English Congregational Hymns in the Eighteenth CenturyHistorians of the English congregational hymn, focusing on its literary or theological aspects, have usually found the genre out of step with the rationalist era that produced it. This book takes a more balanced approach to the work of four writers and concludes that only eighteenth-century Britain, with its understanding of public verse, common truth, and the utility of poetry, could have invented the English hymn as we know it. The early hymns sought to inspire, teach, stir, and entertain congregations. The essential purpose shifted slightly in line with each poet's setting and in accord with the poetic thought of his day. For Isaac Watts's Independents, powerful traditional imagery was appropriate. Charles Wesley's enthusiasm proceeded from and served the spirit of the revival. John Newton's prophetic vision particularly suited the impoverished community at Olney. William Cowper's masterful handling of formal conventions and his idiosyncratic personal hymns reflect his poetic, rather than clerical, vocation. Despite such temporal variations, the great poetry by each man displays themes of general Christian relevance, suggesting common experience, showing normative features of the genre, and bearing a complex and intriguing relationship to secular literature. |
From inside the book
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... turn to a misunderstanding of the nature and purpose of hymns. Error's train is admirably illustrated by Noll's use of Charles Wesley's rallying hymn “Come, O my guilty Brethren, come” as evidence of Wesley's romantic inclinations: Come ...
... turn to the Methodist revival, which remained within the Anglican church throughout our period. As hymns were not sung in Anglican churches, Wesley's hymns were written for meetings and devotions rather than for liturgical services, a ...
... turn to Wordsworth and the romantics for an explanation of the strong feelings found in the young English hymn in the early eighteenth century. In collections of psalms for devotional or congregational use, a careful attempt was made to ...
... turn inward, to contemplate his own feelings. A series of similes follows the introductory stanza. The verb comparisons of the old version yield to the less active noun comparisons of the new, while twenty-five lines are drawn out to ...
... turn, Still closely me pursue. Embrace me fast within Thy Arms, Thou Bridegroom of my Soul, And let thy Blood besprinkle me From ev'ry pierced Hole.21 The relationship between God and the singer is quite different here from the ...
Contents
Self Sense the Revival | |
John Newton Olney Prophet | |
Exemplary Tradition the Loss of Control | |
Conclusion | |
Notes | |
Other editions - View all
English Congregational Hymns in the Eighteenth Century Madeleine Forell Marshall,Janet Todd Limited preview - 1982 |
English Congregational Hymns in the Eighteenth Century Madeleine Forrell Marshall,Janet M. Todd No preview available - 2014 |