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THREE:CHAPTER VI. GREEK PHILOSOPHY AND MODERN THOUGHT.

THREE:“That’s—so,” panted Dick. He decided that the other two must be both fleeter and more agile than he, with his fat; so he returned with Sandy, to a point where they saw that the door was in the same relative position they had left it—wide."Miss McLane will go, I suppose?" asked Felipa.

THREE:Parliament, which had been prorogued for a few days on account of the demise of the king, assembled on the 18th of November. The king delivered a speech, composed by Lord Hardwicke, and revised by Pitt, and containing a passage, said to be inserted by himself, as follows:—"Born and educated in this country, I glory in the name of Briton!" In the addresses these words produced the most enthusiastic responses. "What a lustre," exclaimed the Lords, "doth it cast upon the name of Briton, when you, sir, are pleased to esteem it amongst your glories!" For the rest, the speech expressed the royal determination to prosecute the war with all vigour; praised the magnanimity and perseverance of his good brother, the King of Prussia; and recommended unanimity of action and opinion in Parliament. Nothing could appear more unanimous or more liberal than Parliament.

THREE:"How many did you say?" he wanted to know, having the laudable intention of committing the man before Brewster.This succession of adverse circumstances induced Bolingbroke to dispatch a messenger to London to inform the Earl of Mar of them, and to state that, as the English Jacobites would not stir without assistance from abroad, and as no such help could be had, he would see that nothing as yet could be attempted. But when the messenger arrived in London, he learnt from Erasmus Lewis, Oxford's late secretary, and a very active partisan of the Jacobites, that Mar was already gone to raise the Highlands, if we are to believe the Duke of Berwick, at the especial suggestion of the Pretender himself, though he had, on the 23rd of September, in writing to Bolingbroke, expressed the necessity of the Scots waiting till they heard further from him. If that was so, it was at once traitorous towards his supporters and very ill-advised, and was another proof to Bolingbroke of the unsafe parties with whom he was embarked in this hopeless enterprise.

THREE:The taste for Italian music was now every day increasing; singers of that nation appeared with great applause at most concerts. In 1703 Italian music was introduced into the theatres as intermezzi, or interludes, consisting of singing and dancing; then whole operas appeared, the music Italian, the words English; and, in 1707, Urbani, a male soprano, and two Italian women, sang their parts all in Italian, the other performers using English. Finally, in 1710, a complete Italian opera was performed at the Queen's Theatre, Haymarket, and from that time the Italian opera was regularly established in London. This led to the arrival of the greatest composer whom the world had yet seen. George Frederick Handel was born at Halle, in Germany, in 1685. He had displayed wonderful genius for music as a mere child, and having, at the age of seven years, astonished the Duke of Saxe Weissenfels—at whose court his brother-in-law was a valet—who found him playing the organ in the chapel, he was, by the Duke's recommendation, regularly educated for the profession of music. At the age of ten, Handel composed the church service for voices and instruments; and after acquiring a great reputation in Hamburg—where, in 1705, he brought out his "Almira"—he proceeded to Florence, where he produced the opera of "Rodrigo," and thence to Venice, Rome, and Naples. After remaining in Italy four years, he was induced to come to England in 1710, at the pressing entreaties of many of the English nobility, to superintend the opera. But, though he was enthusiastically received, the party spirit which raged at that period soon made it impossible to conduct the opera with any degree of self-respect and independence. He therefore abandoned the attempt, having sunk nearly all his fortune in it, and commenced the composition of his noble oratorios. Racine's "Esther," abridged and altered by Humphreys, was set by him, in 1720, for the chapel of the Duke of Chandos at Cannons. It was, however, only by slow degrees that the wonderful genius of Handel was appreciated, yet it won its way against all prejudices and difficulties. In 1731 his "Esther" was performed by the children of the chapel-royal at the house of Bernard Gates, their master, and the following year, at the king's command, at the royal theatre in the Haymarket. It was fortunate for Handel that the monarch was German too, or he might have quitted the country in disgust before his fame had triumphed over faction and ignorance. So far did these operate, that in 1742, when he produced his glorious "Messiah," it was so coldly received that it was treated as a failure. Handel, in deep discouragement, however, gave it another trial in Dublin, where the warm imaginations of the Irish caught all its sublimity, and gave it an enthusiastic reception. On its next presentation in London his audience reversed the former judgment, and the delighted composer then presented the manuscript to the Foundling Hospital, where it was performed annually for the benefit of that excellent institution, and added to its funds ten thousand three hundred pounds. It became the custom, from 1737, to perform oratorios[156] on the Wednesdays and Fridays in Lent. Handel, whose genius has never been surpassed for vigour, spirit, invention, and sublimity, became blind in his latter years. He continued to perform in public, and to compose, till within a week of his death, which took place on April 13, 1759.Sandy agreed with Larry’s exclamations but urged his chums to leave the hangar: they knew all it could tell them. He wanted to replace the book he had used and get away from the hangar for awhile.