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Close to the grassy, channel-divided marsh, flying in a sort of spiral to cover every bit of ground, the amphibian was moving.Moving about in worlds not realised;
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FORE:Jeff shook his head.It was natural that the best methods of interpreting so useful a source of information should be greatly sought after, and that they should be systematised in treatises expressly devoted to the subject. One such work, the Oneirocritica of Artemid?rus, is still extant. It was composed towards the end of the second century, as its author tells us, at the direct and repeated command of Apollo. According to Artemid?rus, the general belief in prophecy and in the existence of providence must stand or fall with the belief in prophetic dreams. He looked on the compilation of his work as the fulfilment of a religious mission, and his whole life was devoted to collecting the materials for it. His good faith is, we are told, beyond question, his industry is enormous, and he even exercises considerable discrimination in selecting and elucidating the phenomena which are represented to us as229 manifestations of a supernatural interest in human affairs. Thus his beliefs may be taken as a fair gauge of the extent to which educated opinion had at that time become infected with vulgar superstition.351
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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.[89][Pg 329]Sandy stayed behind some shrubbery.
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