it. _Israel_ had been a failure too, and it is extremely probable that
musical people, accustomed to the Italian opera, were estranged by a
setting of Bible words in prose instead of a libretto in verse laid out on
more or less dramatic lines.

William Law's _Serious Call_ had been published in 1729; the book makes
frequent allusions to the frivolity of Italian opera, and opera-going is
picked out as one of the chief characteristics of irreligious persons. In
1739 John Wesley first began to preach in the open air; in 1742 Edward
Young's _Night Thoughts_ achieved its extraordinary popularity. These three
events were all significant of the religious movement that was taking place
among the more cultured classes in England, and this movement undoubtedly
affected Handel's oratorio concerts. The ultra-religious were shocked
at the association of sacred subjects with the theatre; those who could
combine religion with culture, like Mrs. Delany, who was now approaching
the age of piety, were Handel's most earnest supporters. It is quite
probable that the section of society which preferred its culture unmixed
with religion resented the attitude of the second party even more than that
of the first, because the second party belonged to their own social class,
and this resentment may well have contributed to the ever-increasing
hostility shown by many social leaders toward Handel. And Handel's personal
oddities were becoming rapidly more acute, partly owing to increasing age,
and still more owing to recurrences of paralysis and associated mental
derangement. He had another attack in this very year--1743.

_Messiah_ and _Samson_ were composed at a more favourable moment, and show
little use of borrowed material, except that _Messiah_ incorporates some
of Handel's own chamber duets, the melodies of which were more suitably
illustrative of their original Italian words than of the sentences from
Scripture to which he adapted them. But his next important work, the _Te