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THREE:On the 23rd the aspect of the insurgent multitude became more fierce, daring, and determined. Guizot had announced the resignation of his Cabinet; the king had sent for Count Mol��, then for M. Thiers, who was asked to form a new Ministry. He declined unless Odillon Barrot became one of his colleagues. The king gave a reluctant consent, but Barrot was not prepared to sanction measures of military repression. Marshal Bugeaud, the hero of Algiers, whose exploits there made his name terrible, had been appointed Commander-in-Chief of the first military division, and of the National Guard of Paris, but the National Guard were not prepared to fight against the people. The people, knowing this, shouted, "Vive la Garde Nationale!" and the National Guard shouted, "Vive la R��forme!" In the evening, about seven o'clock, an immense body of the working classes formed in procession, headed by men carrying blazing torches, and marching along the Boulevards, chanted two lines of the Girondists' song��But whilst Tchitchagoff attacked the French on the right bank, Wittgenstein attacked them on the left. The Russians then threw a bridge of pontoons over the river at Borissov, and, being in communication, attacked the French vehemently on both sides of the river at once. Buonaparte and the troops who were over the river forced their way across some marshes over wooden bridges, which the Russians had neglected to destroy, and reached Brelowa, a little above Borissov on the other side. But terrible now was the condition of the forces and the camp-followers who had not crossed. Wittgenstein, Victor, and Oudinot were engaged in mortal combat on the left bank at the approach of the bridge, the French generals endeavouring to beat off the Russians as the troops and people pressed in a confused crowd over the bridges. Every moment the Russians drove the French nearer to the bridges, and the scene of horror became indescribable. The throngs rushed to make their way over the bridge; the soldiers, forgetting their discipline, added to the confusion. The weak and helpless were trampled down; thousands were forced over the sides of the bridge, and perished in the freezing waters. In the midst of the struggle a fierce tempest arose, and deluges of rain fell; and to carry the horror to the highest pitch,[53] the bridge over which the baggage was passing broke down, plunging numbers of sick, and women and children, into the flood, amid the most fearful cries and screams. But all night the distracted multitude continued to press over the sole remaining bridge under the fire of the Russian artillery, and amongst them passed the troops of Victor, who gave up the contest on the left bank, and left those who had not crossed to their fate. Thousands of poor wretches were seen, as morning dawned, huddled on the bank of the river, amid baggage-waggons and artillery, surrounded by the infuriated Russians, and in dumb despair awaiting their fate. To prevent the crossing of the Russians, the French set fire to the bridge, and left those behind to the mercy of the enemy.

THREE: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.[See larger version]

THREE:[See larger version]Still, during all this time, though the Tory Ministers in the Council appeared paralysed, the Jacobite lords assembled in secret junto in the very palace where the Council was sitting and the queen dying. Lady Masham's apartments were the scene of the last convulsive agitation of Jacobitism. From her the distracted leaders of that faction received the accounts of the progress of the queen's illness. Amongst these were Buckingham, Ormonde, Atterbury, and, when he was not at Anne's bedside, Robinson, Bishop of London. This prelate, when he attended to administer the Sacrament to the dying woman, received a message from her, which he was bound by the Duchess of Ormonde to promise to deliver, though it cost him his head. Probably it was some last remembrance to her brother, the Pretender; though it was supposed by some to be an order to the Duke of Ormonde, the Commander-in-Chief, to hold the army for the Stuart. Nothing, however, of the nature of this message ever transpired; but the Duke of Buckingham, on the separation of the Council, which had just obtained the affixing of the Great Seal to a patent providing for the government of the country by four-and-twenty regents till the arrival of the successor, clapped his hand on Ormonde's shoulder, saying, "My lord, you have four-and-twenty hours to do our business in, and make yourself master of the country." It was a forlorn hope. That evening Lady Masham entered her apartments in great agitation, saying, "Oh, my lords, we are all undone��entirely ruined! The queen is a dead woman; all the world cannot save her!" Upon which one of the lords asked if the queen had her senses, and if Lady Masham thought she could speak to them. She replied, "Impossible; her pain deprives her of all sense, and in the interval she dozes and speaks to nobody." "That is hard indeed," said one of the lords. "If she could but speak to us, and give us orders, and sign them, we might do the business for all that." "Alas!" replied another lord, "who would act on such orders? We are all undone!" "Then we cannot be worse," said a third. "I assure you," remarked another of these conspirators, probably Ormonde, "that if her Majesty would give orders to proclaim her successor in her lifetime, I would do it at the head of the army. I'll answer for the soldiers." "Do it, then!" swore the Bishop Atterbury, for he did not stick at an oath. "Let us go out and proclaim the Chevalier at Charing Cross. Do you not see that we have no time to lose?" Lady Masham told them they might waive debate; there was nothing to be done; her Majesty was no longer capable of directing anything. On which the Duke of Ormonde exclaimed, "Lord, what an unhappy thing this is! What a cause is here lost at one blow!"

THREE: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.