Composition and History

Attributed to St. Bernard of Cluny, this revered hymn was translated by Fr. Henry Bittleston (1818-1860), an Anglican curate turned Catholic Oratorian. First published in 1754, it has since become an integral part of Catholic devotional life.

 

Poetic Structure and Metre

The hymn's 12 verses, alternating between acatalectic and catalectic trochaic diameter, feature internal rhymes in the first and third verses (aa/b, cc/b). While not conforming to classical meter, its unique pattern creates a sense of rhythm and flow.

 

Melody and Musical Structure

The melody changes every two stanzas, following an aa-bb-cc pattern, which repeats every six stanzas. A chant version, centonized from the original poem, appears in the Cantus selecti (no. 123), (Cappellagregoriana, 2017)

 

Theological and Mariological Significance

Deeply rooted in Catholic doctrine, the hymn extols Mary's virtues as Queen of Heaven and Earth, her perpetual virginity, assumption into heaven, sinlessness, immaculate conception, and role as mediatrix of all graces.

 

Devotional Significance and Applications

Featured prominently in Marian feast days, processions, and pilgrimages, this hymn has also become a staple in funerals and memorial services, testifying to the deceased's devotion to Mary. Its beauty and depth have made it a beloved part of Catholic tradition.

 

Poetic Beauty and Musicality

With its rich alliterations, rhymes, and onomatopoeia, this hymn is a masterpiece of poetic composition, making it a joy to sing and a testament to the power of faith and devotion.