term often carries the suggestion of everlasting (at least in the past or future), or even of eternal (beyond linear chronological time altogether; i.e., the kairos). Even in non-temporal references it can suggest “hidden”, as in Isaiah 60:19-20 it refers to the spiritual light of our inner being.

The Hebrew (עַלְמָה; almah) and Aramaic (ܥܠܝܡܗ; alymah) word for “maiden” or “young woman”, plus its equivalents for “stripling” or “young man”, may go back to the same root meaning of “concealed” or “hidden”, on the logic that young men or women who are marriageable but not yet married are kept back by their parents as hidden from those who would seek to steal their sexual potential, and as valuable in the arrangements of advantageous marriages. However, Koehler and Baumgartner in their Hebrew and Aramaic Lexicon of the Old Testament trace the word to an Aramaic root ܥܠܡ (alma) that refers to youthful vigor, and associate it with a cognate in Ugaritic that means “to be agitated” and one in Arabic that means “to be filled with passionate desire”. I suspect both derivations may be valid; parents may want to keep hidden at home their teenaged children when they are overwhelmed with sexual hormones.

In the Gospel of John the term “Æon” is not for a physical place or chronological time, but a state of being that is beyond mere time and space, beyond mere being, a term not unlike nirvana in Buddhist theology. It is often used with a meaning similar to “heaven” (ουρανος, which also means “sky”), but not in the sense that we enter the Æon at death, but rather that, by living in accordance with the Λογος, the divine plan/order or Word, mediated by Jesus, we enter the Æon immediately, while still in this life, and thus at death we do not simply cease to exist, but continue to be part of the Æon. We enter it by loving all life, by recognizing our oneness with all being, which is also the essence of compassion in Buddhism. So it is heaven when we choose to live in harmony with God’s Λογος, plan, being one with all God’s creatures (17:21) for by doing so God draws us thither, into the Æon. This loving is particularly accomplished by becoming completely one with our spouse: through sexual desire one conjoins with one’s partner, and thus embodies the image of Elohim, God understood as including both male and female as one. Thus, in the term “Æon” there is the sense of the Semitic root that refers to sexual desire. We see this acted out at John 20:16-17 (see the commentaries).

Therefore, the term “Æon” is used to refer to the greater existence beyond corporeal existence. This κοσμος, the physical universe, is bounded – in three physical dimensions and one temporal dimension. Scientists postulate other universes with other numbers of physical and temporal dimensions, and medicine men and women often are able to spirit-travel in these other universes. But these, too, are still κοσμος, finite, bounded existence. The Æon is transcendent, beyond all possible bounded universes, but incorporating them: in the Æon, every possible bounded universe is but an infinitesimal dot without dimensions. Within these dots, time is χρονος, the slow tick-tock time of finitude in which seconds and hours, if laid side by side, are always of the same length, while in the Æon time is καιρος, the “Eternal Now”, as Tillich put it, in which every moment is eternal and eternity is a moment. Likewise, in these physical universes, space is τοπος, stretched out in physical dimensions, wherein all miles laid side by side are of the same length, while in the Æon space is γαια, in which great distances are nothing and immediately adjacent is infinitely far – as is often the case in our dreams, as with lung gom, the Tibetan technique for walking great distances in a single step.

In one sense the Æon is the Platonic realm of ιδεα, where everything is its own archetype or blueprint for the “thousand and one things” (in Lao-tse’s phrase) in the physical universe. This realm is beyond all bounded universes; as Plato put it, “it is not anywhere in another thing, not in an animal, nor in the earth, nor in heaven, nor in anything else, but is itself by itself within itself” (Symposium 211b). As Lao-tse put it in the first chapter of the Tao-te Ching, 道 可 道 非,常 道 名。可 名 非,常 名。– it is the path that cannot be walked; the name that cannot be named. As Lakota theologian and Christian catechist Hehaka Sapa (Black Elk) put it, “The Holy Land is everywhere.” Or as Joseph Campbell put it (in The Power of Myth):

Eternity isn’t some later time. Eternity isn’t a long time. Eternity has nothing to do with time. Eternity is that dimension of here and now which thinking and time cuts out. This is it. And if you don’t get it here, you won’t get it anywhere. And the experience of eternity right here and now is the function of life.

This spark of eternity is the soul within us, our aperture from mundane individuality into nirvana, making us one with all being throughout time and space: “He has made everything beautiful in (the course of) time, but he has also placed eternity in their heart such that humans will not find out the work that God has done from beginning to end” (Ecclesiastes 3:11).

Jesus’s teaching anticipates – or, in my thinking, is an early example of – Kabbalistic philosophy, especially as found in the Zohar, which comprises, for those not familiar with it, what can be briefly put as the “mystical” tradition of Judaism. The Zohar speaks of the “forbidden fruit” of the Tree as a nut (as regards the belief that it was an apple see page ###) that contains concentric spheres that are each one greater than the one around it – and the last one is a palace containing a primal point of infinite dimensionality, composed of the light of Creation (Genesis 1:3). This “nut” also symbolizes the nature of humanity, with the body containing a mind, the mind a soul, which is the “Temple for the Spirit” containing within the infinite presence of God (I Corinthians 6:19 dimly adumbrates this).

In all Utopias – not only that of More, who invented the term, but those of Plato, Butler, Morris, Bellamy, Wells, and many others – there are lavish, loving descriptions of the realm of perfection, and no matter how well written they are, they all ultimately fall flat, because though we can know (connaître, kennen) Eternity with our intuitive hearts, we can never know (savoir, wissen) it with our logical minds. Jesus (through the gospel writer) does not make this fatal mistake of trying to describe the indescribable Tao. The one thing he tells us is that in the father’s house there are “many abodes”, which strongly suggests that it is not everlasting but eternal, of infinite dimensionality.

Still, we may have a hint or two by way of the classical writers from which the gospel writer drew his imagery for the Æon. Æonia was a name for part of the ancient Greek land of Bœotia. It was probably the basis on which were built descriptions of the legendary country of Elysium, which the poets called the “Elysian Fields”, a region said by the classical Greek poets to be somewhere to the west, facing the sea. The name may come from ἀλυουσας (aluousas), whose root suggests being deeply stirred by joy, or from ἀλύτως (alutōs), a synonym of ἀφθάρτως (aphthartōs), meaning “incorruptible”, as in the eternity in which souls live in that place.

Æonia, Bœotia, does in fact look out westward at the wide expanse of the western Mediterranean. This bucolic region was the birthplace of Semele, the mother of Dionysos, who died and lived again like Jesus, and who was remembered with a sacred meal of bread and wine. Semele’s father, the hero and ruler Cadmus, introduced the Greek alphabet, and abdicated in favor of his grandson Pentheus, who is the equivalent to Pontius Pilate; Pentheus sought as ruler to outlaw the ecstatic religion of Dionysus, and in his trial of the god, as related by Euripides, the two have a deeply profound philosophical discussion reminiscent of the one between Jesus and Pilate.

All of this would have been well known to the amanuensis of the gospel, John the Presbyter. He was a Hellenized Jew, certainly educated at the university in Alexandria, which specialized in the Greek classics, and in his later years he was a respected writer and teacher in the Hellenic city of Ephesus with its famous library. John might have known Æonia from his travels but, if not, he had certainly knew about it from the classical literature he had read in his youth. Thus, in writing about the Æon he probably was picturing in his mind the rolling verdant hills of Æonia, also associated with Elysium, the land where the blessed dead lived in eternity.

This land is thus extolled in Paradise Lost, III, 565-70:

Amongst innumerable Starrs, that shon
Stars distant, but nigh hand seemd other Worlds,
Or other Worlds they seemd, or happy Iles,
Like those Hesperian Gardens fam’d of old,
Fortunate Fields, and Groves, and flourie Vales;
Thrice happy isles …

Of course the gospel author could not have read John Milton, but he would have known well the poets whose descriptions of this land were to inspire the Englishman. As a young man under the tutelage of Philo, the Presbyter would have learned this glorious depiction of Elysium in Homer (IV, 563, 565-68):

… Ἠλύσιον πεδίον καὶ πείρατα γαίης …
τῇ περ ῥηίστη βιοτὴ πέλει ἀνθρώποισιν:
οὐ νιφετός, οὔτ᾽ ἂρ χειμὼν πολὺς οὔτε ποτ᾽ ὄμβρος,
ἀλλ᾽ αἰεὶ Ζεφύροιο λιγὺ πνείοντος ἀήτας
Ὠκεανὸς ἀνίησιν ἀναψύχειν ἀνθρώπους:
οὕνεκ᾽ ἔχεις Ἑλένην καί σφιν γαμβρὸς Διός ἐσσι.

…the Elysian plain at the edge of the earth, …
There, everyone comes to exist in a gentle life,
Never any blast of snow, never cold, lacking in heavy rainstorms;
Rather, the Zephyr always blows free,
And Oceanus breathes refreshing breezes …

He would have read Pindar’s written portrayal of this land, and also how Hesiod described it aloud (Works and Days, 166-73):

… ἔνθ᾽ ἤτοι τοὺς μὲν θανάτου τέλος ἀμφεκάλυψε,
τοῖς δὲ δίχ᾽ ἀνθρώπων βίοτον καὶ ἤθε᾽ ὀπάσσας
Ζεὺς Κρονίδης κατένασσε πατὴρ ἐς πείρατα γαίης.
170καὶ τοὶ μὲν ναίουσιν ἀκηδέα θυμὸν ἔχοντες
ἐν μακάρων νήσοισι παρ᾽ Ὠκεανὸν βαθυδίνην,
ὄλβιοι ἥρωες, τοῖσιν μελιηδέα καρπὸν
τρὶς ἔτεος θάλλοντα φέρει ζείδωρος ἄρουρα.

… Truly some were forever enfolded in death,
But some other souls dwelt in abodes alone
Where God the father, son of Time, made them to settle at the end of the earth,
And thus indeed to dwell free from care, souls living
In the blessed isles by the deep-rolling Ocean,
Blessed heroes who fed on honey-sweet fruit
That ripened three times a year in fecund meadows.

He might even have read the Latin of Vergil. And surely he knew Korinna’s lovely lyric (fragment 15):

…καλλιχορω χθονος
Ουριας θουγατερ…

… a land richly blessed
With lovely dancing meadows …

Whether John knew or merely knew of this land, he would have been aware that Bœotia’s twin spiritual mountains where dwelt the heavenly Muses, Helicon and Cithæron, were akin to another pair of sacred peaks where the God of Abraham was said to reside, Sinai and Gerizim. He would have recognized the similarity of Semele mother of Dionysos to Mary mother of Jesus, and the parallel of Pentheus to Pontius. And most of all he would have seen the connections between Dionysos son of Jupiter, הי-Πατερ, Yah-Pater, God the father, and Jesus, son of YHWH, God the father.

The Presbyter may have had in mind not Bœotia, Æonia, the country that apparently served as the factual foundation for the Hellenic myth of Elysium, or not only that country, but instead or also Gaul. The references in the just-quoted lines of Homer and Hesiod to Oceanus are to the Atlantic Ocean, though in classical times what lay beyond the Pillars of Hercules (Gibraltar) was conceived of as an oceanic girdle around the earth. Thus a “plain at the edge of the earth” “in blessed isles by deep-rolling Oceanus” could be a reference to Gaul. It is not entirely inconceivable that John heard that Jesus and Mary had gone to this region not far from Oceanus. That oral history in southern France remembers Jesus’s attendance of the dedication of a Christian cemetery in Arles called Alyscamps, “Elysian Fields” in Occitan, as discussed on page ###, is ironic. It could be that Jesus expected that he himself would be buried in these Alyscamps – and that this too got back to the Presbyter by way of letters or visitors, and was in his mind as he composed these gospel references to the Æon.

Be it specifically founded on descriptions of Bœotia or Gaul, John must have had in his mind an Elysium associated by the poets with life after death; Bœotia besides being a land not just praised in literature, not just celebrated for its masters of literature, but exalted as the very birthplace of Greek literature, since its mountains, where the art of writing was introduced, were sacred to the Muses. And so the Presbyter must have framed Jesus’s references to the Æon in the gospel with his mind going back to these poems describing Elysium as a fair and gentle place where there is no weeping, with fruits ripening throughout the year.

While he did not provide his own poetic description of the Æon in the gospel, he did in his last great work, the Revelation, with 21:4 and 22:1-2 especially vividly recalling these classical poets.

και εξαλειψει παν δακρυον εκ των οφθαλμων αυτων και ο θανατος ουκ εσται ετι ουτε πενθος ουτε κραυγη ουτε πονος ουκ εσται ετι οτι τα πρωτα απηλθαν … και εδειξεν μοι ποταμον υδατος ζωης λαμπρον ως κρυσταλλον εκπορευομενον εκ του θρονου του θεου και του αρνιου εν μεσω της πλατειας αυτης και του ποταμου εντευθεν και εκειθεν ξυλον ζωης ποιουν καρπους δωδεκα κατα μηνα εκαστον αποδιδουν τον καρπον αυτου και τα φυλλα του ξυλου εις θεραπειαν των εθνων

And he will wipe away every tear from their eyes, and death will be no more, nor mourning, nor weeping, nor pain: they will be no more because what was at first has departed. … And he showed me a river of living water, clear like crystal, flowing out from the throne of God and of the Lamb down the middle of its [i.e., the city’s] street. And on this side and that side of the river was the tree of life, producing twelve fruits, yielding [a different] fruit each month, and the leaves of the tree, for the healing of the peoples.

And these culminating passages in Revelation include a sacred marriage, a hierogamy, of Heaven and Earth, Bride and Lamb, Mary and Jesus, as an echo of John 20:16-17, and again bringing out that sense of the Æon found in its Semitic roots as having a strong connotation of sexual desire fulfilled and thereby embodying the image of Elohim, male and female as one.

Mary Magdalene and Jesus Naked at the Tomb


What follows is a addition to The Gospel of John, my restoration of that original text, free from the later interpolations and excisions of the organized Christian religion, and translated afresh from the Greek. You will find ordering information here.

We know Jesus is naked since his entombment linens are still in the tomb (20:5-7) – they would in any case be much too soiled with blood and bodily fluids to serve as makeshift garments – and he cannot have gone somewhere to pick up a fresh suit. If he has gone anywhere, it would only be nearby, to one of the abundant springs and streams in this garden, to wash himself clean. As for Mary, by the time she arrived at the tomb in 20:1 she would have already torn her clothes asunder, as was then the tradition for those in mourning; as noted above, one reason she separated from the other women may be, as noted above, that she was by now close to quite nude. In any case, the text here, by vividly evoking the naked couple in the garden of Eden and in the Song of Songs, clearly signals Mary’s nakedness to match Jesus’s. She almost certainly took off what shreds remained of her robes while inside the tomb; the removal of clothing in many cultures, including the first-century Jewish (and the Native American, which refers to death as “the dropping of the robe”) signified death and mourning of death, so this act indicated her unwillingness to live without her husband and master.

First to note, their nakedness represents birth and death; as in Job 1:21, “Naked I came from my mother’s womb, and naked I shall return there.” The “mother” here is the Earth herself, and Jesus returned into her, specifically the tomb, and now has come forth from her womb. This is a second birth for Jesus, just as he “preenacted” it with John (1:32-33) and discussed it with Nicodemus (3:3-7) and so this scene forms an inclusio with the beginning of the gospel. Moreover, in terms of Plato’s allegory (see page 528), we are born owning none of the things of this world, which are just shadows cast by the more real world, the Æon, and at death we release all property, including the body. Clothing, and property in general, proclaims our social status and wealth; it divides us from others. Without clothes we are united in our common heritage, the image and likeness of God (Genesis 1:26). Thus Jesus’s and Mary’s nakedness here implies that in the Æon we are one, unencumbered by worldly things and their shadows.

Second, their nakedness in a garden brings to mind Adam and Eve naked in the garden of Eden, but it reverses that story: in Genesis Adam and Eve’s guilt and shame over their sin of disobedience, for which God punishes them with mortality, is associated by Genesis with the primordial couple clothing their naked bodies; here, Jesus and Mary unclothing their bodies represents for them (and us if we follow them spiritually) a return to the human condition before the primordial couple ate of the fruit. Modern readers, reading Genesis through their own cultural lenses, often think that Adam and Eve clothed themselves out of a kind of sexually fueled embarrassment for being “naked in public”. But a careful reading of the text reveals that, no, they were afraid of God’s omnipotent wrath in the face of their vulnerability, especially following their disobedience of God, and so they sewed leaves together to disguise themselves as trees in this garden of trees. Thus the nakedness of Jesus and Mary is to say no person need feel any longer afraid of God, as needing to hide her- or himself from God or ignore God, that “all is forgiven”, as the classic prophets often emphasize, as long as the individual accepts the Λογος, the truth and wisdom of the plan of God. Spiritually speaking, true trust is true nakedness, with no need to hide oneself, or to make of oneself something other than naturally human. In this sense, this nakedness is not just to bring Adam and Eve to mind; this is an eschatological nakedness: Jesus and Mary are the “Adam and Eve” of the people of the future who are completely integrated into the Λογος, who trust God completely, and do not put clothes on out of fear or misrepresentation of their true selves. (In the next chapter, Simon the Rock is fishing naked, but puts on his clothes before swimming ashore where Jesus is; he has not yet “understood the scripture” [20:9].)

In logion 36 of the Gospel of Thomas Jesus says, “Do not worry from dawn to dusk, or from dusk to dawn, about what you shall wear” (cf. Matthew 6:25-30). In the following logion the disciples ask Jesus, “When will you appear to us, and when will we see you?”, and he replies, “When you can take off your clothes without feeling ashamed, and you take your clothes and throw them beneath your feet like little children and trample them; then you will see the Son of the Living One, and you will not be afraid.” The (Greek) Gospel of the Egyptians has Jesus reply similarly, but adds a further thought: “When you have trampled on the garment of shame, and when the two become one, and the male with the female is neither male nor female.” This is an eschatology in which the two genders become one, in which they become again the image and likeness of their Creator, Elohim, in which male and female are one.

This eschatology is found also in the Gospel of Thomas, particularly in the last logion in the book (114), which, unfortunately, is widely misunderstood:

Simon the Rock said this to them: “Let Mariam [Mary] go away from us, for women are not worthy of the [Æonian] life.”

Jesus said this: “Look, I will draw her into myself so I may make her male, so she may also be a living spirit resembling you males: for any woman who makes herself male will enter the Kingdom of Heaven.”

This verse is often put down as an example of first-century misogyny, as Jesus insisting that only males are welcome in the Æon, the Kingdom of Heaven. But Jesus is actually referring to the Hebrew myth of the creation of male and female. In the first creation story God creates by separating complementary opposites: day from night, above from below, land from sea; finally, God takes the androgynous human who was made male-and-female in the image and likeness of God (Genesis 1:26) and separates it into two humans, the primordial couple. The second creation story likewise has womankind, in the person of Eve, drawn forth from the side of the prototypical androgynous human, Adam. Jesus thus is saying in the above logion that women, in order to enter into the Æon, the Kingdom of Heaven, must again become one with the male. Mary, as is made clear in this resurrection scene, is reborn to a new life along with her husband Jesus: they experience in this scene a hierogamy, a spiritual marriage, which renders them truly one, hence truly reflecting the image and likeness of Elohim, and fully capable of entering into the Æon.

F. F. Bruce (Jesus and Christian Origins Outside the New Testament) is the only scholar who to my knowledge interprets this logion correctly; he nicely summarizes Jesus’s point thus: “Jesus’s promise that she will become a man, so as to gain admittance to the kingdom of heaven, envisages the reintegration of the original order, when Adam was created male and female (Genesis 1.27). Adam was ‘the man’ as much before the removal of Eve from his side as after (Genesis 2.18-25). Therefore, when the primal unity is restored and death is abolished, man will still be man (albeit more perfectly so), but woman will no longer be woman; she will be reabsorbed into man.”

This interpretation of logion 114 is supported by logion 22, in which Jesus says in part, “When you make the two one … when you make the male and the female a single one, such that the male is not male nor the female female … then you shall enter into [the Kingdom of Heaven].” Likewise he says in logion 75, “There are many standing at the door, but the united/whole/single ones (are) the ones who will go in to the bridal chamber.”

We find the exact same theology in the Gospel of Philip, for instance in logion 76:

In the days (when) Eve was within Adam, death did not exist. (When) she was separated from him, death came into being. If again she goes into (him), and he takes her into himself, death shall not exist.

Third, while the sexual element is not clearly prominent in the garden of Eden story, it certainly is in the Song of Songs, and very much so here as well. There had to be some sexual energy in their embrace (and no doubt a kiss, as the implications of the Odyssey suggest; see below) in the next verse; most emphatically, Jerome’s “Noli me tangere” (“Do not touch me”) is repugnant as a translation. This is Jesus’s and Mary’s hierogamy, their spiritual (re)marriage, and so it has to be erotic. The eroticism is further discussed below.

This sexual element is related to the previous point that their Edenic nakedness has spiritual meaning. In the act of coïtus the couple become physically one, and their conscious minds are set aside, allowing them a moment of sheer ecstasy, which is a harbinger of the joy of living in the Æon. (This wakan aspect to lovemaking is explored in detail in The Circle of Life.) Further, the act of coïtus can result in the creation of new life, in the form of a child. Thus, Elohim appears in Genesis as a Creator, as Father-Mother to all life, and the man and woman, when they are truly one (including physically, during coïtus), are in the image and likeness of Elohim also creating life. This points to the deep meanings of the “bridal chamber” theology found in several early gospels, especially that of Philip. Logion 86, quoted on page 586, says that when male and female are mated together again in the bridal chamber they gain eternal life; death is overcome for them.

In sum, this resurrection scene is frighteningly beautiful, joyfully fearsome. Mary encounters a dead body that speaks to her: in her culture he is a ghost or an angel, perhaps, or Death Incarnate even, and it is impossible for her not to be afraid. And yet, when she comes close to him, and looks through her fear and exhaustion, she finds a familiar face. She smells the comfortable scent of his skin. She feels the warmth of his body against hers, the wonderful strength of his arms. She is scared and ecstatic at once. In the words of Rainer Maria Rilke, if an angel

… gesetzt selbst, es nähme
einer mich plötzlich ans Herz: ich verginge von
seinem stärkeren Dasein. Denn das Schöne ist nichts
als des Schrecklichen Anfang, den wir noch grade ertragen,
und wir bewundern es so, weil es gelassen verschmäht,
uns zu zerstören. Ein jeder Engel ist schrecklich.

… put itself before me and pulled
me suddenly against its heart, I would be overwhelmed by
its prodigious existence. For beauty is nothing
but the beginning of terror, which we can barely endure,
and we admire it so, because it serenely scorns
to destroy us. Even a single angel is terrifying.

Fourth, nakedness represents departure from the physical body in behalf of life in the Æon. As the Gospel of Philip has it (logion 24):

There are those made afraid lest they arise and find themselves naked. Because of this, they wish to arise in the flesh, but they do not understand that those made to wear the flesh are the naked ones. Those who are made of light strip themselves naked for they indeed are not naked. [or: Those who are unafraid to strip themselves naked are not really naked.]

Jesus speaks in a very similar way in the last dialogic section (probably late first century) of the Johannine-in-style Dialogue of the Savior, saying the “governors and administrators” of this world have garments (of flesh) which will not last, but his disciples will be blessed when they strip themselves of such garments.

And so: “Weeping may last for a night, but joy comes in the morning” (Psalm 30:5). The first rays of dawn reveal to Mary the face of her beloved husband; I believe this moment was in the Presbyter’s mind as he described “the woman clothed with the sun” in Revelation 12:1; the next verse confirms she was pregnant, as does John 16:21. They embrace and kiss, naked as they are, in a garden; they are the eternal archetypal lovers, and their wedding that began the gospel is now confirmed and made holy, and the celestial clock is set back to the moment of Creation, εν αρχη ην ο λογος, with the first wrongdoing of humanity trying to separate itself from God now forgiven and undone, and the entire universe is reborn. “This was their thousandth meeting,” as Charles Williams put it in All Hallows Eve, “but yet more than their first, a new first, and yet the only one.”

Only a few manuscripts, most importantly the Codex Sinaiticus (01C2a), have the critical phrase at the end of this verse, “And she runs to embrace him.” This is less likely a cut by the redactor, since publication did not take place before he had completed his work. More likely the sentence was taken out by an early copyist for theological reasons – his Christian community, with its emphasis on Jesus as God incarnate and its typically Roman misogyny clearly frowned on the idea that Jesus would allow a woman to embrace him, especially at such an august moment as his resurrection – and the majority of later copies retained this excision. It is in any case essential: it confirms that she was inside the tomb, with some distance intervening between her and Jesus; it dramatically informs the reader of her sudden change from the depths of deepest despair to cerulean euphoria; and it sets up Jesus’s asking her to cease embracing him. Thus it is included in this translation.

Without doubt the gospel writer had in mind these lines from the Septuagint (Greek) version of the Song of Songs:

First, Song 2:17a, ἕως οὗ διαπνεύσῃ ἡ ἡμέρα καὶ κινηθῶσιν αἱ σκιαί ἀπόστρεψον ὁμοιώθητι σύ ἀδελφιδέ μου τῷ δόρκωνι ἢ νεβρῷ ἐλάφων ἐπὶ ὄρη κοιλωμάτων (“Until the day breathes and the shadows flee, turn around, my beloved, and be like a gazelle or a young deer on the spice-laden mountains”). This dawn breathes new life not only into Jesus but Mary too. Their shadows on the far wall of the tomb flee away, for Mary has turned away from them, probably throwing down the embalming spices in her arms, to flee the tomb like a gazelle to her beloved.

Second, from Song 3:4b, ἐκράτησα αὐτὸν καὶ οὐκ ἀφῆκα αὐτόν (“I took hold of him and did not let [him] go”). Mary embraces Jesus and will not let him go, as 20:17 makes clear; Jesus must ask her to do so.

Third, from Song 1:2, the very beginning of that glorious poem, φιλησατω με απο φιληματων στοματος αυτου οτι αγαθοι μαστοι σου υπερ οινον (“Would that he kiss me with the kisses of his mouth, for your love is better than wine”). The amanuensis, always conscious of inclusios between the beginning and end of the gospel, certainly had in mind not only the miracle of the wine and no doubt the traditional kiss of the bride and groom at Jesus’s wedding (2:1-11), but also the implied kiss when they met at the spring in Samaria (see the commentary to 4:13-14) and here in the form of the kisses of his mouth Mary has the everflowing living waters of eternal life again, and the miraculously appearing wedding wine again, and this time it is not merely “the best wine” (2:10), but “better than wine” (Song 1:2)!

And last, Song 8:6, κραταια ως θανατος αγαπη σκληρος ως αδης ζηλος, “As strong as death is love, as fierce as Hades is passionate desire.” Their love has survived death itself.

It is not only the Song of Songs that echoes in this passage; the well-read amanuensis might well again have had the incomparable Sappho in mind as he wrote:

Αρτίωσ μ᾽ ἀ χρυσοπέδιλλοσ Ἀύωσ. …
Στᾶθι κἄντα φίλοσ, καὶ τὰν ἔπ᾽ ὄσσοισ ἀμπέτασον χάριν.

And in this moment golden-sandalled Dawn [has spoken]. …
Turn and face me, my beloved, and unveil for me the grace in your eyes.

Moreover, it is without question that we hear in the brief but mighty phrases of verse 16 the voice of Homer. Consider these lines from the Odyssey (205, 207-208, 231-232, 241, 247-250), in which Odysseus reveals himself to his longsuffering wife Penelope:

τῆς δ’ αὐτοῦ λύτο γούνατα καὶ φίλον ἦτορ…
δακρύσασα δ’ ἔπειτ’ ἰθὺς κίεν, ἀμφὶ δὲ χεῖρας
δειρῇ βάλλ’ Ὀδυσῆϊ, κάρη δ’ ἔκυσ …
τῷ δ’ ἔτι μᾶλλον ὑφ’ ἵμερον ὦρσε γόοιο:
κλαῖε δ’ ἔχων ἄλοχον θυμαρέα, κέδν’ εἰδυῖαν. …
καί νύ κ’ ὀδυρομένοισι φάνη ῥοδοδάκτυλος Ἠώς …
καὶ τότ’ ἄρ’ ἣν ἄλοχον προσέφη πολύμητις Ὀδυσσεύς
ὦ γύναι, οὐ γάρ πω πάντων ἐπὶ πείρατ’ ἀέθλων
ἤλθομεν, ἀλλ’ ἔτ’ ὄπισθεν ἀμέτρητος πόνος ἔσται,
πολλὸς καὶ χαλεπός, τὸν ἐμὲ χρὴ πάντα τελέσσαι. …

And then her knees and precious heart gave way …
Then in tears she ran to him, to throw her arms
Around Odysseus’s neck, to kiss his face …
And she elicited in him even more the desire to weep;
He held his wife, beloved and loyal, and shed his tears.
Rosy-fingered Dawn would have risen upon them as they wept …
And then resourceful Odysseus said to his wife,
“Woman, we haven’t finished yet with all our trials
For I must yet undertake, in the future, a great work,
Long and difficult, before I have completely finished. …”

Like Penelope, Mary is tottering on her legs, exhausted by considerable stress, and weeping copious tears (20:11). As Odysseus does Penelope, Jesus addresses Mary as γυναι (“woman”). Like Penelope, Mary runs to Jesus and embraces him (20:16). In both works, this poignant moment comes at dawn (20:1). And like Odysseus, Jesus says there are things that they both yet must accomplish, especially he himself (20:17).

This embrace is more than romantic and erotic, though it is that too; this embrace is what Jung calls the coincidentia oppositorum, the union of complementary opposites. As it is put in The Circle of Life:

The embrace is a sign of love that symbolizes the Sacred Hoop: both persons are within the circle. When we embrace, first we open our arms, becoming vulnerable in a sense, exposing our hearts both literally and figuratively, to create space in ourselves to welcome the other into us. Then we close our arms around each other, one with each other within the Sacred Hoop. (Sexuality is an extension of the embrace, of course – an even closer joining in which we each enter even more deeply into the other, body and soul.) Then, when the ceremony of embrace ends, we open again, and return to our separate identities, but enriched by the moment in which we were one together. Now and forever after, we are connected, and carry a little bit of the other in us.

And likewise the kiss is more than “just a kiss”; it is the eternal man and woman exchanging their sacred breath/spirit, רוּחַ (ruach) in Hebrew and πνευμα (pneuma) in Greek. As Plotinus would later put it in his Enneads, II:7, “All things depend on each other; as has been said, ‘Everything breathes together.’” And as the noncanonical Gospel of Philip (ca. 150 C.E.) would put it in years to come (logia 35, 59-60):

[Grace comes] from him, from the mouth, the place from which the Word came forth, to be nourished from the mouth and to become perfected. The perfect conceive and give birth by a kiss. This is why we also kiss each other, to receive conception from the grace that is in each other. …

And the companion of the [Anointed One] is Mariam the Magdalene. [The Lord] loved her more than the other disciples, and would kiss her often on her mouth. The other [women saw how much he loved Mariam], and say to him, “Why do you love her more than us?” The Savior answered and says to them, “Why do I not love you as (I do) her?

“Someone blind with someone who sees: if they are in darkness together, their differences do not matter. When the light is made to come, then the seeing one will see the light, and the blinded one shall remain in the darkness.”

The last is probably Jesus answering his own question (there are, of course, no quotation marks in the original): he loves Mary because she sees him, knows and understands him, where the other disciples are still blinded by their ignorance, represented by the darkness of night (John 20:9). Thus their kiss at the resurrection is an exchange of holy breath, of grace, of the living water that comes out of them both (John 4:14). For Philip, Jesus and Mary sharing a kiss is more than merely romantic. Jesus has said that those who believe in him must drink the Word that proceeds from his mouth, an image that brings to mind the “holy kiss” – a sacred exchange of breaths, hence of the πνευμα άγιον (the sacred breath/spirit), that was at that time central to several spiritual communities, including the Mystery Religions, the Gnostics, and probably the Essenes. Logion 112 in the Gospel of Thomas reads: “Jesus said: ‘Whoever drinks from my mouth will become like me. And I too will become that person, and the hidden things will be revealed to him.’” That is to say, those who accept the Word that proceeds from Jesus’s mouth will become like him, speaking the same word. That person and Jesus will become one, a concept that Jesus explores in 17:21-23, no doubt in the sense that all individuals will realize they are a part of the All. Jesus and Mary become truly one in this scene, even more one than the disciples in the next few verses, when he breathes on them.

Identifying Simon the Leper

Here is a sample of my current work on restoring the original version of the Gospel of John:

Simon the Leper, aka Simon the Pharisee, appears by name in Mark and Luke in the scene where Mary Magdalene washes Jesus’s feet with her tears. By implication, he’s in the Gospel of John too.

He’s often identified with Simon ben Gamaliel, son of the famous Talmudic rabbi Gamaliel, but I don’t buy that, because the latter said a man with leprosy was bound to divorce his wife – not something a leper would say!

But another Simon, Simon ben Nathanael, not as well known, married a daughter of Gamaliel, and so was Simon ben Gamaliel’s brother-in-law. He only sought a rabbinical education out of respect for his wife’s family and, since he did not accept the Pharisaic purity rules, he was required in the marriage contract not to interfere with his wife’s observance of those rules. There is no record stating whether this Simon had leprosy, but his rejection of the purity rules would be quite understandable on the part of a rabbi with leprosy.

Certainly such a man, affluent capitalist turned rabbi, would be more interested in the ostentation of social position than the private piety of a truly devoted religious scholar. And certainly such a man would be quite likely to reject a daughter who had served as a Samaritan temple priestess (Mary Magdalene, whom I conclude after analyses of the texts is the “Woman at the Well”), even after she had sought spiritual remission in the baptism of John (she is apparently present when Jesus is baptized by John), and to reject her husband, Jesus, whom she had married without her father’s permission, and his pretensions of being recognized as Messiah.

I’m also convinced that he’s Simon Iskariot, father of Judas (John 13:26); “Iskariot” (ισκαριωτης) may in fact be a Greek garbling of the Hebrew word צרעת, which means “leprosy”, and was pronounced in the Romanized Tiberian Hebrew of the time as ṣāraʻaṯ; the cognomen could easily have been Ish-ṣāraʻaṯ (man with leprosy), which could have picked up a “k” when transitioning into Greek to make it sound more natural in Greek-attuned ears – just as  “Alphaeus” became “Clopas” when transitioning from Aramaic to Greek (John 19:25).

t is also highly likely that the well-read author of the original Gospel of John, was reminded by “Iscariot” of another name, “Ikarios”, in the Odyssey. I’ve been documenting how Homer’s masterwork is strongly implied in chapters 13 and 20, but I also think the gospel suggests an analogy between the sisters Mary and Martha and the sisters Penelope and Iphthime in the Odyssey. The brother of the latter sisters, Perileos son of Ikarios, would have sharply brought Judas son of Simon Iscariot (John 13:26) to mind, since both men handed a hero over to the authorities, such that the hero was put on trial, but ultimately for the good. Perileos handed over the heroic Orestes to be tried at the court of the Areopagus.

Thus, Judas, Mary, and Martha appear to be siblings, which would explain why Judas is there in the house of the sisters (12:1-8) and bickering with Mary.