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Magnificat

The Magnificat (Latin for "[My soul] magnifies [the Lord]") is a canticle, also known as the Song of Mary, the Canticle of Mary, and, in the Byzantine tradition, the Ode to the Theotokos. It is traditionally incorporated into the liturgical services of the Catholic Church and of the Eastern Orthodox Churches. Its name comes from the incipit of the Latin version of the text.

The text of the canticle is taken from the Gospel according to St Luke (1:46-55) where it is spoken by Mary upon the occasion of her Visitation to her cousin Elizabeth. In the narrative, after Mary greets Elizabeth, who is pregnant with John the Baptist, the latter moves within Elizabeth's womb. Elizabeth praises Mary for her faith (using words partially reflected in the Hail Mary), and Mary responds with what is now known as the Magnificat.

The Magnificat is one of the eight most ancient Christian hymns and perhaps the earliest Marian hymn. Within the whole of Christianity, the canticle is most frequently recited within the Liturgy of the Hours. In Western Christianity, the Magnificat is most often sung or recited during the main evening prayer service: Vespers in the Catholic and Lutheran churches, and Evening Prayer (or Evensong) in Anglicanism. In Eastern Christianity, the Magnificat is always sung at Matins. The Magnificat may also be sung during worship services, especially in the Advent season during which these verses are traditionally read.


Mary's Magnificat, recorded only in the Gospel of Luke, is one of the four hymns, distilled from a collection of early Jewish-Christian canticles, which complement the promise-fulfillment theme of St Luke's infancy narrative. These songs are Mary's Magnificat; Zechariah's Benedictus (1:67-79); the angels' Gloria in Excelsis Deo (2:13-14); and Simeon's Nunc dimittis (2:28-32). In form and context, these four canticles are patterned on the "hymns and praise" in Israel's Psalter. In structure, these songs reflect the compositions of pre-Christian contemporary Jewish hymnology. The first stanza displays graphically a characteristic of Hebrew poetry--synonymous parallelism--in ascribing praise to God: "my soul" mirrors "my spirit"; "proclaims the greatness" with "has found gladness"; "of the Lord" with "in my God my Savior." The balance of the opening two lines bursts out into a two Magnificat of declaring the greatness of and finding delight in God. The third stanza again demonstrates parallelism, but in this instance, three contrasting parallels: the proud are reversed by the low estate, the mighty by those of low degree, and the rich by the hungry.

Although there is some historical discussion of whether the historical Mary herself actually proclaimed this canticle, St Luke portrays her as the singer of this song of reversals and the interpreter of the contemporary events taking place. Mary symbolizes both ancient Israel and the Lucan faith-community as the author/singer of the Magnificat.

The canticle echoes several Biblical passages, but the most pronounced allusions are to the Song of Hannah, from the Books of Samuel (1 Samuel 2:1-10). Scriptural echoes from the Torah, the Prophets, and the Writings complement the main allusions to Hannah's "magnificat of rejoicing." Along with the Benedictus, as well as several Old Testament canticles, the Magnificat is included in the Book of Odes, an ancient liturgical collection found in some manuscripts of the Septuagint.

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This post is sponsored by Chooks-to-Go.

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