s even where an aria is transposed a
fourth or fifth; but the effect of them is startling. Pleasure (Wollust)
sings a lovely soprano aria to allure Hercules from the paths of Virtue, to
which Hercules replies indignantly with an aria in a spirited staccato
style. It is no doubt a shock to our feelings to find that Wollust's aria
became the Virgin's cradle-song, while Hercules's reply became the alto
aria in which Zion is bidden to "prepare for the Bridegroom." But it does
not warrant the inference that Bach's music lacks definite
characterization: on the contrary, these two arias are the best
demonstration of his profound insight into the possibilities of musical
expression within his range. It is no part of his conception of art that
Wollust should be represented by a Wagnerian Venusberg-music; the obvious
way to represent Pleasure was by writing pleasant music, and with Bach's
ideas of pleasance the step from this to the solemn beauty of the sacred
cradle-song was a mere matter of change of colour and _tempo_. The key is
lowered from B flat to G, the strings are veiled with the tender reed tone
of a group of _oboe d' amore_, the soprano becomes an alto whose notes are,
as it were, surrounded with a nimbus by being doubled in the upper octave
by a flute; and the aria becomes worthy of its new purpose, not by losing a
grossness which it never possessed, but by gaining the richness which
distinguishes the perfect work from the boldly executed draft.

As to the aria of Hercules the change is in manner, while the character, in
the human sense of the term, is quite rightly the same. Both Hercules and
the faithful Christian of the oratorio are renouncing pomps and vanities
for the claims of a higher life; in the one case indignantly, in the other
case inspired "mit zaertlichem Triebe." A change to a _legato_ style, the
substitution of a single _oboe d' amore_ for _tutti_ violins, the addition
of delicate ornaments indicative of a slower pace, and the noble stream of
melody preserve its identity while changing its aspect. Bach's larger
designs react on their changing contents as a cathedral reacts on the
impressiveness of the rites performed within it, or as nature reacts on a
poet's thoughts; and in the same way Bach's melody is greater than any
possible mood of the moment, not because of that vague and negative
pseudo-classical quality misnamed "reserve," but because of its vital
individuality. In their proper directions its