Although Christian churches celebrate the feast of the Annunciation in March, the event is an essential component of the Nativity and therefore of Advent. “Gabriel’s Message” is just one popular carol whose words focus on it: “thy son shall be Emmanuel by seers foretold, most highly favoured lady.”
When I was younger, the Christian approach to teaching about the Annunciation was usually from a female perspective, such as on the ideals of motherhood, the sort of image which only a woman was expected to empathise with fully.
In later years the Virgin Mary’s acceptance of God’s instruction in spite of her fear has been presented as a timeless example of courage and faith which applies to both genders. I really responded, for example, to the argument and language in an article written by Sally Read in The Tablet in 2012.
“(Although) modern women can often mistake Mary’s submission for weakness… her life is (actually) a courageous quietly hair-raising navigation of God’s will… Mary knew too well the tremendous discomfort of difference, and its agonising finale. Her earthly walk through maternity has the breathtaking dare of a tightrope walker, never taking her eyes from God.”
Radio 3 excellent Words and Music series once had a programme about Mary which featured several engaging and profound poems which I had never heard or read before. One was “Prayer for a New Mother” by Dorothy Parker which looks forward and back between Nativity and Crucifixion in the same way as does her “The Maidservant at the Inn” . Another was the narrative of “Mary and Gabriel” by Rupert Brooke, which, although more old-fashioned, contains many strong images.
The Annunciation has been the subject of some wonderful visual art down the centuries. For example, the classic Fra Angelico, Henry Ossawa Tanner’s highly modern and physical Mary and Arcabas’ more sinister visitor.