Function of the Magnificat in its narrative setting

David Seal

doi:10.17570/stj.2021.v7n1.a11

Abstract

In analyzing conspicuous poetry placed in narrative contexts of the Old Testament, James Watts states that authors used the inset poetry to achieve certain distinguishable effects. Generally, inset poetry in the Bible does not have an impact on the narrative plot, so they likely have other purposes. Watts contends that inset poetry serves to “actualize” accompanying stories, interpreting them, and making them more real by involving the audience in the emotional components of the story. Using Watts’s theory of actualization, this study will examine the Magnificat as inset poetry, demonstrating how the affective components function to actualize the preceding narrative (Luke 1:1 ̶ 45).

Highlights

This study will examine the Magnificat1 (Luke 1:46-55) based on James Watts’s proposal that inset poetry2 in narrative settings function to actualize the stories they accompany.3 Actualization through inset poetry
In analysing conspicuous poetry placed in narrative contexts of the Old Testament, James Watts states that authors used the inset poetry to achieve certain distinguishable effects
Inset poetry in the Bible does not have an impact on the narrative plot, so they likely have other purposes

Summary

18 Three main theories have been suggested for the hymn’s origin

The evangelist Luke, or a pre-Lukan hymn. Of these, the last seems the most likely. In Luke 23:46, Jesus cries out with a loud voice, saying “Father, into your hands I commend my spirit” (Ps 31:5, [Ps 30:6 LXX], NRSV) In another example, in one of the early church’s fervent prayers (Acts 4:24–30), they recite Psalm 2:1.29 It is likely that those in the Lukan audience hearing Mary’s words would have understood her use of Scripture as typical for expressing passionate feelings. If the listeners of Luke’s Gospel had not understood the meaning of the words of Mary’s song, they still would have heard the rhythm generated by the rhythmic sense units and the parallelism, allowing them to embody the feelings characterized by the pattern. Ex 6:6; 15:16; Deut 4:34, 5:15, 7:19, 9:29, 26:8; 2 Kgs 17:36; Pss 77:15, 89:10; 98:1; Jer 32:21; Ezek 20:34

56 Some scholars who have noted the militant tone in the Magnificat include

A He has toppled the powerful

Summary and conclusion