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FORE:Moreover, Landor was very ill. In the Mogollons he had gathered and pressed specimens of the gorgeous[Pg 134] wild flowers that turn the plateaux into a million-hued Eden, and one day there had lurked among the blossoms a sprig of poison weed, with results which were threatening to be serious. He rode at the head of his column, however, as it made for home by way of the Aravaypa Ca?on.

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FORE:She told him that they had all scattered some time before, with the hounds in full cry. "I must go," she repeated more firmly now, "they will be looking��" She stopped short.Dick watched him go along the gravel path, watched him climb to the side veranda of the big house, pausing for a moment to tell the newly installed housemaid about his recent adventure.

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FORE:Encouraged by their success against the commercial treaty, the Whigs demanded that the Pretender, according to the Treaty of Peace, should be requested to quit France. It had been proposed by the French Court, and privately acceded to by Anne, that he should take up his residence at Bar-le-duc or Lorraine. The Duke of Lorraine had taken care to inquire whether this would be agreeable to the queen, and was assured by her Minister that it would be quite so. As his territory��though really a portion of France��was nominally an independent territory, it seemed to comply with the terms of the Treaty; but the Whigs knew that this was a weak point, and on the 29th of June Lord Wharton, without any previous notice, moved in the Peers that the Pretender should remove from the Duke of Lorraine's dominions. The Court party was completely taken by surprise, and there was an awkward pause. At length Lord North ventured to suggest that such a request would show distrust of her Majesty; and he asked where was the Pretender to retire to, seeing that most, if not all, the Powers of Europe were on as friendly terms with the king as the Duke of Lorraine. Lord Peterborough sarcastically remarked that as the Pretender had begun his studies at Paris, he might very fitly go and finish them at Rome. No one, however, dared to oppose the motion, which was accordingly carried unanimously. On the 1st of July, only two days afterwards, General Stanhope made a similar motion in the House of Commons, which was equally afraid to oppose it, seeing that the House was still under the Triennial Act, and this was its last session. The slightest expression in favour of the Pretender would have to be answered on the hustings, and there was a long silence. Sir William Whitelock, however, was bold enough to throw out a significant remark, that he remembered the like address being formerly made to the Protector to have King Charles Stuart removed out of France, "leaving to every member's mind to suggest how soon after he returned to the throne of England notwithstanding." The addresses carried up from both Houses were received by the queen with an air of acquiescence, and with promises to do her best to have the Pretender removed. Prior, in Paris, was directed to make the wishes of the public known to the French Government. But this was merely pro forma; it was understood that there was no real earnestness on the part of the English queen or ministry. Prior, writing to Bolingbroke, said that De Torcy asked him questions, which for the best reason in the world he did not answer; as, for instance, "How can we oblige a man to go from one place when we forbid all others to receive him?" In fact, the Abb�� Gualtier, in his private correspondence, assures us that Bolingbroke himself suggested to the Duke of Lorraine the pretexts for eluding the very commands that he publicly sent him.

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FORE:George had much difficulty in restraining his indignation, but he kept it down, and only bowed the duke silently out of his presence. No sooner had he departed than he flew to Cumberland, and declared he would bear this no longer. Again overtures were made to Pitt, again Pitt expressed himself willing to take office, but again declined, because Temple still refused. Foiled in these attempts to engage Pitt, and equally foiled in an endeavour to engage some of the heads of the leading Whig houses, who would enter no administration without Pitt, a heterogeneous cabinet was at length cobbled up, through the management of the old Duke of Newcastle, who was hankering after office. The Marquis of Rockingham was put forward as First Lord of the Treasury and Premier. Grafton and Conway were to be Secretaries of State; and the latter, lately dismissed with ignominy from the army, was to lead the Commons. The Earl of Northington was made Chancellor, the old Duke of Newcastle Privy Seal; another old and almost superannuated nobleman, Lord Winchelsea, President of the Council. Charles Townshend retained his post of Paymaster of the Forces. Such materials, it was clear, could never long hold together. "It is a mere lute-string administration," said Townshend himself; "it is pretty summer wear, but it will never stand the winter!"

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FORE:CHAPTER V. REIGN OF GEORGE II.��(concluded).

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FORE: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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