Described by one contemporary as the 'sweet singer of The Temple', George Herbert has long been recognised as a lover of music. Nevertheless, Herbert's own participation in seventeenth-century musical culture has yet to be examined in detail. This is the first extended critical study to situate Herbert's roles as priest, poet and musician in the context of the musico-poetic activities of members of his extended family, from the song culture surrounding William Herbert and Mary Sidney to the philosophy of his eldest brother Edward Herbert of Cherbury. It examines the secular visual music of the Stuart court masque as well as the sacred songs of the church. Arguing that Herbert's reading of Augustine helped to shape his musical thought, it explores the tension between the abstract ideal of music and its practical performance to articulate the distinctive theological insights Herbert derived from the musical culture of his time.

‘This insightful and inviting book allows us to hear Herbert's musical world with fresh ears, attuned not only to individual imagination and pen but to the broader soundscape in which Herbert worked and thought. Simon Jackson's skillful approach offers new appreciation the profound impact of music on Herbert's poetry and, what is more, new and original understanding of Herbert's connections to the cultural orbits of his brother Edward (Lord of Cherbury), William Herbert and the Sidney family, Stuart masque culture, and more.’

Scott Trudell - University of Maryland

George Herbert and Early Modern Musical Culture is that rarest of things – a triumph of learned, insightful interdisciplinarity. Jackson writes with equal sensitivity on music, verse, and biography, and tunes all three into a beautiful critical consort. His book is a landmark achievement in the study of Herbert and of early seventeenth-century artistic culture – a must for every lover and scholar of Herbert and his circle.

Peter McCullough - University of Oxford

‘(an) exemplary study’

Alison Shell Source: Times Literary Supplement

‘This is an important book for our understanding of Herbert. Jackson persuades us, through weight of evidence and careful argument, that Herbert was not just influenced by sacred church music, but that he had a lived experience of a wide breadth of recreational music which helped to shape his poetic art.’

Jonathan Arnold Source: Church Times

‘Simon Jackson’s volume is impressive in its scope, conversing Herbert’s lyric with his social, literary, liturgical, and performance contexts and those with whom he shared them and whose own craft and company facilitated his poetic output. The book is a major achievement in interdisciplinary method, regathering philosophical, theological, and musical perspectives at play in Herbert’s literary imagination and allowing us to read his work with new and greater resonance.’

James Crockford Source: The Review of English Studies

'[This book] expands our entire sense of Herbert’s lyric artistry and is essential reading for anyone wishing to deepen their appreciation of Herbert’s poetry, theology, and cultural contexts.'

Helen Wilcox Source: George Herbert Journal

'Beyond its value to students (and, I would add, readers, audiences and performers) both of early modern poetry and music, Jackson’s book provides an exemplary model for future interdisciplinary work of this kind.'

Thomas Ward Source: Renaissance Studies