Kostis Palamas, in his poem “Daughters of Zion” from the poetic collection “The Immovable Life” (published in 1904), is inspired by the Gospel according to Mark the Evangelist, where Mary Magdalene, Mary the mother of James and Joses, and Salome, who were “beholding from afar,” became witnesses of all the events that are referred to in the Crucifixion and the Resurrection of Jesus.
In this poem, Kostis Palamas praises the Holy Myrrhbearing Women as the purest examples of faith and love for Christ: they followed Him, served Him, mourned Him at the Cross, and were the first to witness His Resurrection. He portrays them as spiritually exalted—almost equal to angels—yet insists their greatness lies in their deeply human love, expressed through tenderness, devotion, and personal attachment to Christ not merely as God but as the suffering and beloved Man. Their longing, tears, and fidelity reveal a truth greater than preaching: that sincere, self-giving love for Christ transforms human nature itself and manifests divine glory more powerfully than words, with Mary Magdalene standing as the highest embodiment of this love.
In the final lines, Kostis Palamas reinterprets the empty tomb of Christ not as a place of death but as a symbol of a world transformed and renewed by the Resurrection: what seemed like an end is revealed as emptiness and defeat overcome. He turns to the Holy Myrrhbearing Women—Mary Magdalene, Salome, and Mary—as the first witnesses of this victory, asking them to share their overwhelming joy and revelation with all humanity, every nation and place. The “stone of misfortune” being rolled away by a radiant angel becomes an image of sorrow, despair, and death being lifted, so that even what is “dead”—both literally and spiritually—may receive new, eternal life.