which we should have to
quote, is the _association_ of the music, and this is really an
accident, the question before us being the _character_ of the music; so
that we should require musical illustration, for though the common
distinction between sacred and secular music is in the main just, yet
the line cannot be drawn at the original intention, or historical
origin of the music: the true differentiation lies in the character of
the music, the associated sentiment being liable to change. If we were
to banish from our hymn-books all the tunes which we know to have a
secular origin, we should have to part with some of the most sacred and
solemn compositions; and where would the purist obtain any assurance
that the tunes which he retained had a better title? In the sixteenth
century, when so many fine hymn-melodies were written, a musician was
working in the approved manner if he adapted a secular melody, or at
least borrowed a well-known opening phrase: and since the melodies of
that time were composed mainly in conjunct movement, such initial
similarities were unavoidable; for one may safely say that it very soon
became impossible, under such restrictions, to invent a good opening
phrase which had not been used before. The secular airs, too, of that
time were often as fit for sacred as profane use; and if I had to find
a worthy melody for a good new hymn, I should seek more hopefully among
them than in the sacred music of our own century.

[10]I may give the following experience without offence. When I was an
undergraduate there was a song from a comic opera by Offenbach so much
in favour as to be _de rigueur_ at festive meetings. Now there was at
the same time a counterpart of this song popular at evensong in the
churches: it was sung to 'Hark, hark, my soul.' I believe it is called
_L'encens des fleurs_. They seemed to me both equally nauseating: it
was certainly an accident that determined which should be sung at
worship and which at wine.

[11]_The Art of Music_, by C Hubert H. Parry. London, 1893, 1st edit. p.
48.

[12]And give Croft the advantage of his original rhythm, not the
mis-statement in _Hymns Ancient and Modern_, No. 414.

[13]It would be very damaging to my desire to convince, if I should seem
to deny that the mistaken practice of these hymn-book compilers was
based on the solid ground of secular common-sense. If anything is true
of rh