Opera, of course, existed in England, but it was of the Italian order: indeed, there was so much said against the unfortunate English language as a medium of vocal expression, that native talent had little or no chance of distinguishing itself. The only work that stands out during this period as being essentially English was a curious medley of songs and airs called the _Beggar’s Opera_ produced in 1728, but even this was arranged by Dr. Pepusch (a German)! The old genuine English tunes were, however, used in this, and its one or two successors, but the music is not of a serious type. The airs are simple and simply harmonized, and make no comparison with the Handel or Buononcini operas. Moreover, they are so short that we may quote the whole of one as an example. Song from “The Beggar’s Opera,” arranged by Dr. Pepusch. [Music] Pretty Polly say, When I was away, Did your fancy never stray to some newer lover? Without disguise; Heaving sighs; Doating eyes; My constant heart discovers, Fondly let me tell, Fondly let me tell! O pretty, pretty Poll. [Sidenote: =Arne, 1710-78=] One of the first Englishmen to write Opera on the prevalent Italian model was Thomas Arne, whose chief work was _Artaxerxes_; he also wrote many masques or plays with incidental music. To us of to-day he is best known as the reputed author of “Rule Britannia,” and of the popular and tuneful setting of Shakespeare’s words, “Where the Bee sucks.” The English style of composition of this period, which is in the main vigorous, manly, and bold, was not at all suited to the taste of the fashionable public, who were led to believe that the florid and effeminate Italian airs were the only tune method of operatic composition; consequently we are not surprised that native talent was overlooked and ignored, and that we have nothing to show that will compare with what was going on in Italy, Germany, and France at a corresponding period. Arne’s name is still remembered and his tunes sung, but the same can hardly be said of his followers and successors, Shield, Storace, Kelly and others. Although these men attempted dramatic composition in the style of Arne, they had no very definite model upon which to work, and they were more successful in the glee and madrigal than in stage work. We hear some of their songs now and then, but their influence on national opera was very slight indeed. [Sidenote: =Bishop, 1786-1855=] The eighteenth century is indeed a period of blank in English operatic history, and in spite of the work of Henry Bishop, who wrote effective concerted numbers, the earlier part of the nineteenth century has but little more to show. Bishop was content to leave the English “Ballad Opera” where he found it, although he had the ability to found a natural school of opera had he had the requisite energy and initiative. [Sidenote: =Balfe, 1808-1870=]