Luke 1:46

Mary said. The gift of inspiration now seems to fall upon Mary, who speaks forth in calm and majestic strains. Every idea, even her very words, reflect what inspired men had written in times past. The song of Mary (vs. 46-55) is considered one of the most sublime hymns in all sacred literature, a lyric of exquisite beauty worthy of Mary’s ancestor David. It is pervaded by a spirit of humble adoration and thankfulness, and glorifies the power, holiness, and mercy of God. It expresses her personal emotion and experience as she meditated upon the message of the angel Gabriel.

The song of Mary is frequently designated the Magnificat, “Magnifies,” from its first word in the Latin Vulgate. The first half of the song is concerned with Mary’s personal thankfulness (vs. 46-50); the second half turns on the note of national thanksgiving (vs. 51-55). This song reveals the character of God and emphasizes God’s grace (v. 48), omnipotence (vs. 49, 51), holiness (v. 49), mercy (v. 50), justice (vs. 52, 53), and faithfulness (vs. 54, 55). The poetic quality of the song becomes more impressive when it is printed in poetic form. It is divided into four strophes, or stanzas, as follows:

1. (vs. 46-48) Here Mary thinks primarily of herself, of her deep feelings of adoration and holy joy. She has been chosen and honored above women, and marvels that God has taken notice of her and passed others by. She is aware of nothing that would commend her to God.

2. (vs. 49, 50) In this strophe Mary glorifies the power, holiness, and mercy of God.

3. (vs. 51-53) Here stand forth in sharp contrast the character values esteemed by God and man. God’s conception of what constitutes true greatness is the antithesis of man’s estimation of greatness.

4. (vs. 54, 55) The song of Mary closes on a note of gratitude for the eternal faithfulness of God to His chosen people.

The song of Mary has often been compared with that of Hannah (see 1 Sam. 2:1-10), which was a prayer of thanksgiving for Samuel. Both breathe forth faith and joy adoration, but that of Mary reflects, perhaps, a more exalted concept of God. The words are gleaned from the best the prophets of the intervening millennium had written. Mary’s song is also reminiscent of the song of Moses (see Ex. 15) and that of Deborah and Barak (see Judges 5), and is similar in spirit to Ps. 113 and 126, among others. Slight textual evidence (cf. p. 146) attributes this song to Elisabeth rather than to Mary.

Unquestionably, however, it was Mary’s.

The song of Mary reflects the thought of the following OT passages: Luke 1:46 (1 Sam. 2:1; Ps. 103:1), v. 47 (1 Sam. 2:1), v. 48 (Gen. 30:13; 1 Sam. 1:11), v. 49 (Deut. 10:21; Ps. 111:9), v. 50 (Ps. 103:17), v. 51 (Ps. 89:10), v. 52 (1 Sam. 2:7-10; Job 5:11; 12:19), v. 53 (1 Sam. 2:5; Ps. 107:9), v. 54 (Ps. 98:3; Isa. 41:8), v. 55 (2 Sam. 22:51; Micah 7:20).

My soul. In view of the fact that the joyous song of Mary is poetic in form, and because Hebrew poetry consists essentially in the repetition of the same thought in different words, there seems little validity to the claim that some have made that there is a difference between “soul” in v. 46 and “spirit” in v. 47. In both statements Mary is simply referring to her mental, emotional, and spiritual appreciation of the honor bestowed upon her as mother of the Messiah.

Magnify. Gr. megalund, “to make [or declare] great,” “to exalt,” or “to extol.” Man can do nothing to enhance the greatness and majesty of God, but when a clearer understanding of the character, will, and ways of God comes to him he should be conscious, as was Mary, of the more glorious revelation. To “magnify” the Lord means to declare His greatness.