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FORE:Fortunately, Municipal Reform in Scotland did not give much trouble. It was accomplished almost without any discussion or party contention. It was based upon the provisions of the Scottish Reform Bill, which settled the whole matter by the simple rule that the Parliamentary electors of every burgh should be the municipal electors; also that the larger burghs should be divided into wards, each of which should send two representatives to the town council, chosen by the qualified electors within their respective bounds; and that the provost and bailies, corresponding to the English mayor and aldermen, should be chosen by the councillors, and invested with the powers of magistrates in the burgh. The functionaries were to be elected for three years, and then to make way for others elected in the same manner to succeed them. They were invested with the control and administration of all corporate property and patronage of every description.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.