Two years ago, I made friends with a woman in another state via social media. We communicated through Facebook and Instagram, and sometimes on Twitter. She was thoughtful, caring, and generous. She wrote about her children, her family, and the ways God was working in her life. She has several kids, and always seemed to be laughing about the ups and downs of raising a big family. I admired her, was maybe even a little jealous of her overflowing life.
Luke 1:46–55 is both a beautiful hymn sung to glorify God and an interpretive puzzle. This text, widely known as the Magnificat, is one of several songs Luke uses at a crucial moment in the birth narratives in order for characters to explain the amazing ways in which God is moving. Luke includes it in his narrative to foreshadow the ministry of reversal Jesus will bring, first to Israel and eventually to all people. It is a praise hymn made up of a combination of OT allusions—more specifically, allusions to the Greek translation of the OT commonly referred as the Septuagint and abbreviated LXX. What follows is a study of the LXX allusions that combine to make up this praise hymn—allusions which have the cumulative effect of presenting Mary as a key character in the continuation of God’s OT promises and plan.
Most evangelicals are accustomed to the Mary of icons with an emotionless face, the Mary of statues draped in a powder blue robe, and the Mary of piety who quietly and submissively obeys orders. And, if you are like me, you have been nurtured in a faith that, intentionally or not, ignores Mary.
God called Mary to something much greater than her social location. I find it comforting to note that she was called “highly favored” before she said yes to God. It wasn’t her obedience that made her highly favored.
One Sunday, about a year ago, I was visiting a new church. It was December, and the pastor was preaching about Mary. I was surprised by how well he positioned Mary as an equal to the congregation—neither meek nor superhuman.