TWO:The manner in which Hastings had executed the orders of the Directors in this business showed that he was prepared to go all lengths in maintaining their interests in India. He immediately proceeded to give an equally striking proof of this. We have seen that when the Mogul Shah Allum applied to the British to assist him in recovering his territories, they promised to conduct him in triumph to Delhi, and place him firmly on the grand throne of all India; but when, in consequence of this engagement, he had made over to them by a public grant, Bengal, Bahar, and Orissa, they found it inconvenient to fulfil their contract, and made over to him Allahabad and Corah instead, with an annual payment of twenty-six lacs of rupeestwo hundred and sixty thousand pounds. The payment of this large sum, too, was regarded by the Company, now in the deepest debt, as unnecessary, and Hastings had orders to reduce it. It appears that the money was at no time duly paid, and had now been withheld altogether for more than two years. The Mogul, thus disappointed in the promises of restoration by the English, and now again in the payment of this stipulated tribute, turned to the Mahrattas, and offered to make over the little provinces of Allahabad and Corah, on condition that they restored him to the sovereignty of Delhi. The Mahrattas gladly caught at this offer, and by the end of the year 1771 they had borne the Mogul in triumph into his ancient capital of Delhi. This was precisely such a case as the Directors were on the watch for. In their letter to Bengal of the 11th of November, 1768, they had said: "If the Emperor flings himself into the hands of the Mahrattas, or any other Power, we are disengaged from him, and it may open a fair opportunity of withholding the twenty-six lacs of rupees we now pay him." The opportunity had now come, and was immediately seized on by Hastings to rescind the payment of the money altogether, and he prepared to annex the two provinces of Allahabad and Corah. These were sold to the Nabob of Oude for fifty lacs of rupees. This bargain was settled between the vizier and Hastings at Benares, in September, 1773.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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