Tota pulchra es

Tota pulchra es Maria is an ancient Christian prayer, which has been shown since the fourth century. It is composed of verses of the Old Testament which are interpreted to Mary and her immaculate conception. The starting line, after the prayer is called, dates from the Song of Songs in the version of the Vulgate: Tota pulchra es, amica mea, et macula non est in te. (Song of Songs 4.7 EU) tuum The line vestimentum ... refers to the Gospel of Matthew (Mt 17.3 Mt 28.3 EU or EU). The last verse is the Biblical Book of Judith removed ( Jdt 15.9 EU).

Already Ephrem the Syrian turned in the Carmina Nisibena the verse Song of 4.7 on the sinlessness of Mary Most Holy, Thou alone and your mother are nice about everything, no blemish, O Lord, to thee no wrong to your mother. The word originalis, which establishes the reference to original sin ( peccatum original ), was inserted by the Franciscan theologian John Duns Scotus. Since the 14th century, the prayer is used in its present form.

Liturgical the verses as antiphons at Vespers for the Feast of the Conception (December 8 ) can be used.

Text

Tota pulchra es, Maria et macula non est in te originalis. Vestimentum tuum candidum virtually nothing, et facies tua sicut sol Tota pulchra es, Maria, et macula non est in te originalis. Tu gloria Hierusalem, tu laetitia Israel, tu honorificentia populi nostri. Tota pulchra es, Maria.

Free translation: Pretty You, Maria are, and original sin flaw is not in you. Your clothes are bright as snow, and Your form like the sun. Pretty You, Maria are, and original sin flaw is not in you. You are the glory of Jerusalem, you are the joy of Israel, thou the honor of our people. Very beautiful you are, Mary.

( You advocate of sinners. Maria, you wisest of virgins, you mildest of mothers, pray for us by our Lord Jesus Christ. )

Musical implementation

Prayer has seen numerous musical settings, eg by Guillaume You Fay (15th century), Francisco Guerrero (16th century), Grzegorz Gerwazy Gorczycki ( 1694 ), Robert Schumann ( in: Missa sacra op 147, 1852/53 ) Ernest Chausson ( 19th century ) and Maurice Duruflé ( in: Quatre Motets sur Thèmes of Grégoriens op 10 for choir a capella, 1960) and Pablo Casals ( 20th century).

Is listed Often the motet by Anton Bruckner in the Phrygian mode (WAB 46).