THREE: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 Weissenfelsat whose court his brother-in-law was a valetwho 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 Hamburgwhere, 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:Periodical writing grew in this reign into a leading organ of opinion and intelligence. The two chief periodicals, according to our present idea of them, were the Gentleman's Magazine and the Monthly Review. These were both started prior to the accession of George III. The Gentleman's Magazine was started by Cave, the publisher, in 1731; and the Monthly Review commenced in 1749. The former was a depository of a great variety of matters, antiquarian, topographical, critical, and miscellaneous, and has retained that character to the present hour. The Monthly Review was exclusively devoted to criticism. But in the early portion of the reign a periodical literature of a totally different character prevailedthe periodical essayistformed on the model of the Spectator, Guardian, and Tatler of a prior period. Chief amongst these figured Ambrose Philips's Freethinker; the Museum, supported by Walpole, the Wartons, Akenside, etc.; the Rambler, by Dr. Johnson; the Adventurer, by Hawkesworth; the World, in which wrote chiefly aristocrats, as Lords Lyttelton, Chesterfield, Bath, Cork, Horace Walpole, etc.; the Connoisseur, chiefly supplied by George Colman and Bonnel Thornton; the Old Maid, conducted by Mrs. Frances Brooke; the Idler, by Johnson; the Babbler, by Hugh Kelly; the Citizen of the World, by Goldsmith; the Mirror, chiefly written by Mackenzie, the author of the "Man of Feeling;" and the Lounger, also chiefly conducted by Mackenzie. This class of productions, appearing each once or twice a week, afforded the public the amusement and instruction now furnished by the daily newspapers, weekly reviews, and monthly magazines. Towards the end of the reign arose a new species of review, the object of which was, under the guise of literature, to serve opposing parties in politics. The first of these was the Edinburgh Review, the organ of the Whigs, started in 1802, in which Brougham, Jeffrey, and Sydney Smith were the chief writers. This, professing to be liberal, launched forth the most illiberal criticisms imaginable. There was scarcely a great poet of the timeWordsworth, Coleridge, Southey, Byron, James Montgomery, Leigh Hunt, Shelley, Keatswhom it did not, but vainly, endeavour to crush. To combat the influence of this Whig organ, in 1809 came forth the Quarterly Review, the great organ of the Tories, to which Scott, Southey, Wilson Croker, Gifford, etc., were the chief contributors. In 1817 this was followed by another Conservative journal, not quarterly, but monthly in its issue, conducted chiefly by Professor Wilson and Lockhart, namely, Blackwood's Magazine, in which the monthly magazines of to-day find their prototype, but with a more decided political bias than these generally possess.About a week before the king died the physician delicately announced to him the inevitable catastrophe, when he said, "God's will be done." His sufferings were very great, and during the paroxysms of pain his moans were heard even by the sentinels in the quadrangle. On the night of the 25th of June his difficulty of breathing was unusually painful, and he motioned to his page to alter his position on the couch. Towards three o'clock he felt a sudden attack of faintness, accompanied by a violent discharge of blood. At this moment he attempted to raise his hand to his breast, and ejaculated, "O God, I am dying!" Two or three seconds afterwards he said, "This is death." The physicians were instantly called, but before they arrived the breath of life was gone. A post mortem examination showed ossification of the heart, which was greatly enlarged, and adhering to the neighbouring parts. The liver was not diseased; but the lungs were ulcerated, and there were dropsical symptoms on the skin, on various parts of the body. The king was an unusually large and, at one time, well-proportioned man; but he afterwards became very corpulent. He died on the 26th of June, in the sixty-eighth year of his age and the eleventh of his reign, having been Prince Regent for ten years. During his last illness the bulletins had been unusually deceptive. The king was anxious to put away the idea of dissolution from his own mind, and unwilling that the public should know that his infirmities were so great; and it was said that he required to see the bulletins and to have them altered, so that he was continually announced as being better till the day of his death. His message to both Houses on the 24th of May, however, put an end to all delusion on the subject. He wished to be relieved from the pain and trouble of signing Bills and documents with his own hand. A Bill was therefore passed to enable him to give his assent verbally, but it was jealously guarded against being made a dangerous precedent. The stamp was to be affixed in the king's presence, by his immediate order given by word of mouth. A memorandum of the circumstances must accompany the stamp, and the document stamped must be previously endorsed by three members of the Privy Council; the operation of the Act was limited to the existing Session. The three Commissioners appointed for affixing his Majesty's signature were Lord Farnborough, General Sir W. Keppel, and Major-General A. F. Barnard.