To the words embodying the most important thoughts or feelings, he gives the most important, the emphatic notes, striving to make the sound a faithful and intensifying medium whereby to convey the sense. _His_ work is then done, as the same melody is to be repeated to every verse, and the end sought will have been attained if the poet have carefully fulfilled _his_ part. But if he have introduced inequalities into his rhythm, or have given unimportant words the places occupied by important ones in the first verse, so that an emphatic note will fall upon an 'in,' or a 'the,' or some similar particle, the effect will be bad, and the result unsatisfactory to all concerned. Old association, or intrinsic beauty of poetry or melody may, in rare cases, render such blemishes tolerable, but the creator of a new work should strive to avoid all blemishes, and at least _aim_ at perfection.
If to each good religious poem we possess, or may hereafter possess (be that poem psalm, hymn, sequence, litany, prayer, or form of doctrine), we could attach, or find attached, the musical form best adapted to its highest expression, what delight would we not experience in its rendering? Some such poems might, by reason of old associations, or of especial adaptation, be always sung to the same melodies, while to others might be accorded greater facilities for variety.
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