The seven joys of Mary

Tra le canzoni cantate per la questua natalizia dell'”a-gooding” c’era una carola mariana dal titolo “The seven joys of Mary“.

Un tempo nelle campagne inglesi tra i poveri del villaggio e in particolare le donne anziane e le vedove, c’era l’usanza di andare a chiedere l’elemosina di casa in casa in vista del Natale per procurarsi tante cose buone da mangiare (good things). Si diceva semplicemente “a-gooding”, e in particolare le donne oltre alla coppa di wassail (vedi) per il brindisi benaugurale portavano in giro l’effige della Madonna inghirlandata con rami di sempreverdi. “Queste sono due bambole, erano vestite per rappresentare l’una il Salvatore, e l’altra la Vergine Maria, e durante la settimana prima di Natale vengono portate in giro per il paese dalle donne povere, che, in cambio della loro esibizione, si aspettano un mezzo penny, per assicurarsi la buona sorte”.

Once in the british countryside between the poor of the village and especially the elderly women and widows, there was the custom of going to beg for alms at home for Christmas to get so many good things to eat. It was simply said “a-gooding“, and in particular women in addition to the wassail bowl carried the effigy of the Holy Mary wreathed with branches of evergreens. “These are two dolls, dressed the one to represent the Savior, and the other the Virgin Mary, and during the week before Christmas, they are carried about the country by poor women, who, in return for their exhibition, expect a halfpenny, which it is considered as insuring the height of ill-luck to deny “(from here).

Chiamate più genericamente “the advent images” queste raffigurazioni portavano fortuna alle case e nessuno negava un’offerta in danaro alle povere donne del paese! Tra le canzoni cantate per l’occasione c’era una carola mariana dal titolo “The seven joys of Mary“. Il canto è riportato nel “The Oxford Book of Carols” in cui gli editori fanno riferimento come fonte a dei broadsides del XIX e XVIII secolo. Ma è assai probabile un’origine medievale del canto (Roy Palmer in Bushes and Briars, 1999 cita il testo “The five joys of Mary” da un manoscritto cinquecentesco -il commonplace book di Richard Hill)

Called more generically “the advent images” these dolls brought luck to the houses and nobody denied an offer in money to the poor women of the country! Among the songs sung for the occasion there was a Marian carola entitled “The seven joys of Mary“. The song is reported in the “The Oxford Book of Carols” in which publishers refer as sources some broadsides of the nineteenth and eighteenth centuries. But a medieval origin of the song is very likely (Roy Palmer in Bushes and Briars, 1999 quotes the text “The five joys of Mary” from a sixteenth-century manuscript -the commonplace book by Richard Hill).

Le sette gioie della Vergine Maria

“Le Sette Beatitudini di Maria” anche noto come “The Seven joys of Mary” è un canto tradizionale sui momenti felici di Maria ispirati alla figura retorica delle Sette Gioie della Vergine nella letteratura devozionale medievale.
Le beatitudini di Maria (originariamente cinque) divennero soggetto d’arte a partire dal medioevo:
1) l’annunciazione (nel Rosario francescano la seconda beatitudine è la visita a Santa Elisabetta) (vedi)
2) la nascita di Gesù
3) l’adorazione dei Magi
4) la resurrezione di Gesù (nel Rosario francescano la quinta beatitudine è il ritrovamento di Gesù al tempio)
5) l’ascensione in Cielo
6) la pentecoste
7) l’incoronazione della Vergine in Cielo]

“Joys” intese come beatitudine divina: il concetto è antico, un tempo si credeva che solo gli dei potessero essere pienamente e totalmente felici, così l’uomo non era degno di beatitudine e gli antichi dei quando vedevano un mortale “troppo” felice gli mandavano qualche disgrazia o affanno! Con il Cristianesimo il concetto viene totalmente ribaltato, perchè chiunque può diventare beato nella fede in Cristo; così nel Vangelo di Luca Maria viene chiamata beata per la sua fede e solo subordinatamente per la sua maternità.

The Seven joys of Mary

“The Seven (re)Joys of Mary” is a traditional song about the happy moments of Mary inspired by the rhetorical figure of the Seven Joys of the Virgin in medieval devotional literature.
Originally five they became subjects of art from the Middle Ages:
1) the annunciation
2) the birth of Jesus
3) adoration of the Wise Men
4) the resurrection of Jesus
5) ascension in Heaven
6) Pentecost
7) the coronation of the Virgin in Heaven

“Joy” is understood as divine bliss: the concept is ancient, once it was believed that only gods could be fully and totally happy, so man was not worthy of bliss and the ancient gods when they saw a mortal “too” happy, they sent to him some misfortune or trouble! With Christianity the concept is totally overturned, so that anyone can become blessed in faith in Christ; so in the Gospel of Luke Mary is called blessed by her faith and only subordinately for her motherhood.

I SETTE DOLORI DI MARIA

Parallelamente alle cinque gioie sempre nel medioevo a partire dal XI secolo si celebrano anche i cinque dolori di Maria vista come Maria Addolorata, pene raffigurate da cinque spade che le trafiggono il cuore; nel trecento il culto dell’Addolorata viene celebrato nella Settimana Santa di Pasqua e solo nel seicento viene “istituzionalizzato” il 15 settembre nella Festa dell’addolorata.

I sette dolori di Maria sono tradizionalmente:
1) la profezia di Simeone sulla missione di Gesù
2) la fuga in Egitto
3) la perdita di Gesù nel Tempio
4) l’incontro di Maria e Gesù che porta la croce
5) Maria ai piedi della crocefissione
6) Maria che prende Gesù morto tra le braccia (sublimata da Michelangelo nella Pietà)
7) Maria che vede Gesù chiuso nel sepolcro

THE SEVEN SORROWS OF MARY

Parallel to the five joys, always in the Middle Ages, starting from the eleventh century, we also celebrate the five sorrows of Mary (Mary of Sorrows), depicted by five swords that pierce her heart; in the fourteenth century the cult of Our Lady of Sorrows was celebrated during Easter Holy Week and only in the seventeenth century was “institutionalized” on September 15th.

The seven sorrows of Mary are traditionally: 1) the prophecy of Simeon on the mission of Jesus
2) the flight into Egypt
3) the loss of Jesus in the Temple
4) the meeting of Mary and Jesus carrying the cross
5) Mary at the feet of the crucifixion
6) Mary who takes Jesus dead in her arms (sublimated by Michelangelo in the Pietà)
7) ​​Mary who sees Jesus locked in the sepulcher

Il testo, peraltro presente in molte varianti, non è abbinato univocamente ad una sola melodia, la più utilizzata è tuttavia quella di Richard Terry in “Two Hundred Folk Carols” (Londra 1933) sebbene le Chiese inglesi preferiscano la variante pubblicata in Christmas Carols New and Old (Londra 1871)

The text, also present in many variations, is not uniquely combined with a single melody, the most used is however that of Richard Terry in “Two Hundred Folk Carols” (London 1933) although the English Churches prefer the variant published in Christmas Carols New and Old (London 1871)

I
The first good joy that Mary had
It was the joy of one
To see her own son Jesus Christ
When He was first of son
When He was first of son,
good man
And blessed may he be
CHORUS:
Oh, oh, Father, Son, and Holy Ghost
For all eternity
Oh, oh, Father, Son, and Holy Ghost
For all eternity
II
The next good joy that Mary had
It was the joy of two
To see her own son Jesus Christ
When he was to sent school
III
The next good joy that Mary had
It was the joy of three
To see her own son Jesus Christ
To make the blind to see
IV
The next good joy that Mary had
It was the joy of four
To see her own son Jesus Christ
To read the bible lore
V
The next good joy that Mary had
It was the joy of five
To see her own son Jesus Christ
To bring the dead alive
VI
The next good joy that Mary had
It was the joy of six
To see her own son Jesus Christ
Upon the crucifix
VII
The last good joy that Mary had
It was the joy of seven
To see her own son Jesus Christ
To wear the crown of Heaven

Traduzione italiana Cattia Salto
I
La prima buona gioia che Maria ebbe
fu la gioia numero uno.
di vedere suo figlio Gesù Bambino
quando era neonato,
quando era neonato;
brav’uomo
che sia benedetto.
CORO:
Padre, Figlio e Spirito Santo,
per tutta l’eternità.
Padre, Figlio e Spirito Santo,
per tutta l’eternità.
II
La successiva buona gioia di Maria
fu la gioia numero due.
Vedere suo figlio Gesù Cristo,
quando fu mandato a scuola.
III
La successiva buona gioia di Maria
fu la gioia numero tre.
Vedere suo figlio Gesù Cristo
che ridava la vista ai ciechi.
IV
La successiva buona gioia di Maria
fu la gioia numero quattro.
Vedere suo figlio Gesù Cristo,
leggere la Bibbia,
V
La successiva buona gioia di Maria
fu la gioia numero cinque.
Vedere suo figlio Gesù Cristo,
riportare in vita il morto.
VI
La successiva gioia di Maria
fu la gioia numero sei.
Vedere suo figlio Gesù Cristo,
crocefisso;
VII
La successiva gioia di Maria
fu la gioia numero sette.
Vedere suo figlio Gesù Cristo,
portare la corona del cielo.

I
The first good joy that Mary had
It was the joy of one
The first rejoice that Mary had
Was to see her newborn son
To see her newborn son,
CHORUS
good man
And blessed may he be
Sing Father, Son and Holy Ghost
To all eternity
II
The next good joy that Mary had
It was the joy of two
To see her son Jesus
Make the lame to go
III
The next rejoice that Mary had
It was the joy of three
To see her own son Jesus
To make the blind to see
IV
The next good joy our lady had
It was the joy of four
It was the rejoice of her dear son
When he read the Bible o’er
V
The next good joy that Mary had
It was the joy of five
To see her own son Jesus
To make the dead alive
VI
The next rejoice our lady had
It was the rejoice of six
To see her own son Jesus
To bear the crucifix
VII
The next good joy that Mary had
It was the joy of seven
To see her own son Jesus
To wear the crown of heaven
VIII
And glory may he be
And blessed now be she
And those who sing the seven long verses in honor of our lady

Traduzione italiana Cattia Salto
I
La prima gioia di Maria
fu la gioia numero uno.
La prima gioia di Maria
fu di vedere suo figlio neonato.
Vedere suo figlio neonato,
CORO:
brav’uomo,
che sia benedetto.
Canta Padre, Figlio e Spirito Santo,
per tutta l’eternità.
II
La successiva buona gioia di Maria
fu la gioia numero due.
Vedere suo figlio Gesù,
far camminare gli zoppi.
III
La successiva buona gioia di Maria
fu la gioia numero tre.
Vedere suo figlio Gesù,
che ridava la vista ai ciechi.
IV
La successiva buona gioia di Maria
fu la gioia numero quattro.
fu la gioia del suo caro figlio,
quando lesse la Bibbia.
V
La successiva buona gioia di Maria
fu la gioia numero cinque.
Vedere suo figlio Gesù,
ridare la vita al morto.
VI
La successiva gioia di Maria
fu la gioia numero sei.
Vedere suo figlio Gesù,
portare la croce
VII
La successiva gioia di Maria
fu la gioia numero sette.
Vedere suo figlio Gesù,
portare la corona del cielo.
VIII
E sia gloria a Lui,
e benedetto ora sia Lei.
e quelli che cantano i sette lunghi versi, in onore della Madonna.

I
The first rejoice Our Lady got,
It was the rejoice of one:
it was the rejoice of Her dear Son
when He was born young.
CHORUS
Glory may he be,
and blessed now is she,
and those who sing the seven long verses
in honour of our Lady.
II
The second rejoice Our Lady got,
it was the rejoice of two:
It was the rejoice of Her dear Son
when He was sent to school.
III
The third rejoice Our Lady got,
it was the rejoice of three,
it was the rejoice of Her dear Son
when He led the blind to see.
IV
The next rejoice Our Lady got,
it was the rejoice of four:
it was the rejoice of Her dear Son
when He read the Bible o’ er.
V
The next rejoice Our Lady got,
it was the rejoice of five:
it was the rejoice of Her dear Son
when He raised the dead to life.
VI
The next rejoice Our Lady got,
it was the rejoice of six:
It was the rejoice of Her dear Son
when He carried the crucifix.
VII
The next rejoice Our Lady got,
it was the rejoice of seven:
it was the rejoice of Her dear Son
when He opened the gates of heaven
Sing alleluia,
the heavens are true

Traduzione italiano Cattia Salto
I
La prima beatitudine di Maria
fu la gioia numero uno:
fu la gioia del suo caro figlio
quando nacque.
CORO:
Che sia egli benedetto
e anche lei benedetta
e coloro che cantano i sette lunghi versi,
in onore della Madonna.
II
La seconda beatitudine di Maria
fu la gioia numero due.
fu la gioia del suo caro figlio,
quando fu mandato a scuola.
III
La terza beatitudine di Maria
fu la gioia numero tre.
fu la gioia del suo caro figlio,
che ridava la vista ai ciechi.
IV
La successiva beatitudine di Maria
fu la gioia numero quattro.
fu la gioia del suo caro figlio
quando lesse la Bibbia.
V
La successiva beatitudine di Maria
fu la gioia numero cinque.
fu la gioia del suo caro figlio
che ridava la vita al morto.
VI
La successiva beatitudine di Maria
fu la gioia numero sei.
fu la gioia del suo caro figlio
mentre portava il crocefisso.
VII
La successiva beatitudine di Maria
fu la gioia numero sette.
fu la gioia del suo caro figlio
mentre apriva i cancelli del paradiso
Cantate alleluia
il paradiso esiste

The seven consolations of the Virgin Mary” con un testo piuttosto diverso riportato in “Traditional Songs of the North of Ireland” (Derek Bell & Liam Ó Conchubhair, Dublino: Wolfhound Press, 1999), raccolta dalla tradizione popolare da Liam Ó Conchubhair (Rann na Feirste, Donegal) mentre quello di Aoife Ní Fhearraigh è la traduzione in irlandese della versione di Anonymus 4.

Nelle note di copertina si legge: L’enumerazione delle sette gioie di Maria ha l’effetto magico di una litania. Un tempo questo tipo di canzone religiosa era molto diffuso nel Donegal. Antaine Ó Dochartaigh [di Cruit, vicino a Dungloe] aveva una versione di sua madre e un’altra versione si trova a Ranafast. Le donne erano i principali portatori di questa particolare tradizione musicale, che era per lo più associata alla quaresima.

Noirin Ni Riain ha rilasciato tre versioni: la prima interamente in irlandese (da Vox de Nube 2010), la seconda in inglese con i monaci della Abbazia di Glenstal (da The Darkest Midnight). e una terza versione in Seinn Aililiu 2011]
(Vox de Nube 2010

“The seven consolations of the Virgin Mary” with a rather different text reported in “Traditional Songs of the North of Ireland” (Derek Bell & Liam Ó Conchubhair, Dublin: Wolfhound Press, 1999), collected by the popular tradition by Liam Ó Conchubhair ( Rann na Feirste, Donegal) while that of Aoife Ní Fhearraigh is the Irish translation of Anonymus 4

“The enumeration of the seven joys of Mary has the magical effect of a litany. This type of religious song was once widespread in Donegal. Antaine Ó Dochartaigh [of Cruit, near Dungloe] had a version from his mother and another version existed in Ranafast. Women were the chief bearers of this particular song tradition which was mostly associated with Lent.”

Noirin Ni Riain has released three versions: the first entirely in Irish (from Vox de Nube 2010), the second in English with the monks of the Glenstal Abbey (from The Darkest Midnight). and a third version in Seinn Aililiu 2011

I
An chéad suáilce fuair an Mhaighdean Bheannaithe, ba í sin an tsuáilce mhór
suáilce a fuair sí óna haonmhac uasal
go bhfuair sí a haon mhac beo.
II
An dara suáilce fuair an Mhaighdean Bheannaithe, ba í sin an tsuáilce mhór
suáilce a fuair sí óna haonmhac uasal
go deachaidh sé a léamh na leabhar.
III
An triú suáilce fuair an Mhaighdean Bheannaithe, ba í sin an tsuáilce mhór
suáilce a fuair sí óna haonmhac uasal
gur thug uirthi bláth na n-ord.
IV
An ceathrú suáilce fuair an Mhaighdean Bheannaithe, ba í sin an tsuáilce mhór
suáilce a fuair sí óna haonmhac uasal
gurbh é fhéin an Slánaitheoir.
V
An cúigiú suáilce fuair an Mhaighdean Bheannaithe, ba í sin an tsuáilce mhór
suáilce a fuair sí óna haonmhac uasal
go ndearna sé na mairbh beo.
VI
An séú suáilce fuair an Mhaighdean Bheannaithe, ba í sin an tsuáilce mhór
suáilce a fuair sí óna haonmhac uasal
gur thug sé fíon le hól.
VII
An seachtú suáilce fuair an Mhaighdean Bheannaithe, ba í sin an tsuáilce mhór
suáilce a fuair sí óna haonmhac uasal
go dtabharfadh sé í suas ar neamh.

[Luinneog]
alleluia, alleluia, alleluia, alleluia, alleluia.
alleluia, alleluia,
alleluia, alleluia, alleluia.
I
An chéad suáilce fuair an Mhaighdean Bheannaithe
ba í sin an tsuáilce mhór
suáilce a fuair sí óna haonmhac uasal
go bhfuair sí a haon mhac beo.
II
An dara suáilce fuair an Mhaighdean Bheannaithe
ba í sin an tsuáilce mhór
suáilce a fuair sí óna haonmhac uasal
go deachaidh sé a léamh na leabhar.
III
An triú suáilce fuair an Mhaighdean Bheannaithe
ba í sin an tsuáilce mhór
suáilce a fuair sí óna haonmhac uasal
gur thug uirthi bláth na n-ord.
IV
An ceathrú suáilce fuair an Mhaighdean Bheannaithe
ba í sin an tsuáilce mhór
suáilce a fuair sí óna haonmhac uasal
gurbh é fhéin an Slánaitheoir.
V
An cúigiú suáilce fuair an Mhaighdean Bheannaithe
ba í sin an tsuáilce mhór
suáilce a fuair sí óna haonmhac uasal
go ndearna sé na mairbh beo.
VI
An séú suáilce fuair an Mhaighdean Bheannaithe
ba í sin an tsuáilce mhór
suáilce a fuair sí óna haonmhac uasal
gur thug sé fíon le hól.
VII
An seachtú suáilce fuair an Mhaighdean Bheannaithe
ba í sin an tsuáilce mhór
suáilce a fuair sí óna haonmhac uasal
go dtabharfadh sé í suas ar neamh.

FIRST CHORUS
Seinn alleluia, seinn alleluia,
Seinn alliliú, seinn alliliú,
Seinn alleluia.
I
The first rejoice Our Lady got,
It was the rejoice of one,
It was the rejoice of Her dear Son when
He was born young
SECOND CHORUS
Glory may he be, and blessed now is she,
and those who sing the seven long verses
in honour of our Lady.
II
The second rejoice Our Lady got,
It was the rejoice of two,
It was the rejoice of Her dear Son
when He was sent to school.
III
The third rejoice Our Lady got,
It was the rejoice of three,
It was the rejoice of Her dear Son
when He led the blind to see.
IV
The next rejoice Our Lady got,
It was the rejoice of four,
It was the rejoice of Her dear Son
when He read the Bible oer.
V
The next rejoice Our Lady got,
It was the rejoice of five,
It was the rejoice of Her dear Son
when He raised the dead to life.
VI
The next rejoice Our Lady got,
It was the rejoice of six,
It was the rejoice of Her dear Son
when He carried the crucifix.
VII
The next rejoice Our Lady got,
It was the rejoice of seven,
It was the rejoice of Her dear Son
when He opened the gates of heaven