St. Mary Magdalene and the English Reformation

Today is one of my name days honoring one of my three patron saints (St. Stephen, St. Anne, and St. Mary Magdalene)--it would be celebrated today as Feast but that today is Sunday and the Mass of every Sunday has precedence over Feasts. Parish churches named for St. Mary Magdalene or Magdalen may celebrate her Feast today, however. Pope Francis raised her feast day from a Memorial to a Feast in 2016, as she is "the Apostle to the Apostles" bringing the good news of the Resurrection of Jesus to them.

I've found some interesting research on devotion to St. Mary Magdalene among recusant Catholics: with the title “They have taken away my Lord”: Mary Magdalene, Christ’s Missing Body, and the Mass in Reformation England, Lisa McClain of Boise State University published an article in The Sixteenth Century Journal (Spring 2007):

In early modern Protestant England, traditional Catholic worship and sacraments, particularly the Mass, declined, and many Catholics feared for their salvation. At the same time, an increased veneration of Mary Magdalene focused no longer on penance and redemption, but on Mary’s discovery of Christ’s empty tomb. Magdalene’s distress at losing the corporeal body of Christ mirrored English Catholic anxiety over losing the body of Christ as contained in the Eucharist in the absence of regular Mass. English Catholics chose to revive and adapt this form of Magdalene symbolism to best meet their spiritual needs, thus emphasizing the many uses and flexibility of such a familiar symbol as Mary Magdalene and suggesting types and nuances of Magdalene worship that have yet to be fully investigated by scholars.

Other works, including a doctoral dissertation, focus on different views of St. Mary Magdalene during the Reformation era, Protestant and Catholic.

St. Robert Southwell, SJ, as the Poetry Foundation describes, wrote a major work on St. Mary Magdalene at the tomb of Jesus:

The second of Southwell’s prose works to appear in print was Mary Magdalen’s Funeral Tears. It had been circulating in manuscript before Gabriel Cawood published it in late 1591 with an author’s preface to the reader, and it, too, was written for one of the recusant circle: Dorothy Arundel, the daughter of Sir John Arundel of Lanherne; she later became a Benedictine nun. The work originated in a popular homily, usually attributed to Origen, on Saint John’s account of Mary Magdalen’s encounter with Christ on Easter morning. Southwell first read this homily in Italy, presumably in Italian and Latin (an Italian version survives in manuscript at Stonyhurst, attributed to Saint Bonaventura). In the Stonyhurst holograph there are fragments of Southwell’s attempts at an English translation; they show how difficult he found English composition after speaking Latin and Italian for ten years. The homily was available in England, printed in Latin around 1504 and in English translation in 1565. There are signs that Southwell knew and used this translation. Some writers suggest that he may also have known Valvasone’s poem Le lagrime di S. Maria Maddalena, but no clear evidence of this influence has been presented.

In Southwell’s hands the little homily grows to a work three times as long. It used to be thought that the book originated as a sermon, but this theory was based on ignorance of the source. Mary Magdalen’s Funeral Tears is a meditation on Mary’s experience, cast largely in the form of a dialogue between Mary and the other persons present, the angels in the empty tomb, Christ, and the narrator. The homily provides the outline and some of the contents, but Southwell’s tone is different from that of his source, partly owing to the intensity, detail, and accomplishment of his prose but mostly to his conception of the incident as a love story. Southwell’s Mary is less the repentant sinner than the lover of Christ; she weeps tears of loss, not remorse. For her, Christ is the sum of all value, and in finding the empty tomb she experiences utter loss. All Mary’s thoughts and actions proceed from her love, and as Southwell presents her, she is a heroic woman.

There is also an allegorical tendency in the work, which Southwell found in his source but which he develops according to his own preoccupations. Allegorically speaking, Mary is the Christian soul, separated from the living Christian truth that is her only happiness; more specifically, she is an English Catholic woman, and the violence that threatens her is that of contemporary England.

St. Robert Southwell, pray for us!

St. Mary Magdalene, pray for us!