Acts of John Joey Mcallum

Visit to download the full and correct content document:

https://ebookmass.com/product/acts-of-john-joey-mcallum/
 Brepols Library of Christian Sources
Patristic and Medieval Texts with English Translations

The cry ‘ad fontes!’ has been a constant among theologians of every
variety since the mid-twentieth century. This is no simple process. Each
generation needs to engage with the ancient and medieval sources
afresh in a great act of cultural, intellectual, and linguistic translation.
More than reproducing an historical artefact or transferring it into a
new linguistic code, it requires engaging in a dialogue with the text.

One dialogical pole is to acknowledge the inherited text’s distance

from us by reading it in its original language, the other is to explore
what it says within our world and language. Here the facing-pages
of text and translation express this. These editions respect the
original context by providing the best currently available Greek
or Latin text, while the task of stating what it says today is found
alongside it in the translation and in the notes and commentaries.

The process testifies to the living nature of these texts within

traditions. Each volume represents our generation’s attempt to
restate the source in our language, cognisant that English is now the
most widely used language among theologians either as their first
language or their adopted language for scholarly communication.
 Brepols Library of Christian Sources
Patristic and Medieval Texts with English Translations

EDITORIAL BOARD

Professor Thomas O’Loughlin, Director

Dr Andreas Andreopoulos
Professor Lewis Ayres
Dr Lavinia Cerioni
Professor Hugh Houghton
Professor Doug Lee
Professor Joseph Lössl
Dr Elena Narinskaya
Dr Sara Parks
Acts of John

Translated by
Joey McCollum and Brent Niedergall

with the assistance of

Derek G. T. DeMars, Bobby Howell, and
Stephen M. Young

F
 Cover image: Ebstorfer Mappa mundi © Kloster Ebstorf.
Used with permission.

© 2022, Brepols Publishers n.v., Turnhout, Belgium.

All rights reserved. No part of this publication may be

reproduced, stored in a retrieval system, or transmitted, in any
form or by any means, electronic, mechanical, photocopying,
recording, or otherwise without the prior permission of the
publisher.

D/2022/0095/153
ISBN 978-2-503-60016-1
eISBN 978-2-503-60017-8
ISSN 2736-6901
e-ISSN 2736-691X
DOI 10.1484/M.BLCS-EB.5.128870

Printed in the EU on acid-free paper.

Table of Contents

Abbreviations7
Introduction9
Date9
Authorship9
Contents9
Interpretation and Exegesis 13
Translation15
Acknowledgements17

Text and Translation 19

Bibliography103

Index105
Scripture105
Subjects108
Persons Mentioned in the Text 109
Ancient and Modern Authors 110
Abbreviations

CCA Corpus Christianorum Series Apocryphorum

ECA Early Christian Apocrypha
JTS Journal of Theological Studies
LSJ Liddell, Henry George, Robert Scott, and Henry Stuart Jones. A Greek-
English Lexicon. 9th ed. with revised supplement. Oxford: Clarendon, 1996.
MSJ Master’s Seminary Journal
NTS New Testament Studies
SBLMS Society of Biblical Literature Monograph Series
VC Vigiliae Christianae
 Introduction

Date

The Acts of John is a second or third-century work belonging to the genre of apocryphal
acts narratives. It was most likely composed of “floating” traditions from multiple
sources of varying levels of orthodoxy.1 Thus, it comes as no surprise that both
Eusebius (Hist. eccl. 3.25.6–7) and Augustine (Ep. 237) labeled the work heretical.2
While these patristic references allow us to place the composition of the work no
later than the fourth century, there are few clues that allow us to date it with any
further precision. A reference to the third Temple of Artemis suffering damage or
destruction (c. 42) is, unfortunately, of little help, because the date of the temple’s
final destruction is unknown.

Authorship

Only the ninth-century patriarch of Constantinople, Photius, ventured to attribute the

work to an author. His claim was that one Leucius Charinus, a name also associated
with several other apocryphal acts narratives, composed the book.3 According to
Epiphanius, Leucius Charinus was a follower of the apostle John (Adv. haer. 51.427),
but whether he actually wrote the Acts of John is purely conjecture.

Contents

Ascertaining the original text of the Acts of John is no easy task. An early description
in the Stichometry of Nicephorus measured its length at 2500 stichoi, the approximate
length of the Gospel of Matthew.4 Unfortunately, the textual tradition of the Acts
of John has seen numerous interpolations and redactions of entire passages, so even
verifying the length of the work is out of reach. The chapters that have survived are
not preserved entirely in any one manuscript, so scholars have had their work cut
out for them sorting out all of the material.

1 Elliott 1993, 306.

2 Elliott, 303.
3 Meeks 2016.
4 Elliott, 303.
10 in tro ducti o n

In this translation, we follow the reconstruction from the critical text of Junod
and Kaestli (1983). A brief overview of the contents can be found in Table 1 below.
Table 1: Overview of the extant contents of the Acts of John, following the critical reconstruction of
Junod and Kaestli (1983). The common sigla for the manuscripts of the Acts of John are used in the
“Primary witnesses” column; more detailed descriptions of the manuscripts can be found in Junod
and Kaestli (1–107) and Elliott (303–06, 310–11). The chapter numbers are those of Junod and
Kaestli.

Chapters Primary witnesses Description

18–36 R, Z, and parts of H John raises Lycomedes and
Cleopatra; the portrait of John; the
healing in the theater
87–105 C John’s recollections of the
polymorphous nature of Jesus; the
Hymn of Christ; the vision of the
cross
37–55 R, Z, and parts of H Showdown at the Temple of Artemis;
resurrection of the priest of Artemis;
murder and resurrection in the
countryside; departure from Ephesus
to Smyrna
56–57 L and S Exorcism of the sons of Antipatros

58–86 R, Z, and parts of H, O, M, and the Return to Ephesus; the well-behaved

Latin version of the Virtutes Iohannis bedbugs

106–15 Three Greek recensions and several Drusiana and Callimachus; John’s
ancient-language translations farewell address and departure (also
called the Metastasis)

Even the text as reconstructed above is fragmentary, with multiple gaps separating
the sections. The original beginning (preceding what is c. 18 in Bonnet’s numbering)
is likely lost to history, and the chapters numbered 1–17 by Bonnet are now deemed
to be secondary.5 The pericope of the healing in the theater has been truncated at
c. 36, and the subsequent story detailing the conversion of Andronicus is missing, as
are the introduction of Andronicus’ wife Drusiana and the stories of her resurrection
and conversion between cc. 36 and 87.
A gap is also present between c. 105 and c. 37, which Junod and Kaestli suspect
contained many lost pericopes. The only Greek manuscript extant at c. 105 (C)

5 Elliott, 304.
 i nt ro d u ct i o n 11

concludes with a doxology, as its text ends here. Other gaps surely included stories
of John’s travels before he met Antipatros (between c. 55 and c. 56) and his travels
to Smyrna and the surrounding cities (between c. 57 and c. 58). Based on the incipit
of c. 58, this gap also included a trip to Laodicea.
Several other isolated accounts can be found in the tradition of the Acts of John,
but these are believed to be later accretions to the text (and as such are not translated
here). In one part of the tradition (manuscript Q), the story of John and the partridge
takes the place of the story concerning the sons of Antipatros (cc. 56–57); while
many editors prefer the former pericope, Junod and Kaestli consider the latter to be
original (25, 145–58), and Elliott (326–27) prints both. Three other pericopes, which
detail John’s intercession for a priest ensnared in sin, John’s turning hay to gold, and
John’s encounter with the devil in the form of a soldier, are only fully preserved in a
fifteenth-century Irish manuscript, but Junod and Kaestli note that the fourth-century
Oxyrhynchus Papyrus 850 appears to attest to some early form of the first and third
of these pericopes (109–36).
It is debated whether the sections showing a more Valentinian Gnostic or docetic
influence (specifically, the sections in cc. 87–105 preserved in manuscript C) were
interpolated, or if they were original to the work. As we discuss in more detail in the
next section, traces of Valentinian theology may be identified outside of cc. 87–105, so
the hypothesis of the originality of these chapters may be viable. In any event, Junod
and Kaestli retain these chapters in their critical text, so we have translated them here.
Due to discrepancies in the textual tradition and in editors’ judgment, the chapter
numbering of the Acts of John has accumulated discrepancies of its own from edition
to edition. For the convenience of the reader, we detail the differences between major
editions in Table 2 below.6

6 The editors wish to acknowledge that they are aware of Richard Pervo’s 2001 criminal charges
and subsequent conviction for possessing and distributing child pornography. We unequivocally
condemn this behavior and wish to clarify that Pervo’s work is cited where necessary because it is the
most recent English translation of the Acts of John of which we are aware.
 12

Table 2: Chapter numbering differences across editions of the Acts of John. Since most editions since Bonnet have used his chapter numbering
as a basis, the rows are keyed to chapter numbers in his sequence. Specifically, the first row for cc. 56–57 corresponds to the pericope of John
and the partridge, while the second row corresponds to the pericope of the sons of Antipatros. A dash indicates that a given edition lacks the
chapters in question. The 1880 edition of Zahn is not included, as it does not number the chapters of the Acts of John. The present translation
follows the numbering of Junod and Kaestli’s 1983 edition.
in tro ducti o n

Bonnet, 1898 James, 1924 Junod and Kaestli, 1983 Elliott, 1993 Pervo, 2015
1–17 – – – –
37a 37a 36b 36b (Unnumbered, included in note
after 36)
89a 89a 88b 88b 88b
(56*–57*) (Unnumbered, included in note – 56A–57A –
after 55)
– – 56–57 56B–57B 56–57
87–105 87–105 Keep numbering of 87–105, but Keep numbering of 87–105, but Keep numbering of 87–105, but
relocate after 36 relocate after 36 relocate after 36
106a 106a 106a 86b 106a
111a 111a 110b 111a 110b
 Interpretation and Exegesis

The Acts of John features many citations and allusions to texts from the Old Testament
and Gospels, as well as several potential references to New Testament epistles and
deuterocanonical texts. (For convenience, we have highlighted all suspected allusions and
citations in our footnotes.) Through its interpretation of these scriptures and through its
own narrative, the Acts of John offers a window into early Christian belief and practice.
Some the practices and beliefs expressed in the Acts of John would later wane in
popularity. Fasting is described as an act representative of spiritual maturity (c. 29)
and Christian community (c. 84). On multiple occasions, the protagonists of the
narrative exemplify the virtues of celibacy, even within marriage (see cc. 34, 68, and
113). In general, the author of the Acts of John holds a low view of the body, associating
it with corruptibility and death (cc. 29, 35, 77, 84), and a high view of the spirit,
praising those who endure physical hardship in faith and deny earthly “obstacles,”
including children and parents (cc. 34, 68–69).
These general beliefs occasionally venture into the territory of unorthodox
theology. A docetic view of Christ (i.e., that his physical nature was not real, but merely
apparent) is clearly expressed throughout cc. 87–105 (the section preserved exclusively
in manuscript C), and in connection with this view, we see a strong emphasis on the
polymorphism of Christ in the same section.7 The theology of cc. 94–104 has been
connected with Gnosticism, and more specifically with Valentinian Gnosticism.8 We
find an explicit mention of the Ogdoad and potential references to specific Aeons,
as well as the Valentinian concept of the cross as a limit (ὅρος) separating upper and
lower realms of existence and the rejection of Jesus’ physical suffering common to
Gnostic literature. In light of the content of this section, the very setting of John’s
revelation concerning the cross takes on the character of a Gnostic initiation.
Yet while the rest of the Acts of John seems to assume a far more orthodox theology
than cc. 87–105, there are a few places in the main text where traces of docetic and
Valentinian ideas may also be found. Polymorphy is again attributed to Christ in
c. 82, and even to Satan in c. 70. The condemnation of Fortunatus in c. 84 also uses
terminology strongly reminiscent of Valentinian theology (for more detail, see our
notes in that chapter).9

7 For more on this subject, see Foster 2007 and Lalleman 1995.
8 Junod and Kaestli, 589–632; for more on these subjects, see Pagels 1979, Brakke 2010, and especially
Pagels 1973.
9 For an overview of similar Gnostic ideas found throughout the Acts of John and a discussion on how
the entirety of the Acts of John might be read through a Gnostic lens, see Luttikhuizen 1995.
14 in te r p r e tati o n an d e x eg e s i s

In addition to serving as the focal point of docetic and Gnostic influence in

the Acts of John, the narrative in cc. 87–105 (which consists of John recollecting his
experiences as a disciple of Jesus) also offers the greatest insight into the author or
redactor’s (re)interpretations of the canonical writings. First, as Bauckham (2006) has
noted, the Acts of John is one of the earliest surviving writings to associate John the
beloved disciple with John the son of Zebedee explicitly (463–64). This identification
is made between two separate recollections in cc. 88–89.
The account of Jesus’ transfiguration in c. 90 adds several details to its parallels in
the Synoptic Gospels so as to advance a polymorphic Christology, but one relatively
mundane point it stops to note is potentially much richer exegetically: John catches
a glimpse of the divine Jesus, but only with his eyes to Jesus’ back. This appears to
be an allusion to Moses’ experience of seeing God (though not face-to-face) on
Mount Sinai in Exod 33:23. If this is indeed the case, then it would furnish a critical
interpretive distinction between the transfiguration account in the Acts of John and
its counterparts in the Synoptics: while the Synoptics cast Jesus alongside Moses
and Elijah as a new and greater prophet, the Acts of John puts John in the place of
Moses and Jesus in the place of God.
Other pericopes in this section give the impression that they were written to
add new color to the old, familiar stories of canonical Gospels or to answer certain
questions that readers might have had about the details. What were Jesus’ meals
with the Pharisees like? What hymn did Jesus sing with the disciples after the Last
Supper (as Mark 14:26, Matt 26:30, and Luke 22:39 note in passing)? Was John indeed
present at the crucifixion (as the fourth Gospel purports), or did he abandon Jesus
with the rest of the disciples (as the Synoptics suggest)? In cc. 87–105 of the Acts of
John, we find creative answers to all of these questions.
Translation

For this project, we were fortunate to have the shoulders of many giants available
for our feet. The Acts of John has a rich history of translation into various languages.
Even among English translations alone, the editions of James (1924), Elliott (1993),
Ehrman (2003), and Pervo (2015) are not exhaustive. For the facing-page Greek
text and the basis of our translation, we relied upon the critical edition of Junod
and Kaestli (1983), consulting other translations when we needed to compare their
handling of difficult passages. The critical apparatus and extensive commentary by
the editors made Junod and Kaestli’s work an indispensable resource at every stage
of the translation.
This translation was a collaborative effort of five students and independent
scholars. Blocks of chapters were assigned to team members for an initial translation.
Initial translations were reviewed in a second pass by another translator. For each
block, Joey McCollum performed a final pass to ensure stylistic consistency. Table 3
outlines our division of work.
Table 3: Division of chapters for first and second translation passes.

Chapters First Pass Second Pass

18–25 McCollum Niedergall
26–29 Young McCollum
30–36 McCollum Niedergall
87–93 Niedergall McCollum
94–102 McCollum Niedergall
103–05 Niedergall McCollum
37–47 DeMars McCollum
48–55 Howell Young
56–57 McCollum Niedergall
58–61 Howell McCollum
62–71 Niedergall McCollum
72–80 McCollum Niedergall
81–86 Niedergall McCollum
106–15 McCollum Niedergall

Our translation technique tends towards formal equivalency while preserving render-
ings that sound natural in English. Where possible, we sought to preserve wordplay
found in the original Greek (e.g., cc. 57, 84, 96, and 112). We used gender-inclusive
16 tr a n s l atio n

language, translating ἄνθρωπος as human or person by default, except where man was
warranted by context or style. In the context of the Eucharist, we translated ἄρτος as
loaf over against bread as long as this allowed for natural-sounding English.10 Hugh
A. G. Houghton’s work on prayer in the apocryphal acts provided helpful perspective
on the typical framing of prayers in early Christian literature.11 In general, we erred
on the side of verbosity, adding explanatory footnotes wherever we thought they
might be helpful; we sincerely hope that they serve their purpose.

10 O’Loughlin 2004.
11 See Houghton 2004.
Acknowledgements

We would like to extend our thanks to Prof. Thomas O’Loughlin for the opportunity
to contribute to this series and for his kind direction throughout the process, which
improved both the quality of this work and our quality as scholars.
Text and Translation
18. Ὁ δὲ Ἰωάννης ἠπείγετο εἰς τὴν Ἔφεσον ὑπὸ ὁράματος
κεκινημένος· ὁ οὖν Δαμόνικος καὶ ὁ συγγενὴς αὐτοῦ Ἀριστόδημος
καί τις πάνυ πλούσιος Κλεόβιος καὶ ἡ γυνὴ τοῦ Μαρκέλλου ἐπέσχον
αὐτὸν μόλις μιᾶς ἡμέρας ἐν τῇ Μιλήτῳ συναναπαυόμενοι αὐτῷ. Ὡς
δὲ ὑπὸ βαθὺν ὄρθρον ἐξῄεσαν καὶ ἤδη τῆς ὁδοῦ ἤνυστο ὡσεὶ μίλια
τέσσαρα, φωνὴ ἠνέχθη ἀπ᾽ οὐρανοῦ πάντων ἡμῶν ἀκουόντων
λέγουσα· Ἰωάννη, μέλλεις ἐν Ἐφέσῳ δόξαν τῷ κυρίῳ σου διδόναι ἣν
εἴσῃ σὺ καὶ πάντες οἱ σὺν σοὶ ἀδελφοὶ καί τινες τῶν ἐκεῖ μελλόντων
διὰ σοῦ πιστεύειν. Ἐνενόει οὖν ὁ Ἰωάννης ἐν ἑαυτῷ ἀγαλλιώμενος
τί ἄρα ἦν τὸ μέλλον ἐν Ἐφέσῳ ἀπαντᾶν, λέγων· Κύριε, ἰδοὺ κατὰ
τὸ θέλημά σου βαδίζω· γενέσθω ὃ βούλει.

19. Καὶ ἐγγιζόντων ἡμῶν τῇ πόλει ὁ στρατηγὸς Ἐφεσίων Λυκομήδης,

ἄνθρωπος τῶν εὐδαιμόνων, ἀπήντησεν ἡμῖν, καὶ προσπεσὼν τοῖς
ποσὶν Ἰωάννου παρεκάλει λέγων· Ἰωάννης ἐστί σοι ὄνομα· ἔπεμψέ σε
ὁ θεὸς ὃν κηρύσσεις ἐπ᾽ εὐεργεσίᾳ τῆς ἐμῆς γυναικός, παραπλήγου
γεγονότος ἤδη ἡμέρας ἑπτὰ καὶ ἀθεραπεύτου κειμένης. ἀλλὰ δόξασόν
σου τὸν θεὸν ἰασάμενος αὐτὴν σπλαγχνισθεὶς ἐφ᾽ ἡμᾶς. παραστὰς
γάρ τις ἤδη σκεπτομένῳ ἐμαυτῷ λογισμὸν δοῦναι τοῦτον ἔφη·
Λυκόμηδες, παῦσαι τῆς κατὰ σοῦ στρατευομένης ἐννοίας χαλεπῆς
οὔσης· μὴ ὑποβάλῃς σεαυτὸν ταύτῃ· ἐγὼ γὰρ σπλαγχνισθεὶς ἐπὶ
τὴν ἐμὴν δούλην Κλεοπάτραν ἔπεμψα ἐκ Μιλήτου ἄνδρα ὀνόματι
Ἰωάννην, ὅστις αὐτὴν ἀναστήσας ἀποδώσει σοι σῴαν. Μὴ βράδυνε
οὖν, δοῦλε τοῦ φανερώσαντός μοι θεοῦ σὲ αὐτόν, ἀλλὰ σπεῦσον ἐπὶ
τὴν πνοὴν μόνην ἔχουσαν γυναῖκα. Καὶ εὐθέως ὁ Ἰωάννης ἀπῄει
ἀπὸ τῆς πύλης ἅμα τοῖς σὺν αὐτῷ ἀδελφοῖς καὶ Λυκομήδει εἰς τὸν
οἶκον αὐτοῦ. ὁ δὲ Κλεόβιος ἔφη τοῖς αὐτοῦ νεανίσκοις· Ἀπέλθατε
πρὸς τὸν συγγενῆ μου Κάλλιππον καὶ ξενίαν ἀρεστὴν λάβετε παρ᾽
αὐτοῦ—ἔχων γὰρ τὸν υἱὸν αὐτοῦ παραγίνομαι ἐκεῖ—ὅπως εὐτρεπῆ
τὰ πάντα εὕρωμεν.
 181. Then John began to make haste to Ephesus, stirred by a vision, so Demonicus
and his relative Aristodemus and a certain very wealthy man Cleobius and the wife
of Marcellus could scarcely keep him one day in Miletus, where they were resting
with him.
Now while they were going out very early in the morning and had already made
their way about four miles, a voice came forth from heaven while all of them were
listening, saying, “John, you are destined in Ephesus to give your Lord an honor which
you will know, you and all of the brothers with you and some of those who are about
to believe through you there.” John therefore reflected on this in his mind, rejoicing
because of what was about to happen in Ephesus, saying, “Here, Lord—according
to your will I go! May it be as you wish.”

19. And as we drew near to the city, the chief magistrate2 of the Ephesians,
Lycomedes, a man of the wealthy class, met with us, and falling at the feet of
John, he began to beseech him, saying, “John is your name! The God whom you
preach has sent you for the benefit of my wife, who has been stricken down3 and
lying uncured for seven days now. But give glory to your God by healing her
and having pity on us! For someone who was standing beside me when I was
already premeditating a measure to take4 said this to me: ‘Lycomedes, stop this
oppressive thought battling against you!’ Do not subject yourself to this! For I,
feeling pity for my servant Cleopatra, have sent from Miletus a man by the name
of John, one who, after raising her up, will return her to you whole.’ Therefore,
do not delay, servant of the God who has made you yourself known to me, but
hurry to the barely breathing woman!” And immediately, John departed from the
gate, together with the brothers with him and Lycomedes, into his house. Then
Cleobius said to his servant-boys, “Go out to my relative Callippus and receive
the proper hospitality from him—for I am coming there with his son—so that
we might find everything prepared.”

1 The original beginning to the Acts of John has been lost. Another set of chapters, numbered 1–17 in
Bonnet’s edition (although Bonnet did acknowledge a gap between these chapters and c. 18), were
subsequently judged not to belong to the original Acts of John. For more details, see Elliott (1993),
303–04 and Junod and Kaestli (1983), 76–86.
2 The word στρατηγός could alternatively be understood to refer to a military strategist or commander,
as is the case in other translations. For our part, we did not see any indication that Lycomedes was
part of the Ephesian military, so we opted for a translation with a more bureaucratic sense.
3 The word παραπλήξ can and has been alternatively translated as paralyzed, but as the context later
makes clear, Lycomedes’ wife has been not just unable to move, but dead.
4 As the context will reveal, the measure he has been contemplating is suicide. An alternate translation
of this phrase is “when I was still racking my brain for an explanation to give,” but despite conveying
the Greek description of Lycomedes’ grief more literally, this translation fits the context less,
especially in light of the phrase’s other occurrence, almost word-for-word, in c. 56, where it clearly
alludes to a premeditated act of killing.
22 TE XT

20. Γενόμενος δὲ ὁ Λυκομήδης σὺν τῷ Ἰωάννῃ ἐν τῇ οἰκίᾳ ἐν ᾗ

ἡ γυνὴ ἔκειτο πάλιν αὐτοῦ τῶν ποδῶν ἥπτετο λέγων· Ἴδε, κύριε,
τὸ μαρανθὲν κάλλος, ἴδε τὴν νεότητα, ἴδε τὸ διαβόητον ἄνθος τῆς
ταλαιπώρου μου γυναικὸς ἐφ᾽ ᾧ ὅλη ἡ Ἔφεσος ἐξεστήκει· ἐφθονήθην
ὁ τάλας, ἐταπεινώθην, ὀφθαλμὸς ἐχθρῶν ἔπληξέ με· οὐδέποτε ἠδίκησα
οὐδένα, καίτοι πολλοὺς δυνάμενος βλάψαι, τοῦτο αὐτὸ προορώμενος,
μή τι κακὸν ἤ τινα τύχην τοιαύτην ἴδοιμι φυλασσόμενος. τί οὖν
ὄφελος γέγονε, Κλεοπάτρα, εὐλαβουμένῳ μοι; τί οὖν ὤνησα εὐσεβὴς
χρηματίσας ἕως σήμερον; δυσσεβοῦς χείρονα πάσχω ὅτι σὲ τοιαύτην,
Κλεοπάτρα, ὁρῶ κειμένην. οὐκ ὄψεταί με ἥλιος περιπολῶν σοῦ μηκέτι
προσομιλοῦντος. φθάσω σε, Κλεοπάτρα, ἀπολύων ἑαυτὸν τοῦ βίου.
ἀφειδήσω τῆς σωτηρίας μου ἔτι νεάνιδος οὔσης. ἀπολογήσομαι τῇ
δίκῃ ὡς δικαίως μου ὑποδράσαντος ἐξὸν δικασθῆναι πρὸς αὐτὴν ὡς
ἀδίκως δικάζουσαν. τιμωρήσομαι αὐτὴν εἴδωλον βίου παραγενόμενος.
ἐρῶ πρὸς αὐτήν· Σύ μου τὸ φῶς ἐβιάσω Κλεοπάτραν ἀφαρπάσασα·
σύ με νεκρὸν ἐποίησας γενέσθαι τοῦτό μοι παρασχομένη· σύ με τὴν
πρόνοιαν ἐβιάσω ἐνυβρίσαι ἐκκόψασά μου τὴν παρρησίαν.

21. Καὶ ἔτι πλείονα λέγων ὁ Λυκομήδης πρὸς τὴν Κλεοπάτραν

προσελθὼν τῇ κλίνῃ ἀναβοῶν ἐθρήνει. ὁ δὲ Ἰωάννης ἀπέσπασεν
αὐτὸν εἰπών· Μετάστηθι τῶν θρήνων τούτων καὶ τῶν ἀναρμόστων
σου ῥημάτων. οὐ προσήκει ἀπειθῆσαι τῷ θεωμένῳ σοι. ἴσθι γὰρ
ἀπολαμβάνων τὴν ἑαυτοῦ σύμβιον. σὺν ἡμῖν τοίνυν στὰς τοῖς διὰ
ταύτην ἐληλυθόσιν ἔπευξαι τῷ θεῷ ὃν εἶδες φανεροῦντά με δι᾽
ὀνειράτων. τί οὖν ἐστιν, ὦ Λυκόμηδες; διυπνίσθητι καὶ αὐτὸς καὶ
ἄνοιξόν σου τὴν ψυχήν. ἀπόβαλε τὸν πολὺν ὕπνον ἀπὸ σοῦ. δεήθητι
τοῦ κυρίου, παρακάλεσον αὐτὸν ὑπὲρ τῆς συμβίου σου καὶ ἀναστήσει.
Ὁ δὲ πεσὼν ἐπὶ τοῦ ἐδάφους ἐθρήνει ὁλοψυχῶν.
Ὁ οὖν Ἰωάννης ἔφη μετὰ δακρύων· Ὢ καινῆς προδοσίας
ὁράματος· ὢ καινοῦ πειρασμοῦ ἐμοὶ κατασκευασθέντος· ὢ καινῆς
τέχνης τοῦ κατ᾽ ἐμοῦ τεχνασαμένου. ἡ ἀπ᾽ οὐρανοῦ φωνὴ ἐνεχθεῖσά
μοι ἐν τῇ ὁδῷ ταῦτά μοι ἐπραγματεύσατο; ταῦτά μοι προεδήλωσε
τὰ μέλλοντα γενέσθαι ἐνθάδε, παραδιδούς με ὄχλῳ τοσούτῳ τῶν
πολιτῶν ἕνεκεν Λυκομήδους; ὁ ἀνὴρ ἄπνους κεῖται, κἀμὲ εὖ οἶδα
ὅτι ζῶντα τῆς οἰκίας οὐκ ἐάσει με ἐξελθεῖν. τί μέλλεις, κύριε; τί
σου τὸ χρηστὸν ἐπάγγελμα ἀποκέκλεικας ἡμῶν; μή, δέομαί σου,
κύριε, μὴ δῷς χορεῦσαι τῷ ἐπ᾽ ἀλλοτρίοις κακοῖς ἡδομένῳ· μὴ
δῷς τούτῳ ὀρχεῖσθαι τῷ καταγελῶντι ἡμῶν ἀεί. ἀλλά σου τὸ
ἅγιον ὄνομα καὶ τὸ ἔλεος σπευσάτω. ἀνέγειρον πτώματα δύο
κατ᾽ ἐμοῦ γεγενημένα.
 T ranslati o n 23

20. Then Lycomedes, coming with John into the house in which the woman lay,
again grasped his feet, saying, “See, sir, the faded beauty, see the youth, see the
celebrated flower that is my suffering wife, for whose sake all Ephesus has been
waiting outside!5 This wretched man was envied, brought low—the eye of my
enemies struck me! I never wronged anyone—despite being able to hurt many—
foreseeing this very thing, keeping guard that I might not see any evil or any such
fate. What advantage, then, has come, Cleopatra, from my being cautious? What,
then, have I benefited from being called pious until today? I suffer more than the
impious because I see you, Cleopatra, lying like this. The wandering sun will not
see me when you are no longer intimate with me. I will overtake you, Cleopatra,
setting myself free from life! I will not spare myself salvation, even though you
are still young! I will defend myself to Justice6 so that after I have justly served, it
would be lawful for it to be judged against her7 as against one judging unjustly.8 I
will take vengeance on her, having become a phantom of life. I will say to her, ‘You
forced out the light by snatching away Cleopatra; you made me become dead by
rendering this to me; you have forced me to make a mockery of foresight and have
cut off my confidence!’”

21. And Lycomedes, speaking still more, approached Cleopatra in the bed, crying,
and began to wail. But John tore him away, saying, “Turn away from these laments
and words unfit for you. It is not proper for you to disobey the one who appeared to
you,9 for you are regaining your partner. Now then, stand with us who have come
for her sake to pray to the God whom you saw making me appear in your dreams! So
what is the matter, O Lycomedes? Wake yourself up and open your soul! Cast away
this heavy sleep from you! Beg of the Lord, beseech him on behalf of your partner,
and he will raise her up!” But he, falling upon the floor, was wailing with all his soul.
So John said with tears, “O fresh betrayal from a vision! O fresh temptation
fashioned for me! O fresh handiwork of the one devising against me! Did the voice
from heaven that came to me on the way elaborate these things to me? Did it make
clear to me beforehand the things about to happen here when it handed me over to
such a crowd of citizens on behalf of Lycomedes? The man lies lifeless, and as for
me, I know full well that they will not allow me to leave this house alive. Why do
you delay, Lord? Why have you called away your gracious promise from us? No—I
beg you, Lord, do not give cause for celebrating to the one who takes pleasure in
the misfortunes of others! Do not give cause for dancing to the one who laughs at
us always! But let your holy name and your mercy make haste! Raise up the two
corpses beneath me!”

5 As cc. 22 and 23 state explicitly, a large crowd of Ephesians is standing outside of Lycomedes’ house,
waiting to see Cleopatra miraculously healed.
6 We have capitalized Justice (δίκη) to indicate that Lycomedes is personifying the idea in his speech.
7 i.e., by Justice.
8 He is suggesting suing Justice (here personified as a judge) for an unjust sentence.
9 Here, John is referring to the person who appeared to Lycomedes in c. 19 and told him to “stop this
oppressive thought battling against you.”
24 TE XT

22. Καὶ δὴ τοῦ Ἰωάννου ἐκβοῶντος ἡ Ἐφεσίων πόλις συνέδραμεν

εἰς τὸν οἶκον Λυκομήδους ὡς τετελευτηκότος. ὁ δὲ Ἰωάννης ἰδὼν τὸν
πολὺν ὄχλον τὸν ἐληλυθότα εἶπε πρὸς κύριον· Νῦν καιρὸς ἀναψύξεως
καὶ παρρησίας τῆς πρὸς σέ, Χριστέ. νῦν καιρὸς κάμνουσιν ἡμῖν τῆς ἐκ
σοῦ βοηθείας, ἰατρὲ δωρεὰν ἰώμενε. ἀκαταγέλαστόν μου τὴν ἐνταῦθα
εἴσοδον διαφύλαξον. δέομαί σου, Ἰησοῦ, ἐπάμυνον πλήθει τοσούτῳ ἐλθεῖν
ἐπὶ σὲ τὸν τῶν ὅλων δεσπότην. ἴδε τὴν θλῖψιν, ἴδε τοὺς κατακειμένους.
σὺ κατάρτισον καὶ ἀπὸ τῶν ἐντεῦθεν συνεληλυθότων σκεύη ἅγια εἰς
ὑπηρεσίαν τὴν σὴν θεασαμένων τὴν δωρεάν σου. αὐτὸς γὰρ εἶπας,
Χριστέ· Αἰτεῖτε καὶ δοθήσεται ὑμῖν. Αἰτούμεθα οὖν σε, βασιλεῦ, οὐ
χρυσόν, οὐκ ἄργυρον, οὐχ ὕπαρξιν, οὐ κτῆσιν, οὐδέ τι τῶν ἐπὶ γῆς
ὄντων ἀπολλυμένων, ἀλλὰ ψυχὰς δύο δι᾽ ὧν ἐπιστρέψεις <τοὺς>
μέλλοντας <πιστεύειν> ἐπὶ τὴν σὴν ὁδόν, ἐπὶ τὴν σὴν μάθησιν, ἐπὶ τὴν
σὴν παρρησίαν, ἐπὶ τὴν ἄριστόν σου ἐπαγγελίαν· καταμαθόντες γὰρ
τὴν δυναστείαν σου διὰ τοῦ ἐγηγέρθαι τοὺς ἀποψύξαντας σωθήσονταί
τινες αὐτῶν. παράσχου οὖν καὶ αὐτὸς ἐλπίδα ἐπὶ σέ. πρόσειμι τοίνυν
τῇ Κλεοπάτρᾳ λέγων· Ἀνάστηθι ἐν τῷ ὀνόματι Ἰησοῦ Χριστοῦ.

23. Καὶ προσελθών, ἁψάμενος τοῦ προσώπου αὐτῆς ἔφη· Κλεοπάτρα,

λέγει σοι ὃν ἐφοβήθη πᾶς ἄρχων καὶ πᾶσα κτίσις, πᾶσα δύναμις,
ἄβυσσός τε καὶ σκότος ἅπαν καὶ θάνατος ἀγέλαστος καὶ οὐρανῶν
ὑψώματα καὶ ᾅδου κοιλώματα καὶ νεκρῶν ἀνάστασις καὶ πηρῶν
ὄψις καὶ τοῦ κοσμοκράτορος ἅπασα ἡ δύναμις καὶ ἡ τοῦ ἄρχοντος
ὑπερηφανία· Ἀνάστηθι, καὶ μὴ γίνου πρόφασις πολλοῖς ἀπιστεῖν
θέλουσι καὶ θλῖψις ψυχαῖς δυναμέναις ἐλπίσαι καὶ σωθῆναι. Καὶ
ἡ Κλεοπάτρα εὐθέως μετὰ φωνῆς ἐβόησεν· Ἀνίσταμαι, δέσποτα·
σῷζε τὴν σὴν Κλεοπάτραν. Ἀναστάσης δὲ αὐτῆς δι᾽ ἡμερῶν ἑπτὰ
ἡ Ἐφεσίων πόλις ἐκινεῖτο ἐπὶ τῷ παραδόξῳ θεάματι.
Ἠρώτα δὲ ἡ Κλεοπάτρα περὶ τοῦ ἀνδρὸς αὐτῆς Λυκομήδους· ὁ
δὲ Ἰωάννης εἶπεν αὐτῇ· Κλεοπάτρα, ἀκίνητον ἔχουσα τὴν ψυχὴν καὶ
ἀμετάτρεπτον αὐτόθεν ἕξεις Λυκομήδην τὸν σύμβιόν σου ἐνταῦθά
σοι παρεστῶτα … εἴ γε μὴ ταράσσῃ μηδὲ κινῇ ἐπὶ τῷ γεγονότι,
πιστεύσασα ἐπὶ τῷ θεῷ μου, ὅστις δι᾽ ἐμοῦ ζῶντα αὐτὸν χαρίσεται.
ἐλθὲ οὖν ἅμα ἐμοὶ εἰς τὸν ἕτερόν σου κοιτῶνα, καὶ θεάσῃ αὐτὸν
νενεκρωμένον, ἀνιστάμενον δὲ τῇ τοῦ θεοῦ μου δυνάμει.

24. Καὶ ἡ Κλεοπάτρα ἐλθοῦσα σὺν τῷ Ἰωάννῃ εἰς τὸν κοιτῶνα

αὐτῆς καὶ ἰδοῦσα τὸν Λυκομήδην τεθνηκότα αὐτῆς ἕνεκα, ἔπασχε
τὴν φωνὴν καὶ τοῖς ὀδοῦσιν ἔτριζε καὶ τὴν γλῶσσαν ἀπέδακνε καὶ
τοὺς ὀφθαλμοὺς ἐκάμμυσε καὶ τὰ δάκρυα προσέβρεχε· καὶ ἠρέμα
τῷ ἀποστόλῳ προσεῖχεν. ὁ δὲ Ἰωάννης σπλαγχνισθεὶς ἐπὶ τῇ
Κλεοπάτρᾳ ὡς εἶδεν αὐτὴν μὴ μανεῖσαν μηδὲ ἐκστᾶσαν, ἐκάλεσε τὰ
 T ranslati o n 25

22. And indeed, while John was crying out, the city of Ephesians ran together
to the house of Lycomedes, as he was dead. But John, seeing the great crowd
that had come, said to the Lord, “Now is a time of relief10 and confidence in you,
Christ. Now is a time of help from you in our suffering, physician who heals
freely. Keep my entrance into this place free from mockery. I beg you, Jesus, give
aid to the likes of this multitude to approach you as Lord of everything! See the
affliction, see those lying down here! Make even some of those gathered here
seeing your gift holy instruments for your service! For Christ, you yourself said,
‘Ask and it will be given to you.11 ’ So I ask you, king, not for gold, not for silver,
not for wealth, not for property, nor for anything on the earth that is, and then
is lost, but for two souls through whom you will turn those about to believe to
your own path, to your own instruction, to your own confidence, to your best
promise. For after observing your power through the resurrection of those who
have breathed out their life, some of them will be saved. Therefore, supply us
yourself with hope in you! And with that, I approach Cleopatra, saying, ‘Arise in
the name of Jesus Christ!’”

23. He approached her, and, touching her face, he said, “Cleopatra, thus says to
you he whom every ruler fears, and every creature, every power, abyss and darkness
altogether, and grim death and the heights of heaven12 and the hollows of Hades and
the resurrection of the dead and the sight of the blind and all the power of the lord
of this world13 and the arrogance of its ruler: ‘Arise, and stop being an excuse to the
many who wish to disbelieve and an affliction to souls that can hope and be saved!’”
And Cleopatra immediately cried out with her voice, “I arise, master; save your
Cleopatra!” Now since she had arisen after seven days, the whole city of Ephesians
was moved at the incredible sight.
Then Cleopatra asked about her husband Lycomedes. But John said to her,
“Cleopatra, if you have a steadfast and unchanging soul, from this very moment, you
shall have Lycomedes your husband in this very place standing beside you …14 if
indeed you are not shaken or disturbed at what has happened, instead placing your
trust on my God, who through me will freely give him to you living. Come, then,
together with me into your other bedroom, and you will see him first dead, but then
risen by the power of my God.”

24. And Cleopatra, when she came with John into her bedroom and saw Lycomedes
dead for her sake, she began to falter in her voice and grind her teeth and bite her

10 cf. Acts 3:20.

11 Matt 7:7; Luke 11:9.
12 cf. Rom 8:38–39.
13 cf. Eph 6:12.
14 There is a gap of about 16 letters here in manuscript H.
26 TE XT

τέλεια σπλάγχνα καὶ ἀνυπερήφανα καὶ εἶπε· Κύριε Ἰησοῦ, ὁρᾷς τὸ

συνέχον· ὁρᾷς τὴν ἀνάγκην· ὁρᾷς Κλεοπάτραν ἐκβοῶσαν τὴν ψυχὴν
διὰ τοῦ σιγᾶν· συνέχει ἐν ἑαυτῇ τὴν ἀφόρητον μανίαν· μαντεύεται ἡ
ψυχή μου, δέσποτα· ἐπίσταμαι τοῦ Λυκομήδους ἕνεκεν καὶ ταύτην
ἐπαποθανουμένην. Ἡ δὲ ἠρέμα εἶπε πρὸς Ἰωάννην· Τοῦτο σκέπτομαι,
δέσποτα, καὶ οὐχ ἕτερον.
Καὶ προσελθὼν τῷ κλινιδίῳ ὁ ἀπόστολος ἐφ᾽ οὖ ὁ Λυκομήδης
ἔκειτο καὶ λαβόμενος τῆς χειρὸς Κλεοπάτρας ἔφη· Κλεοπάτρα,
διὰ τὸν παρεστῶτα ὄχλον καὶ τοὺς ἐπεισελθόντας συγγενεῖς σου
μετὰ κραυγῆς ἰσχυρᾶς εἶπόν σου τῷ ἀνδρί· Ἀναστὰς δόξασον τοῦ
θεοῦ τὸ ὄνομα, ὅτι νεκροὺς νεκροῖς χαρίζεται. Ἡ δὲ προσελθοῦσα
καὶ εἰποῦσα τῷ ἀνδρὶ αὐτῆς καθ᾽ ἃ ἐδιδάχθη εὐθὺς ἀνέστησεν
αὐτόν. ὁ δὲ ἀναστὰς καὶ πεσὼν ἐπὶ τοῦ ἐδάφους τοὺς τοῦ
Ἰωάννου πόδας κατεφίλει. ὁ δὲ ἐγείρας αὐτὸν λέγει· Μὴ τοὺς
ἐμοὺς πόδας, ἄνθρωπε, φίλει ἀλλὰ τοὺς τοῦ θεοῦ οὗ δυνάμει
ἀνέστητε ἀμφότεροι.

25. Ὁ δὲ Λυκομήδης τῷ Ἰωάννῃ ἔφη· Παρακαλῶν σε ἐνορκίζω οὗ

ὀνόματι ἤγειρας ἡμᾶς θεοῦ σὺν ἡμῖν μεῖναι ἅμα τοῖς σὺν σοὶ πᾶσιν
… Ὁμοίως δὲ καὶ ἡ Κλεοπάτρα τῶν ποδῶν αὐτοῦ ἁπτομένη ταὐτὰ
ἔλεγεν. ὁ δὲ Ἰωάννης ἔφη αὐτοῖς· Αὔριον παρ᾽ ὑμῖν ἔσομαι. Κἀκεῖνοι
πάλιν αὐτῷ ἔφησαν· Ἐλπὶς ἡμῖν οὐκ ἔστιν ἐν τῷ θεῷ σου, ἀλλὰ μάτην
εἴημεν ἐγηγερμένοι, ἐὰν μὴ μείνῃς παρ᾽ ἡμῖν. Καὶ ὁ Κλεόβιος ἅμα
τῷ Ἀριστοδήμῳ καὶ ὁ Δαμόνικος πληγέντες τὰς ψυχὰς ἔφησαν τῷ
Ἰωάννῃ· Μείνωμεν πρὸς αὐτοὺς ὅπως ἀσκανδάλιστοι μείνωσι πρὸς
τὸν κύριον. Ὁ δὲ ἐπέμεινεν ἐκεῖ σὺν τοῖς ἀδελφοῖς.

26. Συνῆλθεν οὖν πλῆθος πολὺ τοῦ Ἰωάννου ἕνεκα. καὶ ἐν τῷ

ὁμιλεῖν αὐτὸν τοῖς παροῦσιν ὁ Λυκομήδης φίλον εὐφυῆ ἔχων
ζωγράφον δρομαῖος ἐπ᾽ αὐτὸν ἦλθε καὶ λέγει αὐτῷ· Ὁρᾷς ἐμὲ αὐτὸν
ἐσκυλμένον πρὸς σέ· ἐλθὲ ταχέως εἰς τὴν οἰκίαν, καὶ ὃν ὑποδείκνυμί
σοι τοῦτον γράψον μή ἐπισταμένου αὐτοῦ. Καὶ ὁ ζωγράφος
ἐπιδούς τινι τὰ ἑαυτοῦ ἐπιτήδεια ἐργαλεῖα καὶ χρώματα εἶπε τῷ
Λυκομήδει· Ὑπόδειξόν μοι αὐτὸν καὶ τοῦ λοιποῦ ἔσο ἀφρόντιστος.
Καὶ ὁ Λυκομήδης δείξας τὸν Ἰωάννην τῷ ζωγράφῳ καὶ ἐγγίσας καὶ
 T ranslati o n 27

tongue, and she closed her eyes, and her tears began to fall out in drops. And quietly,
she turned to the apostle. And John, having pity on Cleopatra as he saw neither
anguish nor consternation in her, called upon the perfect and unprideful compassions
and said, “Lord Jesus, you see how she holds herself together; you see her anguish;
you see Cleopatra crying out in her soul through the silence;15 she holds in herself
intolerable anguish. My soul is prophesying, Master: I know that for the sake of
Lycomedes she too will die.” And softly, she said to John, “This I am considering,
master, and nothing else.”
And the apostle, after approaching the bed on which Lycomedes lay and taking
Cleopatra’s hand, said, “Cleopatra, because of the crowd standing nearby and your
relatives who also have come in with loud wailing, say to your husband, ‘Arise, give
glory to the name of God, because he grants the dead to the dead!16 ’” Then she, after
approaching and speaking to her husband according to what she was instructed, she
raised him up right away. Then he, after rising up and falling to the floor, began to
kiss the feet of John. But he, lifting him up, says to him, “Do not kiss my feet, man,
but rather, those of God, by whose power both of you were raised up!17”

25. Then Lycomedes said to John, “I implore and adjure you, by the name of God
who raised us, to stay with us, both you and all those with you …18” In the same
way, Cleopatra, touching his feet, was also saying these things. But John answered to
them, “Tomorrow I will be with you.” And they again answered to him, “Our hope
is not in your God, but rather, we would be raised in vain, unless you stay with us.”
And Cleobius, together with Aristodemus and Demonicus, stricken in their souls,
answered to John, “Let us stay with them so that they remain without offense before
the Lord.” So he stayed there with the brothers.

26. Then a great multitude came together on account of John; and as he was conversing
with those present, Lycomedes, having a talented friend, a portraitist, came swiftly
to him19 and said20 to him, “You see how I myself have taken the trouble to come to
you! Come quickly to the house, and what I show you, draw without his knowing.”
And the portraitist, after giving someone his own essential tools and paints, said to
Lycomedes, “Show him to me and give no thought to the rest.” And Lycomedes, after
showing John to the portraitist and drawing him near and hiding him in a certain

15 John’s threefold appeal to the Lord based on the sight of Cleopatra calls to mind the similar appeal of
Lycomedes to John in c. 20; the words in Greek are different (in c. 20, Lycomedes repeats ἴδε; here, John
repeats ὁρᾷς), but the formula is the same. The most substantial difference is that while Lycomedes draws
John’s attention to Cleopatra’s more superficial qualities (her beauty, her youth, and her reputation in
Ephesus), John focuses on her spiritual qualities (specifically, her self-control in spite of her inner anguish).
16 cf. Matt 8:22; Luke 9:60.
17 cf. Acts 10:25–26; Rev 19:10.
18 There is a gap of about 16 letters here in manuscript H.
19 i.e., the portraitist.
20 Historical present.
28 TE XT

συγκλείσας εἴς τινα οἶκον ἀφ᾽ οὗ ἑωρᾶτο ὁ τοῦ Χριστοῦ ἀπόστολος

συνῆν τῷ μακαρίῳ εὐωχούμενος τῇ πίστει καὶ τῇ γνώσει τοῦ θεοῦ
ἡμῶν· ἐπὶ πλεῖον δὲ ἠγαλλιάσατο ὅτι ἐν εἰκόνι ἤμλλεν αὐτὸν ἔχειν.

27. Ὁ οὖν ζωγράφος τῇ πρώτῃ ἡμέρᾳ σκιαγραφήσας αὐτὸν ἀπηλλάγη·

τῇ δὲ ἑξῆς καὶ τοῖς χρώμασιν αὐτὸν κατεκέρασε, καὶ οὕτως τῷ Λυκομήδει
χαίροντι τὴν εἰκόνα ἀπέδωκεν. ἣν καὶ ἀναθεὶς εἰς τὸν ἑαυτοῦ κοιτῶνα
ἔστεφεν· ὡς ὕστερον γνόντα τὸν Ἰωάννην εἰπεῖν αὐτῷ· Ἀγαπητόν μου
τέκνον, τί διαπράττῃ ἀπὸ βαλανείου εἰσερχόμενος εἰς τὸν κοιτῶνά σου
μόνος; οὐχὶ σὺν σοὶ καὶ τοῖς λοιποῖς ἀδελφοῖς εὔχομαι; ἢ ἡμᾶς κρύπτεις;
Καὶ ταῦτα λέγων καὶ παίζων μετ᾽ αὐτοῦ εἴσεισιν εἰς τὸν κοιτῶνα· καὶ
ὁρᾷ εἰκόνα περιεστεμμένην πρεσβύτου καὶ παρακειμένους λύχνους καὶ
βωμοὺς ἔμπροσθεν. καὶ φωνήσας αὐτὸν εἶπε· Λυκόμηδες, τί βούλεταί
σοι τὸ τῆς εἰκόνος ταύτης; τίς τῶν θεῶν σου τυγχάνει ὁ γεγραμμένος;
ὁρῶ γάρ σε ἔτι ἐθνικῶς ζῶντα. Καὶ ὁ Λυκομήδης αὐτῷ ἀπεκρίνατο· Ὁ
θεὸς μέν μοί ἐστιν ἐκεῖνος μόνος ὁ ἐμὲ ἐγείρας ἐκ τοῦ θανάτου μετὰ
τῆς συμβίου μου· εἰ δὲ καὶ μετὰ τὸν θεὸν ἐκείνους τοὺς εὐεργέτας ἡμῶν
ἀνθρώπους θεοὺς χρὴ καλεῖσθαι, σὺ εἶ ὁ ἐν τῇ εἰκόνι γεγραμμένος, ὃν
στέφω καὶ φιλῶ καὶ σέβομαι ὁδηγὸν ἀγαθόν μοι γεγονότα.

28. Καὶ ὁ Ἰωάννης τὸ ἑαυτοῦ πρόσωπον μηδέπω θεασάμενος

εἶπεν αὐτῷ· Παίζεις με, τεκνίον· τοιοῦτός εἰμι μορφῇ; τὸν κύριόν
σου, πῶς με πείθεις ὅτι μοι ἡ εἰκὼν ὁμοία ὑπάρχει; Καὶ ὁ Λυκομήδης
αὐτῷ προσήγαγε κάτοπτρον· καὶ ἰδὼν ἑαυτὸν ἐν τῷ κατόπτρῳ καὶ
ἀτενίσας τῇ εἰκόνι εἶπε· Ζῇ κύριος Ἰησοῦς Χριστός, ὁμοία μοι ἡ
εἰκών· οὐκ ἐμοί δέ, τέκνον, ἀλλὰ τῷ σαρκικῷ μου εἰδώλῳ· εἰ γὰρ
θέλει με ὁ ζωγράφος οὗτος ὁ μιμησάμενός μου τὴν ὄψιν ταύτην ἐν
εἰκόνι γράψαι, χρωμάτων τῶν δεδομένων μοι νῦν ἀπορῆσει αὐτὸς
καὶ σανίδων καὶ τύπου καὶ στολῆς καὶ σχήματος <καὶ> μορφῆς καὶ
γήρους καὶ νεότητος καὶ πάντων τῶν ὁρωμένων.

29. γενοῦ δέ μοι σὺ ἀγαθὸς ζωγράφος, Λυκόμηδες· ἔχεις χρώματα

ἅ σοι δίδωσι δι᾽ ἐμοῦ ὁ ἑαυτῷ πάντας ἡμᾶς ζωγραφῶν Ἰησοῦς,
ὁ τὰς μορφὰς καὶ τὰ εἴδη καὶ τὰ σχήματα καὶ τὰς διαθέσεις καὶ
τοὺς τύπους τῶν ψυχῶν ἡμῶν ἐπιστάμενος. ἔστι δὲ ταῦτα τὰ
χρώματα ἅπερ σοι λέξω ζωγραφεῖν πίστις ἡ εἰς θεόν, γνῶσις,
εὐλάβεια, φιλία, κοινωνία, πρᾳότης, χρηστότης, φιλαδελφία,
ἁγνεία, εἰλικρίνεια, ἀταραξία, ἀφοβία, ἀλυπία, σεμνότης, καὶ
ὅλος ὁ τῶν χρωμάτων χορὸς ὁ εἰκονογραφῶν σου τὴν ψυχήν,
καὶ καταβεβλημένα σου τὰ μέλη ἀνεγείρων ἤδη, τὰ δὲ ἐπηρμένα
ὁμαλίζων, … καὶ τὰς πληγὰς θεραπεύων καὶ τὰ τραύματα ἰώμενος
 T ranslati o n 29

room from which the apostle of Christ could be seen, attended to the blessed one,
relishing in the faith and knowledge of our God; and after some time, he rejoiced
exceedingly because he was about to have him in a portrait.

27. Then, on the first day, the portraitist, after drawing the outline, took leave of it;
and on the next day, he blended it with the paints, and thus he gave the painting over
to a joyful Lycomedes. This he also set up in his own bedroom and encircled with
garlands, so that later, when John noticed him,21 he said to him, “My beloved child,
what are you doing when you go from the bathing room into your bedroom alone?
Am I not to be praying now with you and the rest of the brothers? Or are you hiding
from us?” And as he was saying these things and joking with him, he went22 into
the bedroom; and he saw23 an image of an old man encircled by garlands and lamps
lying beside it and altars in front of it! And shouting for him, he said: “Lycomedes,
what is the meaning of this image to you? Which of your gods happens to be the one
painted here?24 For I see you are still living as a heathen.” And Lycomedes answered
him, “My only God is the one who raised me and my wife from death; but even so,
if, after God, it is also proper for those people who are our benefactors to be called
gods, then you are the one painted in the image, whom I crown and love and honor
as one who became a good guide to me!”

28. And John, having never before seen his own face, said to him: “You are joking
with me, child! I look like this? By your Lord, how can you persuade me that the
same image belongs to me?” And Lycomedes brought a mirror to him and, seeing
himself in the mirror and gazing intently upon the image, he said, “As the Lord
Jesus Christ lives, the image is similar to me; yet not to me, child, but rather, to
my bodily form; for if this portraitist who has portrayed this face of mine in an
image wants to paint me, he would presently be at a loss for all the colors which
have been given to me, not to mention the panels and the outline and the robe
and the outward appearance and25 the form and the old age and the youth and
everything visible.

29. “But become for me a good portraitist yourself, Lycomedes; you have colors
which Jesus, the one who makes portraits of all of us for himself, gives to you through
me, since he has established the forms and shapes and figures and compositions
and models of our souls. And these are the colors with which I will tell you to paint:
faith in God, knowledge, discernment, friendship, fellowship, gentleness, kindness,
brotherly love, chastity, purity, calmness, fearlessness, peace, dignity, and the whole

21 Literally, “when John noticed,” but since he does not see the portrait right away, the idea seems to be
that he is noticing how joyful Lycomedes is.
22 Historical present.
23 Historical present.
24 This word has been added for clarity.
25 This word is not present in the surviving manuscripts, but it is supplied in the Greek critical text
based on a conjecture of Bonnet.
Another random document with
no related content on Scribd:
Chapitre Ier. — De l’Éducation : Principes et moyens 131
d’action
Chapitre II. — De l’Éducation : Quelques aspects 161
L’Argent. — Le Ménage. — De la Parure. — De la
Discussion. — Éducation sexuelle. — Mariage, amour,
famille.
Chapitre III. — De l’Instruction : Principes et moyens
d’action 199
Le Lycée. — Le Foyer. — La « Valise ». — Comment
apprendre. — Le Choix d’un métier.
Chapitre IV. — De l’Instruction : Quelques lacunes 233
Les Langages secrets. — La Constitution. — Soi-même. —
« Self-defence ». — Planter un clou. — Les
« applications ».

E. GREVIN — IMPRIMERIE DE LAGNY

 *** END OF THE PROJECT GUTENBERG EBOOK LES MAINS
PROPRES ***

Updated editions will replace the previous one—the old editions will
be renamed.

Creating the works from print editions not protected by U.S.

copyright law means that no one owns a United States copyright in
these works, so the Foundation (and you!) can copy and distribute it
in the United States without permission and without paying copyright
royalties. Special rules, set forth in the General Terms of Use part of
this license, apply to copying and distributing Project Gutenberg™
electronic works to protect the PROJECT GUTENBERG™ concept
and trademark. Project Gutenberg is a registered trademark, and
may not be used if you charge for an eBook, except by following the
terms of the trademark license, including paying royalties for use of
the Project Gutenberg trademark. If you do not charge anything for
copies of this eBook, complying with the trademark license is very
easy. You may use this eBook for nearly any purpose such as
creation of derivative works, reports, performances and research.
Project Gutenberg eBooks may be modified and printed and given
away—you may do practically ANYTHING in the United States with
eBooks not protected by U.S. copyright law. Redistribution is subject
to the trademark license, especially commercial redistribution.

START: FULL LICENSE

THE FULL PROJECT GUTENBERG LICENSE
 PLEASE READ THIS BEFORE YOU DISTRIBUTE OR USE THIS WORK

To protect the Project Gutenberg™ mission of promoting the free

distribution of electronic works, by using or distributing this work (or
any other work associated in any way with the phrase “Project
Gutenberg”), you agree to comply with all the terms of the Full
Project Gutenberg™ License available with this file or online at
www.gutenberg.org/license.

Section 1. General Terms of Use and

Redistributing Project Gutenberg™
electronic works
1.A. By reading or using any part of this Project Gutenberg™
electronic work, you indicate that you have read, understand, agree
to and accept all the terms of this license and intellectual property
(trademark/copyright) agreement. If you do not agree to abide by all
the terms of this agreement, you must cease using and return or
destroy all copies of Project Gutenberg™ electronic works in your
possession. If you paid a fee for obtaining a copy of or access to a
Project Gutenberg™ electronic work and you do not agree to be
bound by the terms of this agreement, you may obtain a refund from
the person or entity to whom you paid the fee as set forth in
paragraph 1.E.8.

1.B. “Project Gutenberg” is a registered trademark. It may only be

used on or associated in any way with an electronic work by people
who agree to be bound by the terms of this agreement. There are a
few things that you can do with most Project Gutenberg™ electronic
works even without complying with the full terms of this agreement.
See paragraph 1.C below. There are a lot of things you can do with
Project Gutenberg™ electronic works if you follow the terms of this
agreement and help preserve free future access to Project
Gutenberg™ electronic works. See paragraph 1.E below.
1.C. The Project Gutenberg Literary Archive Foundation (“the
Foundation” or PGLAF), owns a compilation copyright in the
collection of Project Gutenberg™ electronic works. Nearly all the
individual works in the collection are in the public domain in the
United States. If an individual work is unprotected by copyright law in
the United States and you are located in the United States, we do
not claim a right to prevent you from copying, distributing,
performing, displaying or creating derivative works based on the
work as long as all references to Project Gutenberg are removed. Of
course, we hope that you will support the Project Gutenberg™
mission of promoting free access to electronic works by freely
sharing Project Gutenberg™ works in compliance with the terms of
this agreement for keeping the Project Gutenberg™ name
associated with the work. You can easily comply with the terms of
this agreement by keeping this work in the same format with its
attached full Project Gutenberg™ License when you share it without
charge with others.

1.D. The copyright laws of the place where you are located also
govern what you can do with this work. Copyright laws in most
countries are in a constant state of change. If you are outside the
United States, check the laws of your country in addition to the terms
of this agreement before downloading, copying, displaying,
performing, distributing or creating derivative works based on this
work or any other Project Gutenberg™ work. The Foundation makes
no representations concerning the copyright status of any work in
any country other than the United States.

1.E. Unless you have removed all references to Project Gutenberg:

1.E.1. The following sentence, with active links to, or other

immediate access to, the full Project Gutenberg™ License must
appear prominently whenever any copy of a Project Gutenberg™
work (any work on which the phrase “Project Gutenberg” appears, or
with which the phrase “Project Gutenberg” is associated) is
accessed, displayed, performed, viewed, copied or distributed:
 This eBook is for the use of anyone anywhere in the United
States and most other parts of the world at no cost and with
almost no restrictions whatsoever. You may copy it, give it away
or re-use it under the terms of the Project Gutenberg License
included with this eBook or online at www.gutenberg.org. If you
are not located in the United States, you will have to check the
laws of the country where you are located before using this
eBook.

1.E.2. If an individual Project Gutenberg™ electronic work is derived

from texts not protected by U.S. copyright law (does not contain a
notice indicating that it is posted with permission of the copyright
holder), the work can be copied and distributed to anyone in the
United States without paying any fees or charges. If you are
redistributing or providing access to a work with the phrase “Project
Gutenberg” associated with or appearing on the work, you must
comply either with the requirements of paragraphs 1.E.1 through
1.E.7 or obtain permission for the use of the work and the Project
Gutenberg™ trademark as set forth in paragraphs 1.E.8 or 1.E.9.

1.E.3. If an individual Project Gutenberg™ electronic work is posted

with the permission of the copyright holder, your use and distribution
must comply with both paragraphs 1.E.1 through 1.E.7 and any
additional terms imposed by the copyright holder. Additional terms
will be linked to the Project Gutenberg™ License for all works posted
with the permission of the copyright holder found at the beginning of
this work.

1.E.4. Do not unlink or detach or remove the full Project

Gutenberg™ License terms from this work, or any files containing a
part of this work or any other work associated with Project
Gutenberg™.

1.E.5. Do not copy, display, perform, distribute or redistribute this

electronic work, or any part of this electronic work, without
prominently displaying the sentence set forth in paragraph 1.E.1 with
active links or immediate access to the full terms of the Project
Gutenberg™ License.
1.E.6. You may convert to and distribute this work in any binary,
compressed, marked up, nonproprietary or proprietary form,
including any word processing or hypertext form. However, if you
provide access to or distribute copies of a Project Gutenberg™ work
in a format other than “Plain Vanilla ASCII” or other format used in
the official version posted on the official Project Gutenberg™ website
(www.gutenberg.org), you must, at no additional cost, fee or expense
to the user, provide a copy, a means of exporting a copy, or a means
of obtaining a copy upon request, of the work in its original “Plain
Vanilla ASCII” or other form. Any alternate format must include the
full Project Gutenberg™ License as specified in paragraph 1.E.1.

1.E.7. Do not charge a fee for access to, viewing, displaying,

performing, copying or distributing any Project Gutenberg™ works
unless you comply with paragraph 1.E.8 or 1.E.9.

1.E.8. You may charge a reasonable fee for copies of or providing

access to or distributing Project Gutenberg™ electronic works
provided that:

• You pay a royalty fee of 20% of the gross profits you derive from
the use of Project Gutenberg™ works calculated using the
method you already use to calculate your applicable taxes. The
fee is owed to the owner of the Project Gutenberg™ trademark,
but he has agreed to donate royalties under this paragraph to
the Project Gutenberg Literary Archive Foundation. Royalty
payments must be paid within 60 days following each date on
which you prepare (or are legally required to prepare) your
periodic tax returns. Royalty payments should be clearly marked
as such and sent to the Project Gutenberg Literary Archive
Foundation at the address specified in Section 4, “Information
about donations to the Project Gutenberg Literary Archive
Foundation.”

• You provide a full refund of any money paid by a user who

notifies you in writing (or by e-mail) within 30 days of receipt that
s/he does not agree to the terms of the full Project Gutenberg™
License. You must require such a user to return or destroy all
 copies of the works possessed in a physical medium and
discontinue all use of and all access to other copies of Project
Gutenberg™ works.

• You provide, in accordance with paragraph 1.F.3, a full refund of

any money paid for a work or a replacement copy, if a defect in
the electronic work is discovered and reported to you within 90
days of receipt of the work.

• You comply with all other terms of this agreement for free
distribution of Project Gutenberg™ works.

1.E.9. If you wish to charge a fee or distribute a Project Gutenberg™

electronic work or group of works on different terms than are set
forth in this agreement, you must obtain permission in writing from
the Project Gutenberg Literary Archive Foundation, the manager of
the Project Gutenberg™ trademark. Contact the Foundation as set
forth in Section 3 below.

1.F.

1.F.1. Project Gutenberg volunteers and employees expend

considerable effort to identify, do copyright research on, transcribe
and proofread works not protected by U.S. copyright law in creating
the Project Gutenberg™ collection. Despite these efforts, Project
Gutenberg™ electronic works, and the medium on which they may
be stored, may contain “Defects,” such as, but not limited to,
incomplete, inaccurate or corrupt data, transcription errors, a
copyright or other intellectual property infringement, a defective or
damaged disk or other medium, a computer virus, or computer
codes that damage or cannot be read by your equipment.

1.F.2. LIMITED WARRANTY, DISCLAIMER OF DAMAGES - Except

for the “Right of Replacement or Refund” described in paragraph
1.F.3, the Project Gutenberg Literary Archive Foundation, the owner
of the Project Gutenberg™ trademark, and any other party
distributing a Project Gutenberg™ electronic work under this
agreement, disclaim all liability to you for damages, costs and
expenses, including legal fees. YOU AGREE THAT YOU HAVE NO
REMEDIES FOR NEGLIGENCE, STRICT LIABILITY, BREACH OF
WARRANTY OR BREACH OF CONTRACT EXCEPT THOSE
PROVIDED IN PARAGRAPH 1.F.3. YOU AGREE THAT THE
FOUNDATION, THE TRADEMARK OWNER, AND ANY
DISTRIBUTOR UNDER THIS AGREEMENT WILL NOT BE LIABLE
TO YOU FOR ACTUAL, DIRECT, INDIRECT, CONSEQUENTIAL,
PUNITIVE OR INCIDENTAL DAMAGES EVEN IF YOU GIVE
NOTICE OF THE POSSIBILITY OF SUCH DAMAGE.

1.F.3. LIMITED RIGHT OF REPLACEMENT OR REFUND - If you

discover a defect in this electronic work within 90 days of receiving it,
you can receive a refund of the money (if any) you paid for it by
sending a written explanation to the person you received the work
from. If you received the work on a physical medium, you must
return the medium with your written explanation. The person or entity
that provided you with the defective work may elect to provide a
replacement copy in lieu of a refund. If you received the work
electronically, the person or entity providing it to you may choose to
give you a second opportunity to receive the work electronically in
lieu of a refund. If the second copy is also defective, you may
demand a refund in writing without further opportunities to fix the
problem.

1.F.4. Except for the limited right of replacement or refund set forth in
paragraph 1.F.3, this work is provided to you ‘AS-IS’, WITH NO
OTHER WARRANTIES OF ANY KIND, EXPRESS OR IMPLIED,
INCLUDING BUT NOT LIMITED TO WARRANTIES OF
MERCHANTABILITY OR FITNESS FOR ANY PURPOSE.

1.F.5. Some states do not allow disclaimers of certain implied

warranties or the exclusion or limitation of certain types of damages.
If any disclaimer or limitation set forth in this agreement violates the
law of the state applicable to this agreement, the agreement shall be
interpreted to make the maximum disclaimer or limitation permitted
by the applicable state law. The invalidity or unenforceability of any
provision of this agreement shall not void the remaining provisions.
1.F.6. INDEMNITY - You agree to indemnify and hold the
Foundation, the trademark owner, any agent or employee of the
Foundation, anyone providing copies of Project Gutenberg™
electronic works in accordance with this agreement, and any
volunteers associated with the production, promotion and distribution
of Project Gutenberg™ electronic works, harmless from all liability,
costs and expenses, including legal fees, that arise directly or
indirectly from any of the following which you do or cause to occur:
(a) distribution of this or any Project Gutenberg™ work, (b)
alteration, modification, or additions or deletions to any Project
Gutenberg™ work, and (c) any Defect you cause.

Section 2. Information about the Mission of

Project Gutenberg™
Project Gutenberg™ is synonymous with the free distribution of
electronic works in formats readable by the widest variety of
computers including obsolete, old, middle-aged and new computers.
It exists because of the efforts of hundreds of volunteers and
donations from people in all walks of life.

Volunteers and financial support to provide volunteers with the

assistance they need are critical to reaching Project Gutenberg™’s
goals and ensuring that the Project Gutenberg™ collection will
remain freely available for generations to come. In 2001, the Project
Gutenberg Literary Archive Foundation was created to provide a
secure and permanent future for Project Gutenberg™ and future
generations. To learn more about the Project Gutenberg Literary
Archive Foundation and how your efforts and donations can help,
see Sections 3 and 4 and the Foundation information page at
www.gutenberg.org.

Section 3. Information about the Project

Gutenberg Literary Archive Foundation
The Project Gutenberg Literary Archive Foundation is a non-profit
501(c)(3) educational corporation organized under the laws of the
state of Mississippi and granted tax exempt status by the Internal
Revenue Service. The Foundation’s EIN or federal tax identification
number is 64-6221541. Contributions to the Project Gutenberg
Literary Archive Foundation are tax deductible to the full extent
permitted by U.S. federal laws and your state’s laws.

The Foundation’s business office is located at 809 North 1500 West,

Salt Lake City, UT 84116, (801) 596-1887. Email contact links and up
to date contact information can be found at the Foundation’s website
and official page at www.gutenberg.org/contact

Section 4. Information about Donations to

the Project Gutenberg Literary Archive
Foundation
Project Gutenberg™ depends upon and cannot survive without
widespread public support and donations to carry out its mission of
increasing the number of public domain and licensed works that can
be freely distributed in machine-readable form accessible by the
widest array of equipment including outdated equipment. Many small
donations ($1 to $5,000) are particularly important to maintaining tax
exempt status with the IRS.

The Foundation is committed to complying with the laws regulating

charities and charitable donations in all 50 states of the United
States. Compliance requirements are not uniform and it takes a
considerable effort, much paperwork and many fees to meet and
keep up with these requirements. We do not solicit donations in
locations where we have not received written confirmation of
compliance. To SEND DONATIONS or determine the status of
compliance for any particular state visit www.gutenberg.org/donate.

While we cannot and do not solicit contributions from states where

we have not met the solicitation requirements, we know of no
prohibition against accepting unsolicited donations from donors in
such states who approach us with offers to donate.

International donations are gratefully accepted, but we cannot make

any statements concerning tax treatment of donations received from
outside the United States. U.S. laws alone swamp our small staff.

Please check the Project Gutenberg web pages for current donation
methods and addresses. Donations are accepted in a number of
other ways including checks, online payments and credit card
donations. To donate, please visit: www.gutenberg.org/donate.

Section 5. General Information About Project

Gutenberg™ electronic works
Professor Michael S. Hart was the originator of the Project
Gutenberg™ concept of a library of electronic works that could be
freely shared with anyone. For forty years, he produced and
distributed Project Gutenberg™ eBooks with only a loose network of
volunteer support.

Project Gutenberg™ eBooks are often created from several printed

editions, all of which are confirmed as not protected by copyright in
the U.S. unless a copyright notice is included. Thus, we do not
necessarily keep eBooks in compliance with any particular paper
edition.

Most people start at our website which has the main PG search
facility: www.gutenberg.org.

This website includes information about Project Gutenberg™,

including how to make donations to the Project Gutenberg Literary
Archive Foundation, how to help produce our new eBooks, and how
to subscribe to our email newsletter to hear about new eBooks.