This article attempts to reveal how Julian uses imagery to make real and concrete for her readers the experience of affective union with God through contemplative prayer. Part of Julian's strategy involves an identification of herself with the figure of Mary Magdalene, in medieval times the seeker of Christ par excellence. I highlight imagery in the Book of Showings that Julian and her readers probably would have associated with the Magdalene. But the more important insight is that, through her use of Magdalene imagery, Julian emphasizes the dramatic elements in the soul's quest for God. In this, she is following the example of many medieval authors, including William of St. Thierry, her major influence, who stressed that the Song of Songs was, not allegory, but essentially a drama between the soul and God. In this study I try to uncover precisely what this drama is like through a word-study of Julian's term for her visions, schewynges, or showings. I also note striking similarities between Julian's individual showings and the actual drama performed in her time, with specific attention to the figure of the Magdalene.