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THREE:The chief Alchise and a half hundred of his kind—one so deaf that he held to his savage old ear a civilized speaking-trumpet—squatted about on the ground, and explained to Crook the nature of their wrongs.

THREE:The resolute and courageous men, led by a resolute and courageous saloon-keeper, found one old Indian living at peace upon his rancheria. They fired at him and ran away. The women and children of the settlers were left to bear the brunt of the anger of the Apaches. It was too much for even the Tucson journalist. He turned from denunciation of the [Pg 180]military, for one moment, and applied his vigorous adjectives to the Tombstone Toughs.It was high time that some measures were taken for preventing clandestine marriages. Nothing could be so loose as the marriage laws, or so scandalous as the practice regarding marriages at this date. No previous public notice or publication of banns was hitherto required, nor was any license requisite. Any clergyman, though of the most infamous character, could perform the ceremony at any time or place, without consent of parents or guardians. The consequence was, that the strangest and most scandalous unions took place, for which there was no remedy, and the results of which were lives of misery and disgrace. The merest children were inveigled into such connections, and the heirs of noble estates were thus entrapped into the most repulsive alliances, and made the victims of the most rapacious and unprincipled of mankind. The Fleet Prison, where were many ruined parsons—ruined by their crimes and low habits—was a grand mart for such marriages. A fellow of the name of Keith had[116] acquired great pre-eminence in this line. He used to marry, on an average, six thousand couples every year; and on the news of this Bill, which would stop his trade, he vowed vengeance on the bishops, declaring that he would buy a piece of ground and out-bury them all!

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 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:"And so," said Kirby, as he drew a sack of short cut from his pocket and filled his brier, "and so you have chucked up the army? What are you going to do next? Going in for art?"

THREE:“Oh!”