No fewer difficulties oppose the rationalistic than the supranaturalistic explanation of the hymn pronounced by Mary. For though it is not, like the Canticle of Zacharias (v. 67) and the address of Elizabeth (v. 41), introduced by the formula ἐπλήσθη πνεύματος ἁγίου, she was filled with the Holy Ghost, still the similarity of these utterances is so great, that the omission cannot be adduced as a proof that the narrator did not intend to represent this, equally with the other two, as the operation of the πνεῦμα (spirit). But apart from the intention of the narrator, can it be thought natural that two friends visiting one another should, even in the midst of the most extraordinary occurrences, break forth into long hymns, and that their conversation should entirely lose the character of dialogue, the natural form on such occasions? By a supernatural influence alone could the minds of the two friends be attuned to a state of elevation, so foreign to their every-day life. But if, indeed, Mary’s hymn is to be understood as the work of the Holy Spirit, it is surprising that a speech emanating immediately from the divine source of inspiration should not be more striking for its originality, but should be so interlarded with reminiscences from the Old Testament, borrowed from the song of praise spoken by the mother of Samuel (1 Sam. ii.) under analogous circumstances. [298] Accordingly we must admit that the compilation of this hymn, consisting of recollections from the Old Testament, was put together in a natural way; but allowing its composition to have been perfectly natural, it cannot be ascribed to the artless Mary, but to him who poetically wrought out the tradition in circulation respecting the scene in question.