phries, and, indeed, all the foremost musicians of the period, was a
bloated pluralist, and held other positions. It is said that he resigned
Westminster Abbey in 1680 in Purcell's favour. Whether the resignation
was voluntary or not, Purcell assuredly took his place at that date.
After Purcell's death in 1695 Dr. Blow took the position again, and
retained it until his own death, in 1708. It is also said that he
resigned another place to make way for another pupil, Jeremiah Clarke.
This apparent passion or mania for resigning posts in favour of gifted
pupils might easily have led to a pernicious custom amongst organists.
However, since Dr. Blow's time the organist of Westminster Abbey has
always been a more business-like person, though rarely, if ever, a fine
artist. Dr. Blow, living amongst men of such genius, caught a little--a
very little--of Humphries' and Purcell's lordly manner in the writing of
music; but no sweet breath of inspiration ever blew his way. Burney,
unfortunate creature, found fault with his harmonies, and these have
been defended as "spots on the sun." As a matter of fact, the harmonies
are good enough. There are no spots--only there is no sun. His claim to
have taught Purcell is a claim for such immortality as books give.
Purcell's teacher will be remembered long after the composer of anthems
has been crowded out of biographical dictionaries.

I have said that our knowledge of Purcell consists very largely of
speculations, hypotheses and inferences. These have led the biographers
into wasting some highly moral reflections on Purcell's early doings. We
are told, for example, that he composed music for the theatre until he
became organist of Westminster Abbey, after which date he applied his
energies wholly to the service of the Church. Had the biographers not
kindly followed the blind Hawkins and Burney, and hearsay generally,
those reflections might have been saved for a more fitting occasion. It
was long held that Purcell wrote the incidental music for _Aureng-Zebe_,
_Epsom Wells_, and _The Libertine_ about 1676, when he was eighteen,
because those plays were performed or published at that time. It used to
be said that the music, though immature, showed promise, and was indeed
marvellous for so young a man. But unless one possesses the touchstone
of a true critical faculty and an intimate acquaintance with Purcell's
music and all the music of the time, one should be cautious--one cannot
be too caut