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FORE:"Of course," he laughed tolerantly, "I dare say any wilderness were paradise with him."
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FORE:On the instant she put her horse to a run and tore off through the gate toward the open country. It was dark, but by the stars she could see the road and its low bushes and big stones that danced by as her horse, with its belly to the ground, sped on. She strained her ears and caught the sound of hoofs. The men were following her, the gleam of her white dress guiding them. She knew they could not catch her. The horse she rode was a thoroughbred, the fastest on the ranch; not even Cairness's own could match it. It stretched out its long black neck and went evenly ahead, almost without[Pg 327] motion, rising over a dog hole now and then, coming down again, and going on, unslacking. She felt the bit steadily and pressed her knee against the hunting horn for purchase, her toe barely touching the stirrup, that she might be the freer in a fall.I always said whether you fly a crate full of passengers or handle one full of eggs, you get a good break sometimes!
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FORE:"To take them over to my quarters and keep them safe."Henry Purcell (b. 1658; d. 1695) produced the bulk of his works in William's reign. He composed the music to "The Tempest," "Dioclesian," "King Arthur," "Don Quixote," "Bonduca," and "Orpheus Britannicus." Many parts of these, and his sonatas, anthems, catches, rounds, glees, etc., are as much enjoyed now as in his own day. The music to Davenant's "Circe," by Banister, of Shadwell's "Psyche," by Lock, and of Dryden's "Albion and Albanius," by Grabut, had increased in England the liking for the lyrical drama; but Purcell's compositions wonderfully strengthened it, and from "King Arthur" may properly be dated the introduction of the English opera. Gay's "Beggar's Opera," six-and-thirty years after, however, was the first complete and avowed opera, and this did not establish that kind of entertainment in England. The wonderful success of this production, which was performed for sixty-two nights (not consecutive), was chiefly derived from the wit and satire of the composition itself, the abundance of popular airs introduced, and the party feeling which it gratified. The airs were selected and adapted by Dr. Pepusch, a German, who settled in London, and became celebrated there. He also furnished the overture, and wrote accompaniments to the airs. Eleven years after, Milton's "Comus" was adapted to the stage by the Rev. Dr. Dalton, with music by Dr. Arne, who afterwards composed the music for "Artaxerxes," and thence derived a high reputation.
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