Work dossier · summary and historical context
The Praise of Mary is an anonymous Ethiopic malkǝʿ hymn dedicated to the Virgin Mary, preserved in multiple manuscripts within larger collections of Marian hymns and miracles. It belongs to the liturgical tradition of the Ethiopian Orthodox Tewahedo Church, where such hymns are recited in the Office of the Virgin and on her feast days. The work is undated but likely originates from the later medieval period of Ethiopic hymnody. Its poetic structure, typical of malkǝʿ hymns, includes parallelism and acrostic patterns, though these are obscured in English translation. The text follows a single source edition without critical apparatus for variant readings.
The Praise of Mary exemplifies the vibrant Marian devotion in Ethiopian Christianity, particularly through the malkǝʿ hymn genre. It reflects the reception of apocryphal traditions, such as the Protoevangelium of James (naming Mary's parents Hannah and Joachim), and the liturgical celebration of Mary's Assumption. The work's anonymous and undated status highlights the challenges of studying Ethiopic hymnody, while its manuscript transmission underscores the centrality of Mary in Ethiopian Orthodox piety.
The Praise of Mary is part of the rich Ethiopic tradition of Marian hymnody, which flourished in the medieval period within the Ethiopian Orthodox Tewahedo Church. The work is anonymous and undated, but its composition likely falls within the later medieval period (perhaps 14th–16th centuries), when malkǝʿ hymns became a prominent genre for liturgical praise of the Virgin. These hymns were recited in the daily Office of the Virgin and on her feast days, such as the Assumption (fəlsät). The text is transmitted in multiple Ethiopic manuscripts, often alongside other Marian works like the Taʾammǝra Maryam (Miracles of Mary), indicating its integration into broader devotional cycles. The genre draws on earlier Coptic and Syriac influences, adapted to Geʿez poetic forms. The work's preservation in liturgical contexts suggests its use in monastic and parish settings, though the lack of a critical edition limits precise dating and textual analysis.
Apparatus · what the pipeline recorded
| Coptic | Rendering | Count | First |
|---|---|---|---|
| no glossary terms recorded | |||