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Gender and Authority in British Women Hymn-Writers' Use of Metre, 1760-1900 3

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Gender and Authority in British Women Hymn-Writers' Use of Metre, 1760-1900 3 LI'ICIO 617 Operator: Wu Hui:zhen Dfipa(ch: 15.12.08 PE: Andrew Davidson l~ JournalName Manuscript No. Pn:Iofreader: Uu HongRong fJ) No. of Pages: 9 Copy.editor: Christine Tsai L<teraMe Comp.:ISS 6 (2009), 10.11111j.174j-4113.2008.00617.x 1 2 3 4 Gender and Authority in British Women 5 6 Hymn-Writers' Use of Metre, 1760-1900 7 8 N~fl9l>lilNon Cho" 9 N,ofrfjbam ifent University 10 11 12 Abstract 13 This article is part of a cluster that draws material from the recent conference 14 Metre Matters: New Approaches le Prosody, 1780-1914. It comprises an introduction 15 .. by jason David Hall and six articles presented at the conference, whose aim was 16· to address renewed scholarly interest in versification and form across the long 17 nineteenth century, as well as some of the methodologies underpinning it. The 18 papers included in the cluster look both to the minutiae of Romantic and 19 Victorian metres and to their cultural intertexts. The conference, hosted by the 20 University ofExeter's Centre for Victorian Studies, was held·':3-5 July 2008. The cluster is made up of the following articles: 21 Jason David Hall, 'Metre, History, Context: Introduction to the Metre Matters 22 Cluster'. 23 Emma Mason and Rhian Williams, 'Reciprocal Scansion in Wordsworth's "There 24 Was a Boy'''. 25 Ross Wi!son, 'Roben Browning's Compounds'. 26 Margaret A. Loose, 'The Internationalism ofErnest jones's Dialectical Prosody'. 27 Nancy Jiwon Cho, 'Gender and Authority in British Women Hymn-Writers' 28 Use of Metre, 1760-1900'. 29 AsWey Miller, 'Involuntary Metrics and the Physiology of Memory'. 30 Summer Star, '''For the Inscape's Sake": Sounding the Self in the Metres of 31 Gerard Manley Hopkins'. 32 33 34 35 '** 36 The English hymn is unusual as a verse genre to which women made 37 significant contributions from early in its development. Hymnody, especially 38 women's hymn-writing, thus offersan intriguing arena in which to examine 39 the interplay ofgender and authority in prosody. This essay will examine 40 the implications of the borrowing of hymn metres by eighteenth- and 41 early-nineteenth-century British women hymn-writers (Anne Sreele, Susanna 42 Harrison and Eliza Westbury) from the pre-eminent male hymn-writers 43 (such as lsaac Watts and Charles Wesley), and Victorian women's innova­ 44 tion of their own successful hymn metres, as exemplified in the work of 45 Charlotte Elliott. C 2008 The All"'"," .101.0"",,1 CompilationC 2008 Blackwell Publishing lid 2 Gender and Authority in British Women Hymn-Writers' Useof Metre, 1760-1900 1 The English hymn has been an unpopular genre for critical scrutiny 2 owing to its reputation as 'a second-rate form of poetry' (Cedl xxiii). 3 Amidst a range of accusations against its religiosity, often simple language 4 and perceived limited aims, the hymn has been associated with simple and 5 restrictive metres unable to provide 'a free vehicle for the expression of 6 the poet's imagination' (xxiii). Consequently, it has been neglected as a 7 minor verse genre oflittle significance to literary history. In fact, however, 8 hymn-writing flourished in Britain as congregational hymn-singing 9 became increasingly popular throughout the nineteenth century, and hun­ 10 dreds of variations of metre were utilised by multitudes of men and 11 women. Indeed, British WOmen made prominent contributions to English 12 hymnody from early on in its development; the influential hymns ofAnne 13 Steele (1717-78), I the first major woman hymn-writer, were published in 14 1760, only twelve years after the death of Isaac Watts (1674-1748), the 15 Independent minister and poet commonly considered the progenitor of 16 modern English hymnody. Later, Emma Raymond Pitman's lAdy Hymn 17 Writers (1892) celebrated the achievements of 121 female writers of 18 hymns. Several of the women were leaders in the field, who recorded the 19 changing religious climates, identified new liturgical areas. to address and 20 cultivated new metres in which to meet these needs. The hymn, then, is 21 an excellent poetical tradition in which to explore the relationship 22 between prosody and gender, particularly in relation to the establishment 23 of authority in verse. The examination of this interplay in the first 24 hundred and forty years of British women's hymn-writing is the concern 25 of this essay. 26 Pre-Victorian women hymn-writers were cautious in their employment 27 of metre. For instance, Seeele normally utilised the two then most usual 28 hymnic metres: 'common metre', a metre of four lines alternating 29 between tetrameters and trimeters (C.M. or 8.6.8.6), and 'long metre', a 30 tetrameter quatrain (L.M. or 8.8.8.8), for her hymns. As demonstrated 31 above, hymn metres are often denoted numerically according to the 32 number of syllables per line per verse. This denotation is important 33 because the numbers signal what melodies the text ~ which is, after all, 34 intended as sacred song - may be sung to. For, although hymns are often 35 associated with specific tunes, they have generally been written without 36 specific melodies in mind to a range of widely known metres. Thus, a 37 new hymn-text may be sung readily to any number of appropriate tunes 38 known by a singer or congregation. This in-built versatility has been 39 important in the prevalence ofthe hymn as an accessible mode ofworship. 40 Steele's most famous hymn, 'The Excellency ofthe Scriptures', is written 41 in iambic common metre: 42 Father of mercies, in thy word 43 What endless glory shines! 44 For ever be thy name ador'd 45 For these celestial lines. (58, 11. 1-4) 02008 The Author U!emurr: (<>'I1P<'$6 (2009); 10.1"'fJ 1741-4113.2008.00617." loo,,,,,1 (ompd,Uion0 2008 81!d:wel1 Publ;';hing Lld Gender and Authority in British Women Hymn-Writers' Use of Metre, 1760-1900 3 1 It may thus be sung to any fitting tune written for the same metre, 2 including, for example, the famous melody associated with]ohn Newton's 3 (1725-1807) 'Amazing Grace'. In fact, 101 ofSteele's 106 hymns in Poems 4 on Subjects Chi41r Devotional (1760) are written in conunon or long metre. 5 Of the remaining five, she utilises short metre (S.M. or 6.6.8.6), another 6 standard hymn metre, four rimes; her only variation is 'A Rural Hymn', 7 which is written in 6.6.6.6.4.4.4.4: 8 9 To your creator God, 10 Your great preserver, raise, Ye creatures of he; hand, 11 Your highest notes of praise: 12 let ev'ry voice 13 Proclaim his pow'r, 14 His name adore, 15 And loud rejoice. (1.42, 11. 1-8) 16 17 This piece may have been composed with Watts's hymns 'Lord of the 18 World Above' and 'We Give Immortal Praise', written to the same metre, 19 in mind; her text would fit any tunes to which these hymns were sung. 20 She certainly admired Watts; in 'Christ the Christian's Life' she asked 'for 21 the animating fire / That tun'd harmonious Watts's lyre' (II.109). Similarly, 22 Susanna Harrison (1752-84), a labouring-class woman whose Songs in the 23 Night by a Young Woman under Heavy Affiution was published in 1780, also 24 wrote the majority of her hymns in conunon and long metre. 25 On one level, these women employed familiar metres in order to make 26 use of the extant reservoir of hymn tunes; however, there was room for 27 divergence from the common musical metres. Watts varied his metres 28 more than Steele, and Charles Wesley (1707-88) experimented with unusual 29 metres as will be evidenced later. Thus, one may question why the earliest 30 women hymn-writers chose not to diverge from the most conventional 31 metres. We may glean a clue from the fact that Steele's private (unpublished) 32 writings - now stored at the Angus Library at Regent's Park College, 33 Oxford - are often less orthodox and more playful. The work that gained 34 entry into print culture was carefully selected and proper - suitable as the 35 pious productions ofa woman who aspired to a holy identity. These early 36 women hymn-writers desired their work to be accepted and utilized by 37 Christian society and, to this end, drew heavily from the popular examples 38 of the male pioneers for authority and precedent. Certainly, both Steele 39 and Harrison recorded their anxiety regarding the presumption to publish; 40 for instance, Steele's 'On Reviewing My Verses for Publication' attests to 41 her fears of rejection and ridicule: 42 As o'er the various pages I bend 43 Approve dislike or drive to mend 44 Chagrin arose & frowning spread 45 Her gloomy Pinions o'er my head ... o 2008 ~ Author Liler.ItureC<l<l'lPaSS 6 (2009): 10,1111fj,1741-4113,2008,0061h Joumal Comp;lation 0 2008 Blacl;well Publishir>g Lld 4 Gender and Authority in British Women Hymn-Writers' Useof Metre, 1760-1900 1 What ear can rhymes like these engage? 2 The Press Ah, no suppress the thought 3 By just reflection better taught 4 They write with life who write to please 5 Let Lines so spiritless as these 6 To dark Oblivion be consign'd Be wise and learn a humbler Mind 7 So spake Chagrin imperious Sprite.... (11. 1-12)2 8 9 Steele was also involved in a project ofliterary self-fashioning; she published 10 under the pseudonym "Iheodosia', meaning 'female gift of God', and 11 thereby suggested that her work was divinely sanctioned.
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