n8 Handel and Music 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 Maccabceus. I know no better examples of the way Handel sometimes derives his melody from the natural intonation of the speak- ing 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 under- stand 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 involun- tarily humming:— Alto And the government shall be up-on his shoul - .....der. 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.