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THREE: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.After tea the ranchers settled down to smoke and read. The Reverend Taylor brought out his collection of specimens and dilated upon them to Cairness.

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THREE:��Sh-h-h! Here comes Jeff.�� Larry turned. ��Well, Jeff������Plutarch, who was twenty-one when Nero declared his country free, was the first leader in the great Hellenist revival, without, at the same time, entirely belonging to it. He cared more for the matter than for the form of antiquity, for the great deeds and greater thoughts of the past than for the words in which they were related and explained. Hence, by the awkwardness and heaviness of his style, he is more akin to the writers of the Alexandrian period than to his immediate successors. On the one side, he opens the era of classical idealism; on the other, he closes that of encyclopaedic erudition. The next generation bore much the same relation to Plutarch that the first Sophists bore to Hecataeus and Herodotus. Addressing themselves to popular audiences, they were obliged to study perspicuity and elegance of expression, at the risk, it is true, of verbosity and platitude. Such men were Dion Chrysostom, Her?des Atticus, Maximus Tyrius, and Aristeides. But the old models were imitated with more success by writers who lived more entirely in the past. Arrian reproduced the graceful simplicity270 of Xenophon in his narrative of the campaigns of Alexander and his reports of the lectures of Epict��tus. Lucian composed dialogues ranking with the greatest masterpieces of lighter Attic literature. The felicity of his style and his complete emancipation from superstition may probably be traced to the same source��a diligent study of the ancient classics. It is certain that neither as a writer nor as a critic does he represent the average educated taste of his own times. So far from giving polytheism its deathblow, as he was formerly imagined to have done, he only protested unavailingly against its restoration.

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THREE:Jacketed from the supply Jeff kept for passengers, two of the Sky Patrol and a discomfited detective rose in the air and joined the pursuit.

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THREE:��Well, then��there��s the stewardess who attends to the ladies�� cabins,�� argued Dick. ��We can watch her.��

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THREE:"Helping you to do what?"��I think Dick is working out something we may be able to prove,�� he argued. ��I think I see his idea. Captain Parks was the only one who could open the cabin safe. He is a seaman, and he would know that a life preserver isn��t bothered with except if somebody is overboard or in some other emergency. Supposing that he meant to help some one in America to ��get away with�� the emeralds������

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THREE:He was waking now to his work. But he had enough of horses. He stopped, sheathed his knife, and, feeling in his pockets, drew out a box of matches. A little spluttering flame caught in a pile of straw, and showed a hind foot dragging helplessly. It crept up, and the mule plunged on three legs, dragging the other along. It snorted, and then every animal in that corral, which was the quartermaster's, smelt danger and snorted too, and struck from side to side of its stall. Those in the next corral caught the fear.

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