Sing of Mary

SING OF MARY Sing of Mary Giving Voice to Marian Theology and Devotion Stephanie A. Budwey A Michael Glazier Book LITURGICAL PRESS Collegeville, Minnesota www.litpress.org A Michael Glazier Book published by Liturgical Press Cover design by Jodi Hendrickson. Cover photo: The Annunciation to the Blessed Virgin Mary, a stained-glass window in the Lady Chapel of the Society of St. John the Evangelist, Cambridge, Mass. Used by permission. Excerpt from the English translation of Rite of Funerals © 1970 (superseded), International Commission on English in the Liturgy Corporation. All rights reserved. Unless otherwise indicated, excerpts from documents of the Second Vatican Council are from Vatican Council II: The Conciliar and Postconciliar Documents, ed- ited by Austin Flannery, OP, © 1996. Used with permission of Liturgical Press, Collegeville, Minnesota. Unless otherwise indicated, Scripture texts in this work are taken from the New Revised Standard Version Bible, © 1989, Division of Christian Education of the National Council of the Churches of Christ in the United States of America. Used by permission. All rights reserved. © 2014 by Order of Saint Benedict, Collegeville, Minnesota. All rights reserved. No part of this book may be reproduced in any form, by print, microfilm, micro- fiche, mechanical recording, photocopying, translation, or by any other means, known or yet unknown, for any purpose except brief quotations in reviews, without the previous written permission of Liturgical Press, Saint John’s Abbey, PO Box 7500, Collegeville, Minnesota 56321-7500. Printed in the United States of America. 1 2 3 4 5 6 7 8 9 Library of Congress Cataloging-in-Publication Data Budwey, Stephanie A. Sing of Mary : giving voice to Marian theology and devotion / By Stephanie A. Budwey. pages cm “A Michael Glazier book.” Includes bibliographical references. ISBN 978-0-8146-8268-5 — ISBN 978-0-8146-8293-7 (ebook) 1. Mary, Blessed Virgin, Saint. 2. Mary, Blessed Virgin, Saint—Devotion to. I. Title. BT603.B83 2014 232.91—dc23 2014020831 To my mother, Rita, and my grandmother, Effie, who have always supported me. They taught me how to pray the rosary and the importance of devotion to the Blessed Virgin Mary. Contents List of Figures xi Acknowledgments xiii Preface. O Higher Than the Cherubim, More Glorious Than the Seraphim xix Introduction and Statement of the Problem xx Definitions xxii Significance of the Problem xxv Method of Investigation xxxiii Sources of the Study and Limitations xxxv Marian Theology and Devotion through the Lens of Congregational Song, Past and Present xxxv Chapter One. We Fly to Your Patronage, O Holy Mother of God 1 Introduction 1 Devotion to Mary before the Council of Ephesus 2 Mary in the Bible and Apocryphal Literature 2 Beginnings of a Theology of Mary 6 Early Prayers and Devotions to Mary 9 The Council of Ephesus up to the Millennium 14 Mary as Theotokos 14 The Four Marian Feasts and Other Marian Liturgical Developments 18 Early Marian Hymnody 25 vii viii Sing of Mary Chapter Two. The Face That Most Resembles Christ 35 Introduction 35 Medieval Marian Devotions, Music, and Liturgy from the Millennium up to Trent 36 Shifts in Devotion to Christ and Mary 36 Medieval Devotion, Hymns, and Prayers to Mary 47 Mary in Medieval Liturgy 78 Chapter Three. Through Mary to Jesus 85 Introduction 85 The Reformation, the Council of Trent, and Beyond 86 Mary, the Reformers, and the Council of Trent (1545–1563) 86 Marian Devotions and Feasts 92 Early Marian Devotion in the United States 98 Chapter Four. No Grace Comes to Us except through Mary 103 Introduction 103 Mary’s Immaculate Conception 104 A Brief History of the Doctrine of the Immaculate Conception 104 Ubi Primum and Ineffabilis Deus 109 Ineffabilis Deus Reflected in Marian Congregational Song 113 Marian Apparitions 126 The Proliferation of Marian Apparitions during the Marian Age 126 The Effect of Marian Apparitions on Devotions 129 Marian Apparitions Reflected in Marian Congregational Song 131 Worldwide Catholic Developments 137 Papal Encyclicals, Pronouncements, and Marian Devotion 139 Liturgical and Devotional Developments 147 Papal Piety and Devotional Developments Reflected in Marian Congregational Song 151 Contents ix Chapter Five. So We Take Thee for Our Mother 167 Introduction 167 Catholic Developments in the United States 168 Spirituality in the United States 168 Factors in the United States Reflected in Marian Congregational Song 173 The Liturgical Movement and Its Effect 183 Musical Developments 187 Musical Movements and Documents 187 The Effect of Musical Movements and Documents in the United States 189 Marian Congregational Song as Influenced by Musical Movements and Documents 191 Chapter Six. The Madonna Is Not Pleased When She Is Put above Her Son 195 Introduction 195 Vatican II and Mary 196 The Context of Vatican II 196 The Battle Over Mary 199 Chapter 8 of Lumen Gentium 209 Chapter Seven. Whatever Happened to Mary? 211 Introduction 211 Worldwide Catholic Developments 212 Papal Encyclicals, Pronouncements, and Marian Devotion 212 Marian Apparitions 222 Mary in the Liturgy 225 Catholic Developments in the United States 227 Post–Vatican II Shifts in Religious Worldview 229 The Influence of the Feminist Movement 236 The Piety Void 239 Musical Developments 244 Musical and Liturgical Documents 244 The Effect of Official Documents on Hymnals 247 Post–Vatican II Marian Congregational Song 249 x Sing of Mary Chapter Eight. “Come, Join in Mary’s Prophet-Song” 261 Introduction 261 “The Maiden Mary, Not So Mild” 263 “Sing We a Song of High Revolt” 269 “And the World Is about to Turn!” 274 Bibliography 289 General Index 306 Index of Hymn Authors, Composers, Texts, Tunes, and Hymnals 320 Figures Figure 1: Ave maris stella, from Cantate et Iubilate Deo, public domain. Figure 2: Ave Maria, courtesy of Boston Boy Choir, Inc. Figure 3: Save Regina, courtesy of Boston Boy Choir, Inc. Figure 4: “Hail! Holy Queen, enthroned above,” public domain; image courtesy of Hymnary.org, http://www.hymnary.org/hymn /SGHC1920/page/146. Figure 5: Alma Redemptoris Mater, courtesy of Boston Boy Choir, Inc. Figure 6: Ave Regina Caelorum, courtesy of Boston Boy Choir, Inc. Figure 7: Regina Coeli, courtesy of Boston Boy Choir, Inc. Figure 8: “Immaculate Mary, our hearts,” public domain; image courtesy of Hymnary.org, http://www.hymnary.org/text/immaculate _mary_our_hearts_are_on_fire. Figure 9: “ ’Tis the Month of Our Mother,” public domain; image courtesy of Hymnary.org, http://www.hymnary.org/hymn/SSHB1907 /page/152. Figure 10: “Bring flowers of the rarest,” public domain; image courtesy of Hymnary.org, http://www.hymnary.org/hymn/SSHB1907 /page/156. Titled on Hymnary.org as “Our lady, queen of angels.” Figure 11: “Hail full of grace and purity,” public domain, image courtesy of Hymnary.org, http://www.hymnary.org/hymn/ACH1913 /page/237. xi Acknowledgments First and foremost, I want to thank Liturgical Press for supporting my work. Thank you to Hans Christoffersen for guiding me through this process and giving me this amazing opportunity to share my work on Mary. Thank you for your interest in my work from the very beginning and for your incredible kindness, support, and patience. I could not have asked for a better experience in working with an editor than in working with you, and I can’t thank you enough for that. Thank you also to Bill Kauffmann, Colleen Stiller, and especially to Patrick McGowan for his tremendous work during the copyediting process. His outstanding attention to detail was a remarkable help in getting the manuscript ready. I want to thank Dr. Sharon Elkins who introduced me to the study of Mary during my time at Wellesley College, which was fur- ther enriched by my study of Mariology with Dr. Margaret Guider during the first semester of coursework of my doctorate. It was the final presentation for Dr. Guider’s class that began the work of my dissertation, which is the foundation of this work. I also want to thank the Boston University School of Theology community under the leadership of Dean Mary Elizabeth Moore, to Anastasia Kidd, and to all the members of my dissertation committee: Dr. Karen Westerfield Tucker, Dr. Andrew Shenton, Dr. Carl P. Daw, Jr., Dr. Phillis Sheppard, and Dr. Francine Cardman. I especially want to thank Dr. Westerfield Tucker and Dr. Daw for all of their helpful revisions and for their support and encouragement throughout this entire process; I cannot thank you enough for your continued advice and friendship that has continued past your roles as “advisor.” It means the world to me. xiii xiv Sing of Mary Thanks to those who helped to shape this work along the way, offering helpful feedback. I would like to particularly thank the music seminar of the North American Academy of Liturgy, who heard a presentation on the early results of this study in January 2011. I would also like to thank the Hymn Society in the United States and Canada, which gave me the opportunity to present my work in various stages at their Research-in-Progress Posters Session in July 2010 and the Emerging Scholar Forum in July 2011. I would also like to thank them for the support of the McElrath-Eskew Research Fund which helped to fund this work. Special thanks to Dr. Deborah Carlton Loftis, Tina Schneider, and Dr. Robin Knowles Wallace for their helpful feedback and continued support. I am most grateful to the library staffs at both Boston University and Boston College for all of their help in my quest to obtain so many hymnals. I would especially like to thank Justine Sundaram at the John J. Burns Library at Boston College. Her help was invaluable to having the opportunity to survey some of the rare hymnals in the Liturgy and Life Collection.

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