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FORE:The Empress Maria Theresa, never reconciling herself to the seizure of Silesia by Frederick, and not finding England disposed to renew a war for the object of recovering it, applied to her old enemy, France. It required some ability to accomplish this object of detaching France from its ancient policy of hostility to Austria, pursued ever since the days of Henry IV., and in severing the alliance with Prussia; but her Minister, Kaunitz, who had been her ambassador in Paris, contrived to effect it. The temptation was thrown out of the surrender of Belgic provinces to augment France, in return for assistance in recovering German possessions from Prussia. To add fresh stimulus to this change, the vengeance of offended woman was brought into play. Madame Pompadour, Louis XV.'s all-powerful mistress, had sent[124] flattering compliments to Frederick by Voltaire; but the Prussian king only repaid them with sneers. On the other hand, the virtuous Maria Theresa did not blush to write, with her own hand, the most flattering epistles to the Pompadour. By these means, the thirst of revenge raised in the heart of the French mistress worked successfully the breach with Prussia and the alliance with Austria. The same stimulus was tried, and with equal effect, on the Czarina Elizabeth, on whose amorous licence the cynical Prussian monarch had been equally jocose. Kaunitz knew how to make the sting of these ungallant sallies felt at both Paris and St. Petersburg, and the winter of 1755-6 saw the Russian alliance with Prussia and England renounced, the English subsidy, with far more than German probity, renounced too, and Russia pledged to support Austria and France. The Elector of Saxony, Augustus, King of Poland, who amused himself with low pot-house companions and tame bears, and left his affairs to his minister, Count Brühl, was also induced, by the promise of Prussian territory, to join the league; and even Sweden, whose queen, Ulrica, was sister to Frederick, was drawn over to take side against him, in the hope of recovering its ancient province of Pomerania. This confederation of ninety millions of people, leagued against five millions, was pronounced by Pitt "one of the most powerful and malignant ones that ever yet threatened the independence of mankind."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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