This article tracks the surprising history of a love ballad about a lost sweetheart that went on to become a celebrated gospel hymn about the rural roots of America's greatness. Titled “The Little Brown Church,” but sometimes called “The Church in the Wildwood,” the song's evolution speaks to the ways in which nostalgia became central to the social and religious imagination of those American Protestants call themselves “evangelicals.” Though it first appeared in college songbooks after its publication in 1865, “The Little Brown Church” eventually became a favorite of evangelists, revivalists, and other gospel singers at the dawn of the twentieth century. For these new singers, “The Little Brown Church” spoke to more than just the simple faith they wished to restore. It also illustrated the centrality of white Protestants to the American experience at a moment when the hold these believers had on the nation was beginning to slip. And they would alter both the lyrics and the church's history to bring the two in line. The process not only reveals how nostalgia for a bygone era became vital to those who think of themselves as evangelicals in the twentieth century, but also how evangelicalism itself is something of a historical construction.
This article studies the act of suggesting symbolic meanings for Christian divine office in medieval Europe. Twentieth-century anthropology placed great emphasis on the anthropologist as an interpreter of symbolic meanings of ritual, but while using indigenous explanations, it did not address explication as a social practice. The phenomenon of systematic symbolical explanation in medieval Europe, I propose, invites a shift in research questions from “what does ritual signify?” to “who proposes symbolic values for ritual, from which position, to whom, when, and why?” The first part of the article analyzes the ninth-century pioneering work of Amalar of Metz, while the second part turns to the heyday of the allegorical enterprise in the twelfth century, in the work of authors such as Rupert of Deutz and Honorius Augustudinensis. Applied to liturgy, the allegorical practice is shown to function as a sophisticated tool to address diversity and historical change, and as a contemplative means to rejuvenate ritual and afford delight in light of contemporary challenges.
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