creditable to him. He seems to have flattered each in turn. He upheld
Bononcini in the great madrigal controversy, and appears to have wearied
Handel by his repeated visits. The great Saxon easily saw through the
flatteries of a man who was in reality an ambitious rival, and joked
about him, not always in the best taste. When he was told that Greene
was giving concerts at the "Devil Tavern," near Temple Bar, "Ah!" he
exclaimed, "mein poor friend Toctor Greene--so he is gone to de Tevil!"

From 1732 to 1740 Handel's life presents the suggestive and
often-repeated experience in the lives of men of genius--a soul with a
great creative mission, of which it is half unconscious, partly
yielding to and partly struggling against the tendencies of the age, yet
gradually crystallizing into its true form, and getting consecrated to
its true work. In these eight years Handel presented to the public ten
operas and five oratorios. It was in 1731 that the great significant
fact, though unrecognized by himself and others, occurred, which stamped
the true bent of his genius. This was the production of his first
oratorio in England. He was already playing his operas to empty houses,
the subject of incessant scandal and abuse on the part of his enemies,
but holding his way with steady cheerfulness and courage. Twelve years
before this he had composed the oratorio of "Esther," but it was still
in manuscript, uncared for and neglected. It was finally produced by a
society called Philharmonic, under the direction of Bernard Gates, the
royal chapel-master. Its fame spread wide, and we read these significant
words in one of the old English newspapers: "'Esther,' an English
oratorio, was performed six times, and very full."

Shortly after this Handel himself conducted "Esther" at the Haymarket
by royal command. His success encouraged him to write "Deborah," another
attempt in the same field, and it met a warm reception from the public,