"There are seven notes in the scale; make them thirteen, yet what a slender outfit for so vast an enterprise! What science brings so much out of so little? Out of what poor elements does some great master in it create his new world! Shall we say that all this exuberant inventiveness is a mere ingenuity or trick of art, like some game or fashion of the day, without reality, without meaning? We may do so; and then, perhaps, we shall also account the science of theology to be a matter of words; yet, as there is a divinity in the theology of the church which those who feel cannot communicate, so is there also in the wonderful creation of sublimity and beauty of which I am speaking. ... Is it possible that that inexhaustible evolution and disposition of notes, so rich yet so simple, so intricate yet so regulated, so various yet so majestic, should be a mere sound, which is gone and perishes? Can it be that those mysterious stirrings of heart, and keen emotions, and strange yearnings after we know not what, and awful impressions from we know not whence, should be wrought in us by what is unsubstantial, and comes and goes, and begins and ends in itself? ... No; they have escaped from some higher sphere; ... they are echoes from our home; they are the voice of angels, or the _Magnificat_ of saints, or the living laws of divine governance, or the divine attributes; something are they besides themselves, which we cannot compass, which we cannot utter." [Footnote 30] [Footnote 30: Newman's _Sermons before the University of Oxford_. 2d edition, pp. 349, 350.] The beauty of this extract, from perhaps one of the greatest passages of its eminent author, may be my apology for its length. What Dr. Newman here says of the evolution of musical harmony from simple elements may be applied to the vast fabric of intentions, reaching to no less than three worlds, the church militant, triumphant, and purifying, which we are taught to build out of such few brief prayers as a child might utter. {188}