Methodism And Literature

Hempton explores the rise of Methodism from its unpromising origins as a religious society within the Church of England in the 1730s to a major international religious movement by the 1880s.

The practical and theological development of eighteenth-century Methodism.

Early American Methodists commonly described their religious lives as great wars with sin and claimed they wrestled with God and Satan who assaulted them in terrible ways. Carefully examining a range of sources, including sermons, letters, autobiographies, journals, and hymns, Jeffrey Williams explores this violent aspect of American religious life and thought. Williams exposes Methodism's insistence that warfare was an inevitable part of Christian life and necessary for any person who sought God's redemption. He reveals a complex relationship between religion and violence, showing how violent expression helped to provide context and meaning to Methodist thought and practice, even as Methodist religious life was shaped by both peaceful and violent social action.

What exactly is a Methodist?

Lake Methodism: Polite Literature and Popular Religion in England, 1780-1830, reveals the traffic between Romanticism's rhetorics of privilege and the most socially toxic religious forms of the eighteenth and nineteenth centuries. The “Lake Poets,” of whom William Wordsworth and Samuel Taylor Coleridge are the most famous, are often seen as crafters of a poetics of spontaneous inspiration, transcendent imagination, and visionary prophecy, couched within lexicons of experimental simplicity and lyrical concision. But, as Jasper Cragwall argues, such postures and principles were in fact received as the vulgarities of popular Methodism, an insurgent religious movement whose autobiographies, songs, and sermons reached sales figures of which the Lakers could only dream.With these religious histories, Lake Methodism unsettles canonical Romanticism, reading, for example, the grand declaration opening Wordsworth's spiritual autobiography—“to the open fields I told a prophecy”—not as poetic self-sanctification, but as a means of embarrassing Methodism, responsible for the suppression of The Prelude for half a century. The book measures this fearful symmetry between Romantic and religious enthusiasms in figures iconic and unfamiliar: John Wesley, Robert Southey, Wordsworth, Coleridge, as well as the eponymous scientist of Mary Shelley's Frankenstein, and even Joanna Southcott, an illiterate servant turned latter-day Virgin Mary, who, at the age of sixty-five, mistook a fatal dropsy for the Second Coming of Christ (and so captivated a nation).

Reprint of the original, first published in 1883.

With the decision to provide of a scholarly edition of the Works of John Wesley in the 1950s, Methodist Studies emerged as a fresh academic venture. Building on the foundation laid by Frank Baker, Albert Outler, and other pioneers of the discipline, this handbook provides an overview of the best current scholarship in the field. The forty-two included essays are representative of the voices of a new generation of international scholars, summarising and expanding on topical research, and considering where their work may lead Methodist Studies in the future. Thematically ordered, the handbook provides new insights into the founders, history, structures, and theology of Methodism, and into ongoing developments in the practice and experience of the contemporary movement. Key themes explored include worship forms, mission, ecumenism, and engagement with contemporary ethical and political debate.

Exploring the intense relationship between Romantic literature and Methodism, Helen Boyles argues that writers from both movements display an ambivalent attitude towards the expression of deep emotional and spiritual experience. Boyles takes up the disparaging characterization of William Wordsworth and other Romantic poets as 'Methodistical,' showing how this criticism was rooted in a suspicion of the 'enthusiasm' with which the Methodist movement was negatively identified. Historically, enthusiasm has generated hostility and embarrassment, a legacy that Boyles suggests provoked concerted efforts by Romantic poets such as Wordsworth and the Methodist leaders John and Charles Wesley to cleanse it of its derogatory associations. While they distanced themselves from enthusiasm's dangerous and hysterical manifestations, writers and religious leaders also identified with the precepts and inspiration of a language and religion of the heart. Boyles's analysis encompasses a range of literary genres from the Methodist sermon and hymn, to literary biography, critical review, lyric and epic poem. Balancing analysis of creative content with a consideration of its critical reception, she offers readers a detailed analysis of Wordsworth's relationship to popular evangelism within a analytical framework that incorporates Samuel Taylor Coleridge, Robert Southey, and William Hazlitt.