The Art of Public Worship: Percy Dearmer, William Palmer Ladd, and the American Liturgical Movement

2020 ◽  
pp. 1-20
Author(s):  
Andrew McGowan

Abstract While Percy Dearmer’s influence on Anglican liturgy through The Parson’s Handbook and The English Hymnal are well known, his lectures on The Art of Public Worship, given in 1919 when he was visiting professor at Berkeley Divinity School in Connecticut, USA, introduce a different phase of his liturgical thought. A new emphasis on modernizing language, brevity of form, and alternative forms of worship would later have expression in England via his association with the Guildhouse in London, and in the hymnal Songs of Praise. Comparing The Art of Public Worship with the later Prayer Book Interleaves by Berkeley Divinity School’s Dean William Palmer Ladd leads to the suggestion that this ‘second Dearmer’ also had an afterlife in the American liturgical movement.

1894 ◽  
Vol 6 ◽  
pp. 20-25
Author(s):  
C. C. Tiffany

Concerning the Episcopal Church Dr. Schaff writes as follows, in his “Paper on the Reunion of Christendom,” prepared for the Parliament of Religions and the National Conference of the Evangelical Alliance, held in Chicago September and October, 1893:“The Episcopal Church of England, the most churchly of the Reformed family, is a glorious Church, for she gave to the English-speaking world the best version of the Holy Scriptures and the best Prayer Book; she preserved the order and dignity of the ministry and public worship; she nursed the knowledge and love of antiquity, and enriched the treasury of Christian literature; and by the Anglo-Catholic Revival under the moral, intellectual, and poetic leadership of these shining lights of Oxford, Pusey, Newman, and Keble, she infused new life into her institutions and customs, and prepared the way for a better understanding between Anglicanism and Romanism.”


1965 ◽  
Vol 58 (1) ◽  
pp. 49-68
Author(s):  
James A. Devereux

Lex orandi — lex credendi. The interdependence of cult and creed was a truth well known to Archbishop Cranmer and the English Reformers. If Christian belief was to be restored to its evangelical purity, then the mode and content of public worship must be reformed accordingly. So far as the Eucharist was concerned, any major change would have to be in the Canon of the Mass, which was its ritual and doctrinal center. Changes there were; and, as events were to prove, the Canon of 1549 was only a beginning. But those influences which affected the center were felt elsewhere in the service as well. Among other things they account for a number of changes in those much admired prayers which Cranmer derived from the Roman rite, the collects. In this study I would like to examine the influence of Reformed doctrine on the composition of these prayers in the first Book of Common Prayer of 1549. The hundred-odd collects in the first Prayer Book fall into two classes: some sixty-seven which are fairly close translations of Latin originals as they were found in the Sarum service books, and the rest which are either completely new with Cranmer or have only a slight connection with a Latin collect. I shall deal with the effects of Reformed doctrine first on the translated and then on the new — or nearly new — collects of the Prayer Book.


2000 ◽  
Vol 34 (4) ◽  
Author(s):  
D.F. O’Kennedy

Prayer in the Old and New Testament: A comparative study There are many publications on prayer; though the Biblical basis of prayer is often neglected. This article presents a general overview of the similarities and unique features of prayer in the Old and New Testament. Some of the unique features of New Testament prayer are the Trinitarian character; the prayer of the exalted Jesus; the emphasis on prayer teaching and the attitude of the supplicant. The unique features of Old Testament prayer are inter alia the Psalms as “prayer book” and the greater emphasis on prayer and cult/public worship. One can conclude that there is no significant gap or contradiction in the prayer content of the Old and New Testament. Several similarities between the Old and New Testament’s views on prayer confirm this opinion. In many ways the forms and traditions of Israelite prayer that preceded the career of Jesus and the first Christian community were continued in the New Testament.


Moreana ◽  
2005 ◽  
Vol 42 (Number 164) (4) ◽  
pp. 187-206
Author(s):  
Clare M. Murphy

The Thomas More Society of Buenos Aires begins or ends almost all its events by reciting in both English and Spanish a prayer written by More in the margins of his Book of Hours probably while he was a prisoner in the Tower of London. After a short history of what is called Thomas More’s Prayer Book, the author studies the prayer as a poem written in the form of a psalm according to the structure of Hebrew poetry, and looks at the poem’s content as a psalm of lament.


2006 ◽  
Vol 12 (2) ◽  
pp. 126-141 ◽  
Author(s):  
Cyprian Love
Keyword(s):  

Author(s):  
Charles Hefling

This book surveys the contents and the history of the Book of Common Prayer, a sacred text which has been a foundational document of the Church of England and the other churches in the worldwide community of Anglican Christianity. The Prayer Book is primarily a liturgical text—a set of scripts for enacting events of corporate worship. As such it is at once a standard of theological doctrine and an expression of spirituality. The first part of this survey begins with an examination of one Prayer Book liturgy, known as Divine Service, in some detail. Also discussed are the rites for weddings, ordinations, and funerals and for the sacraments of Baptism and Communion. The second part considers the original version of the Book of Common Prayer in the context of the sixteenth-century Reformation, then as revised and built into the Elizabethan settlement of religion in England. Later chapters discuss the reception, revision, rejection, and restoration of the Prayer Book during its first hundred years. The establishment of the text in its classical form in 1662 was followed by a “golden age” in the eighteenth century, which included the emergence of a modified version in the United States. The narrative concludes with a chapter on the displacement of the Book of Common Prayer as a norm of Anglican identity. Two specialized chapters concentrate on the Prayer Book as a visible artifact and as a text set to music.


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