The musical numbers of the oratorio naturally group themselves into eight parts (preceded by a prologue) corresponding to the Gospel narrative. The Christ motive is introduced in the music of the prologue (for tenor and celestial chorus) which establishes at once the mood of the whole work. Of exquisite beauty and tenderness are the passages assigned to the voice of Christ (baritone) in the first part (‘Blessed he, who, from earth’s dreams awaking’) and in the third and fourth parts. The celestial choruses are notable throughout for their tender note of consolation and admonition, especially in the fifth part. Franck’s treatment of the whole of the third beatitude--‘Blessed are they that mourn’--is forceful and impressive, beginning with the chorus, ‘Grief over all creatures,’ the strongest in the whole oratorio. The most dramatic moments of the work are in the seventh part--‘Blessed are the peacemakers.’ His Satan, as the arch-inspirer of all strife and discord, appears as a figure of Miltonic grandeur. Opposed to his bitter denunciations and taunts are the gentle strains of the Christ voice (‘Blessed are they who, with voice beseeching’), which touch even Satan to a penitent mood (‘Ah! that voice’) and lead into one of the most beautiful portions of the entire work, the famous quintet of peacemakers (‘Evil cannot stay’). The eighth part--‘Blessed are they which are persecuted for righteousness’ sake’--rivals the seventh in dramatic intensity and force. Satan, ‘not yet defeated,’ again hurls defiance at Christ. He is rebuked by the chorus of the just and finally gives way before the voice of the _Mater Dolorosa_ who sings a sublime song (‘Stricken with sorrow’). Satan recognizes his doom, the voice of Christ is heard for the last time, and the celestial chorus responds with a triumphant Hosanna which brings the work to a close. III