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THREE:Charles landed in Lochnanuagh on the 25th of July, and was conducted to a farm-house belonging to Clanranald. He then despatched letters to the Highland chiefs who were in his interest. Principal amongst these were Cameron of Lochiel, Sir Alexander Macdonald, and Macleod. Lochiel was as much confounded at the proposal to commence a rebellion without foreign support as the Macdonalds. For a long time Lochiel stood out, and gave the strongest reasons for his decision; but Charles exclaimed, "I am resolved to put all to the hazard. I will erect the Royal Standard, and tell the people of Britain that Charles Stuart is come over to claim the crown of his ancestors, or to perish in the attempt. Lochiel, who, my father has always told me, was our firmest friend, may stay at home, and learn from the newspapers the fate of his prince." "Not so!" instantly replied the impulsive Highlander. "I will share the fate of my prince, whatever it may be, and so shall every man over whom nature or fortune has given me any power." The decision of Lochiel determined the whole Highlands. The Macdonalds of Skye held back when sent for, but numbers of others were immediately influenced by the example of Lochiel. Macdonald of Keppoch, Macdonald of Glengarry, and numbers of others, sent in their adhesion. Charles then removed to Kinloch Moidart, the residence of the chief of that name, where he was joined by Murray of Broughton, who brought with him[93] from the south the manifestoes of Charles ready printed. Charles appointed him his secretary, which post he continued to hold during the expedition.

THREE:��I��ll bet there is!�� Sandy said to himself.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.

THREE:"Oh! wind that whistles, o'er thorns and thistles