By Lionel Adey

ISBN-10: 0774803045

ISBN-13: 9780774803045

This e-book completes Lionel Adey's examine of English hymnody which started with Hymns and the Christian 'Myth' (1986). taking a look at quite a lot of grownup and college hymnals used among 1700 and 1939, Adey investigates the social context during which the hymns have been sung and their impact at the singers. Class and Idol within the English Hymn is pertinent not just to teachers in fields of literature, faith, background, and psychology, but in addition to hymn fans, hymn writers, and clergy.

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84 The shock-and-relief formula, when practised even by the mild-mannered John Wesley, could produce fainting fits. 85 Some Evangelical hymns for children suggest a celestial telescreen in a Christian Nineteen Eighty-Four. : NATURE In hymnody, the Romantic attribution of sacredness to Nature took a complex form. Despite the love of Christ for the lilies and the fowls of the Class, Context, and Allegiance 19 air, the more firmly the medieval or post-Reformation hymnist fixed his eyes upon divine transcendence and the prospect of heaven that makes death easy, the less he attended to the natural world, save by way of metaphor or analogy.

Relatively speaking, three times as many of the wealthy as of the poorest went to church. 61 Booth showed that aristocratic and wealthy professional people were mainly Anglicans, the remainder being Congregational; and that teachers, clerks, and shopkeepers attended Congregational, Methodist, or Salvation Army services. The last denomination, he contended, had never flourished among the poor as much as had been supposed. 63 Thanks to the social service ethic of the bourgeoisie,64 the home missionary could expect a politer reception than in Wesley's time, but would have found it easier to convert East Africans than East Londoners.

15 To divide them into groups seasonal, mythic, and moral is to overcategorize, for the Christian ethic was never absent from Keble's ministry or his verse. In its entirety, "Oh! 16 Too opaque for singing, its original opening converts the text "Behold, I make all things new" (Rev. 5) into an encomium on those who rise with the sun. What God perpetually renews is a consciousness of the moral life not as an exile's march through the desert but as a "daily course" wherein the devotee's mind sheds sanctity upon the "Old friends" and scenes it beholds.

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Class and Idol in the English Hymn by Lionel Adey

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