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THREE:The Bute Ministry was now in power, and determined on reversing the policy of Pitt��policy which had added so magnificently to the territory[172] and glory of the country. Bute had now to seek powerful connections to enable him to carry on. The commonplace man seeks to make up for his feebleness by associating with him, not men of merit, but men of aristocratic connection. For this reason he conferred the Privy Seal on the Duke of Bedford, and the Seal of Secretary on the Earl of Egremont. To break the force of popular indignation for the loss of Pitt from the helm��for the people knew who was the great man and successful minister well enough��the king was advised to confer some distinguished mark of favour on Pitt. He was offered the government of Canada as a sinecure, with five thousand pounds a year. Pitt was not the man to undertake a highly responsible office without discharging the duties, and he was next offered the Chancellorship of the Duchy of Lancaster; but he preferred a simple pension of three thousand pounds a-year, and that a title should be conferred on his wife. By this arrangement he was left in the House of Commons, and in a position to continue his exertions for the country. Both these suggestions were complied with.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.