FORE: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.Plotinus, as we have said, starts with the Aristotelian account of Matter; but by a process of dialectical manipulation, he gradually brings it into almost complete agreement with Platos conception; thus, as usual, mediating between and combining the views of his two great authorities. In the first place, he takes advantage of Aristotles distinction between intelligible and sensible Matter, to strip the latter of that positive and vital significance with which it had been clothed in the Peripatetic system. In the world of Ideas, there is an element common to all specific forms, a fundamental unity in which they meet and inhere, which may without impropriety be called their Matter. But this Matter is an eternal and divine substance, inseparably united with the fixed forms which it supports, and, therefore, something which, equally with them, receives light and life and thought from the central source of being. It is otherwise with sensible Matter, the common substance of the corporeal elements. This is, to use the energetic expression of our philosopher, a decorated corpse.481 It does not remain constantly combined with any form, but is for ever passing from one to another, without manifesting a particular preference for any. As such, it is the absolute negation of Form, and can only be conceived, if at all, by326 thinking away every sensible quality. Neither has it any quantity, for quantity means magnitude, and magnitude implies definite figure. Aristotle opposed to each particular form a corresponding privation, and placed Matter midway between them. Plotinus, on the other hand, identifies Matter with the general privation of all forms. It is at this point that he begins to work his way back to the Platonic notion of Matter as simple extension. There must, after all, be something about Matter which enables it to receive every kind of quality and figure,it must have some sort of mass or bulk, not, indeed, in any definite sense, but with an equal capacity for expansion and for contraction. Now, says Plotinus, the very indeterminateness of Matter is precisely the capacity for extension in all directions that we require. Having no principle of stability, but being borne towards every form, and easily led about in all directions, it acquires the nature of a mass.482
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