the drama: it would serve for many another play just as well. What the
theatre manager demanded of Purcell was a piece of music to occupy the
audience before the curtain went up; and Purcell wrote it. There are
songs and dances of a rare quality, and the biggest thing of all is the
chorus, "Let all rehearse," which rivals Handel's "Fixed in his
everlasting seat," a plain copy of it, down to many small points. Those
who say Purcell had no influence upon his successors evidently know
little either of Purcell's music or Handel's. Handel owed much to
Purcell, and not least was the massive, direct way of dealing with the
chorus, the very characteristic which has kept his oratorios so popular
here and so unpopular abroad. Handel's mighty choral effects are
English: he learnt from Purcell how to make them. It is true enough that
Purcell learnt something from Carissimi; but Carissimi's effects are
very often of that kind that look better on paper than they sound in
performance. The variations over ground-basses are marvellously
ingenious, but more marvellous than the ingenuity are the charming
delicacy and expressiveness of the melodies woven in the upper parts.
They are music which appeals direct to listeners who care nothing for
technical problems. Some of the discords may sound a little odd to those
who have been trained to regard the harmonic usages of the Viennese
school as the standard of perfection. Dr. Burney thought them blunders
resulting from an imperfect technique. Later a few words must be said on
the subject, but let me for the present point out that Purcell was a
master of the theory as well as of the practice of composition. He loved
these discords, and deliberately wrote them; he could have justified
them, and there is hardly one that we cannot justify. Purcell could
write intricate fugues and canons without any "harsh progressions"; that
he liked these for their own sake is obvious in numberless pieces where
no laws of counterpoint compelled him to write this note rather than
that. And though in the eyes of the theorists they are harsh, in the
ears of all men they are sweet. The works of Purcell and of Mozart are
the sweetest music ever composed, yet both composers filled their music
with discords--"that give delight and hurt not."

In 1691 Purcell and Dryden did _King Arthur_ together. The poet had by
this time forsaken Monsieur Grabut, who had in his eyes at one time
stood for all that was commendable in mu