Divinity Atlas

Sacred Correspondences
Hymns & Liturgical Texts

Magnificat

mag-NIF-ih-kaht
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Origin 50 to 90 CE

The canticle of Mary, sung daily at Vespers in the West and at Orthros in the East, and the most frequently set text in Western music after the Mass. Its content is more political than its liturgical placement suggests: it says that the mighty have been put down from their seats and the rich sent empty away, and it has on several occasions been restricted by governments for that reason. It is built closely on the song of Hannah at 1 Samuel 2. A few Latin manuscripts attribute it to Elizabeth rather than Mary, a minority reading that is not adopted.

Facts
Practice
Who Performs It
Lay people 1
Sung by the congregation at Vespers
Who Performs It
Clergy or ordained officiants 1
Obligatory in the daily office for clergy and religious
Frequency
Daily 1
At Vespers, every day
Solitary or Communal
Performed by a gathered group 1
Origins
Origin Period
50 to 90 CE 1
Language
Koine Greek 1
Koine Greek, the language of the Gospel that carries it
Language
Latin 1
Latin, in the form sung in the Western office
Attributed Author / Compiler
Spoken in the Gospel by Mary 1
Use
What It Is Used For
Praise 1
Form
Form of the Text
Hymn 1
How It Is Recited or Sung
Sung at Vespers to one of the eight psalm tones, framed by an antiphon proper to the day 1
Learn More
Mary's Song, and Its Politics

The Magnificat is Mary's response in Luke to Elizabeth's greeting, and it is the longest speech given to any woman in the New Testament.

Its content is a great deal sharper than its usual musical settings suggest. God has scattered the proud in the imagination of their hearts, put down the mighty from their seats, exalted the humble and meek, filled the hungry with good things, and sent the rich away empty. The verbs are in a past tense, which most translations render as accomplished fact rather than as hope, the reversal is described as already done.

The model is Hannah's song in First Samuel, sung after the birth of Samuel, and the parallels are close enough that literary dependence is generally assumed: Hannah too speaks of the bows of the mighty broken, the hungry ceasing to hunger, and the raising of the poor from the dust. Luke's canticle is built on it.

The political reading is not a modern imposition. The text has been treated as dangerous by authorities more than once in the twentieth century, and it is a standard reference point in Latin American liberation theology. Whether Luke intended a social programme or a statement about God's characteristic way of acting is a real interpretive question, and the two are not exclusive.

It is sung at Vespers in the Western church and at the equivalent office in the East, which means it is among the most frequently performed religious texts in the world.

The Variant That Gives It to Elizabeth

There is a textual problem here that most readers never encounter, and it is a good example of how manuscript evidence works.

A small number of Old Latin manuscripts, three, and they are early, attribute the canticle not to Mary but to Elizabeth. Irenaeus in one place appears to know a text reading Elizabeth, and Nicetas of Remesiana refers to Elizabeth as prophesying the song. The overwhelming majority of manuscripts, in Greek and in Latin, read Mary.

The argument for taking the minority reading seriously is contextual: the canticle echoes Hannah's song, and Hannah's situation, long barren, then granted a child, is Elizabeth's situation, not Mary's. A scribe who found Elizabeth in the text would have every reason to correct it to Mary; a scribe who found Mary would have no reason to change it to Elizabeth. That is the harder-reading principle, and it points the minority way.

The argument against is the sheer weight of manuscript evidence and the fact that the surrounding narrative flow reads more naturally with Mary.

The scholarly consensus favours Mary and has done for a century, and the minority position has had distinguished defenders including Adolf von Harnack. It is a live question rather than a settled one, and it is not a controversy invented to unsettle anybody, it turns entirely on a handful of Latin manuscripts and on how one weighs the difficulty of a reading against its attestation.

Cross-Tradition Connections

Addressed To

Source The Holy BibleAnonymous (multiple authors)

Associated With

Mary, Figures

The Magnificat is the canticle of Mary, built closely on the song of Hannah at 1 Samuel 2.

Source The Oxford Dictionary of the Christian Church, 3rd revised editionF. L. Cross and E. A. Livingstone (eds.)

Attested In

Recorded in the Gospel of Luke, chapter 1.

Source The Holy BibleAnonymous (multiple authors)

Belongs to Tradition

Source The Holy BibleAnonymous (multiple authors)

Element Of

Sung at Evensong every day where a choir keeps the office, and set by English composers more often than any other text.

Source The Book of Common PrayerChurch of England; ed. Brian Cummings

Sung at Orthros with More Honourable Than the Cherubim answering between its verses.

Kept at Vespers in German, and the subject of a commentary Luther wrote out and addressed to a young prince.

Said or sung every day at Evening Prayer in the Liturgy of the Hours.

Originates in Language

Sources
1. The Oxford Dictionary of the Christian Church, 3rd revised edition
F. L. Cross and E. A. Livingstone (eds.), Oxford University Press, 2005View the Source
The Holy Bible, American Standard Version (1901), verse-per-line text
American Revision Committee, eBible.org (digital edition), 1901The text in the American Standard Version
Quote, The text in the American Standard Version
A small number of early Old Latin manuscripts attribute the canticle to Elizabeth rather than to Mary; the overwhelming majority read Mary.
View the Source
The Holy Bible
Anonymous (multiple authors), Robert Barker, 1611Luke 1:46-55; 1 Samuel 2:1-10
Quote, Luke 1:46-55; 1 Samuel 2:1-10
The canticle is built on Hannah's song, and the verbs of reversal are in a past tense rendered by most translations as accomplished fact.
View the Source
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