The unusual method which I was constrained to follow, that is of writing words to suit existing music, has its advantages. In some cases, as will be seen in the notes to the hymns, the musician, out of despair or even contempt for the doggrel offered to him, has composed a fine tune quite independent of the words to which it was dedicated[22], and such tunes have been silent ever since they were composed: while even when a melody has been actually inspired by a particular hymn, the attention of the composer to the first stanza has not infrequently set up a hirmos, or at least a musical scheme of feeling, which, not having been in the mind of the writer of the words, is not carried out in his other stanzas[23]: indeed, as every one must have observed, the words of hymns have too often been written with insufficient attention to the conditions which a repetition of any music to every stanza must impose. To get rid of such discrepancies between words and music is advantageous to both, and although this treatment cannot of course be applied to english hymns,--which it is not allowable to alter, except in cases of glaring unfitness or absurdity, such as would if uncorrected cause the neglect of a good hymn[24],--yet, where the hymn has to be translated from a foreign language, some reconstruction is generally inevitable, and it can follow no better aim than that of the mutual enforcement of words and music. And the words owe a courtesy to the music; for if a balance be struck between the words and music of hymns, it will be found to be heavily in favour of the musicians, whose fine work has been unscrupulously altered and reduced to dullness by english compilers, with the object of conforming it in rhythm to words that are unworthy of any music whatever. The chief offenders here are the protestant reformers, whose metrical psalms, which the melodies were tortured to fit, exhibit greater futility than one would look for even in men who could thus wantonly spoil fine music[25]. The form and size of the book were determined by the type, chosen because it was the only one that I could find of any beauty; and I wished that my book should in this respect give an example, and be worthy both of the music and its sacred use[26]. Moreover a book from which two or three singers can read is more convenient in the choir than a multiplicity of small books; and the music being in full score, its intention cannot be mistaken: for it must be understood that most of these tunes are set in the manner proper for voices, but unsuitable for the piano or other keyed instrument; and the book is intended to encourage unaccompanied singing. A choir that cannot sing unaccompanied cannot sing at all; and this is not an uncommon condition in our churches, where choirs with varying success accompany the organ. A proper manner of sustained singing, and the true artistic pleasure that should govern it, will never be obtained until these conditions are reversed.