They then recalled — or believed they recalled — words of Jesus (along with miracles such as the raising from the dead of Lazarus, Jairus' daughter and the son of the widow of Nain) that seemed to foreshadow the Resurrection and its significance.
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The next day Paige receives a call telling her to come to the funeral home to pick up her file from Cary's people. Thinking this is strange, as it is currently Cary's visitation, Paige nonetheless agrees and she and Savannah go to the home. However, whilst they are there Nast employees stage a scene that involves bodies raising from the dead and illusions. Paige and Savannah are rescued by Lucas.
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The prescribed readings for the Sunday were from the Epistle to the Ephesians, praying for the strengthening of faith in the congregation of Ephesus (), and from the Gospel of Luke, the raising from the dead of the young man from Nain (). Bach first performed the cantata on 24 September 1724. The cantata was revived, probably in September 1747, with the key transposed down a tone from E major to D major.
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Bach wrote for the 16th Sunday after Trinity. The prescribed readings for that Sunday were from the Epistle to the Ephesians, about the strengthening of faith in the congregation of Ephesus (), and from the Gospel of Luke, about the raising from the dead of the young man from Nain (). In Bach's time the story pointed at the resurrection of the dead, expressed in words of desire to die soon. Franck's text was published in in 1715.
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The restored tomb of Thomas de Cantilupe in Hereford Cathedral Cantilupe died at Ferento, near Orvieto, in Italy, on 25 August 1282. He is buried in Hereford Cathedral. Part of the evidence used in his cause of canonization was the supposed raising from the dead of William Cragh, a Welsh rebel who was hanged in 1290, eight years after Cantilupe's death. A papal inquiry was convened in London on 20 April 1307 to determine whether or not Cantilupe had died excommunicate, since this would have precluded his being canonized.
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The chorus "He saw the lovely youth", Handel's favorite of all the choruses he wrote, depicts Jesus' raising from the dead of the widow's son in Luke, chapter 7. Beginning with slow and solemn chromatic figures in a minor key, the music switches to major as the youth returns to life and ends with joy as the boy is restored to his mother. The work is notable for many passages of exalted and radiant beauty as well as for skilled characterisation through music. There are three duets, the last being a sublime piece in which Theodora and Didymus die.
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Martha preparing the meal while (in the background) Mary of Bethany sitting at Jesus' feet; painting (1566) by Joachim Beuckelaer For Mary to sit at Jesus' feet, and for him to allow her to do so, was itself controversial. In doing so, as one commentator notes, Mary took "the place of a disciple by sitting at the feet of the teacher. It was unusual for a woman in first-century Judaism to be accepted by a teacher as a disciple." In the Gospel of John, a Mary appears in connection to two incidents: the raising from the dead of her brother Lazarus and the anointing of Jesus.
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Bach wrote the cantata in his first year at Leipzig for the 16th Sunday after Trinity and first performed it on 12 September 1723. The prescribed readings for the Sunday were from the Epistle to the Ephesians, praying for the strengthening of faith in the congregation of Ephesus (), and from the Gospel of Luke, the raising from the dead of the Young man from Nain (). In Bach's time the story pointed immediately at the resurrection of the dead, expressed as a desire to die soon. As Salomon Franck expressed in his text for cantata , composed in Weimar in 1715, the unknown poet concentrates on a desire to die, in hope to be raised like the young man from Nain.
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Biblical commentator Heinrich Meyer notes that "Jesus cannot yet be in Bethany, where Martha and Mary dwelt [according to John's Gospel]".Meyer's NT Commentary on Luke 10, accessed 11 June 2016 But the Cambridge Bible for Schools and Colleges claims that it was "undoubtedly Bethany".Cambridge Bible for Schools and Colleges on Luke 10, accessed 11 June 2016 Maria, by Henryk Siemiradzki, 1886 In the Gospel of John, Martha and Mary appear in connection with two incidents: the raising from the dead of their brother Lazarus (John 11) and the anointing of Jesus in Bethany (John 12:3). In the account of the raising of Lazarus, Jesus meets with the sisters in turn: Martha followed by Mary.
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