Jackson, Simon and Callon, Gordon J. (2012) A newly-identified setting of Herbert’s “Even-song” by John Jenkins. George Herbert Journal, 36 (1-2). pp. 23-51. doi:10.1353/ghj.2012.0015 ISSN 1931-1192.

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Abstract

George Herbert’s reputation as a musical poet has a long history – a reputation justified by the content of his lyrics themselves, where musical conceits spark his devotional poetic imagination. The poet frequently finds himself “Rising and falling” on the wings of liturgical music (“Church-musick”); or his lyrics offer detailed musical emblems, as in “Easter” when the lute becomes the wood of the cross, on which Christ’s “stretched sinews taught all strings, what key / Is best to celebrate this most high day” (“Easter”); and – as in these lines from “Easter,” where his musical emblem rings with a pun on “taught/taut” – his lyric ear is constantly alert to the aural potential and quasi-musical properties of language. Herbert was frequently identified by his contemporaries with “David, and the other Psalm-men” as “the sweet singer of the Temple,” and his own musical activities are well documented. As his early biographer Izaac Walton noted,

Item Type:	Journal Article
Divisions:	Faculty of Arts > History
Journal or Publication Title:	George Herbert Journal
Publisher:	George Herbert Journal
ISSN:	1931-1192
Official Date:	2012
Dates:	Date Event 2012 Published 3 August 2013 Accepted
Volume:	36
Number:	1-2
Page Range:	pp. 23-51
DOI:	10.1353/ghj.2012.0015
Status:	Peer Reviewed
Publication Status:	Published
Access rights to Published version:	Restricted or Subscription Access

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