Translated Racine was very popular just then with writers who regarded Shakespeare as a dealer in the false sublime. "Would one think it was possible," asks Addison, "at a time when an author lived that was able to write the _Phedra and Hippolytus_ (translate _Phèdre_, that is to say), for a people to be so stupidly fond of the Italian Opera as scarce to give a third day's hearing to that admirable tragedy."
Sensible people! It seems quite possible to us in the present day that they should have preferred Handel's music to Racine's rhymed prose, rendered into English rhymes by a man who had nothing of the poetical spirit which Racine, though writing in an unpoetical language, certainly possessed.
The triumphant success of Handel's _Rinaldo_ was felt deeply by Steele and by the _Spectator's_ favourite composer Clayton, a bad musician, and apart from the practice of his art, as base a scoundrel as ever libelled a great man. But of course critics who besides expatiating on the blemishes of Shakespeare dwelt on the beauties of Racine as improved by Phillips, would be sure to enjoy the cacophony of Clayton;
"Qui Bavium non odit amet tua carmina Mævi."
However we must leave the chivalrous Steele and his faithful minstrel for the present. We have done with the writer's triumphant gloating over the insanity of the poor _prima donna_. We shall presently see the musician publishing impudent falsehoods, under the auspices of his literary patron, concerning Handel and his genius, and endeavouring, always with the same protection, to form a cabal for the avowed purpose of driving him from the country which he was so greatly benefiting.
Before Handel's arrival in England Steele had not only insulted operatic singers, but in recording the success of Scarlatti's _Pyrrhus and Demetrius_, had openly proclaimed his chagrin thereat. "This intelligence," he says, "is not very agreeable to our friends of the theatre."
_Pyrrhus and Demetrius_, in which the celebrated Nicolini made his first appearance, was the last opera performed partly in English and partly in Italian.
In 1710, _Almahide_, of which the music is attributed to Buononcini, was played entirely in the Italian language, with Valentine, Nicolini, Margarita de l'Epine, Cassani, and "Signora Isabella" (Isabella Girardean), in the principal parts. The same year _Hydaspes_ was produced. This marvellous work, which is not likely to be forgotten by readers of the _Spectator_, was brought out under the direction of Nicolini, the sopranist, who performed the part of the hero. The other singers were those included in the cast of _Almahide_, with the addition of Lawrence, an English tenor, who was in the habit of singing in Italian operas, and of whom it was humourously said by Addison, in his proposition for an opera in Greek, that he "could learn to speak the language as well as he does Italian in a fortnight's time." "Hydaspes" is a sort of profane Daniel, who being thrown into an amphitheatre to be devoured by a lion, is saved not by faith, but by love; the presence of his mistress among the spectators inspiring him with such courage, that after appealing to the monster in a minor key, and telling him that he may tear his bosom but cannot touch his heart, he attacks him in the relative major, and strangles him.