The same guardian demon presided always over his outward fortunes. His life, like that of Haydn, was one of prosperity. The only serious check he ever experienced (at a very late day in England) was only so great as to stimulate his genius to manifest itself by a still higher order of efforts, than before (his oratorios.) And these were not only worthy of his highest aspirations, but successful with the public of his own day.
It is by no means the case in the arts, that genius must not expect sympathy from its contemporaries. Its history shows it in many instances, answering as much as prophesying. And Haydn, Handel, and Mozart seemed to culminate to a star-gazing generation.
While yet in his teens, Handel met the Grand Duke of Tuscany, who was very desirous to send him to Italy, at his own expense, that he might study the Italian music in its native land. “But he refused to accept the Duke’s offer, though determined to go as soon as he could make up a privy purse for the purpose. And this noble independency he preserved through life,” and we may add the twin sister, liberality, for we find scattered through his life numerous instances of a wise and princely beneficence.
When he at last went to Italy, he staid six years, a period of inestimable benefit to his growth. I pause with delight at this rare instance of a mind obtaining the food it craves, just at the time it craves it. The too early and too late, which prevent so many “trees from growing up into the heavens,” withered no hour of Handel’s life. True, the compensating principle showed itself in his regard, for he had neither patience nor fortitude, which the usual training might have given. But it seems as if what the man lost, the genius gained, and we cannot be displeased at the exception which proves the rule.
The Italians received him with that affectionate enthusiasm, which they show as much towards foreign as native talent. The magnanimous delight with which they greeted West, and, as it is
