THREE:With Christianity, there came a certain inversion of parts. The external universe again became subjected to narrow limitations, and the flammantia moenia mundi beyond which Epicurus had dared to penetrate, were raised up once more and guarded by new terrors as an impassable barrier to thought. But infinity took refuge within the soul; and, while in this life a sterner self-control than even that of Stoicism was enjoined, perspectives of illimitable delight in another life were disclosed. Finally, at the Renaissance, every barrier was simultaneously overthrown, and the accumulated energies of western civilisation expatiated over a field which, if it was vast in reality, was absolutely unbounded in imagination. Great as were the achievements of that age, its dreams were greater still; and what most excites our wonder in the works of its heroes is but the fragment of an unfinished whole. The ideal of life set up by Aristotle was, like his conception of the world, contradicted in every particular; and the relative positions assigned by him to act and power were precisely reversed. It has been shown how Shakespeare reflected the Platonism of his contemporaries: he reflected also the fierce outburst of their ambition; and in describing what they would dare, to possess solely sovereign sway and masterdom, or wear without corrival all the dignities of honour, he borrowed almost the very words used by Euripides to express the feelings encouraged by some teachers of his time. The same spirit is exhibited a generation later in the dramas of Calderon and Corneille, before their thoughts were forced into a different channel by the stress of the Catholic reaction; while its last and highest manifestation is the sentiment of Miltons ruined archangel, that to reign in hell is better than to serve in heaven. Thus,400 when Hobbes reduces all the passions to modes of the fundamental desire for power,557 he does but give the scientific theory of that which stands proclaimed in more thrilling accents by the noblest poetry of his age.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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