Class and Idol in the English Hymn by Lionel Adey

By Lionel Adey

This booklet completes Lionel Adey's research of English hymnody which started with Hymns and the Christian 'Myth' (1986). 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 impression at the singers. Class and Idol within the English Hymn is pertinent not just to teachers in fields of literature, faith, heritage, and psychology, but additionally to hymn fanatics, hymn writers, and clergy.

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The Paradise myth shapes the personal and social ethic of Keble as it did Wordsworth's recollections of his rural childhood. But it is the final Paradise that informs "Bless'd are the pure in heart," a sustained analogy between the Ascension, the Annunciation, and the prophetess Anna's passing into the presence of Christ. All of the poem that survives in the hymn-book is an application of the Beatitude to the "lowly" heart in the hymn's opening and closing verses. 24 To trace the connotations of "pure" in the Bible from Temple furnishings or ritual incense, through the inner quality of the priest, prophet, or the righteous heart in Psalms and Proverbs, to the teaching of Jesus and St.

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. " "New every morning," which rivals Ken's "Awake my soul" and Wesley's "Christ, whose glory fills the skies" as the finest English morning hymn, belongs, as Martineau suggests, to the broad spectrum of nineteenth-century society that lived in secure homes and neighbourhoods, rural or urban, attended school and church, and trusted to attain heaven by slow degrees.

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. " "New every morning," which rivals Ken's "Awake my soul" and Wesley's "Christ, whose glory fills the skies" as the finest English morning hymn, belongs, as Martineau suggests, to the broad spectrum of nineteenth-century society that lived in secure homes and neighbourhoods, rural or urban, attended school and church, and trusted to attain heaven by slow degrees.

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