Abstract
In this rich, scholarly book, Hammond explores the question of how words work in worship beyond their basic function of conveying information. She does this by means of four themes – Posture, Repetition, Rhythm and Punctuation – each of which forms a chapter in the main body of the work. The book also includes an Appendix – ‘The Rhythms of the Coverdale Psalter’ – and an extensive bibliography.
In relation to other books on this subject Hammond places this work in the middle of a spectrum which has the predominantly practical at one extreme and the overly theoretical at the other. From this middle ground the author presents a challenge both to liturgical scholars and worship leaders to look again at the words and structure of liturgy and to rediscover their potential to enhance the experience of worshippers. Although Hammond presents ideas which have relevance for all corporate worship, her primary focus is on the liturgies of the Church of England.
Throughout the book, Hammond supports her arguments through extensive reference to biblical sources, as well as those from Christian tradition and Classical literature. Generally this is done to good effect, but occasionally arguments and focus are lost in the density of detail. This emphasis on the importance of historic development might imply support for the ‘old is best’ or ‘more authentic’ approach to liturgy and, by implication, preference for traditional worship over against the modern and innovative. However, Hammond’s aim is more subtle and more radical than that. Although aspects of the arguments in this book do have the capacity to speak to contemporary debates around accessible, relevant worship, they do so obliquely. In encouraging a critical approach to historical sources, Hammond’s primary aim is to open up the potential in inherited patterns of formal liturgy – to enable participants to see the transformative possibilities within them. For example, in her discussion on the significance of repetition in liturgy, Hammond argues convincingly for its presence as a means of embedding and ingraining truth and of freeing the mind and spirit into deeper prayer – into ‘absorbing God’ (p. 68). In this way, repetition can be seen first of all as creative opportunity rather than as a problem to be solved in an attempt to ‘counter boredom and over familiarity amongst worshippers’ (p. 64).
Towards the end of the book, commenting that both words and ritualistic actions are essential to worship practice, Hammond adds, ‘Christianity needs both; but it needs to know it needs both’ (p. 157). It might be safely presumed that academic liturgical scholars are aware of this already. Ministerial students should certainly be taught it and have access to this important text in libraries. Primarily a work of scholarship, I do wonder, however, whether this book is accessible enough to those who regularly lead worship in local congregations. I hope so. There is much that is valuable here to enhance their knowing appreciation of words within worship.