Thomas Tallis: The Complete Works
Volume 3 - Music for Queen Mary

Chapelle du Roi
directed by Alistair Dixon

Programme Notes

All of the works by Thomas Tallis included on this recording probably date from the reign of Mary Tudor (1553—8), when music for the Latin rite enjoyed a brief Indian summer. They include his most ambitious essays in two traditional forms—the cyclic Mass Puer natus est nobis and the votive antiphon Gaude gloriosa—as well as the occasional motet Suscipe quaeso and the psalm-motet Beati immaculati.

Nothing about Tallis’s early career suggests that he was destined to reach the top of his profession. Nevertheless, scarcely more than ten years separate his first known musical appointment, which was extremely humble, from his last, which could not have been more prestigious. In 1532 he was organist of the small Benedictine priory at Dover—a minor post if ever there was one. Five years later he had moved to London, where he was employed either as a singer or as organist by the parish church of St Mary-at-Hill, which was noted for its music. In 1538 he abandoned London for the apparent security of a permanent appointment as a member of the Lady Chapel choir of the Augustinian abbey of Holy Cross at Waltham in Essex. However, the dissolution of the abbey in March 1540 left him once again without employment. 

In the spring of 1540 the prospects for an unemployed church musician cannot have seemed promising, but Tallis now succeeded in making what was possibly the most consequential move of his career. A fortnight after Waltham Abbey was dissolved, Canterbury Cathedral ceased to be a Benedictine monastery; it was reorganised with a secular dean and chapter and provided with an enlarged choir consisting of ten boys and twelve men, worthy of the cathedral’s status as the fons et origo of a national church. Tallis joined the new choir during the summer of 1540 and remained one of its senior members for two or three years. These years must have been lively, not only because of the challenge of quickly assembling an impressive and extensive repertory, but also on account of the fierce disputes that arose between the conservative cathedral dignitaries and their reform-minded archbishop, Thomas Cranmer. 

It could have been through Cranmer, the king’s most trusted counsellor during his declining years, that Tallis gained a place in the royal household chapel; the exact date of his appointment is not known, but his name occurs about half-way down the list of gentlemen (or singers) of the chapel in the lay subsidy roll of 1543/4. He remained a gentleman of the chapel for the rest of his life, rising in seniority until he became its acknowledged doyen. He may have acted as chapel organist throughout this time, although he is not referred to in this capacity until the 1570s. Apart from playing the organ, Tallis’s main duty during his early years in the royal household chapel was probably the composition of music. This would have been an important responsibility, because the chapel was undoubtedly required to demonstrate how government policy on religion should be interpreted in practice.

Tallis and his colleagues in the royal household chapel were faced with a difficult task. The religious turmoil of the 1540s and 50s meant that church musicians no longer worked in the atmosphere of stability that had prevailed up to about 1530. In less than two decades the religion of the country was altered four times. Composers were required not only to respond to the changes in language and liturgy that government vacillation brought about, but also to give expression to radically different ideas about the function of music in worship. The traditionalists expected music to take a prominent role by setting both liturgical and non-liturgical texts; the expert performance of elaborate music was itself an act of praise which honoured God and could help to persuade the saints to intercede on behalf of souls in purgatory. The reformers regarded music as a distraction which obscured the purpose of worship, rendered unintelligible the words which it set, and was often associated with texts whose origins, sentiments and intentions were decidedly unscriptural.

It is not always easy to give precise dates to compositions written in the middle of the century. One cannot simply allocate settings of English texts to the reigns of the Protestant Edward and Elizabeth, and settings of Latin texts to those of the Catholic Henry and Mary. English translations of texts from the Latin liturgy were already being made in Henry’s last years, and some of these, such as Cranmer’s translation of the Litany (1544), were set to music. Conversely, the accession of a Protestant monarch did not mean that Latin texts were wholly eschewed. Latin was, after all, the international language of learning and diplomacy, and both Edward and Elizabeth were proficient in it. While it might not have been considered appropriate for contexts of worship, Latin was perfectly suitable for occasional musical compositions performed before an audience which could understand the language. Early in Elizabeth’s reign there was even room for a Latin version of the English prayer-book. Published in 1560, Walter Haddon’s translation was intended for use in the universities and public schools; it seems, however, to have had little success, although it may have been used at court.

Considering the personal shortcomings of the Tudors, to say that Mary was the best of them does not claim much for her. In fact, it does not claim nearly enough, for in other circumstances her courage, loyalty and piety might have made her as well loved as her later namesake Mary II, daughter of James II and wife of William of Orange. It was her tragedy to commit a single catastrophic political error which made her ambitions virtually unattainable. Her popular reputation still suffers from centuries of Protestant calumny, whereas that of her father Henry VIII—a cynical bully whose inordinate self-esteem was fully matched by his incompetence to rule—continues to be idealised. If ever a monarch deserved the epithet ‘bloody’, it is Henry, not Mary.

Mary’s childhood seems to have been happy. Following several unsuccessful pregnancies, her birth in 1516 must have been particularly joyful for Henry and his first wife Katherine of Aragon, who were still young enough to hope that a son and heir would follow. However, the clouds gathered quickly as Mary entered adolescence. The longed-for male heir failed to materialise, and since Katherine was now reaching the upper limit of child-bearing age, Henry decided that he must marry again. When Cardinal Wolsey’s diplomacy failed to persuade Pope Clement VII to annul the king’s marriage with Katherine (the pope was effectively the prisoner of the Emperor Charles V, Katherine’s nephew, at the time), Henry repudiated papal authority, nationalised the English church and granted himself a divorce through his puppet Thomas Cranmer. His previous antipathy to Protestantism (the title ‘Defender of the Faith’ still borne by English monarchs had been awarded to him by Pope Leo X in recognition of his opposition to Lutheranism) was now replaced by guarded tolerance as he sought to gain support for his treatment of the church. For most of the rest of the reign, except for a brief check in the late 1530s when Henry restated a conventionally catholic position, the Anglican church moved steadily towards Protestantism. The gangsters who ruled England in the name of the child king Edward VI (1547—53) drove the country ever more rapidly down the same road, replacing the Latin rite with the relatively conservative First Book of Common Prayer in 1549 and then introducing the much more radical Second Book in 1552.

To Mary these events must have been traumatic. To see her mother repudiated by her father and to find herself declared illegitimate must have been both confusing and wounding, and to witness the church of her childhood renounce its loyalty to Rome and its orthodoxy must have been deeply disturbing to a young woman who had inherited all of her Spanish mother’s devotion to conventional religion. For twenty years she acted with consistency and circumspection, never deviating from the faith in which she had been brought up. It was only with the greatest difficulty, and when faced with the real prospect of execution, that she was prevailed upon to acknowledge her father’s supremacy over the church. During Edward’s reign she lived in seclusion in order to give those in power the least possible occasion to attack her. All that she needed to do was to wait; by the terms of her father’s will, if Edward died without issue—an event that seemed increasingly likely—she would become queen. On Edward’s death in July 1553, when the Duke of Northumberland tried to preserve the Protestant regime by placing Lady Jane Grey on the throne, Mary showed courage and decisiveness, declaring her own accession and entering London with her supporters. She was welcomed as an adult ruler who would not be a pawn in another faction-ridden regency, and as a champion of the old faith which probably still had the loyalty of most of the population.

As queen, Mary set about reversing the religious policy of the previous two decades. The royal supremacy was renounced and papal supremacy acknowledged, and the Latin rite was restored. It is interesting to observe that a large number of Sarum service books, which ought to have been surrendered to Edward VI’s commissioners for destruction, now came out of hiding and back into use, as if their owners had either not believed or not wished to believe that the Protestant phase would last. However, not everything could be reversed; the wholesale reallocation of land that had followed the dissolution of the monasteries made it impossible to restore them on a large scale, so only a small number, including St Peter’s, Westminster, were refounded. There is little sign that Mary’s religious policy initially aroused strong opposition from a majority of her subjects; her crucial miscalculation was to marry Philip II of Spain. If her anxiety for an heir who would prevent the accession of her Protestant half-sister Elizabeth was understandable, and her choice of Spain as an ally against the common enemy, France, seemed reasonable, she took insufficient account of English xenophobia and the coldly fanatical personality of her husband. After the wedding in July 1554 Philip remained in England for several months, but then, offended at parliament’s refusal to make him king in his own right, departed and did not return. Mary’s final years were spent in increasing isolation and misery: she had failed to conceive an heir; her absent husband had urged her into an intolerant religious policy which aroused increasing opposition; the hated alliance with Spain had lost England her last possessions in France. When she died in November 1558, she knew that Elizabeth would undo the work that had been the ambition of her life.

The restoration of the Latin rite was probably welcomed by the musicians of Mary’s chapel—at least by those lacking strongly Protestant convictions—because it entailed concentration upon more substantial and interesting music than had been cultivated during Edward’s reign. It was easy enough to resume the musical forms—votive antiphon, Magnificat, festal Mass, responsory—which had been in vogue before the introduction of the Book of Common Prayer. Mary’s emotional commitment to the religious world of her childhood seems to have encouraged composers to produce works of a grandeur redolent of the 1520s, although in a style responsive to more recent developments. Thus the music for the restored Sarum rite by Tallis, John Sheppard, William Mundy, Robert Parsons and Robert Whyte is mainly in five, six or more parts, conceived on a large scale, and written in a style that is ornate and rhythmically exuberant, yet strongly reliant upon imitation, textural contrast and clear declamation. If these latter features suggest the influence of continental music, this could have come about through the presence in England of the Spanish chapel royal during Philip’s nuptial visit.

Tallis’s seven-part Mass Puer natus est nobis is based upon the plainchant introit from the third Mass of Christmas, laid out as a long-note cantus firmus in the tenor part. The choice of a plainchant cantus firmus from the Mass rather than from the Office is most unusual, and this kind of treatment was archaic by the mid-sixteenth century. The choice of cantus firmus—‘A boy is born to us, and a son is given to us whose government shall be on his shoulders’—and its layout in the manner traditional in an English festal Mass would, however, make good sense if the work was written for performance at Christmas 1554, when Mary was widely believed to be expecting an heir. The unusual scoring for two altos, two tenors, baritone and two basses could suggest that Philip’s chapel choir, which evidently lacked trebles, took part in the performance. The Mass is written in a curious mixture of styles: the cantus firmus treatment is old-fashioned, but the vocal scoring maintains a uniformly full texture without the extended sections for reduced voices hitherto typical of English church music; and while the melismatic writing, vocal decoration and massive sonorities may recall the past, the economical imitative writing and development of short motifs are thoroughly modern. Although three fragments from the Mass had been known for many years, it became performable only with the discovery of new manuscript sources about a generation ago. The Gloria is now complete, and only a small amount of restoration is needed in the Sanctus and Agnus. The Credo, however, is still mostly missing; all that survives is four voices of the final section. In this recording the three complete movements are surrounded by the plainchant propers of the third Mass of Christmas, allowing us to hear the introit before we encounter it as the cantus firmus of the polyphony.

The fact that the unusual seven-voice texture and scoring of the Mass Puer natus are also found in the motet Suscipe quaeso has prompted the suggestion that they are in some way linked, although they lack other obvious similarities. As Jeremy Noble and Paul Doe have suggested, the strongly penitential quality of the text and the sombre vocal texture could have suited the ceremony in which Cardinal Pole absolved England from schism in November 1554. Several features of the setting, for example the dramatic rising minor sixth at ‘quaeso’ in the opening phrase, the emphatic homophony at each iteration of ‘peccavi’, and the repetition of the rhetorical questions ‘Quis sustineat’ and ‘Qui se dicere audeat’, seem to have led Tallis into an unusually close engagement with his text.

Beati immaculati is a setting of the first six verses of psalm 118 (psalm 119 in the Anglican psalter). Although it survives only with the English text Blessed are those that be undefiled, there is some evidence that it is a contrafactum or adaptation of a Latin setting: the English words sometimes fit the music rather awkwardly; the scoring for five different voices and the inclusion of extended verses for reduced scorings are more typical of pre-Reformation than of post-Reformation music; Tallis wrote at least two other psalm-motets (Domine quis habitat and Laudate Dominum); and there is a Latin setting of the first eight verses of this very psalm by William Mundy. On this recording the English text has been replaced by the Vulgate version of the Latin; it fits extremely well, requiring only slight alteration of Tallis’s rhythms.

Opinions differ as to the date of the gigantic votive antiphon Gaude gloriosa Dei mater, but it is surely Tallis’s latest work in this form, in which he brings together all his previous experience. He retains the verse-tutti structure of the pre-Reformation antiphon, even writing a luxuriant double gymel reminiscent of Taverner for divided trebles and altos, but now the tuttis bear the main weight of the structure. Some writers have placed Gaude gloriosa in Henry’s reign, others in Mary’s. If it is Henrician, it must have been written relatively late in the reign, because it shows a marked advance over Salve intemerata in its handling of imitation (the musical ideas are more characterful, varied and tenaciously imitated), texture (the six voices are treated more equitably) and design (the proportions are better calculated, with a masterful control of pace and no loss of impetus in the final tutti). It is, however, rather difficult to imagine such a triumphantly Marian piece being sung in the king’s chapel; there may have been institutions where such music was still welcome in the mid-1540s, but the royal household is not likely to have been among them. A Canterbury provenance is conceivable, but it is unlikely that any of Tallis’s previous choirs could have met the challenge of so taxing a work. The maturity of Gaude gloriosa and its general similarity to the six-part antiphons of William Mundy such as Vox patris caelestis, which must have been written after 1553, strongly imply that it dates from Mary’s reign, when the text—a ninefold address to the Virgin, exhorting her rejoice in the divine blessings showered upon her—would have served both as a devotion to the Queen of Heaven and a compliment to the Queen of England.

Nick Sandon, 12 October 1997

Texts & Translations

[1] Beati immaculati

Beati immaculati in via qui ambulant in lege Domini.
Beati qui scrutantur testimonia eius, in toto corde exquirunt eum.
Non enim qui operantur iniquitatem in viis eius ambulaverunt. 
Tu mandasti tua custodiri nimis.
Utinam dirigantur viae meae ad custodiendas justificationes tuas.
Tunc non confundar cum perspexero in omnibus mandatis tuis.
Confitebor tibi in directione cordis in eo quod didici judicia justitiae tuae. 
Justificationes tuas custodiam non me derelinquas usquequaque. Amen.

Blessed are those that be undefiled in the way: and walk in the law of the Lord. 
Blessed are they that keep his testimonies: and seek him with their whole heart. 
For they who do no wickedness: walk in his ways. 
Thou hast charged us: that we shall diligently keep thy commandments. 
O that our ways were made so direct: that we might keep thy statutes. 
So shall we not be confounded: while we have respect unto thy commandments. 
I will thank thee with an unfeigned heart: when I shall have learned the judgements of thy righteousness.
I will keep thy ceremonies: O forsake me not utterly. Amen.

[2] Introit

Puer natus est nobis et filius datus est nobis: cuius imperium super humerum eius: et vocabitur nomen eius magni consilii angelus.

Ps. Cantate Domino canticum novum: quia mirabilia fecit. Gloria Patri et Filio et Spiritui Sancto: sicut erat in principio et nunc et semper: et in secula seculorum. Amen.

A boy is born for us and a son is given to us: whose government will be upon his shoulder: and his name will be called the messenger of great counsel.

Ps. Sing to the Lord a new song, for he has done marvellous things. Glory be to the Father, and to the Son and to the Holy Ghost. As it was in the beginning, is now and ever shall be, world without end. Amen.

[3] Kyrie: Deus creator

Deus creator omnium tu theos ymon nostri pie eleyson.
Tibi laudes coniubilantes regum rex Christe oramus te eleyson.
Laus virtus pax et imperium cui est semper sine fine eleyson.
Christe rex unice Patris almi nate coeterne eleyson.
Qui perditum hominem salvasti de morte reddens vite eleyson.
Ne pereant pascue oves tue Jesu pastor bone eleyson.
Consolator Spiritus supplices ymas te exoramus eleyson.
Virtus nostra Domine atque salus nostra in eternum eleyson.
Summe Deus et une vite dona nobis tribue misertus nostrique tu digneris eleyson.

O God, creator of everything, thou, our benevolent God, have mercy upon us.
O Christ, king of kings, we pray to thee, rejoicing together; have mercy.
Praise, strength, peace and power are given to him always and without end; have mercy.
O Christ, the coeternal king, the only offspring of a kindly father; have mercy.
Who hast saved lost mankind from death, restoring us to life; have mercy.
Jesus, good shepherd, let not the sheep of thy pasture perish; have mercy.
O Holy Spirit, the comforter, we entreat thee to pray for us; have mercy.
O Lord, our strength and our safety for eternity; have mercy.
O highest and everliving God, thou who hast had pity on us, grant thy gifts to those whom thou shalt consider worthy; have mercy.

[4] Gloria

Gloria in excelsis deo. Et in terra pax hominibus bone voluntatis. Laudamus te. Benedicimus te. Adoramus te. Glorificamus te. Gratias agimus tibi propter magnam gloriam tuam. Domine Deus, rex celestis, Deus Pater omnipotens. 

Domine fili unigenite, Jesu Christi. Domine Deus, agnus Dei, Filius Patris. Qui tollis peccata mundi, miserere nobis. Qui tollis peccata mundi, suscipe deprecationem nostram. Qui sedes ad dexteram Patris, miserere nobis. 

Quoniam tu solus sanctus. Tu solus Dominus. Tu solus altissimus, Jesu Christe. Cum Sancto Spiritu in gloria Dei Patris. Amen.

Glory be to God on high, and in earth peace towards men of goodwill. We praise thee, we bless thee, we worship thee, we glorify thee, we give thanks to thee for thy great glory, O Lord God, heavenly king, God the Father Almighty.

O Lord, the only-begotten son Jesus Christ; O Lord God, lamb of God, son of the Father, that takest away the sins of the world, have mercy upon us. Thou that takest away the sins of the world, receive our prayer. Thou that sittest at the right hand of God the Father, have mercy upon us.

For thou only art holy, thou only art the Lord, thou only, O Christ, with the Holy Ghost, art most high in the glory of God the Father. Amen.

[5] Gradual

Viderunt omnes fines terre salutare Dei nostri: iubilate deo omnis terra. 

V. Notum fecit dominus salutare suum: ante conspectum gentium revelavit iustitiam suam.

They saw all the ends of the earth greet our God: rejoice in the Lord all ye lands.

V. The Lord has made known his salvation: he has revealed his clemency in the sight of all people.

[6] Alleluia

Alleluia. 

V. Dies sanctificatus illuxit nobis: venite gentes, et adorate Dominum: quia hodie descendit lux magna super terram.

Alleluia.

V. This most holy day has brought light to us: come all ye people and worship the Lord: because today a great light has descended to the earth.

[7] Sequence

Celeste organum hodie sonuit terra. 
Ad partum virginis superum cecinit caterva. 
Quid facis humana turba, cur non gaudes cum supera? 
Vigilat pastorum cura vox auditur angelica, 
Cantabant inclita carmina plena pace et gloria. 
Ad Christum referunt propria nobis canunt ex gratia. 
Nec cunctorum sunt hec dona sed mens quorum erit bona. 
Nec sunt absolute data sed decenter sunt prolata. 
Affectus deserat vitia et sic nobis pax est illa quia bonis est promissa. 
Iunguntur superis terrea ob hoc quidem laus est iuncta sed decenter fit divisa.
Gaude homo cum perpendis talia. 
Gaude caro facta verbi socia. 
Gaude caro facta verbi socia. 
Gaude caro facta verbi socia. 
Nuntiant eius ortum sidera lucis per indicia. 
Ineunt duces gregum lumina bethleem usque previa. 
Invenitur rex celorum inter animalia. 
Arcto iacet in presepe rex qui cingit omnia. 
Stella maris quem tu paris colit hunc ecclesia. 
Ipsi nostra per te pia placeant servitia. 
Resonent cuncta redempta.

Today the celestial instrument resounded on the earth. 
The heavenly host sang at the divine birth to the virgin. 
What are you doing, O human crowd, why do you not rejoice with the host above? 
The shepherd’s watchman hears the voice of the angels, 
They were singing with a song of celebration full of peace and glory. 
They tell us of Christ and sing with their own thanks. 
These gifts are not for everyone, but for those whose minds are disposed to do good. 
Nor are they revealed universally, but in a seemly way. 
The afflicted man abandons his former offences and thus peace is given to us, because it is promised to good men. 
In this way, earthly things are joined with those in heaven. Indeed, our praise is joined with theirs, but may it be sung fittingly. 
Rejoice, O man, whenever you consider these things. 
Rejoice that the word made flesh is our companion. 
Rejoice that the word made flesh is our companion.
Rejoice that the word made flesh is our companion. 
The rising stars proclaim him through the evidence of light. 
The leaders of the flock follow the lights which precede them to Bethlehem. 
The king of heaven is found among the animals. 
The king who crowns everything was by night in a stall. 
O star of the sea, the church worships the son whom you bear.
May our service please him, through your holiness. 
Everything which has been redeemed will re-echo the sound.

[8] Sanctus

Sanctus, sanctus, sanctus Dominus Deus sabaoth. Pleni sunt celi et terra gloria tua. Osanna in excelsis.

Holy, holy, holy Lord God of hosts. Heaven and earth are full of thy glory. Hosanna in the highest.

[9] Benedictus

Benedictus qui venit in nomine domini. Osanna in excelsis.

Blessed is he that cometh in the name of the Lord. Hosanna in the highest.

[10] Agnus Dei

Agnus Dei, qui tollis peccata mundi: miserere nobis. 
Agnus Dei, qui tollis peccata mundi: miserere nobis. 
Agnus Dei, qui tollis peccata mundi: dona nobis 
pacem.

Lamb of God, who takest away the sins of the world: have mercy on us. 
Lamb of God, who takest away the sins of the world: have mercy on us. 
Lamb of God, who takest away the sins of the world: grant us peace.

[11] Communion

Viderunt omnes fines terre salutare Dei nostri.

They saw all the ends of the earth greet our God.

[12] Suscipe quaeso

Suscipe quaeso Domine, vocem confitentis. Scelera mea non defendo; peccavi. Deus miserere mei; peccavi, dele culpas meas gratia tua.

Si enim iniquitates recordaberis quis sustineat? Quis enim justus qui se dicere audeat sine peccato esse? Nullus est enim mundus in conspectu tuo.

Accept, I beseech thee O Lord, the voice of him who confesses. My crimes I do not defend; I have sinned. O God have mercy on me; I have sinned, do away my sins by thy grace.

For if thou shalt remember iniquities, who could bear it? For who is so righteous that he dare say that he is without sin? For there is no-one pure in thy sight.

[13] Gaude gloriosa

Gaude gloriosa dei mater virgo Maria vere honorificanda, quae a domino in gloria super caelos exaltata adepta es thronum. 
Gaude virgo Maria, cui angelicae turmae dulces in caelis resonant laudes: iam enim laetaris visione regis cui omnia serviunt.
Gaude concivis in caelis sanctorum, quae Christum in utero illaesa portasti: igitur dei mater digne appellaris.
Gaude flos florum, speciosissima, virga iuris, forma morum, fessi cura pes labentis, mundi lux, et peccatorum refugium.
Gaude virgo Maria, quam dignam laude celebrat ecclesia, quae Christi doctrinis illustrata, te matrem glorificat.
Gaude virgo Maria, quae corpore et anima ad summum provecta es palacium: et, ut auxiliatrix et interventrix pro nobis miserrimis peccatoribus, supplicamus.
Gaude Maria, intercessorum adiutrix et damnandorum salvatrix celebranda. 
Gaude sancta virgo Maria cuius prole omnes salvamur a perpetuis inferorum suppliciis et a potestate diabolica liberati.
Gaude virgo Maria, Christi benedicta mater, vena misericordiae et gratiae: cui supplicamus ut nobis pie clamantibus attendas, itaque tuo in nomine mereamur adesse caelorum regnum. Amen.

Rejoice, glorious mother of God, virgin Mary truly honoured, who art exalted by God in glory above the heavens to attain thy throne.
Rejoice, virgin Mary, to whom the sweet praises of companies of angels resound in the heavens; now indeed thou rejoicest at the sight of the king whom all things serve.
Rejoice, thou who dwellest in the heaven of the holy ones, thou who carried Christ in thy womb; therefore art thou worthily called the mother of God.
Rejoice, flower of flowers, supremely beautiful, staff of the law, model of morals, guardian of the weak, support to the fallen, light of the world and refuge of sinners.
Rejoice, virgin Mary, whom the church worthily celebrates with praise, which glorifies thee as the mother exemplifying the doctrines of Christ.
Rejoice, virgin Mary, who was elevated in body and soul to the courts of the highest: and, as helper and intercessor for us miserable sinners, we pray to thee.
Rejoice, Mary, renowned helper of those who intercede, and saviour of the condemned.
Rejoice, holy virgin Mary, whose offspring shall save all the dead from eternal punishment, and liberate them from the dominion of the devil.
Rejoice, virgin Mary, blessed mother of Christ, means of mercy and grace, to whom we dutifully pray that thou wilt hear our cries; therefore in thy name may we deserve to go to the kingdom of heaven. Amen.