Yes I accept all of this card-strutting bonanza; the more, the merrier so far as I can tell.
But I still don't completely agree with you. But good for you having the 'guns' to go!
The simple reason is this: With the human voice, and with most instruments that play traditionally in some kind of ensemble, except keyboards and some others, the instrument (including the human voice) is restricted to but one voice per instrument. Even stringed instruments in an orchestra are only occasionally required to 'double-stop' or exceptionally, 'triple-stop'.
The guitar, by contrast, (aka 'the poor man's orchestra') can sound several voices simultaneously. (Up to six in a rasguedo, or five for a plucked chord using all fingers). The transition from D01 to D02 is marked especially, by playing two voices instead of the single voice we learnt in "Good Morning", "Scarborough Fair" and the Mexican hat dance, for example. This transition is accomplished by introducing us first to some arpeggio pieces, as well as diadic and triadic chords.
In the Purcell, there is something quite musically complex going on (from an analytic point of view) where at times the second and third voice speaks and at other times it is at rest. In the particular bar you find so troubling there are according to my understanding, 3 voices. From the bottom up they are: The ground, viz. the low 'doh' or C; the middle voice, a 'Sol' or G that plays one beat after the 'Doh' and speaks for 2 beats only, but sounds simultaneously with the 'doh'; and finally the little melody an octave above our ground. (For clarity, I suppose, the rests are not all notated.)
This all happens, as previously noted, because the special nature of classical guitar is to sound a variable and varying number of voices.