[Picture: Music scores: While now without measure we revel in pleasure. With their vain mysterios art] The former of these two extracts is from the chorus “Venus laughing from the skies” in _Theodora_; the other is from the air “Wise men flattering” in _Judas Maccabæus_. I know no better examples of the way Handel sometimes derives his melody from the natural intonation of the speaking voice. The “pleasure” (in bar four of the chorus) suggests a man saying “with pleasure” when accepting an invitation to dinner. Of course one can say, “with pleasure” in a variety of tones, but a sudden exaltation on the second syllable is very common. In the other example, the first bar of the accompaniment puts the argument in a most persuasive manner; the second simply re-states it; the third is the clincher, I cannot understand any man’s holding out against bar three. The fourth bar re-states the clincher, but at a lower pitch, as by one who is quite satisfied that he has convinced his adversary. Handel and the Wetterhorn When last I saw the Wetterhorn I caught myself involuntarily humming:— [Picture: Music score: And the government shall be upon his shoulder] The big shoulder of the Wetterhorn seemed to fall just like the run on “shoulder.” “Tyrants now no more shall Dread” The music to this chorus in _Hercules_ is written from the tyrant’s point of view. This is plain from the jubilant defiance with which the chorus opens, and becomes still plainer when the magnificent strain to which he has set the words “All fear of punishment, all fear is o’er” bursts upon us. Here he flings aside all considerations save that of the gospel of doing whatever we please without having to pay for it. He has, however, remembered himself and become almost puritanical over “The world’s avenger is no more.” Here he is quite proper. From a dramatic point of view Handel’s treatment of these words must be condemned for reasons in respect of which Handel was very rarely at fault. It puzzles the listener who expects the words to be treated from the point of view of the vanquished slaves and not from that of the tyrants. There is no pretence that these particular tyrants are not so bad as ordinary tyrants, nor these particular vanquished slaves not so good as ordinary vanquished slaves, and, unless this has been made clear in some way, it is dramatically _de rigueur_ that the tyrants should come to grief, or be about to come to grief. The hearer should know which way his sympathies are expected to go, and here we have the music dragging us one way and the words another.