and immaculate Virgin Mary, Mother of God, of Saint Joseph her spouse, of the blessed Apostles Peter and Paul, and of all the saints, in Thy mercy and goodness hear our prayers for the conversion of sinners, and for the liberty and exaltation of our Holy Mother the Church. Through the same Christ Our Lord. Amen. The United States Conference of Catholic Bishops has a more modern translation: Hail, holy Queen, mother of mercy, Hail our life, our sweetness, and our hope. To you we cry, poor banished children of Eve; to you we send up our sighs, mourning and weeping in this valley of tears. Turn, then, most gracious advocate, your eyes of mercy toward us; and after this, our exile, show unto us the blessed fruit of your womb, Jesus. O clement, O loving, O sweet Virgin Mary. L Pray for us, O holy Mother of God.R That we may be made worthy of the promises of Christ. A 1969 translation by James Quinn, S.J., beginning "Hail, our Queen and Mother blest," is offered as an alternative to the Latin in the Divine Office. Hail, Holy Queen enthroned above German priest Johann Georg Seidenbusch published a hymn entitled "Gegrüßet seist du, Königin" in his 1687 devotional book Marianischer Schnee-Berg. This hymn was inspired by the pilgrimage devotions at Aufhausen Priory, and contains various salutations taken predominantly from the Salve Regina. This hymn was soon to be found in various forms in many Catholic devotional books, and a Latin translation, "Salve Regina coelitum", was soon created. The modern melody first appeared in the 1736 hymnal Geistliche Spiel- und Weckuhr, and Melchior Ludwig Herold's 1808 hymnal Choralmelodien zum Heiligen Gesänge contained the version that is standard today. The English translation "Hail, Holy Queen enthroned above" first appeared in The Roman Missal in 1884. This translation gained worldwide popularity after being featured in the 1992 film Sister Act. Musical settings As an essential component of the Compline service, the hymn has been set to music by various composers, including Victoria, Palestrina, Josquin and Lassus. Charpentier, (5 settings, H.18, H.47, H.23, H.24, H.27), Louis-Nicolas Clérambault, (C.114), Alessandro Scarlatti, Vivaldi, Jan Dismas Zelenka, (7 settings, ZWV 135-141, and ZWV 204), Johann Adolph Hasse (3 settings), Handel, and Liszt composed their own settings in later years. Schubert composed no fewer than seven versions. Francis Poulenc composed his setting of the text in 1941. Arvo