Among the airs which Handel has taken from his Operas and introduced into his Oratorios, may be mentioned _Rendi l' sereno al ciglio_, from _Sosarme_, now known as _Lord, remember David_, and _Dove sei amato bene_, in _Rodelinda_, which has been converted into _Holy, Holy, Lord God Almighty_. That these changes have been made with perfect success, proves, if any proof were still wanted by those who have ever given a minute's consideration to the subject, that there is no such thing as absolute definite expression in music. The music of an impassioned love song will seem equally appropriate as that of a fervent prayer, except to those who have already associated it intimately in their memories with the words to which it has first been written. A positive feeling of joy, or of grief, of exultation, or of depression, of liveliness, or of solemnity, can be expressed by musical means without the assistance of words, but not mixed feelings, into which several shades of sentiment enter--at least not with definiteness; though once indicated by the words, they will obtain from music the most admirable colours which will even appear to have been invented expressly and solely for them. Gluck arranged old music to suit new verses quite as much, or more, than Handel--even Gluck who maintained that music ought to convey the precise signification, not only of a dramatic situation, but of the very words of a song, phrase by phrase, if not word by word. * * * * * [Sidenote: HANDEL AND OUR ITALIAN OPERA.]