\nБогородице дѣво радѹйсѧ
\nѡбрадованнаѧ Марїе
\nГосподь съ тобою
\nблагословена ты въ женахъ,
\nи благословенъ плодъ чрева твоегѡ,
\nЯкѡ родила еси Христа Спаса,
\nИзбавителѧ дѹшамъ нашимъ."}},"i":0}}]}" id="mwAYw">
Богородице дѣво радѹйсѧ
ѡбрадованнаѧ Марїе
Господь съ тобою
благословена ты въ женахъ,
и благословенъ плодъ чрева твоегѡ,
Якѡ родила еси Христа Спаса,
Избавителѧ дѹшамъ нашимъ.
Bogorodice děvo, radujsę,
obradovannaę Marie,
Gospodǐ sǔ toboju.
blagoslovena ty vǔ ženaxǔ,
i blagoslovenǔ plodǔ čreva tvoego,
Jako rodila esi Xrista Spasa,
Izbavitelę dušamǔ našimǔ.
Theotokos Virgin, rejoice, (or: Rejoice, O Virgin Theotokos)
Mary full of grace,
the Lord is with thee.
Blessed art thou amongst women,
and blessed is the fruit of thy womb,
for thou hast borne Christ the Saviour,
the Deliverer of our souls.
Богородице дѣво, радѹйсѧ,
Благодатнаѧ Марїе,
Господь съ тобою:
благословена Ты въ женахъ,
и благословенъ плодъ чрева Твоегѡ;
якѡ Спаса родила еси дѹшъ нашихъ.
Bogorodice děvo, radujsę,
Blagodatnaę Marie,
Gospodǐ sǔ toboju:
Blagoslovena ty vǔ ženaxǔ,
I blagoslovenǔ plodǔ čreva tvoego,
jako Spasa rodila esi dušǔ našixǔ.
Theotokos Virgin, rejoice, (or: Rejoice, O Virgin Theotokos)
Mary full of grace,
The Lord is with thee.
Blessed art thou amongst women,
and blessed is the fruit of thy womb,
for thou hast borne the Saviour of our souls.
The first is the older, and remains in use by the Old Believers as well as those who follow the Ruthenian recension (among them the Ukrainian Greek-Catholic Church and the Ruthenian Catholic Church). The second, corresponding more closely to the Greek, appeared in 1656 under the liturgical reforms of Patriarch Nikon of Moscow, and is in use by the Russian Orthodox Church, the Serbian Orthodox Church, the Bulgarian Orthodox Church and the Ukrainian Orthodox Church.
The Hail Mary is the last prayer in Appendix V of the present Roman Missal, the last of seven prayers under the heading "Thanksgiving After Mass". There it appears with "with you" instead of the traditional "with thee", "are you" instead of the traditional "art thou" and "your womb" in place of the traditional "thy womb":
Hail, Mary, full of grace, the Lord is with you;
blessed are you among women,
and blessed is the fruit of your womb, Jesus.
Holy Mary, Mother of God,
pray for us sinners
now and at the hour of our death.
Amen.
The Hail Mary is the central part of the Angelus, a devotion generally recited thrice daily by many Catholics, as well as broad and high church Anglicans, and Lutherans who usually omit the second half.
The Hail Mary is an essential element of the Rosary, a prayer method in use especially among Roman Rite (Western) Catholics. The Eastern Catholic Churches say a similar version.
The Rosary consists traditionally of three sets of five Mysteries, each Mystery being meditated on while reciting a decade (a set of ten) of Ave Maria. The 150 Ave Maria of the Rosary thus echo the 150 psalms. These Mysteries concern events of Jesus' life during his childhood (Joyful Mysteries), Passion (Sorrowful Mysteries), and from his Resurrection onwards (Glorious Mysteries). Another set, the Luminous Mysteries, is of comparatively recent origin, having been proposed by Pope John Paul II in 2002. Each decade of Ave Maria is preceded by the Our Father (Pater Noster or The Lord's Prayer) and followed by the Glory Be (Gloria Patri or Doxology). The repetition of these fixed-language prayers assists recitation from the heart rather than the head. Pope Paul V said that "the Rosary is a treasure of graces ... even for those souls who pray without meditating, the simple act of taking the beads in hand to pray is already a remembrance of God – of the supernatural".[ citation needed ]
Martin Luther believed that Mary should be held in highest reverence, advocating the use of the first half of the Hail Mary (that is, "Hail Mary, full of grace, the Lord is with thee. Blessed art thou amongst women and blessed is the fruit of thy womb, Jesus.") as a sign of reverence for and devotion to the Virgin. [21] [22] [j] The 1522 Betbüchlein (Prayer Book) retained the Hail Mary. [6] The second part of the prayer used in Catholicism today ("Holy Mary, Mother of God, pray for us sinners now and at the hour of our death") was not in use in Germany at the time. [17]
Some Anglicans also employ the Hail Mary in devotional practice. Anglo-Catholic Anglicans use the prayer in much the same way as Roman Catholics, including use of the Rosary and the recitation of the Angelus. Many Anglican churches contain artistic depictions of the Virgin Mary, but only a minority use Marian devotional prayers such as the Hail Mary. [24] That manifestation of veneration of Mary, decried by some Protestants as Mariolatry, was largely removed from Anglican churches during the English Reformation but was reintroduced to some extent during the Oxford Movement of the mid-1800s.
The Hail Mary (Ave Maria in Latin) has been set to music numerous times. The title "Ave Maria" has been given also to musical compositions that are not settings of the prayer.
One of the most famous is the version by Franz Schubert (1825), composed as Ellens dritter Gesang (Ellen's Third Song), D839, part 6 of his Opus 52, a setting of seven songs from Walter Scott's popular epic poem "The Lady of the Lake", translated into German by Adam Storck. Although it opens with the greeting "Ave Maria" ("Hail Mary"), the text was not that of the traditional prayer, but nowadays it is commonly sung with words of the prayer. Its music was used in the final segment of Disney's Fantasia . [25] [26]
In Gounod's version, he superimposed melody and the words to the first prelude from Bach's The Well-Tempered Clavier , omitting only the words "Mater Dei" (Mother of God).
Anton Bruckner wrote three different settings, the best known being a motet for seven voices. Antonín Dvořák's version was composed in 1877. Another setting of Ave Maria was written by Giuseppe Verdi as part for his 1887 opera Otello . Russian composer César Cui, who was raised Roman Catholic, set the text at least three times: as the "Ave Maria", op. 34, for one or two women's voices with piano or harmonium (1886), and as part of two of his operas: Le flibustier (premiered 1894) and Mateo Falcone (1907).
Settings also exist by Mozart, Liszt, Byrd, Elgar, Saint-Saëns, Offenbach, Rossini, Brahms, Stravinsky, Mascagni, Lauridsen, David Conte and Lorenzo Perosi as well as numerous versions by less well-known composers, such as J. B. Tresch, Margit Sztaray, Mme. Tarbé des Sablons, Einojuhani Rautavaara and Ninel Samokhvalova.
In the Renaissance, this text was also set by numerous composers, including Josquin des Prez, Orlando di Lasso, Tomás Luis de Victoria, and Giovanni Pierluigi da Palestrina. Before the Council of Trent there were actually different versions of the text, so the earlier composers in the period sometimes set versions of the text different from the ones shown above. Josquin des Prez, for example, himself set more than one version of the Ave Maria. Here is the text of his motet "Ave Maria ... Virgo serena", which begins with the first six words above and continues with a poem in rhymed couplets.
Ave Maria, gratia plena,
Dominus tecum, Virgo serena.
Ave cuius conceptio,
solemni plena gaudio,
celestia, terrestria,
nova replet letitia.
Ave cuius nativitas,
nostra fuit solemnitas,
ut lucifer lux oriens
verum solem preveniens.
Ave pia humilitas,
sine viro fecunditas,
cuius annunciatio
nostra fuit salvatio.
Ave vera virginitas,
immaculata castitas,
cuius purificatio
nostra fuit purgatio.
Ave preclara omnibus
angelicis virtutibus,
cuius fuit assumptio
nostra glorificatio.
O Mater Dei, memento mei. Amen.
The much-anthologized "Ave Maria" by Jacques Arcadelt is actually a 19th-century arrangement by Pierre-Louis Dietsch, loosely based on Arcadelt's three part madrigal "Nous voyons que les hommes".
In the 20th century, Franz Biebl composed Ave Maria (Angelus Domini), actually a setting of the Angelus prayer, in which the Ave Maria is repeated three times, but its second part only once as the climax.
In Slavonic, the text was also a popular subject for setting to music by Eastern European composers. These include Rachmaninov, Stravinsky, Bortniansky, Vavilov (his version often misattributed to Caccini), Mikhail Shukh, Lyudmyla Hodzyumakha and others.
A famous setting for the Orthodox version of the prayer in Church Slavonic (Bogoroditsye Djevo) was composed by Sergei Rachmaninoff in his All-Night Vigil.
Since Protestant Christianity generally avoids any special veneration of Mary, musical settings of the prayer are sometimes sung to other texts that preserve the word boundaries and syllable stresses. [27] [28]