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TWO:Meanwhile, Frederick of Prussia was waging a tremendous war with France, Russia, and Austria. To disable Austria before her allies could come up to her aid, he suddenly, in April, made an eruption into Bohemia. His army threaded the defiles of the mountains of the Bohemian frontier in different divisions, and united before Prague, where Marshal Braun and Prince Charles of Lorraine met him with eighty thousand men, his own forces amounting to about seventy thousand. A most obstinate and sanguinary conflict took place, which continued from nine in the morning till eight at night, in which twenty-four thousand Austrians were killed, wounded, or taken prisoners, and eighteen thousand Prussians. The Prussians were destitute of pontoons to cross the Moldau, or their writers contend that not an Austrian would have escaped. But Marshal Daun advancing out of Moravia with another[128] strong army, to which sixteen thousand of the fugitives from Prague had united themselves, Frederick was compelled to abandon the siege of Prague, and march to near Kolin, where he was thoroughly defeated by Daun, with a loss of thirteen thousand of his bravest troops.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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