THREE:Stone wore his oratory out after a time, and Cairness closed his eyes rather more, to the end that he might look a yet greater ass, and said that he wanted to hire out as a cow-boy or ranch hand of some sort. "Taylor told me you knew a fellow named Lawton, I think it was. Would he be wanting one now?" He took considerable satisfaction in his own histrionic ability, and lapsed into the phraseology of the job-hunter.But what had happened once before when philosophy was taken up by men of the world, repeated itself on this occasion. Attention was diverted from speculative to ethical problems, or at least to issues lying on the borderland between speculation and practice, such as those relating to the criterion of truth and the nature of the highest good. On neither of these topics had Epicureanism a consistent answer to give, especially when subjected to the cross-examination of rival schools eager to secure Roman favour for their own doctrines. Stated under any form, the Epicurean morality could not long satisfy the conquerors of the world. To some of them it would seem a shameful dereliction of duty, to others an irksome restraint on self-indulgence, while all would be alienated by its declared contempt for the general interests of culture and ambition. Add to this that the slightest acquaintance with astronomy, as it was then taught in Hellenic countries, would be fatal to a belief in the Epicurean physics, and we shall understand that the cause for which Lucretius contended was already lost before his great poem saw the light.
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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 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.Headfirst he plunged in, scrambling, instantly beginning to seek the points where the control cables passed through channeled guides at each side.
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