The words are capable of division into two short sections: Misericordias Domini (the mercy of the Lord), cantabo in æternum (I will sing for ever), but the division is not a real one. For there can be only one fundamental idea--either "Misericordias Domini" or "cantabo in æternum." If the former, then the "cantabo" should be subordinate; if the latter, the "Misercordias" must be included in the exultation. Mozart has so far given way to the love of the picturesque, to which Handel also made many sacrifices, that the "Misericordias" is to be sung softly, but the "cantabe in æternum" energetically and in a lively fugued passage. When the last motif has been worked out, the Grave is repeated, and then again the fugue. It is evident that the law by which thoughts are expressed in _speech_ does not altogether apply to _musical_ expression, but that with the introduction of a new element new rules are {CHURCH MUSIC.} (280) imposed. Since the words, intelligently interpreted, give the keynote to the whole conception, it is the musician's task to embody the sentiments inspired by them in such forms as he has at his disposal. The necessity for avoiding contradictions or inconsistencies is no barrier, but rather an incentive to his creative energy. But a contradiction may arise not only from a misconception of ideas, but from the undue prominence of some one point which, detached from the context, injures the effect of the whole. This would be the case here, if, as Thibaut seems to indicate, the idea of the mercy of God, and that of the praise offered to it, were treated in absolute opposition and mechanical alternation one with the other. But this is not so. The motifs given to the words "cantabo in ætemum," both in themselves and in their working-out, express nothing but firm conviction and desire to act upon that conviction; we seem to view the spiritual condition of a human being who, in spite of adverse fate and sorrowful experiences, is never weary of praising the Lord. The "cantabo" is placed just as Thibaut demands that it should be, as a contrast to the "Misercordias Domini and the contrast is so harmoniously expressed and so consistently sustained as in no way to injure the musical effect of the work as a whole.[50] A very interesting composition, belonging to the year 1776, is the Offertorium de Venerabili (260 K.), "Venite populi," for two choruses, scored in eight parts.[51] It is imitative throughout, less strict in form than usual; the voices seem to take actual delight in their free movement; the two choruses and the separate parts are clearly divided while maintaining natural relations with each other, and the whole work is sharply cut and characteristic both in harmonies and in rhythm. The principal movement is divided in the middle by a short, slow movement, having the same motif, but in different combinations. {VOICES AND ORCHESTRA.} (281)