outset would have been as distasteful as they were strange
to him. The episode with which the parable concludes has no dramatic
connection with the former and principal portion, and has therefore not
been treated."

In reality there are but six of the eighteen numbers concerned with the
narration of the parable. The remainder moralize upon the story and
illustrate its teaching. After a short, simple orchestral prelude, an
opening chorus, beginning with soprano solo ("There is Joy in the
Presence of the Angels of God"), and containing also alto and bass solos,
gives the key to the whole work in reflective style, as it proclaims the
rejoicing in heaven over the "one sinner that repenteth." At its
conclusion the parable begins with tenor recitative and solo, "A certain
man had two sons," in which the Prodigal asks for his portion of goods.
In a bass aria preceded by recitative, the father gives him good advice,
"Honor the Lord," and presumably his portion also, as the soprano recites
in the next number that "he took his journey into a far country, and
there wasted his substance in riotous living." Thereupon follows a very
melodious and vivacious chorus ("Let us eat and drink; to-morrow we
die"), in which the tenor has an important part. The response to the
bacchanal comes in the next number, a brief chorus beginning with the
alto recitative, "Woe unto them." One of the gems of the work, a pretty
alto song, "Love not the World," intervenes at this point. At its
conclusion the narrative is resumed.

After an effective prelude by orchestra, the soprano recitative relates
the famine and the experiences of the Prodigal among the swine, leading
up to a pretty aria ("O that thou hadst hearkened"). The tenor follows
with an expressive aria ("How many hired Servants of my Father's"). The
narrative again halts to give place to a very taking chorus ("The
Sacrifices of God"), after which we have the return and reconciliation
("And he arose and came to his Father"),--a very dramatic duet for tenor
and bass, followed by the vigorous and exultant bass aria ("For this my
Son was dead") of the father. The parable ends here; but the music goes
on moralizing upon and illustrating the theme in four effective
numbers,--the chorus, "O that Men would praise the Lord," which is the
longest and best constructed in the work; the recitative and aria for
tenor, "Come, ye Children;" the unaccompanied quartet, "The Lord is
nigh;" and the final