THE MODERN LYRIC. 849 



naturally utter a word of, say, five syllables more quickly 

 than five words of" one syllable each, and this cannot be done 

 in song without interf'erino' with the symmetry of the music. 

 Take, for example, these five words " A o'ood house well 

 built " and the single word " unwarrantable." The number 

 of syllables is the same, but if we sing the five words to some 

 simple melody, such as the hymn-tune " Hanover," and then 

 sing the five-syllabled word to the same tune in exactly the 

 same time, the effect is ludicrous. We see at once that our 

 ordinary practice is to hurry over a word containing many 

 syllables. 



We must also recognise the fact that a lyric, however 

 artistically written, composed, and performed, lias natural 

 and necessary limitations. It is too much to expect a single 

 voice, accompanied by a single instrument, to do justice to 

 themes for the exjiression of which the varied resources of 

 chorus and orchestra may be adequate. No one man can 

 make an effective cheer, however strong his voice, and how- 

 ever fervently prolonged his boor — a — y. The impetuous 

 patriotism of the " Marseillaise," the religious ardour of the 

 Hallelujah chorus, the profound philosophy of " Consider, 

 consider whether to excel be worthy thine endeavour," the 

 realistic militarism of "We'll follow the Bourbon," the wild 

 descriptiveness of " Now the storm-blast came," though 

 efi'ective in chorus, would be entirely out of place in solo. 

 Poets and musicians must remember that elaborate themes 

 require elaborate treatment, 



2, Verbal Grace. 



If we do not expect in a song any very great depth ot 

 thought, there is all the more necessity and opportunity for 

 elegance of diction. 



Hard-sounding words, even if they express a tender senti- 

 ment, are not pleasing when sung. And it seems almost 

 unnecessary to say that hard sentiments should be left out of 

 lyrics altogether. And yet we find, in a recent volume of 

 German Lieder, this dreadful stanza in a song of revenge : — 



Right in my way thou comest, 



Thou scoundrel, wilt thou dare .■* 



Thy dagger-thrust is parried, now worthy friend " Good Lack ! " 



How on the foreign brain-pan the German sword does crack. 



The only excuse for the musical utterance of such words 

 would be the requirements of opera. 



