This essay intends to discuss the poetic pace in Missa in Albis as well as the perception of word, speech and persona as a listening exercise. The analysis also reads Sara and her Passion towards a notion of simulacrum, a Passion drill of José Regio’s “Carta de Amor”. Therefore, Sara’s ritualistic character, the religion and fiction dimension, and the palimpsestic conception of literature (art) are addressed by tracing Sara’s personae dynamics to the banks of Münster.