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FORE:It was time, if they were to avoid a battle. Cumberland was already on the march from Edinburgh. He quitted Holyrood on the 31st of January, and the insurgents only commenced their retreat the next morning, the 1st of February, after spiking their guns. With this force the prince continued his march towards Inverness, a fleet accompanying him along the coast with supplies and ammunition. On nearing Inverness, he found it rudely fortified by a ditch and palisade, and held by Lord Loudon with two thousand men. Charles took up his residence at Moray Castle, the seat of the chief of the Macintoshes. The chief was in the king's army with Lord Loudon, but Lady Macintosh espoused the cause of the prince zealously, raised the clan, and led them out as their commander, riding at their head with a man's bonnet on her head, and pistols at her saddle-bow. Charles, the next morning, the 17th of February, called together his men, and on the 18th marched on Inverness. Lord Loudon did not wait for his arrival, but got across the Moray Firth with his soldiers, and accompanied by the Lord-President Forbes, into Cromarty. He was hotly pursued by the Earl of Cromarty and several Highland regiments, and was compelled to retreat into Sutherland. Charles entered Inverness, and began to attack the British forts. Fort George surrendered in a few days, and in it they obtained sixteen pieces of cannon and a considerable stock of ammunition and provisions.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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