The 1745 book doubtless owed its rearrangement and some of its lyrics to Mallet; it provides twenty sets of words which require music, but if these were set by Arne, eight can no longer be traced. In 1754 a new version of the libretto was published with the title: "Alfred the Great, an Oratorio, As it was Represented at the Theatre-Royal in Drury-Lane. The Musick was composed by Mr. Arne. London: Printed for A. Miller, in the Strand. MDCCLIV." The advertisement, or preface, to the book reads: "This Oratorio is altered from _Alfred_, a Masque, represented before their Royal Highnesses the Prince and Princess of Wales, at Clifeden, August 1, 1740; being the Birth-Day of the Princess Augusta, written by the late Mr. Thomson and Mr. Mallet, and afterwards new written by Mr. Mallet, and acted at the Theatre Royal in Drury Lane,[40] in 1751." Thomson died in 1748; Mallet had therefore a free hand, a liberty of which he availed himself very fully; lines were altered, new ones introduced, and several verses added for songs and for chorus. The music for all the songs and solo music is contained in the volume published by Arne, but the music for the choruses is not given; probably it no longer exists. Amongst the additions made by Mallet is a Pastoral Invocation, or song, commencing: Nymphs and shepherds, come away, and he makes the second Act end with a _Grand Chorus_: How sleep the Brave, who sink to Rest, By all their Country's Wishes blest! When Spring, with dewy Fingers cold, Returns to deck their hallow'd Mould, She then shall dress a sweeter Sod Than Fancy's Feet have ever trod. There Honour comes, a Pilgrim grey, To bless the Turf that wraps their clay; And Freedom shall a while repair, To dwell a weeping Hermit there. By Hands unseen the Knell is rung; By Fairy Forms their Dirge is sung.