The Function of Hymns in the Liturgical Life of Malcolm Quin's Positivist Church, 1878Â•Fi1905

Yale Journal of Music & Religion

Volume 5 | Number 1 Article 3

2019 The uncF tion of Hymns in the Liturgical Life of Malcolm Quin's Positivist Church, 1878–1905 Paul Watt Monash University

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Recommended Citation Watt, Paul (2019) "The unctF ion of Hymns in the Liturgical Life of Malcolm Quin's Positivist Church, 1878–1905," Yale Journal of Music & Religion: Vol. 5: No. 1, Article 3. DOI: https://doi.org/10.17132/2377-231X.1113

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Cover Page Footnote Research for this project was part-funded by the Emerging Research Excellence Fellowship Program, Faculty of Arts, Monash University, Melbourne, Australia.

This article is available in Yale Journal of Music & Religion: https://elischolar.library.yale.edu/yjmr/vol5/iss1/3 The Function of Hymns in the Liturgical Life of Malcolm Quin’s Positivist Church, 1878–1905

Paul Watt

Between 1878 and 1905 a positivist church flourished in Newcastle-upon-Tyne, England, led by Malcolm Quin, a disciple of Auguste Comte. This community was small in size but big on ambition: Quin (1854– 1945) and his congregation sought to represent in religion the positive philosophy of Auguste Comte (1798–1857), whose Cours de philosophie positive, published between 1830 and 1842, influenced a raft of thinkers in the nineteenth century and laid the foundation for modern sociology.1 Its cornerstone was to provide an alternative intellectual framework to Christianity and took an especially firm foothold in the United Kingdom.2 Although Comte’s writings influenced a significant range of musical literature, there is little trace of the French philosopher’s impact on music making.3 However, one such example is a collection of hymns written by Malcolm Figure 1: Photo of Malcom Quin, undated. Source: Quin (Fig. 1). Frontispiece of Quin, Memoirs of a Positivist, iv. Quin was a fervent figure in British positivism but until now has not been Central to Quin’s liturgies and rituals was the subject of musicological inquiry.4 His music, both secular and sacred, including positivist church appropriated a liturgy hymns that he composed himself. As Quin based on the positivist calendar (see wrote in his Memoirs of a Positivist, the aim below). Although the full details of his of his liturgies was to provide “the dramatic liturgies are unknown, they comprised expression of Comte’s synthetic conceptions, the use of vestments and the veneration in which the recitation of hymns” played a of the world’s great thinkers featured in central role.6 the positivist calendar, with their portraits This article explores the intellectual, hung in the church akin to the Stations of liturgical, musical, aesthetic, and psych- the Cross in the Roman Catholic tradition. ological purposes that Quin sought The liturgies also served particular rituals— to represent or express in his hymns. or sacraments, as Quin termed them—that Intellectually, Quin was widely read in ordained priests and named children.5 history, literature, and philosophy that

Yale Journal of Music & Religion Vol. 5, No. 1 (2019) 51 from a young age gradually steered him a moral life that persisted through and well in the direction of Comte’s positivism. beyond the intellectual climate of mid- Liturgically, he experienced a range of nineteenth-century France.8 Positivism is services in his youth from many Christian usually understood to comprise a law of denominations. Ultimately, however, the three stages—theological, metaphysical, Roman Catholic liturgy appealed to him and positive—through which knowledge most, and was adapted for the structure passes sequentially, during which a three- and content of the liturgies in his positivist dimensional intellectual maturity is church. Aesthetically, Quin strove to accomplished. As Comte explains in the first imbue his hymn texts with the parlance volume of Positive Philosophy in relation to of Comte’s positivism, though at the same “the true value and character” of his project: time they shared some common themes “The first [stage] is a necessary point of with Christian hymns composed by others. departure of the human understanding; and However, the singing of hymns was the third is its fixed and definitive state. The deemed inconsequential in some positivist second is merely a state of transition.”9 congregations in Britain, which may explain Comte’s scheme was a scientific why hymns were probably intended to be classification of knowledge incorporating recited rather than sung.7 The recitation of mathematics (Book 1), astronomy (Book Quin’s texts was undertaken to achieve a 2), physics (Book 3), chemistry (Book particular transcendental or psychological 4), biology (Book 5), and social physics effect associated with the art—and (Book 6). Comte’s scheme sought to ascribe science—of elocution of all manner of principles, rules, and laws to govern all texts, but especially poetry, in the late modes of thought and reject metaphysical 1800s. Ultimately, I argue, Quin’s hymns and theistic modes of belief and reasoning. can be read only as a very broad expression Gertrude Lenzer has emphasized to of Comte’s positivism, for their points of modern readers that Comte’s positivism reference to Comte are extremely general. should be seen not as evolutionary, but Yet, these hymns are of significant historical as revolutionary, because underpinning interest for the light they shed on the positivism are “the principles of individual broader place of music in the life of positivist liberty, freedom of thought, or sovereignty congregations in Britain at the end of the of the people—which in Comte’s judgement nineteenth century and their appropriation threatened social stability and promoted of Christian traditions. universal anarchy.”10 Indeed, chapters 1 and 12 of volume 2 of Comte’s Positive Auguste Comte: The Background Philosophy are devoted to this topic. Comte’s positive philosophy served to be a universal Auguste Comte was the founder of and rational “religion for humanity”: this positivism, known generally as the “religion was undoubtedly a utopian creed and was of humanity.” Positivism was a method, a the main impetus behind Quin’s curious scientific process, that sought to establish mix of positivist, Catholic, and aesthetic a sequential order of laws to all human sensibilities, which are exhibited in the knowledge. Comte’s positivism aimed to texts to his hymns. Also exhibited in the provide a rational, rather than religious, hymns are a strong sense of human agency foundation for cultivating knowledge and

52 Yale Journal of Music & Religion Vol. 5, No. 1 (2019) and progress in a future of “intellectual the universe, with the gods eliminated,” liberty” from the constraints of European mirroring Quin’s ideal of a “religion of revolutions, as discussed in the final humanity.”15 Quin regarded positivism as chapter of Comte’s book.11 For Comte, his a “scientific philosophy.” It was not only philosophy would “lead the human race to independent of religion, but exclusive of it.16 the social system which is most suitable to the nature of man, and which will greatly Quin’s Intellectual Formation— surpass in unity, extension, and stability all and Comte’s Influence that the past has ever produced.”12 Unlike The only detailed account of Quin’s life Comte, it was Quin who strove to achieve is his Memoirs of a Positivist, published in this musically. 1924.17 This volume is not a detailed blow- Some of Comte’s followers concerned by-blow account of his daily life but rather themselves not with the detail of the law charts his early fascination with ideas such of the three stages, but with the broader as the aesthetics of religion and liturgy purpose of the positive philosophy. Writing and his preoccupation with the writings of in 1918, for example, one of Comte’s most historians and philosophers such as Comte. prominent disciples, Frederic Harrison, Quin’s interests were broadly eclectic, argued that the strongest aspect of the embracing both sacred and secular topics: positivist scheme was its rigorous scientific method, its “systematic base in philosophy.”13 My interest was in religion. Intellectually, Quin was similarly drawn to positivism’s moreover, I was at the feet, not of the secularists, but of such men as Carlyle, generalized but systematized nature, and Mill, Emerson and Matthew Arnold. I wrote in his memoir that Comte was a lover of poets. I had been educated presented himself to me as a master of in the Church of England, and was still synthesis, and of a synthesis, which haunted by the cadences of its liturgy, was an ordered unity of imagination, and the charm of its ordered worship.18 worship, doctrine, morals and life. Elsewhere in his Memoirs (which often In this he stood alone. He was then, and he is now, the one thinker of the lacks dates) Quin wrote of other sacred and modern world professing to offer men a secular authors and topics that nourished religion—a religion of love, poetry and his intellect, including Macaulay’s History service—founded on science.14 of England, and the study of the classics, 19 The secular nature of Comte’s three- modern languages, literature, and science. stage law—as expressed to Quin by He also read various works by Byron, Shelley, fellow positivist Richard Congreve—was Keats, Wordsworth, Tennyson, Dante, 20 paraphrased as space, earth, and humanity. Milton, Scott, Thackeray, and George Eliot. Space comprised the study of mathematics, Later in his Memoirs Quin lists as his “chief calculus, geometry, and mechanics. Earth influences of mind” Emerson, John Stuart involved a study of astronomy, physics, Mill, Herbert Spencer, George Henry Lewes, and chemistry, and humanity incorporated and Matthew Arnold, and notes that he read biology, sociology, and morals. This essays by Aldous Huxley, John Tyndall, John 21 “positivist trinity,” according to Quin, led Morley, and Frederic Harrison. Although to a world that consisted of “man and Quin cited Carlyle, Mill, and Arnold as especially influential figures, Comte was

Yale Journal of Music & Religion Vol. 5, No. 1 (2019) 53 his “chief master,” and readings of plays and hearing the singers Adelina Patti, John Sims poems were to occupy parts of his liturgical Reeves, and Charles Santley.29 framework in his church in Newcastle-upon- Very early on, however, Quin recognized Tyne.22 Quin also published on positivism that that it was the liturgical theater of and liberal politics in various journals (see Roman Catholicism to which he was drawn Appendix below) and by 1927 had even most of all: made progress on a biography of Comte that I liked the organ music, the hymn- was never finished.23 singing, the intoning of the prayers, the reading of the lessons, the processions, Quin, Liturgy, and “Religious Happiness” the choir in its cassocks and surplices, the ceremonies at the altar, the look Quin’s interest in music in service to of the church with the sun streaming the liturgy is closely associated with the through the pictured windows. I liked pleasure that both sacred and secular music even the sermons. I questioned nothing. brought him in childhood and adolescence. I did not, in my own mind, inquire why This “religious happiness,” as he called it was that ‘God’—the wonderful unseen potentate, whom I pictured to myself it, was not based on any specific Comtean as throned sublimely in the sky—was 24 philosophy or writing on music. Quin’s pleased with all this chanting, praying quest for the ultimate liturgical experience is and playing. I accepted it without doubt documented extensively in his Memoirs. He or misgiving, contentedly and happily. writes that he attended services of “the Jews, That is the state of Belief.30 Roman Catholics, Anglicans, Presbyterians, But Roman Catholicism was not the sole Wesleyans, Primitive Methodists, Baptists, inspiration for Quin’s liturgy (see Fig. 2). Congregationalists, Quakers, the Catholic In addition to hymns (detailed below), Apostolic Church, the Salvation Army, the the liturgy included readings from literary Plymouth Brethren, the Mormons, the sources such as Moncure Conway’s Sacred 25 Christian Scientists and the Unitarians.” Anthology “or some other book of devotion.”31 He was raised as a Protestant, attended the Instrumental and vocal music were accorded Church of England with his parents (his a liturgical function, and he replaced a small father is described by Quin as “Protestant American organ (probably a harmonium) Irish”), and was especially enamoured of the with a small pipe organ, and eventually with Anglican service and the Catholic litany: “The a larger one. Moreover, Quin arranged music Litany is one of the pieces of the Catholic to suit the themes of the positivist calendar. liturgy which are a nobler thing in English One Sunday was devoted to Mozart, while 26 than in Latin.” He mentioned hymn singing other services included music ranging 27 and organ music as particular highlights. from “The Gregorian Tones and Palestrina But sacred music was not his only interest. to the Age of Wagner.”32 Later, services Sometime in the 1860s, when he visited featured what Quin termed “dramatic London, Quin wrote of his eagerness for readings” in addition to music, including “good music, good plays and good pictures” “Goethe’s Faust, Milton’s Samson Agonistes 28 in the capital. He also loved opera: he and Comus . . . [and] . . . Enoch Arden, with wrote warmly and enthusiastically about the Richard Strauss’s music.”33 His liturgies also conductor Hans Richter’s famed Wagner comprised hymns. concerts in London in the late 1870s, and of

54 Yale Journal of Music & Religion Vol. 5, No. 1 (2019) Figure 2: The positivist calendar. Source: Richard Congreve, Positivist Tables, 3rd ed. (Liverpool: Church of Humanity, n.d.), 6–7.

Yale Journal of Music & Religion Vol. 5, No. 1 (2019) 55 Quin’s Hymns and Positivist Music some of them. Ten hymns that Quin signed Making: Moral Questions as “M.M.” were written in 1876 and 50 Quin’s interest in music found its keenest more were published in his Hymns of Worship expression in hymns. He wrote the texts of (1898). Some of the tunes were new, while approximately 70 hymns and he set tunes to other hymns drew on preexisting melodies

Example 1: A preexisting hymn with new texts set by Quin. Source: Hymns of the Spirit with Services (Boston: Beacon Press, 1937).

56 Yale Journal of Music & Religion Vol. 5, No. 1 (2019) (see Exx. 1–3). A body of Quin’s hymns purposes of this article, Quin’s hymns are were reprinted in many hymnals well into interesting not for their music but for their the twentieth century.34 All are musically texts, though that is not to say the music is conventional, set in four parts with a simple unworthy of study.35 musical style for ease of singing. For the

Example 2: A preexisting hymn with new texts set by Quin. Source: Hymns of the Spirit with Services (Boston: Beacon Press, 1937).

Yale Journal of Music & Religion Vol. 5, No. 1 (2019) 57 Example 3: A preexisting hymn with new texts set by Quin. Source: Hymns of the Spirit with Services (Boston: Beacon Press, 1937).

In his Memoirs, Quin writes about his They have, at any rate, been printed in experience as a hymn writer: a number of collections, English and My first essays in printed prose were American, Secularist, Positivist, ‘Ethical’ followed, or accompanied, by my first and even Nonconformist. I should essays in printed verse. This verse now describe them as hymns of ethical took the form of hymns. Some of the platitude, and I am inclined to think worst of these small hymns have even that there has ceased to be a demand achieved a certain small popularity. for productions of this order, as I have

58 Yale Journal of Music & Religion Vol. 5, No. 1 (2019) received no inquiries about them for a and nineteenth centuries.”41 Moreover he number of years. Perhaps they were hoped the hymnal and its future editions really ‘Victorian’, and are unsuited to would “become more efficient as a national 36 this great age of the Fifth George. instrument of spiritual cohesion” and would Quin’s hymns have survived only as texts, “help towards the spiritual unification of for example, in his Hymns of Worship (1898) the British Empire and its federated parts.”42 for use by his Newcastle congregation.37 In an equally fervent tone, but without the Priced at ninepence, the hymnal was clearly narrative of empire building, the preface to a commercial publication, but there are no The Truth Seeker (1877) noted that records of how far and wide it traveled or it is desirable that Liberals of all kinds how many copies were sold. The texts of … should sing much more than has these hymns are arranged for the 13 months been the custom. Singing is a natural of the positivist calendar. In Quin’s words, accomplishment, improved by art, and they represent the “History of Humanity in there are no reasons why our Christian Hymns.”38 opponents should monopolize the whole of it. Let us sing more. Let us be Like hymnbooks in other positivist happy.43 and secular communities, Quin’s hymnals served altruistic, social, utopian, and moral Happy many positivist communities purposes. Their prefaces, like those of were when music was front and center in many songsters and songbooks, outlined worship. The musical activities of Newton the hymnals’ scope and function; for Hall, a leading positivist community in example, the preface to Hymns of Modern London, are detailed in John McGee’s history Thought (1912) suggests that hymns are of English positivism and run parallel to “exclusively concerned with the spiritual Quin’s eclectic liturgy: aspirations of men in regard to daily life, Music was introduced very early in the character and conduct.”39 period, when someone hit upon the Similar thinking is evident in other idea of using vocal and instrumental contemporary hymnals, such as Social selections in connection with certain special occasions. This proving popular, Worship: For Use in Families, Schools and musical worship was soon brought into Churches, published in the United Kingdom wide use, while at the same time an organ 40 and North America in 1913. It was issued and trained choir was introduced. The on behalf of the West London Ethical music heard at Newton Hall contained, Society to commemorate its twenty-first besides many poems by positivists set anniversary. Stanton Coit, the hymnal’s to familiar tunes, compositions, both compiler and editor, provided an unusually literary and musical, taken or adapted long preface—31 pages—outlining its from the rich stores of the entire world without regard to religious affiliations aims and his editorial methods. Coit’s or professions of the authors. Words introductory essay highlights his view or music were drawn from the works that “the identification of religion with of Bach, Beethoven, William Blake, the unifying impulse of a nation gives Elizabeth Barrett Browning, Carlyle, to religious Modernism that cohesive Confucius, Dante, George Eliot, principle which was fatally lacking in the Longfellow, Lowell, Rouget de Lisle, individualistic rationalism of the eighteenth William Morris, Mozart, Cardinal

Yale Journal of Music & Religion Vol. 5, No. 1 (2019) 59 Newman, Christina Rossetti, Lord Quin’s Hymn Texts Analyzed Tennyson, Charles Wesley, Whitman, The analysis of nineteenth-century hymns Whittier, and many others. The non- musical pieces utilized were converted can take many forms, but it tends to into hymns and anthems, and covered focus on their texts, elucidating precise many subjects—love, faith, hope, theological meanings that reach beyond humanity, freedom, death, love for grand narratives. T. R. Wright recognizes country, progress, Humanity, and that Quin’s hymns have the “complexity others. The music was intended to of poems” in their use of “rhetorical 44 inspire devotion to the service of man. techniques, anaphora, tradition, merisma However, hymn singing was not and so on” and are influenced significantly supported in all positivist communities. by the poetry of Wordsworth and Tennyson, At the Chapel Street Church in London, though he provides few examples.51 By for example, “there was some hostility” contrast, Sandra S. Sizer provides a useful, in relation to the music, according to if complex, method of analysis that could be Quin.45 He writes of an “undercurrent” of applied to all manner of hymns.52 It involves opposition to hymn singing because this identifying metaphors as well as the use of pocket of resistance found singing to be parallelism and analogizing. “a little beneath them.”46 Moreover, Quin In my view, the analysis of Quin’s hymns opined that Richard Congreve, the leader calls for more of Wright’s approach and of the Chapel Street congregation, “had less of Sizer’s. More can be said about the no great feeling for music.”47 Quin reports parlance of positivism in the hymn texts that Congreve lost some members of his (after Wright) and less needs to be said congregation “owing to a lack of singing,” about the formalist or structural aspects of but he does not say to where these disaffected the poems (after Sizer). Indeed, such is the worshippers defected, though it may have model of Michael Wheeler in chapter 3 of been to Newton Hall, where hymns were Heaven Hell, and the Victorians, where he introduced (Quin does not provide dates) undertakes a close reading of the hymn texts and some of his hymns were sung.48 that is not fixed on any particular musical In his 1937 study of churches and the or semantic method.53 The process I adopt working classes, K. S. Inglis recorded that in analyzing the texts of Quin’s hymns is in some quarters hymn singing, especially first to identify their possible positivist in nonconformist and evangelical circles— references and then to compare them with and even by “rich” people—was considered other Christian hymns to demonstrate that to be of questionable moral value.49 Even the hymns are a blend of both positivist and British journals sympathetic to Comte, Christian thought. such as the National Reformer, and the Quin’s hymns contain no explicit development of sociology published mention of sin, guilt, salvation, forgiveness few articles on music. It appears that for or compassion, heaven or hell, as might positivists at large—and freethinkers more reasonably be expected of any hymns, and generally—music was to be enjoyed rather there is no use of the first person. There than intellectualized or used for worship, is no mention of God or Jesus or a Trinity, hymns notwithstanding.50 reflecting the scientific and rationalist creed

60 Yale Journal of Music & Religion Vol. 5, No. 1 (2019) of Comte’s philosophy. Instead, Quin’s pathways” and “ceaseless strife,” and the hymns invariably express a yearning for a present turmoil of life to be conquered better, transcendental existence, and the (stanza 1, line 4). The object of this quest attainment of peace. Such ideas are readily is to find “gladness,” “truth,” and “joy” and found in Love Vanquishes Fear: to experience the “sublime.” This example Now comes the light for which further illustrates Quin’s appropriation of our souls have sought Christian hymns and positivist thought: Over the cloudy pathways Ecclesiasticus (Sirach) 44 exhibits strong of our life; themes of light, love, truth, and peace (not O light and peace! ye pow’rs to mention suffering and struggle, and of gladness sure also the “sublime”). Love personified—and Now comes the peace for which related ideas of the quest for experiencing we long have wrought Crowning with glad results the sublime—is given expression in this our ceaseless strife; well-known and widely published hymn by O light and peace! ye pow’rs Bianco da Siena (1350–1399): of gladness sure Come down, O Love divine, With you we conquer, or seek thou this soul of mine, with you endure and visit it with thine own Now comes the love which makes ardor glowing; all souls but one O Comforter, draw near, Calmly emergent from the within my heart appear, strife of years; and kindle it, thy holy Now comes the truth which long flame bestowing. our souls did shun O let it freely burn, Lifting us high above all doubts till earthly passions turn and fears; to dust and ashes in its O love and truth! ye stars of heat consuming; human fate and let thy glorious light Be ye with us, and we for joy shine ever on my sight, can wait and clothe me round, the while O light and peace! O love and my path illuming. truth supreme! And so the yearning strong, Ye come, and coming, vanquish with which the soul will long, and despair; shall far outpass the power Ye bring us faith, ye bring the of human telling; brightening dream for none can guess its grace, Of some great gladness which till Love create a place we now prepare; wherein the Holy Spirit Oh make us worthy of that makes a dwelling. after-time Whose image fronts us now The title Love Vanquishes Fear may also with looks sublime!54 echo 1 John 4:18: “There is no fear in The text of this hymn seeks “light” and “peace” love; but perfect love casteth out fear”; and (stanzas 1 and 2, first lines). The seeking is Corinthians 15:55: “O death where is thy further represented by references to “cloudy sting? O grave, where is thy victory?”

Yale Journal of Music & Religion Vol. 5, No. 1 (2019) 61 The trope of a quest or yearning is also Such cannot die; they found in other hymns by Quin, such as Live vanquish time for the Future: And fill the world with growing light, Why repine we, why despair Making the human life sublime Yielding to the instant woe? With memories of their We are not what once we were; sacred might. Let us build on what we know. They cannot die whose lives are part Let the future and the past Of that great Life which is to be Make sublime the present hour: Whose hearts beat with the world’s What we do is doomed to last; great heart And we know not all our power. And throb with its high destiny. Even now the future life Then mourn not those, Shape we with unconscious hands; who, dying, gave Sudden midst and woe and strife A gift of greater light to man. Full our dream incarnate stands. Death stands abashed before Lightest thought and humblest deed. the brave; Aspiration’s faintest breath— They own a life he may not ban.56 These are but the unseen seed It might be argued that “that great Life” That fructifies in spite of death. and “the world’s great heart” that “throb[s] Not despair, but wise devotion with its high destiny” refer to the scientists Takes the meanness from our task; and artists represented in the positivist High resolve and onward motion— calendar, just as stanza 4 may emphasize These the passing moments ask. the legacies of the great men of science to What is past died not forever posterity. What is now is not the all; Like many hymns of the period, whether Work we still with strong endeavor: Loudly doth the future call.55 sacred or secular, Quin’s hymns often mention pilgrimage, the seeking of guidance This hymn describes building a future (or deliverance), and perseverance.57 But (stanza 1, line 4) in order to reach a state of there are references to this trope in Christian the sublime (stanza 2, line 2). The journey, hymns, for example, the widely-known as in Love Vanquishes Fear, is hard work: hymn Through the Night of Doubt and Sorrow stanza 3, line 3 refers to “woe and strife,” by Bernhardt S. Ingemann (1789–1862), and in stanza 5 the quest requires “wise as translated by Sabine Baring Gould devotion” that “takes the meanness from (1834–1924): our task.” Through the night of doubt In O Grave, Where Is Thy Victory? (also and sorrow called Say not They Die), Comte’s positivist Onward goes the pilgrim band, calendar (replacing the ecclesiastical calendar) Singing songs of expectation, appears to be referenced in stanza 3: Marching to the Promised Land. Say not they die, those martyr souls Clear before us, through Whose life is wing’d with the darkness, purpose fine; Gleams and burns the guiding light. Who leave us, pointing to the goals; Brother clasps the hand of brother, Who learn to conquer and resign. Stepping fearless through the night.

62 Yale Journal of Music & Religion Vol. 5, No. 1 (2019) One the light of God’s own presence, on beauty and the sublime, published in the O’er His ransomed people shed, early nineteenth century, Jevons writes that Chasing far the gloom and terror, this passion produces a “formidable effect,” Brightening all the path we tread; such as when a “great power”—in this case, One the object of our journey, Comte—is worshipped.60 One the faith which never tires. One the earnest looking forward, Also present in some of Quin’s hymns One the hope our God inspires. is the angst or despair of contemporary life. This angst is alleviated by the prospect of a One the strain the lips of thousands Lift as from the heart of one; better future (heaven or an afterlife is never One the conflict, one the peril, mentioned), to which he alludes in phrases One their march in God begun; such as “The great reality we seek,” “The One the gladness of rejoicing future in our souls is glowing,” and “Let us On the far eternal shore, wait the great tomorrow” (Besant 66). Quin Where the one almighty Father makes use of the word “toil” from time to Reigns in love forevermore. time, as well as phrases such as “call to arms” Onward, therefore, and “In our struggle to be free” (Besant 73), pilgrim brothers! to emphasize man’s struggle. Onward, with the cross our aid! Themes of yearning and working hard Bear its shame and fight its battle for a better life are found in Quin’s hymns, Till we rest beneath its shade. Soon shall come the great awaking, especially the ten hymns that comprise the Soon the rending of the tomb, “Hymns of Transition” in Quin’s Hymns of Then the scattering of all shadows, Worship. Hymn 27 (the hymns are untitled) And the end of toil and gloom. begins: “We strive and search, we strive Quin’s hymns are often dour and and search away / Seeing the day, oh Love, melancholy, even though he tried to avoid beyond the gloom.” Hymn 29 is more these moods, writing that he found many aspirational: hymns of the late 1870s to be colored by “the In Thee we strive, in Thee we rest cold Unitarian tinge, and very unmoving.”58 In Thee our climbing love attains An example of a dour hymn is no. 66 from Its last fulfilment, and obtains The utmost truth, the crowning best Annie Besant’s Secular Song and Hymn Book.59 Quin writes, “Life is sad, but hope References to patience in the advancement is growing” and “Sing we, then, no more of faith or progress of life are tropes in of sorrow.” Suffering, struggle, yearning, hymns 32 through 36. For example, hymn despair, hopelessness, and the need for 32 begins: “battle” all figure in the hymns from Besant’s Not in darkness, not in sorrow hymnal. Quin also uses the word “sublime” Move we to the distant goal to transcend the angst of the present. For Not in fear, though each to-morrow example, in Live for the Future, he writes, Bring its burden of new dole “Make sublime the present hour” (stanza 2, Truth and love illume the way line 2). Quin’s meaning is not altogether Onward move toward the day clear, though the line probably reflects And in a similar vein, hymn 34 begins: William Jevons’s definition of “the sublime” We wait in faith; the years are long as a “passion for admiration.” In his work The years are long, oh Love

Yale Journal of Music & Religion Vol. 5, No. 1 (2019) 63 Till Thou are throned, till Thou and men recite them? Were the hymns sung art strong in unison and were they unaccompanied? And all the power doest prove Were all verses always sung, or which There is virtually no mention of any deities particular hymns omitted particular verses? in Quin’s hymns except in the third stanza We cannot answer these questions because of Besant 66: there is simply not enough information. But the proliferation of books and essays on Gods are with us, not above us Gods who suffer and achieve; hymn singing in the late nineteenth century, Gods who work with us and love us and the widespread interest in elocution, Gods in whom we must believe especially of verse, help explain why Quin’s hymns were recited and the psychological As in O Grave, Where Is thy Victory? the reaction they were designed to provoke in reference is probably not to the gods of both reciter and listener. other, non-Western faiths, but rather to the Information about the recitation of scientists and philosophers represented in hymns and verse comes from a wide variety the positivist calendar. of sources. For example, in an essay titled In his Memoirs, Quin succinctly “A Few Words on Singing” from a late summarizes his reasons for writing hymns: nineteenth-century secular hymnal, John R. “My wish always was not to have ‘music’ Lowry provides extensive instructions for only, but music which contributed to the singing hymns (when set to music), as well dramatic expression of Comte’s synthetic as guidance on how to recite them when conceptions—or, better still, of the advancing they are orated rather than sung: genius and creation of Humanity.”61 In broad terms, this sentence lays out the function Make yourself acquainted with the of Quin’s hymns: they were intended to be poem or story you are about to relate or sing, and feel assured it is worth your not the expression of a particular Comtean singing before using it; this will at once principle but a generalized expression of call up what of poesy there is within, humanity containing references to other and you will pour into your endeavour Christian hymns. These hymns articulated that which is the life, the charm, in all a vision of the future for the “unity” and singing (and without which every effort “stability” of civilization as expressed in the is the mere grinding of a barrel organ)— final chapter of Comte’s Positive Philosophy.62 depth of feeling, identification. Let your countenance and style of delivery be a reflex, as far as you can, of your The Performance of Quin’s Hymns: subject, and sing naturally, avoiding all Aesthetic and Psychological Meaning affectation, uttering each word distinctly, and finishing one word before beginning There is very little evidence of the another. When singing, you require a performance history of positivist hymns in pronunciation rather more open than 63 general, and of Quin’s hymns in particular. usual, as you have often to sustain a word With such small numbers in some of the much longer than in ordinary speech; in congregations, there were barely enough these cases, the voice can only be sustained people to fill out four parts, let alone form a upon the vowel-sound, the consonants choir. At what point did Quin’s hymns move having no sounds of themselves, being from recitation to song? Did both women pronounced by bringing the tongue against the teeth, or against the roof of

64 Yale Journal of Music & Religion Vol. 5, No. 1 (2019) the mouth, or by the closing of the lips: Explicit references to the aesthetics and when either of these actions takes and psychological effect of recitation are place, all power over the musical sound also found in a variety of hymnals. In the is at an end. In all singing, then, in order introduction to Social Worship: For Use in to get a pure and distinct utterance, the mouth must be kept open, the teeth kept Families, School and Churches, the compiler, well apart, and the lips never allowed to Stanton Coit, writes: come together, nor the tongue to touch First, when an Introductory Sentence the roof of the mouth until the note is has been chosen, let its precise meaning quite finished.64 and value be closely pondered, so that, Lowry goes on to outline the finer points when the occasion comes for reading it in public, its essential idea and purpose of elocution, including tips for amateurs will flood the whole mind. But it will be on how to aspirate the letter h and how to necessary also that the exact structure of properly pronounce particular groupings of the sentence shall have been analysed, letters.65 and each clause taken to heart and felt In the large body of nineteenth-century in relation to the adjoining clauses. Only literature on the art and science of speech such a sense of the structure of the (i.e., elocution), some sources specifically sentence will cause the speaker’s voice to vary in stress, volume, and in emotional addressed the connection between recitation 66 quality from word to word according to and musical affect. One example comes the inner purport.69 from Beeton’s Art of Public Speaking: This psychological aesthetics may refer Inflection may be called music in speech, to the state of transcendence. Such a state and an acquaintance with the art of music will greatly assist us in comprehending it. could be secular or sacred, as Peter Gay It must not be overlooked that there is a has recently explained with reference difference between music in speech and to Friedrich Schleiermacher, for whom in singing. The difference may be thus “intuition and feeling” were the essence of expressed: In speaking every syllabic religion.70 For nineteenth-century British sound from its outset to its termination, poets, according to Cynthia Scheinberg, glides in an unbroken movement from poetry was inextricably linked to religion and high to low, traversing measurable 71 points of the scale, but slurring in religious experience. Catherine Robson the intermediate divisions, and never argues that the recitation of poetry came dwelling for a perceptible space of time from “the zones of poetry or religion.”72 It is on a level line. Whereas, in singing, the careful enunciation of the texts that give the progression from tone to tone is Quin’s hymns their aesthetic importance. It accomplished by a series of leaps, and was these spoken texts that provided the once a note is commenced, one of its sublime nature or religious feeling that great beauties consists in its remaining Robson has described. on a level line till its termination.67 In another example, in his handbook The texts of Quin’s hymns represent an Forensic Oratory, William C. Robinson refers eclectic mixture of language that broadly to musical sound in public speaking, noting references positivist and Christian ideals that if delivered in a monotone the sound is and values. The texts might even be termed “dead.”68 eclectic or hybrid hymns, in much the same

Yale Journal of Music & Religion Vol. 5, No. 1 (2019) 65 way that Quin’s liturgies were fashioned However the hymns were presented in his with the use of vestments, sacraments, liturgy, they were imbued with particular a positivist calendar, and plans for a intellectual, liturgical, musical, aesthetic, “priesthood”: a mix or appropriation of and psychological meanings. In other positivist and Christian practices. The words, Quin’s hymns—like many hymns— manner in which the hymns were recited were not written solely to give musical or sung in the Newcastle-upon-Tyne pleasure. They were a manifestation of congregation is not clear, but recited liturgical theater expressing the sublime, texts were part and parcel of other British or aspiring to spiritual and metaphysical positivist communities in the late nineteenth transformation. Quin tells us in his and early twentieth centuries, and it seems Memoirs that his hymns represented “the evident that the function of Quin’s hymns dramatic expression of Comte’s synthetic was to create a diverse liturgy comprising conceptions,” but, as this article has shown, sacred and secular music. Auguste Comte their points of reference in achieving did not provide a musical expression of his “religious happiness,” for Quin and his philosophy, but Quin supplied that link. congregation, were considerably broader.

Appendix 1: Malcolm Quin’s Publications73 Aids to Worship: An Essay towards the Positive An Indian Positivist: A Sermon … in Preservation and Development of Commemoration of Jogendra Chandra Catholicism. Newcastle-upon-Tyne: Ghosh. Newcastle-upon-Tyne: Church Grierson, 1909. of Humanity, 1902. [A Letter to the The Angels of the Founder: A Sermon … (13th Members of the Trade Union Congress] April, 1902). Newcastle-upon-Tyne: The Liberty of Humanity: A Sacramental Address. Church of Humanity, 1902. Newcastle-upon-Tyne: Church of An Apostolic Letter Addressed to the Members … Humanity, 1900. of the Positivist Church and Apostolate of Memoirs of a Positivist. London: Allen & Unwin, Newcastle-on-Tyne. Newcastle-upon-Tyne: 1924. Church of Humanity, 1899. The Nation and the Jubilee. Newcastle-upon- Catholicism and the Modern Mind: A Contribution Tyne, 1897. to Religious Unity and Progress. London: The New Religion. Church of Humanity series. E. Arnold, 1912. Tract No.1. Newcastle-upon-Tyne, 1888. The Church of Humanity … The Annual Address Ninety-one letters from Malcolm Quin to Professor … (1st January, 1896). Newcastle-upon- Arthur James Grant, 1892–1927. Special Tyne: The author, 1896. Collections, University of Leeds GB 206 Disertaciones políticas: La Guerra Hispano M# 431. Americana. México: E. Sánchez, Impresor, Notes on a Progressive Catholicism. Newcastle- 1898. upon-Tyne: Grierson, 1909. The Future of Positivism: A Public Letter On the Positive Idea of the Church. Newcastle- Addressed to Monsieur August Paul Edger, upon-Tyne: Church of Humanity, 1903. Secretary of the Exécution testamentaire The Patriot Boers: A Sermon. Newcastle-upon- d’Auguste Comte. Newcastle-upon-Tyne: Tyne, 1902. T. M. Grierson, 1927. The Patriotic Union. Newcastle-upon-Tyne, 1898. Hymns of Worship. Newcastle-upon-Tyne: N.p., The Patriotic Union. Newcastle-upon-Tyne, 1898. 1900.

66 Yale Journal of Music & Religion Vol. 5, No. 1 (2019) Peace and Good-will: A Sermon … (1st January, Festival of Humanity, 1 Moses, 101 (1st 1902). Newcastle-upon-Tyne: Church of January, 1889). Newcastle-upon-Tyne: Humanity, 1902. Positivist Depôt, 1889. Political Tracts. I. The Spanish-American War. Positivism and Social Problems … The Annual Newcastle-upon-Tyne: [Church of Address … (1st January, 1895). Humanity], 1898. Newcastle-upon-Tyne: The author, 1895. Political Tracts. II. Industrial Imperialism. The Problem of Human Peace, Studied from the Newcastle-upon-Tyne: [Church of Standpoint of a Scientific Catholicism. Humanity], 1898. London: Fisher Unwin, 1916. Political Tracts. III. England and the Czar’s Religion of Humanity. The Annual Address Rescript. Newcastle-upon-Tyne: [Church Delivered at the Positivist Room … of Humanity], 1899. Newcastle-on-Tyne (1st January, 1887). Political Tracts. IV. England and the Transvaal. Newcastle-upon-Tyne: Printed for the Newcastle-upon-Tyne: [Church of author, 1887. Humanity], 1899. Religion of Humanity: The Western Republic: Political Tracts. V. Empire and Humanity: A Letter Order and Progress. Political Tracts. II to the House of Commons. Newcastle-upon- series. Industrial Imperialism. Newcastle- Tyne: [Church of Humanity], 1899. upon-Tyne: Mawson, Swan, & Morgan, Political Tracts. VI. The War in South Africa. 1898. Newcastle-upon-Tyne: Church of Richard Congreve: Born 23 Gutenberg 30 (4 Humanity, 1900. September, 1818), Died 18 Charlemagne Political Tracts. VII. Positivist Counsels to Electors. (5 July, 1899.) A Commemorative Address Newcastle-upon-Tyne: [Church of Delivered at the Church of Humanity, Humanity], 1900. Newcastle-upon-Tyne, 8 Dante (23 July, Political Tracts. IX. English Policy in the Far 1899). Newcastle-upon-Tyne: Church of East. Newcastle-upon-Tyne: Church of Humanity, 1899. Humanity, 1902. The Rule of Auguste Comte: A Sermon … (1st Political Tracts. X. The Peace in South Africa: January, 1901). Newcastle-upon-Tyne: (A Letter to the Marquis of Salisbury.) Church of Humanity, 1901. Newcastle-upon-Tyne: [Church of Some Principles of Positivist Education: A Humanity], 1902. Sacramental Address. Newcastle-upon- Political Tracts. XI. Issues of the General Election. Tyne: Church of Humanity, 1900. Newcastle-upon-Tyne: [Church of The South African Volunteers: A Letter to the Mayor Humanity], 1906. of Newcastle-on-Tyne. Political Tracts. VIII The Politics of the Proletariat: A Contribution to the Series. 1901. Science of Citizenship Based Chiefly on the State and Education. Newcastle-upon-Tyne, 1896. Sociology of Auguste Comte. London: G. A Syllabus of Religious Positivism. London: C. W. Allen & Unwin, 1920. Daniel, 1923. Quin, Malcolm, and P. Edger. La politique et les Thoughts for Electors and Non-electors. Newcastle- événements en Extrême-Orient : Étude sur upon-Tyne, 1910. les relations européennes en Chine, suivie de The Way of the Positivist Life: A Pastoral Letter la traduction libre et résumée du manifeste de … to the Members of the Above Church Malcolm-Quin sur la politique anglaise en [Church of Humanity, Newcastle-upon- Extrême-Orient. Paris: Union patriotique Tyne]. Newcastle-upon-Tyne: N.p., 1904. de France pour la pacification de l’Europe Words on the Positive Religion. Newcastle-upon- et le désarmement, 1903. Tyne: Church of Humanity, 1900. Positivism and Its Founder … The Annual Address The Worship of Humanity … The Annual Address … (1st January, 1893). Newcastle-upon- … (1st January, 1897). Newcastle-upon- Tyne: The author, 1893. Tyne: The author, [1897]. Positivism and the Religious Revolution … : Being the Annual Address Delivered … on the

Yale Journal of Music & Religion Vol. 5, No. 1 (2019) 67 NOTES

1 Auguste Comte, Cours de philosophie positive, 3 vols. (Cambridge: Cambridge University Press, 6 vols. (Paris: Bachelier, 1830–42) and Système 1993–2009); Andrew Wernick, Auguste Comte and de politique positive, ou Traité de sociologie instituant the Religion of Humanity: The Post-Theistic Program la religion de l’Humanité, 4 vols. (Paris: L. Mathias, of French Social Theory (Cambridge: Cambridge 1851–54). University Press, 2001); Jan Goldstein, The Post- 2 See, for example, Susan Budd, Varieties revolutionary Self: Politics and Psyche in France, 1750– of Unbelief: Atheists and Agnostics in English Society 1850 (Cambridge, MA: Harvard University Press, 1850–1960 (London: Heinemann, 1977) and T. 2005); and Feichtinger, Fillafer, and Surman, eds., R. Wright, The Religion of Humanity: The Impact of Worlds of Positivism. Comtean Philosophy on Victorian Britain (Cambridge: 9 Auguste Comte, The Positive Philosophy, Cambridge University Press, 1986). Positivism also trans. Harriet Martineau, vol. 1 (London: John found expression in many countries around the world, Chapman, 1853), 1, 2. Subsequent quotes are from most notably in India and Brazil. See, for example, this edition, given the accuracy of translation and ease Geraldine Forbes, “Striking a Chord: The Reception of availability to modern readers. of Comte’s Positivism in Colonial India,” in The Worlds 10 Gertrude Lenzer, Auguste Comte and of Positivism: A Global Intellectual History, 1770–1930, Positivism: The Essential Writings (New Brunswick, ed. Johannes Feichtinger, Franz L. Fillafer, and Jan NJ: Transaction, 1998), xviii. Surman (London: Palgrave, 2018), 31–51; Robert 11 Comte, The Positive Philosophy, 2: 549–50. G. Nachman, “Positivism, Modernization, and the 12 Ibid., 2: 559. Middle Class in Brazil,” Hispanic American Historical 13 Frederic Harrison, On Society (London: Review 57/1 (1977): 1–23; and Elías José Palti, Macmillan, 1918), 278. “Positivism, Revolution, and History in Brazil,” in 14 Quin, Memoirs, 41. Feichtinger, Fillafer, and Surman, eds., Worlds of 15 Ibid., 129. Positivism, 53–80. 16 Ibid., 73. 3 The influence of Comte on British intellectual 17 See note 4 above. thought about music has, however, been examined by 18 Quin, Memoirs, 48. In a letter dated October Bennett Zon in his Representing Non-Western Music in 27, 1893 to Professor Arthur James Grant (1892– Nineteenth-Century Britain (Rochester, NY: University 1927), Quin relays that he is reading Carlyle’s Cromwell. of Rochester Press, 2007) and, more recently, in In other correspondence to Grant, Quin thanks him Evolution and Victorian Musical Culture (New York: for lending him books (May 14, 1894) and shares Cambridge University Press, 2017), especially in notes of his reading of works by (or meetings with) terms of music history and historiography. Richard Congreve (1893), Émile Zola (March 3, 4 The only substantial study on Quin is T. R. 1898), Immanuel Kant (July 13, 1899), and sundry Wright, “Positively Catholic: Malcolm Quin’s Church “modern thinkers” (June 17, 1892). Correspondence of Humanity in Newcastle upon Tyne,” Durham from Quin to Grant is in Brotherton Special Collections University Journal 75 (1983): 11–20. See also Wright, MS431, University of Leeds. Note that Quin is not Religion of Humanity: 249–60. always specific with dates, so references to events in 5 See Malcolm Quin, Memoirs of a Positivist quotes from Quin in this article are often estimated. (London: George Allen & Unwin, 1924), 87, 125, 19 Quin, Memoirs, 24. 140, 155, 157. 20 Ibid., 35. 6 Ibid., 48. 21 Ibid. 7 Wright, Religion of Humanity, 83. 22 Ibid., 65; 180. 8 For the standard texts on Comte and the 23 Correspondence from Quin to Grant, influences of his positive thought in subsequent November 21, 1927, Brotherton Special Collections writers and French intellectual thought and beyond, MS431. see D. G. Charlton, Positivist Thought in France During 24 Ibid., 28. the Second Empire, 1852–1870 (Oxford: Clarendon 25 Ibid., 42. Press, 1959); W. M. Simon, European Positivism in 26 Ibid., 23. the Nineteenth Century: An Essay in Intellectual History 27 Ibid. (Ithaca, NY: Cornell University Press, 1963); Mary 28 Ibid. Pickering, Auguste Comte: An Intellectual Biography, 29 Ibid., 25.

68 Yale Journal of Music & Religion Vol. 5, No. 1 (2019) 30 Ibid., 34. Paul; Toronto: University of Toronto Press, 1963), esp. 31 Ibid., 107. Moncure Conway, ed., The pp. 74–85. For an essay arguing that hymn singing Sacred Anthology: A Book of Ethical Scriptures (London: can be appropriate (depending on the circumstances) Trübner & Co., 1889). and where distinctions are made between dignified 32 Quin, Memoirs, 151–52. and undignified music and hymn singing, see Robert 33 Ibid., 180. Bridges, A Practical Discourse on Some Principles of 34 For example, The Day God Gives Me is Hymn-Singing (Oxford: Blackwell, 1901) (reprinted reprinted in 14 hymnals, including The Catholic Book from the Journal of Theological Studies, October 1899). of Workshop III (Ottawa: Canadian Conference of 50 For background on the freethinkers’ Catholic Bishops, 1994) and Together in Song (East preoccupation with literary, religious and social Melbourne: HarperCollins, 1999). studies—at the expense of the intellectual study of 35 For examples of studies of the musical music—see Paul Watt, Ernest Newman: A Critical structure, style, patterning, and melodic and harmonic Biography (Woodbridge: The Boydell Press, 2017), shapes of hymns, see Kenneth R. Long, The Music 37–64. of the English Church (New York: St. Martin’s Press, 51 Wright, “Positively Catholic,” 15. 1971); Nicholas Temperley, The Music of the English 52 Sandra S. Sizer, Gospel Hymns and Social Parish Church, 2 vols. (Cambridge: Cambridge Religion: The Rhetoric of Nineteenth-Century Revivalism University Press, 1979); and Martin V. Clarke, British (Philadelphia: Temple University Press, 1978), 161– Methodist Hymnody: Theology, Heritage, and Experience 73. See also chap. 5 in Ian Badley, “Abide with Me”: (New York: Routledge, 2017). The World of Victorian Hymns (London: SCM Press, 36 Quin, Memoirs, 52. 1997). 37 Malcolm Quin, Hymns of Worship 53 Michael Wheeler, Heaven, Hell, and the (Newcastle-upon-Tyne: Church of Humanity, 1898). Victorians (Cambridge: Cambridge University Press, 38 Quin, Memoirs, 152. 1994). 39 Hymns of Modern Thought: Special Edition 54 This hymn is printed in many hymnals, with Supplement for the Use of the South Place Ethical including Social Worship for Use in Families, Schools Society (London: South Place Ethical Society, 1912), v. and Churches (No. 82) and Hymns of Modern Thought 40 Stanton Coit, comp., and Charles Kennedy (London: Hampstead Ethical Institute, 1900) (No. Scott, ed., Social Worship: For Use in Families, Schools 86). and Churches, 2 vols. (New York: Macmillan; London: 55 Published in Annie Besant, ed., The Secular George Allen, 1913). Song and Hymn Book (London: Watts, 1875) (No. 41 Ibid., v. 78); The Truth Seeker (No. 36); Universal Hymns 42 Ibid. Compiled for the North End Union (Boston: Thomas 43 The Truth Seeker: Collection of Forms, Hymns Todd, 1894), p. 49; and Ethical Hymns (London: and Recitations, Original and Selected, for the Use Swan Sonnenschein) (No. 14). The original version of Liberals (New York: D. M. Bennett Liberal and of this hymn was published in Quin, Hymns of Worship Scientific Publications, 1877). (No. xlix). 44 John McGee, A Crusade for Humanity: 56 Probably one of Quin’s best-loved hymns The History of Organized Positivism in England printed in more than ten hymnals, including The (London: Watts, 1931), 155–56. McGee’s sources Truth Seeker (No. 136) and Ethical Hymns (No. 14) for information on this musical activity are Ethel B. 57 Martin V. Clarke notes that the Methodist Harrison, Service of Man (London, 1890) and the Hymn Book 1933 categorizes hymns under the theme annual reports of the Positivist Committee, 1883– “Pilgrimage, Guidance, Perseverance,” and I have 1900. Mention of similar musical activities in various used this category to usefully describe the tone of positivist congregations is corroborated by Wright, Quin’s hymns. See Clarke, British Methodist Hymnody, Religion of Humanity, 95–99. Wright also outlines 2017), 25. some of the opposition to music in positivist meeting 58 Extract from correspondence from Dr. Carson services. to Malcolm Quin, n.d., cited in Quin, Memoirs, 119. 45 Quin, Memoirs, 87. 59 Besant, ed., Secular Song and Hymn Book 46 Ibid. (London: Watts, 1875). 47 Ibid. 60 William Jevons, Systematic Morality, or a 48 Ibid., 85. Treatise on the Theory and Practice of Human Duty on 49 K.S. Inglis, Churches and the Working Classes the Grounds of Natural Religion (London: Rowland in Victorian England (London: Routledge and Kegan Hunter, 1827), 55, 56.

Yale Journal of Music & Religion Vol. 5, No. 1 (2019) 69 61 Quin, Memoirs, 151. 67 Beeton’s Art of Public Speaking: A Practical 62 Comte, Positive Philosophy, 2: 559; see n. Treatise on Oratory (London: Ward, Locke, 1882), 80. 28. 68 William C. Robinson, Forensic Oratory: A 63 John R. Lowry, “A Few Words on Singing,” Manual for Advocates (Boston: Little Brown, 1893), in The Secularists’ Manual of Songs and Ceremonies, ed. 245. Austin Holyoake and Charles Watts (London: Austin, 69 Coit and Scott, Social Worship, 1: xxx. n.d.). 70 Friedrich Schleiermacher, On Religion: 64 Ibid., 7–8. Speeches to Its Cultural Despisers, trans. John Oman 65 Pronouncing dictionaries were widespread (London, 1893), 277–78; cited in Peter Gay, Why the in the nineteenth century. A particularly extensive Romantics Matter (New Haven: Yale University Press, one—some 800 pages—was P. Austin Nuttall, ed., 2015), 4–5. Routledge’s Pronouncing Dictionary of the English 71 Cynthia Scheinberg, “Victorian Poetry and Language (London: George Routledge & Sons, 1867). Religious Diversity,” in Joseph Bristow, ed., Victorian 66 For an overview, see Joy Damousi, Colonial Poetry (Cambridge: Cambridge University Press, Voices: A Cultural History of English in Australia, 1840– 2000), 159–79. 1940 (Cambridge: Cambridge University Press, 72 Catherine Robson, Heart Beats: Everyday 2010) and Marian Wilson Kimber, The Elocutionists: Life and the Memorized Poem (Princeton: Princeton Women, Music, and the Spoken Word (Champaign: University Press, 2012), 166. For a further University of Illinois Press, 2017). Nineteenth- examination of the psychology of poetry recitation, see and early twentieth-century sources are vast, but Meredith Martin, The Rise and Fall of Meter: Poetry and some better-known examples are James Rush, The National Culture, 1830–1930 (Princeton: Princeton Philosophy of the Human Voice (Philadelphia: J. University Press, 2012), 109–22. Maxwell, 1827); Nuttall, Routledge’s Pronouncing 73 This list has been compiled from various Dictionary; John Hullah, The Cultivation of the Speaking incomplete sources. Sources lacking a publisher and/ Voice (Oxford: Clarendon, 1884); and Gordon Heller or date of publication are likely to have been privately and Clifton Hooke, The Voice in Song and Speech and printed. Practical Singing (London: Waverley Book Company, ca. 1926).

70 Yale Journal of Music & Religion Vol. 5, No. 1 (2019)