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FORE:He must not drag the ship out of that dive too swiftly��a wing might be torn off.

FORE: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.

FORE:We may consider it a fortunate circumstance that the philosophy of Form,��that is to say, of description, definition, classification, and sensuous perception, as distinguished from mathematical analysis and deductive reasoning,��was associated with a demonstrably false cosmology, as it thus became much more thoroughly discredited than would otherwise have been possible. At this juncture, the first to perceive and point out how profoundly an acceptance of the Copernican theory must affect men��s beliefs about Nature and the whole universe, was Giordano Bruno; and this alone would entitle him to a great place in the history of philosophy. The383 conception of a single finite world surrounded by a series of eternal and unchangeable crystal spheres must, he said, be exchanged for the conception of infinite worlds dispersed through illimitable space. Once grant that the earth has a double movement round its own axis and round the sun, and Aristotle��s whole system of finite existence collapses at once, leaving the ground clear for an entirely different order of ideas.545 But, in this respect, whatever was established by the new science had already been divined by a still older philosophy than Aristotle��s, as Bruno himself gladly acknowledged,546 and the immediate effect of his reasoning was to revive the Atomic theory. The assumption of infinite space, formerly considered an insuperable objection to that theory, now became one of its chief recommendations; the arguments of Lucretius regained their full force, while his fallacies were let drop; Atomism seemed not only possible but necessary; and the materialism once associated with it was equally revived. But Aristotelianism, as we have seen, was not alone in the field, and on the first symptoms of a successful revolt, its old rival stood in readiness to seize the vacant throne. The question was how far its claim would be supported, and how far disputed by the new invaders. It might be supposed that the older forms of Greek philosophy, thus restored to light after an eclipse of more than a thousand years, would be no less hostile to the poetic Platonism than to the scientific Aristotelianism of the Renaissance. Such, however, was not the case; and we have to show how an alliance was established between these apparently opposite lines of thought, eventually giving birth to the highest speculation of the following century.260