Success to Handel was but a stepping-stone, leading him towards something higher. He was never satisfied with himself, but went on from strength to strength, conscious of his own power to produce music which should live for ever. His "Saul" and his "Israel in Egypt" showed how completely he could throw himself into the spirit of his subject, and through the pages of his music, Saul, Goliath and David, the Children of Israel, the Egyptians and Miriam, all spring into life for us. As we listen, the story takes new shape, and the events which surround it stand out with a new lurid light.
But the greatest work of all was not produced in London. Handel went on a visit to Dublin, where he found audiences "more numerous and polite than he had ever seen on like occasions," and the general enthusiasm "so put him in good spirits," that after completing a second series of concerts a special performance was announced, at which "Mr. Handel's new grand oratorio called 'The Messiah'" was to be given. Furthermore, as a great crowd was anticipated, ladies were begged to come without their hoops, and gentlemen without their swords, for in this way quite another hundred persons could be accommodated.
"The finest composition of musick that was ever heard," was the verdict of that "grand, polite, and crowded audience," and a liberal sum was received for the "relief of the prisoners in the gaols," to which charity Handel, with peculiar appropriateness, had offered to devote the profits. Strange to say, the new work did not at once take root in London, but with repeated performances its triumph became steady and lasting. The subject was a great one. The smallest mistake in dealing with it would have jarred painfully, and so little would have robbed that simple story of its majesty. But Handel gave to it a new glory, a new splendid dignity, and to many a heart those familiar words have struck home with a reality hitherto undreamt of, through the beauty and the force of his music. Reverently he touched the great mystery, and as the story took life before his awe-struck eyes, he translated it into harmonies worthy of so vast a theme.
"I did think I did see all heaven before me, and the great God Himself," said Handel reverently, as he spoke of the Hallelujah Chorus, which so deeply impressed the audience in the Covent Garden Theatre on the first night that, one and all, with the king setting the example, they sprang to their feet and stood to the end. The musician had led them into the very Presence of God.