iptures, we are not
aware of any adjunct; it seems rather as if the sacred words had suddenly
become musical. Not so with Mozart or Beethoven; we may prefer their
music, but it has interfered with the sacred words, it has, in fact,
added a personality.

It must of course be conceded that this gives a very strong if not
logically an almost unassailable position to those who would confine
sacred music to the ecclesiastical style. But it seems to me ridiculous
to suppose that genius cannot use all good means with reserve and
dignity; and if the modern church music will not stand comparison in
respect of dignity and solemnity with the old, the fault must rather lie
in the manner in which the new means are used, than in the means
themselves; nor would I myself concede that there is no place in church
for music which is tinged with a human personality; I should be rather
inclined to reckon the great musicians among the prophets, and to
sympathize with any one who might prefer the personality of Beethoven (as
revealed in his works) to that of a good many canonized seers. What is
logical is that we should be careful as to what personality we admit, and
see that the modern means are used with reserve.

Now if we examine our modern hymn-tunes, do we find any sign of that
reserve of means which we should expect of genius, or any style which we
could attribute to the personality of a genius? Let any one in doubt try
the following experiment: copy out some 'favourite tune' in the 'admired
manner' of the present day, and show it to some musician who may happen
not to know it, and ask him if it is not by Brahms; then see how he will
receive any further remarks that you may make to him on the subject of
music.

These new tunes are in fact, for the most part, the indistinguishable
products of a school given over to certain mannerisms, and might be
produced _ad libitum_, as indeed they are; just as were the tunes of the
Lord Mornington school before described: and though the composers and
compilers of these modern tunes would be the first to deride the exploded
fashion, their own fashion is more foolish, and promises to be as
fugitive[20].

I have said very little in this essay on the words of hymns. I will
venture to add one or two judgements here. _First_, that in the
Plain-song period, words and music seem pretty equal and well matched.
_Secondly_, that in the Reformation period, and for some time onwards,
the musicians did far b