THREE:In the midst of these cabals died the Regent, and Townshend, acting with Walpole, sent over Walpole's brother Horace to watch their interests at Paris. Carteret, on the other hand, ordered Sir Luke Schaub to make every exertion for the grant of the dukedom. On the arrival of Horace Walpole, Bolingbroke, obeying the impulses of the courtier and not of the man, immediately waited on him, and placed all his influence at the French Court at his service; but Walpole, who had an invincible repugnance to Bolingbroke, whilst he availed himself of the advantages offered by Bolingbroke, still kept him at a great and stately distance. Undeterred by this conduct, however, Bolingbroke swallowed his mortification, and continued to keep his eye and his hope on the Walpole Ministry. Unassisted by Bolingbroke, the dukedom could not be obtained; but George reconciled Madame Platen to the match by giving her daughter a portion of ten thousand pounds. Horace Walpole, at the same time, succeeded in getting Schaub recalled, and himself installed in his office of Ambassador at Parisa decided victory over Carteret; indeed, so decided, that Carteret was removed from the Secretaryship to the Lord-Lieutenancy of Ireland.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.
Why not give one of these popular Games a look?
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