account includes a circular dance initiated by Jesus, who says, "Before I am delivered to them, let us sing a hymn to the Father and so go to meet what lies before us". Directed to form a circle around him, holding hands and dancing, the apostles cry "Amen" to the hymn of Jesus. Embedded in the text is a hymn (sections 94 – 96) that some consider to have originally been "a liturgical song (with response) in some Johannine communities" (Davis). In the summer of 1916 Gustav Holst set his own translation from the Greek (Head), influenced by G.R.S. Mead, as The Hymn of Jesus for two mixed choirs, a semi-chorus of female voices, and a large orchestra (Trippett). The Transfiguration of Jesus is also featured in this Act. It is notable for its depiction of a nude Jesus. It contains the same main cast (John, Peter, James, and Jesus) but does not feature the appearance of Elijah or Moses, unlike the transfiguration scenes from the synoptic gospels (notably not featured in the actual Gospel of John). Section B also contains most of the docetic themes present in the Acts of John. Jesus is depicted in several chapters as having a constantly shifting form and an immaterial body. A docetic theme of Jesus' body as inhuman and unable to feel physical pain presents a problem with the idea of the suffering of Christ in orthodox Christianity. Ideas about the nature of Jesus vary widely within different gnostic sects. Scholarship is divided on whether this depiction of the Passion should be interpreted as Jesus suffering spiritually, physically, or both. Jesus speaks cryptically about this suffering on the cross in Chapter 101, saying: While the changing body of Jesus is used as evidence for its docetic (therefore gnostic) themes, it is argued by some scholars that this "polymorphic christology" is part of the Johannine Christian literary tradition and not be understood as inherently gnostic. This motif developed in the second century and used by both "proto-orthodox" and non-orthodox ("heretical") Christian communities. For gnostic communities, the "portrayal of a polymorphic Christ is used to denote transcendence over the material realm, whereas for the [proto-orthodox communities] they illustrate that Jesus is not constrained by the forces of mortality, but rather that he has entered a higher state of physical existence." Polymorphic themes appear in several other Apocryphal Acts about apostles, such as Acts of