THREE:The Parliament was punctually opened on the 16th of February, 1714, by the queen, as she had promised at Windsor, though she was obliged to be carried there; for during last autumn she had been obliged, by her gout and obesity, to be raised into her chamber by pulleys, and so let down again, like Henry VIII. After congratulating the two Houses on the peace with Spain, she turned to the subject of the Press, and the rumours spread by it regarding the danger of the Protestant succession. Bolingbroke had been active enough in prosecuting the Press because it was dangerous to the designs which he was cherishing, notwithstanding the affected warmth which he and Oxford had put into the queen's mouth. They had taxed the penny sheets and pamphlets which agitated these questions; but this, according to Swift, had only done their own side mischief. Bolingbroke had, further, arrested eleven printers and publishers in one day. But now the war was opened in Parliament, Lord Wharton, in the House of Peers, called for the prosecution of "The Public Spirit of the Whigs," and the printer and publisher were brought to the bar. These were John Morphew, the publisher, and one John Bache, the printer. But Lord Wharton, who was aiming at higher quarry, said, "We have nothing to do with the printer and publisher, but it highly concerns the honour of this august assembly to find out the villain who is the author of that false and scandalous libel." Oxford denied all knowledge of the author, yet, on retiring from the debate, he sent one hundred pounds to Swift, and promised to do more. Lord Wharton then turned upon the printer, whom he had first affected to disregard, and demanded that he should be closely examined; but the next day the Earl of Mar, one of the secretaries of State, declared that her Majesty had ordered his prosecution. This was to shield him from the Parliamentary inquiry. Here the matter dropped, for Swift was too well screened by his patrons, who had lately rewarded him by Church preferment, and shortly afterwards made him Dean of St. Patrick's, in Dublin.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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