Certain chorales are expressive enough to pass as paraphrases; Bach did not err in judgment, and reserved for them a discreet accompaniment, which is sustained very softly, asserting itself only to provide for the melody a "breathing space," as it were, after which it may reappear with increased breadth. This is exemplified in _Herzlich thut mich verlangen_, a favorite chorale with Bach, with its gloomily suspensive ending, expressive of desire or of doubt in its employment of the Phrygian mode, which supports the harmonies, delicately ambiguous in the irresolution of a petition. This mystical fervor, intensified by Bach, was foreign to the conception of the composer of this melody; Hans Leo Hassler, as he wrote it, saw in it nothing of a chorale, still less of a hymn, but designed it simply for the words of a five-part madrigal:[133] _Mein G'müth ist mir verwirret_, a poem dedicated to a certain "Maria," the initial letters of the five verses forming the acrostic of her name. [Footnote 133: In the collection _Lustgarten neuer teutscher Gesänge, Balletti, Galliarden und Intraden mit 4, 5, 6, 7, und 8 Stimmen. 1601, Nürnberg, bei Kaufmann_.] Meanwhile, the producers of religious songs soon laid hold of this one; to this secular music was adapted, in 1613, the translation made by Paul Gerhardt of the _Salve caput cruentatum_,[134] written by St. Bernard; it thus became the hymn of Holy Week. During the century, certain publishers (Rhamba-Görlitz) still further distorted its meaning; it was henceforth heard at funerals, expressing the longing to leave the earth, whereas formerly it had served to salute the bloodstained face of the Saviour, while, in the by-ways, amorous lute-players languished to its tones in "courtly diminutions." [Footnote 134: _O Haupt voll Blut und Wunden._--_Cf._ chorale in St. Matthew Passion.] But had not Luther said, "Why should the Devil have all the best tunes?" The canon form inspired Bach to compose some curious arrangements of chorales. He commanded so many artifices, could devise such ingenious counterpoints with which to create interest, to overcome the rigidity of scholastic practices, and in addition could clothe the composition in so rich an "orchestration," that it becomes a pleasure to play something so erudite, so natural does it sound to the ear. This double interest offered to the mind and to the ear is exemplified in a canon upon _Hilf Gott, dass mir gelinge_, where, interlacing itself amid the imitations in the fifth, a sustained movement in triplets runs through the entire compass of the keyboard. In _In Dulci Jubilo_, similar triplets, liquidly intangible, imperceptibly disintegrate the rhythm, soften its somewhat harsh character. This chorale recalls Bach's stay in Cöthen by the unusual compass of its pedal part, which extends upward to _F_ sharp; so, for the same reason, does the chorale _Gottes Sohn ist kommen_, also written in canon.