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The Whole Booke of Psalmes was one of the most published and widely
read books of early modern England, running to over 1000 editions
between the 1570s and the early eighteenth century. It offered all
of the Psalms paraphrased in verse with appropriate tunes, together
with an assortment of other scriptural and non-scriptual hymns, and
prose prayers for domestic use. Because the Elizabethan Church
rapidly and pervasively (if unofficially) adopted this metrical
psalter for congregational singing, and because it had in practical
terms no rivals for church use until the end of the seventeenth
century, essentially the entire conforming population of early
modern England after 1570 would have been familiar with its psalms
and hymns as elements of both public worship and private devotion.
Yet, despite the significant impact of The Whole Booke of Psalmes
upon English culture and literature, this is the first book-length
study of it, and the first sustained critical examination of the
texts of which it comprises. In large part this neglect is due to
the reputation it gained after the mid-seventeenth century as a
work of poor poetry mainly valued by vulgar and/or sectarian
audiences. This later reception, however, was the product of not
only changing literary tastes but an ideological desire to reshape
the history of the Reformation. This study focuses on the actual
aims of its authors and editors over the course of its gradual
composition during the tumultuous religious changes of the
mid-sixteenth century, and recovers its significant influence on
the English church and literary practice. By tracing the ways in
which historical contingency, religious fervor and the print
marketplace together created and were changed by one of the most
successful books of English verse ever printed, this study opens a
new window through which to view the intellectual and
ecclesiastical culture of Tudor England. It also shows how, in
metrical psalmody, Protestant reformers discovered what turned out
to be a uniquely flexible and effective instrument for advancing
their vision of a godly society.
RETS Vol. 36. The Whole Book of Psalms, first published in a
complete form in 1562, introduced congregational singing to England
and contained the best known English verse in the early modern
period. Often referred to by later critics as "Sternhold and
Hopkins," it was the dominant hymnal in England until the
mid-eighteenth century and printed until 1861. This critical
edition, the first to include both texts and tunes, is based on the
148 English impressions remaining from the reign of Elizabeth I
along with their Marian predecessors. The appendices include
miniature critical editions of the psalm paraphrases as published
during Edward's reign, additional texts included in some editions,
later musical revisions, and the short tunes that began to replace
the printed ones by the late sixteenth century. Although this is a
scholarly edition with complete critical apparatus, it is also
designed to make this crucial piece of early modern culture
accessible to non-specialists. The texts are in modern spelling and
the tunes in modern notation. The edition offers an extensive
historical essay and notes on each text and tune, and is furnished
with an audio supplement of representative musical settings.
RETS Vol. 37. The Whole Book of Psalms, first published in a
complete form in 1562, introduced congregational singing to England
and contained the best known English verse in the early modern
period. Often referred to by later critics as “Sternhold and
Hopkins,” it was the dominant hymnal in England until the
mid-eighteenth century and printed until 1861. This critical
edition, the first to include both texts and tunes, is based on the
148 English impressions remaining from the reign of Elizabeth I
along with their Marian predecessors. The appendices include
miniature critical editions of the psalm paraphrases as published
during Edward’s reign, additional texts included in some
editions, later musical revisions, and the short tunes that began
to replace the printed ones by the late sixteenth century. Although
this is a scholarly edition with complete critical apparatus, it is
also designed to make this crucial piece of early modern culture
accessible to non-specialists. The texts are in modern spelling and
the tunes in modern notation. The edition offers an extensive
historical essay and notes on each text and tune, and is furnished
with an audio supplement of representative musical settings.
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