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THREE:The old religions of Greece and Italy were essentially oracular. While inculcating the existence of supernatural beings, and prescribing the modes according to which such beings were to be worshipped, they paid most attention to the interpretation of the signs by which either future events in general, or the consequences of particular actions, were supposed to be divinely revealed. Of these intimations, some were given to the whole world, so that he who ran might read, others were reserved for certain favoured localities, and only communicated through the appointed ministers of the god. The Delphic oracle in particular enjoyed an enormous reputation both among Greeks and barbarians for guidance afforded under the latter conditions; and during a considerable period it may even be said to have directed the course of Hellenic civilisation. It was also under this form that supernatural religion suffered most injury from the great intellectual movement which followed the Persian wars. Men who had learned to study the constant sequences of Nature for themselves, and to shape their conduct according to fixed principles of prudence or of justice, either thought it irreverent to trouble the god about questions on which they were competent to form an opinion for themselves, or did not choose to place a well-considered scheme at the mercy of his possibly interested responses. That such a revolution occurred about the middle of the fifth century B.C., seems proved by the great change of tone in reference to this subject which one perceives on passing from Aeschylus to Sophocles. That anyone should question the veracity of an oracle is a supposition which never crosses the mind of the elder dramatist. A knowledge of augury counts among the greatest benefits222 conferred by Prometheus on mankind, and the Titan brings Zeus himself to terms by his acquaintance with the secrets of destiny. Sophocles, on the other hand, evidently has to deal with a sceptical generation, despising prophecies and needing to be warned of the fearful consequences brought about by neglecting their injunctions.

THREE:��Don��t you see? Can��t you?�� She raised her voice to a shrill pitch of excitement.

THREE: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.Surprised, Larry did as he asked.