TWO:This blow induced Scindiah to sue for peace from General Wellesley in November, and a truce was accordingly entered into with him; but as the Rajah of Berar still kept the field, Wellesley marched against him, and encountered him on the plains of Argaum, about one hundred and twenty miles north of the Purna river. He was surprised to find the treacherous Scindiah, notwithstanding the truce, also encamped with him. Wellesley attacked the allies on the 28th of November, though it was evening when he was ready for action, and there remained only twenty minutes of daylight. But it proved a brilliant moonlight night, and he routed the whole army, and his cavalry pursued the fugitives for several miles, taking many elephants, camels, and much baggage. He captured all their cannon, thirty-eight pieces, and all their ammunition. This done, he hastened[494] to reduce the formidable fortress of Gawilgarh, situated on a lofty rock. On the 15th the outer walls were carried, and the 94th regiment, led on by Captain Campbell, scaled the inner one, opened the gate, and the whole place was soon in possession of the British. This closed the opposition of the Rajah of Berar. On the 17th of December he came to terms, and surrendered to Wellesley the important province of Cuttack and the district of Balasore. Immediately afterwards Scindiah was compelled to treat in earnest. He consented to surrender all the country between the Jumna and the Ganges, with numerous forts and other territories, and agreed to recognise the right of the Peishwa to the domains which the British had conferred upon him. Both he and the Rajah of Berar stipulated to send away all Frenchmen or other Europeans and Americans, and not to employ them again, nor even to employ British subjects, native or European, without the consent of the British Government.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 Weissenfelsat whose court his brother-in-law was a valetwho 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 Hamburgwhere, 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.
