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ONE:For answer she put out her hand and laid it upon his, not as she had often done it before, in the unattentive eagerness of some argument, but slowly, with a shadow of hesitation.
ONE:For answer she put out her hand and laid it upon his, not as she had often done it before, in the unattentive eagerness of some argument, but slowly, with a shadow of hesitation.
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ONE:[Pg 179]
ONE:[Pg 179]
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ONE:She asked, with the flat Virginia accent of the vowels,[Pg 256] if he would like her to go and embrace the woman, and request her to make their home henceforth her own.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.
ONE:She asked, with the flat Virginia accent of the vowels,[Pg 256] if he would like her to go and embrace the woman, and request her to make their home henceforth her own.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.
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ONE:Bacon begins by demanding that throughout the whole range of experience new facts should be collected on the largest scale, in order to supply materials for scientific generalisation. There can be no doubt that he is here guided by the example of Aristotle, and of Aristotle alone. Such a storehouse of materials is still extant in the History of Animals, which evidently suggested the use of the word History in this sense to Bacon, and which, by the way, is immensely superior to anything that he ever attempted in374 the same line. The facts on which Aristotles Politics is based were contained in another vast descriptive work of the same kind, now unhappily lost. Even the Stagirites more systematic treatises comprise a multitude of observations, catalogued according to a certain order, but not reduced to scientific principles. What Bacon did was to carry out, or to bid others carry out, the plan so suggested in every department of enquiry. But if we ask by what method he was guided in his survey of the whole field to be explored, how he came by a complete enumeration of the sciences, arranged according to their logical order,the answer is still that he borrowed it from the Peripatetic encyclopaedia."And now," said the Reverend Taylor, fingering the lock of hair over the little Reverend's right ear,[Pg 263] as that wise little owl considered with uncertain approval a whistle rattle Cairness had bought for him, "and now what are you going to do?"
ONE:Bacon begins by demanding that throughout the whole range of experience new facts should be collected on the largest scale, in order to supply materials for scientific generalisation. There can be no doubt that he is here guided by the example of Aristotle, and of Aristotle alone. Such a storehouse of materials is still extant in the History of Animals, which evidently suggested the use of the word History in this sense to Bacon, and which, by the way, is immensely superior to anything that he ever attempted in374 the same line. The facts on which Aristotles Politics is based were contained in another vast descriptive work of the same kind, now unhappily lost. Even the Stagirites more systematic treatises comprise a multitude of observations, catalogued according to a certain order, but not reduced to scientific principles. What Bacon did was to carry out, or to bid others carry out, the plan so suggested in every department of enquiry. But if we ask by what method he was guided in his survey of the whole field to be explored, how he came by a complete enumeration of the sciences, arranged according to their logical order,the answer is still that he borrowed it from the Peripatetic encyclopaedia."And now," said the Reverend Taylor, fingering the lock of hair over the little Reverend's right ear,[Pg 263] as that wise little owl considered with uncertain approval a whistle rattle Cairness had bought for him, "and now what are you going to do?"
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ONE:The Apache in Felipa was full awake now, awake in the bliss of killing, the frenzy of fight, and awake too, in the instinct which told her how, with a deep-drawn breath, a contraction, a sudden drop and writhing, she would be free of the arms of steel. And she was free, but not to turn and runto lunge forward, once and again, her breath hissing between her clenched, bared teeth.
ONE:The Apache in Felipa was full awake now, awake in the bliss of killing, the frenzy of fight, and awake too, in the instinct which told her how, with a deep-drawn breath, a contraction, a sudden drop and writhing, she would be free of the arms of steel. And she was free, but not to turn and runto lunge forward, once and again, her breath hissing between her clenched, bared teeth.
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ONE:Cruising slowly the yacht came into sight.
ONE:Cruising slowly the yacht came into sight.
THREE:210
THREE: