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ONE: TWO:The most important result of the old Pythagorean teaching was, that it contributed a large element��somewhat too large, indeed,��to Plato��s philosophy. Neo-Pythagoreanism bears precisely the same relation to that revived Platonism which was the last outcome of ancient thought. It will be remembered that the great controversy between Stoicism and Scepticism, which for centuries divided the schools of Athens, and was passed on by them to Cicero and his contemporaries, seemed tending towards a reconciliation based on a return to the founder of the Academy, when, from whatever cause, Greek speculation came to a halt, which continued until the last third of the first century after Christ. At that epoch, we find a great revival of philosophical interest, and this revival seems to have been maintained for at least a hundred years, that is to say, through the whole of what is called the age of the Antonines. In the struggle for existence among the rival sects which ensued, Platonism started with all the advantages that a great inheritance and a great name could bestow. At the commencement of this period, we find the Academy once more professing to hold the doctrines of its founder in their original purity and completeness. Evidently the sober common-sense view of Antiochus had been discarded, and Plato��s own writings were taken as an authoritative standard of truth. A series of industrious commentators undertook the task of elucidating their contents. Nor was it only in the schools that their influence was felt. The beauty of their style must have strongly recommended the Dialogues to the attention of literary men. Plutarch, the most considerable Greek writer of his time, was a declared Platonist. So251 also was the brilliant African novelist, Apuleius, who flourished under Marcus Aurelius. Celsus, the celebrated anti-Christian controversialist, and Maximus, the Tyrian rhetorician, professed the same allegiance; and the illustrious physiologist Galen shows traces of Platonic influence. Platonism, as first constituted, had been an eminently religious philosophy, and its natural tendencies were still further strengthened at the period of its revival by the great religious reaction which we have been studying in the present chapter; while, conversely, in the struggle for supremacy among rival systems, its affinities with the spirit of the age gave it an immense advantage over the sceptical and materialistic philosophies, which brought it into still closer sympathy with the currents of popular opinion. And its partisans were drawn even further in the same direction by the influence of Neo-Pythagoreanism, representing, as this did, one among the three or four leading principles which Plato had attempted to combine.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.

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