Finish composition of Song of Solomon: I:1. Let Him Kiss Me -- which maybe, just maybe justifies the above picture -- in a setting of the Douai-Reims (but see Wikipedia below*)
1 Let him kiss me with the kiss of his mouth: for thy breasts are better than wine,
2 Smelling sweet of the best ointments. Thy name is as oil poured out: therefore young maidens have loved thee.
3 Draw me: we will run after thee to the odour of thy ointments. The king hath brought me into his storerooms: we will be glad and rejoice in thee, remembering thy breasts more than wine: the righteous love thee.
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*Much of the text of the 1582/1610 [D-R] Bible, however, employed a densely latinate vocabulary, to the extent of being in places unreadable; and consequently this translation was replaced by a revision undertaken by Bishop Richard Challoner; the New Testament in three editions 1749, 1750, and 1752; the Old Testament (minus the Vulgate Apocrypha), in 1750. Although retaining the title Douay-Rheims Bible, the Challoner revision was in fact a new version, tending to take as its base text the King James Bible rigorously checked and extensively adjusted for improved readability and consistency with the Clementine edition of the Vulgate. Subsequent editions of the Challoner revision, of which there have been very many, reproduce his Old Testament of 1750 with very few changes. Challoner's New Testament was, however, extensively revised by Bernard MacMahon in a series of Dublin editions from 1783 to 1810; and these various Dublin versions are the source of some Challoner Bibles printed in the United States in the 19th Century. Subsequent editions of the Challoner Bible printed in England most often follow Challoner's earlier New Testament texts of 1749 and 1750; as do most 20th-century printings, and on-line versions of the Douay-Rheims Bible circulating on the internet.
***
Off to Diablo, after the first leisurely morning in quite awhile, for Bb/Eb Major; C, B, and F# Minor (respectively melodic, natural, and harmonic) Scales; and dictation / board harmony on J.S. Bach's Cantata No. 140 ("Wachet Auf"): VII. Chorale (phrase 1), with inversions, secondary dominant, and passing bass notes.
Resupply thereafter -- from culinary and financial perspectives -- in Martinez, then over the Franklin and
down the American Canyon Grades to
Suisun,
Fairfield Pyramids,
Poverty Hills, and
the South,
Central,
and
North
Lagoons -- home, with Harriet returning from a job soon after, to begin publication-preparation of Psalm 9 and Psalm 110 (Confitebor tibi).
