An Interesting Case of Terminal Lucidity

excerpt from Epoch Times article 6/11/24

https://www.theepochtimes.com/health/terminal-lucidity-many-patients-experience-an-unexplained-return-of-mental-acuity-in-their-final-days-5648005

Terminal Lucidity: 

Many Patients Experience an Unexplained Return of Mental Acuity in Their Final Days

instances have been recorded in medical literature going back to the 19th century. 

The case study of Anna Katherina Ehmer is one of the most famous studies of terminal lucidity, a phenomenon that continues to baffle researchers.  [Researchers are baffled, but, for us there is nothing mysterious about this.  We understand the difference between the brain and the soul.] 

Ms. Ehmer, known as Käthe, was a German woman born severely disabled in 1895. At 6 years of age, she was sent to a mental institution where she would live until she died at the age of 26.

“Käthe was among the patients with the most severe mental disabilities who have ever lived in our institution. From birth on, she was seriously retarded. She had never learned to speak a single word. She stared for hours on a particular spot, then she fidgeted for hours without a break. She gorged her food, fouled herself day and at night, uttered an animal-like sound, and slept. In all the time she lived with us, we have never seen that she had taken notice of her environment even for a second,” recounted Dr. Friedrich Happich, who ran the institution.

Käthe suffered from several episodes of meningitis, which were thought to have “destroyed much of the brain tissue required for intelligent reasoning.” She also had tuberculosis, which led to the amputation of her leg and was the eventual cause of her death. She had never spoken a single word.

But, as she lay dying, something unexpected happened. She began singing to herself.

She sang—clearly and in perfect German—a funeral hymn. She sang to herself for a full half hour until she passed away.

‘Come immediately to Käthe, she is dying!’

“When we entered the room together, we did not believe our eyes and ears. Käthe, who had never spoken a single word, being entirely mentally disabled from birth on, sang dying songs to herself. Specifically, she sang over and over again ‘Where does the soul find its home, its peace? Peace, peace, heavenly peace!’ For half an hour she sang. Her face, up to then so stultified, was transfigured and spiritualized. Then, she quietly passed away. Like myself and the nurse who had cared for her, the physician had tears in his eyes.”

https://www.youtube.com/watch?v=LDA6cIWp1do&t=97s

Duo Transeamus Wo findet die Seele     5 minutes

 

I was reminded of Fr. Seraphim's favorite classical piece, also German, "Ich Have Genug."  Here is an excerpt from Not of This World, p.47.

One Bach cantata in particular, no. 82, helped to change Eugene’s life. It was called Ich Habe Genug (“I Have Enough”), and it dealt with the subject of death.  Composed for one voice and orchestra, it was written for the feast of Christ’s Presentation into the Temple, when St. Symeon greets Him and His Mother, telling the Lord that he is now ready to die.  What Bach created was a stirring expression of man’s longing for the heavenly realm, to go beyond this “vale of tears.”  The baritone sings three arias, addressing his own soul to the accompaniment of compunctionate, simple melodies of sublime beauty.  The first is a sigh of relief that the end of life approaches:  “I have enough.  I have received the Saviour, the hope of the faithful, in my yearning arms.  I have enough!  I have seen Him; my faith has embraced Jesus, and today I would gladly leave this world.  My only hope is that Jesus shall be mine and I His.  I cling to Him in faith and, like Symeon, I already see the joy of that other life.  Let us join Him! If the Lord would only deliver me from the chains of my human form; if only the time for my departure were here, with joy I would say to the world, ‘I have enough.’” In the second part, the music becomes calm and gentle, like a lullaby, and the soul is moved to shut its eyes on life forever: “Slumber now, weary eyes – close softly and peacefully. World, I stay here no longer. I renounce thee that my spirit may thrive. Here all is misery, but there I shall behold sweet peace, perfect repose.” A fervent plea is then voiced: “My God! When wilt Though call me in peace to join Thee, to lie in the cool earth and rest there in Thee?” The soul dies to the world and bids it farewell: “World, good night!” The melody ceases, and only the low drone of an organ is heard, representing the passage of death. In the third part the soul, freed of earthly attachments, leaps out of the body and into eternity. The music reflects the lightness, freedom, and rapture of a soaring bird: “With joy I greet my death!”

Remember that Eugene, at his young age, was already aware that his lifespan would be shortened.  Old people face the coming of their death more naturally.  A young person is seldom given much time to spiritually prepare for his death.   It very well could be that this premature-facing his impending death was an important ingredient in the making of his Orthodox Life.  Of course the prayers of St. John were the core of the miracle of Fr. Seraphim, but this also was likely a very important necessary ingredient.  •

Related:

https://www.theepochtimes.com/epochtv/johannes-brahms-a-german-requiem-op-45-post-5655414?

Brahms German Requiem op. 45

   You need to be subscribed to see this 4-hour concert, and you want to be subscribed.  A digital subscription is not expensive.  If you are in serious financial distress, let me gift you a subscription: email me at joannahgginbotham@runbox.com using the email address you want me to submit to Epoch Times.

   There is no greater value for the money that I know of — not even the Haiti Mission can do more with this little bit of money.  So, I am very happy to help you.

One comment on the Brahams requiem of special interest:

Anton Novo  June 2024

This work was written when Brahms was only 33. Most composers wait until they’re old to write a requiem, if they ever write one. This is a very small orchestra for this work but it sounds very good nonetheless. Most of the musical drama, such as it is, comes in the sixth part. Brahms orchestrated this to include two harps although they are only used in the second and seventh parts. I don’t see or hear them in this performance. The second part (“Because all flesh…”) is the most recognizable of the whole piece. The concertmaster is the first violinist of the Casal Quartett, an outstanding musician. (I have one friend in Switzerland – she lives near Zurich – whom I am sure was present at this performance although I can’t prove it.)