What if someone assumed that the Coptic words in Grondin’s interlinear were identical to the English ones Grondin had placed beneath them? It would be an easy mistake. His interlinear’s tidy formatting—with every Coptic word astride its seeming English translation—gave an illusion of perfect equivalence. And that’s when Bernhard saw it. The Wife fragment’s Line 6 was a Frankenstein in Coptic, but almost poetry in Grondin’s English. “The forger was thinking in English, not Coptic,” Bernhard realized. The person, whoever he or she was, had set out to write a simple line, “no man who is wicked
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