THREE:Thus Roman civilisation, even when considered on its liberal, progressive, democratic side, seems to have necessarily favoured the growth and spread of superstition, because the new social strata which it turned up were less on their guard against unwarranted beliefs than the old governing aristocracies with their mingled conservatism and culture. But this was not all; and on viewing the empire from another side we shall find that under it all classes alike were exposed to conditions eminently inconsistent with that individual independence and capacity for forming a private judgment which212 had so honourably distinguished at least one class under the republican r��gime. If imperialism was in one sense a levelling and democratic system, in another sense it was intensely aristocratic, or rather timocratic. Superiorities of birth, race, age, and sex were everywhere tending to disappear, only that they might be replaced by the more ignoble superiorities of brute-force, of court-favour, and of wealth. The Palace set an example of caprice on the one side and of servility on the other which was faithfully followed through all grades of Roman society, less from a spirit of imitation than because circumstances were at work which made every rich man or woman the centre of a petty court consisting of voluntary dependents whose obsequiousness was rewarded by daily doles of food and money, by the occasional gift of a toga or even of a small farm, or by the hope of a handsome legacy. Before daybreak the doors of a wealthy house were surrounded by a motley crowd, including not only famished clients but praetors, tribunes, opulent freedmen, and even ladies in their litters; all come nominally for the purpose of paying their respects to the master, but in reality to receive a small present of money. At a later hour, when the great man went abroad, he was attended by a troop of poor hangers-on, who, after trudging about for hours in his train and accompanying him home in the afternoon, often missed the place at his table which their assiduities were intended to secure. Even when it came, the invitation brought small comfort, as only the poorest food and the worst wine were set before the client, while he had the additional vexation of seeing his patron feasting on the choicest dishes and the most delicious vintages; and this was also the lot of the domestic philosopher whom some rich men regarded as an indispensable member of their retinue.326 Of course those who wished for a larger share of the patron��s favours could only hope to win it by unstinted tokens of admiration, deference, or assent; and213 probably many besides the master of thirty legions in the well-known story were invariably allowed to be right by the scholars with whom they condescended to dispute.He turned to Larry.

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THREE:CHAPTER XI ��POP! GOES OUR MYSTERY!��247

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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.

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