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TWO:During this period��from 1769 to 1772��Warren Hastings had been second in the Council[322] at Madras; but in the latter year he was promoted to the head of the Council in Bengal. During this period, too, the British had been brought into hostilities with the Rajah of Tanjore. The history of these proceedings is amongst the very blackest of the innumerable black proceedings of the East India Company. The Rajah of Tanjore was in alliance with the Company. In 1762 they had guaranteed to him the security of his throne; but now their great ally, Mohammed Ali, the Nabob of the Carnatic, called to the English for help against the Rajah. The conduct of honourable men would have been to offer themselves as mediators, and so settle the business; but not by such means was the whole of India to be won from the native princes. The Rajah of the Carnatic offered to purchase the territory of Tanjore from the British for a large sum. The latter, however, had guaranteed the defence of these territories to the Rajah of Tanjore by express treaty. No matter, they closed the bargain with the Rajah of the Carnatic; they agreed to seize Tanjore, and make it over to Mohammed Ali. An army assembled at Trichinopoly on the 12th of September, 1771, invaded Tanjore, seized the Rajah and his family, and invested the whole of Tanjore in the name of the Nabob of the Carnatic.

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TWO:When he looked up again to Brewster's house, there was a chink of faint light showing through a curtain. He got up then and went down to Ellton's quarters.

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TWO:Then Landor remembered for the first time that there was a back door to Brewster's quarters and to the commissary. He crept over to the commissary and tried the door gently. It was fast locked. Then he went to the window. It was a low one, on a level with his[Pg 191] chest, with wide-apart iron bars. He ran his hand between them now, and, doubling his fist, broke a pane with a sudden blow. As the glass crashed in, he grasped the gray blanket and drew it back. Brewster was standing in front of the open safe, the package of bids in his hands, and the big rancher was beside him holding a candle and shading it with his palm. They had both turned, and were staring, terror-eyed, at the bleeding hand that held back the blanket.

TWO:The taste for Italian music was now every day increasing; singers of that nation appeared with great applause at most concerts. In 1703 Italian music was introduced into the theatres as intermezzi, or interludes, consisting of singing and dancing; then whole operas appeared, the music Italian, the words English; and, in 1707, Urbani, a male soprano, and two Italian women, sang their parts all in Italian, the other performers using English. Finally, in 1710, a complete Italian opera was performed at the Queen's Theatre, Haymarket, and from that time the Italian opera was regularly established in London. This led to the arrival of the greatest composer whom the world had yet seen. George Frederick Handel was born at Halle, in Germany, in 1685. He had displayed wonderful genius for music as a mere child, and having, at the age of seven years, astonished the Duke of Saxe Weissenfels��at whose court his brother-in-law was a valet��who found him playing the organ in the chapel, he was, by the Duke's recommendation, regularly educated for the profession of music. At the age of ten, Handel composed the church service for voices and instruments; and after acquiring a great reputation in Hamburg��where, in 1705, he brought out his "Almira"��he proceeded to Florence, where he produced the opera of "Rodrigo," and thence to Venice, Rome, and Naples. After remaining in Italy four years, he was induced to come to England in 1710, at the pressing entreaties of many of the English nobility, to superintend the opera. But, though he was enthusiastically received, the party spirit which raged at that period soon made it impossible to conduct the opera with any degree of self-respect and independence. He therefore abandoned the attempt, having sunk nearly all his fortune in it, and commenced the composition of his noble oratorios. Racine's "Esther," abridged and altered by Humphreys, was set by him, in 1720, for the chapel of the Duke of Chandos at Cannons. It was, however, only by slow degrees that the wonderful genius of Handel was appreciated, yet it won its way against all prejudices and difficulties. In 1731 his "Esther" was performed by the children of the chapel-royal at the house of Bernard Gates, their master, and the following year, at the king's command, at the royal theatre in the Haymarket. It was fortunate for Handel that the monarch was German too, or he might have quitted the country in disgust before his fame had triumphed over faction and ignorance. So far did these operate, that in 1742, when he produced his glorious "Messiah," it was so coldly received that it was treated as a failure. Handel, in deep discouragement, however, gave it another trial in Dublin, where the warm imaginations of the Irish caught all its sublimity, and gave it an enthusiastic reception. On its next presentation in London his audience reversed the former judgment, and the delighted composer then presented the manuscript to the Foundling Hospital, where it was performed annually for the benefit of that excellent institution, and added to its funds ten thousand three hundred pounds. It became the custom, from 1737, to perform oratorios[156] on the Wednesdays and Fridays in Lent. Handel, whose genius has never been surpassed for vigour, spirit, invention, and sublimity, became blind in his latter years. He continued to perform in public, and to compose, till within a week of his death, which took place on April 13, 1759.Mr. Torres, ditto 3,300

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