also
that--penetrated by the most diverse feelings--I can never think the
setting of them, by this or by the other great writer, to be in any way
a mistake. Theodore might, perhaps, enlighten us to this."

"I should be glad to do so as far as I can," said Theodore, "but I
should have to deliver a little lecture on the subject, and I fear it
would be too serious to fit well in with the facetious tone in which
our conversation began."

"It is true Serapionism that jest and earnest should alternate," said
Ottmar; "so please to deliver yourself confidently, Theodore, on a
subject in which we are all so deeply interested; except, perhaps,
Vincent, who knows nothing about music."

Theodore accordingly went on, as follows:

"Prayer and worship doubtless affect the mind according to its
predominant, or even momentary, mood, or tuning--as this results from
physical or mental well-being, comfort, happiness, or suffering. So
that, at one time, prayer or worship is inward contrition--even to
self-despite and shame, grovelling in the dust before the lightnings of
the Lord of the worlds, angry with the sinner; and, at another time,
vigorous elevation towards the infinite; child-like trust in the
mercy of the Omnipotent, anticipation of the promised bliss. The
words of the Mass present--in their cycle--merely the occasion--the
opportunity--or, at highest, the _clue_, for devotion, and will awaken
the due concord in the soul, according to its frame of thought at the
time. In the Kyrie, God's mercy is implored; the Gloria celebrates His
omnipotence and majesty; the Credo gives expression to the faith on
which the pious soul firmly builds; and after--in the Sanctus and the
Benedictus--the holiness of God has been exalted, and blessings
promised to those who approach Him in confident faith; prayer is
offered, in the Agnus and the Dona, to the Mediator, that He may send
down His peace and gladness to the believing soul. Now even (to begin
with), on account of this very universality (which in no way encroaches
upon the inner significance, and the deeper application which each one
lays into it, according to his own peculiar condition of mind and
conscience), the text lends and adapts itself to the most infinite
variety of musical treatment; and this is the reason why there are
Kyries, Glorias, &c., so widely dissimilar in character, tone, and the
rest. For instance, one has but to compare the Kyries in Haydn's Masses
in C major and D mi