Name: Trinity of Discord: The Hymnal and Poetic Innovations of Isaac Watts, Charles Wesley, and William Cowper (en Inglés)
Price: 361.64 PEN
Availability: InStock
Author: Arnold, Richard
ISBN: 9781433119040

portada Trinity of Discord: The Hymnal and Poetic Innovations of Isaac Watts, Charles Wesley, and William Cowper (en Inglés)

Trinity of Discord: The Hymnal and Poetic Innovations of Isaac Watts, Charles Wesley, and William Cowper (en Inglés)

Formato

Libro Físico

Autor

Richard Arnold

Editorial

Peter Lang Inc., International Academic Publi

Año

2012

Idioma

Inglés

N° páginas

162

Encuadernación

Tapa Dura

Dimensiones

22.6 x 15.0 x 1.5 cm

Peso

0.39 kg.

ISBN

1433119048

ISBN13

9781433119040

Categorías

Irlanda
Reino unido
Técnicas musicales / manuales de música / enseñanza de la música
Literatura: historia y crítica
Instituciones y organizaciones religiosas

Trinity of Discord: The Hymnal and Poetic Innovations of Isaac Watts, Charles Wesley, and William Cowper (en Inglés)

Richard Arnold (Autor) · Peter Lang Inc., International Academic Publi · Tapa Dura

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Reseña del libro "Trinity of Discord: The Hymnal and Poetic Innovations of Isaac Watts, Charles Wesley, and William Cowper (en Inglés)"

The three writers examined in Richard Arnold's Trinity of Discord, Isaac Watts, Charles Wesley, and William Cowper, are known as famous poets, but are also the greatest and most popularly compiled and used hymn-writers of all time. While masters of their kind, they were so remarkably different, considering they were working in the same (and quite new) genre. Moreover, when considered in their poetic-historical contexts, it is noteworthy that Watts can be seen as an archetypal Neoclassicist (not unlike Pope and Johnson), Wesley as a transitional pre-Romantic (not unlike Gray and Collins), and Cowper a thoroughgoing Romantic (not unlike Wordsworth and Coleridge, but with a much sharper psychological edge). Most noteworthy is that Watts, Wesley, and Cowper come before their later counterparts and their respective movements: their importance to mainstream or canonical literary history cannot be overestimated. In terms of the hymn's development in the nineteenth and twentieth centuries, these three stand as beacons in the genre, if not individual species of a multiform genre itself. In their time and context, these three were, while paradoxically out of tune with the status quo, and radically different from each other, forging a new and everlasting genre, one born out of a veritable trinity of discord.