rate the most delightful in detail--is the anthem, "Thy way, O God, is
holy." The picture-painting is prepared for with astonishing artistic
foresight, and when it begins the effect is tremendous. I advise
everyone who wishes to realise Purcell's unheard-of fertility of great
and powerful themes to look at "The clouds poured out water," the
fugue subject "The voice of Thy thunders," the biting emphasis of the
passage "the lightnings shone upon the ground," and the irresistible
impulse of "The earth was moved." And the supremacy of Purcell's art
is shown not more in these than in the succession of simple harmonies
by which he gets the unutterable mournful poignancy of "Thou knowest,
Lord," that unsurpassed and unsurpassable piece of choral writing
which Dr. Crotch, one of the "English school," living in an age less
sensitive even than this to Purcellian beauty, felt to be so great
that it would be a desecration to set the words again. Later composers
set the words again, feeling it no desecration, but possibly rather a
compliment to Purcell; and Purcell's setting abides, and looks down
upon every other, like Mozart's G minor and Beethoven's Ninth upon
every other symphony, or the finale of Wagner's "Tristan" upon every
other piece of love-music.


VI.

Purcell is also a chief, though not the chief, among song-writers. And
he stands in the second place by reason of the very faculty which
places him amongst the first of instrumental and choral writers. That
dominating picturesque power of his, that tendency to write
picturesque melodies as well as picturesque movements, compelled him
to treat the voice as he treated any other instrument, and he writes
page on page which would be at least as effective on any other