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Updated: May 1, 2025
Within a fortnight, Thomas Arne, father of the composer, advertised a performance of Acis and Galatea at the Little Theatre in the Haymarket "with all the choruses, scenes, machines, and other decorations, being the first time it was performed in a theatrical way." The laws of the time gave no protection to musical and dramatic copyright.
Now quiet, quiet, quiet: be good. ACIS. Shut your mouth, or I'll shove the sponge in it. THE MAIDEN. Shut your eyes. Itll hurt if you don't. ANOTHER MAIDEN. Dont be silly. One would think nobody had ever been born before. ACIS. Serve you right! You were told to shut your eyes. THE YOUTH. Dry her off quick. I can hardly hold her. Shut it, will you; or I'll smack you into a pickled cabbage.
Art is not honest: that is why I never could stand much of it. It is all make-believe. Ecrasia never really says things: she only rattles her teeth in her mouth. ECRASIA. Acis: you are rude. ACIS. You mean that I wont play the game of make-believe. Well, I don't ask you to play it with me; so why should you expect me to play it with you? ECRASIA. You have no right to say that I am not sincere.
'I see you, he exclaimed, 'and I will make this the last of your love-meetings. His voice was a roar such as an angry Cyclops alone could utter. Aetna trembled at the sound. I, overcome with terror, plunged into the water. Acis turned and fled, crying, 'Save me, Galatea, save me, my parents! The Cyclops pursued him, and tearing a rock from the side of the mountain hurled it at him.
Four more performances of Acis and Galatea were given at the opera-house in December 1732; Handel evidently saw that it would be a sure attraction. Alessandro and Tolomeo were revived, and on January 23 he produced a new opera, Orlando, which had ten performances, with six more later in the season.
'I see you, he exclaimed, 'and I will make this the last of your love-meetings. His voice was a roar such as an angry Cyclops alone could utter. AEtna trembled at the sound. I, overcome with terror, plunged into the water. Acis turned and fled, crying, 'Save me, Galatea, save me, my parents!" The Cyclops pursued him, and tearing a rock from the side of the mountain hurled it at him.
PYGMALION. Yours, too, of course, if the stimulus comes from you. ECRASIA. Cannot he do anything original? PYGMALION. No. But then, you know, I do not admit that any of us can do anything really original, though Martellus thinks we can. ACIS. Can he answer a question? PYGMALION. Oh yes. A question is a stimulus, you know. Ask him one. Of us, for instance, and our ways and doings?
They are merely responding to a stimulus. Free will is an illusion. We are the children of Cause and Effect. We are the Unalterable, the Irresistible, the Irresponsible, the Inevitable. My name is Ozymandias, king of kings: Look on my works, ye mighty, and despair. There is a general stir of curiosity at this. ACIS. What the dickens does he mean?
Though only a corner of it touched him, it overwhelmed him. "All that fate left in my power I did for Acis. I endowed him with the honors of his grandfather, the river-god. The purple blood flowed out from under the rock, but by degrees grew paler and looked like the stream of a river rendered turbid by rains, and in time it became clear.
It was to Purcell, and to some extent to Scarlatti too, that Handel owed the general plan of the anthems with their orchestral accompaniments, but even Purcell's anthems with orchestra had by that time been found too elaborate for general use. To the Chandos period belongs also a work which is still one of Handel's most popular compositions, the English Acis and Galatea, to words by John Gay.
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