who took the role of Acis; but with this representation Handel had
nothing to do. The act of piracy was repeated in the following year, when
Mr. Arne, father of Dr. Arne the composer, and the lessee of the Little
Theatre in the Haymarket, announced its performance as follows:--

"At the new theatre in the Haymarket, on Thursday next, 11th May, will
be performed in English a pastoral opera called 'Acis and Galatea,'
with all the choruses, scenes, machines, and other decorations, etc.
(as before), being the first time it was ever performed in a theatrical
way. The part of Acis by Mr. Mourtier, being the first time of his
appearance in character on any stage; Galatea, Miss Arne.[22] Pit and
boxes, 5_s._"

Handel had taken no notice of the 1731 performance; but this
representation, given at a theatre directly opposite the one of which he
was manager, roused his resentment, though piracy of this kind was very
common in those days. He determined to outdo the manager "over the way."
On the 5th of June he announced in the "Daily Journal":--

"In the King's Theatre in the Haymarket, the present Saturday, being
the 10th of June, will be performed a serenata called 'Acis and
Galatea,' formerly composed by Mr. Handel, and now revised by him, with
several additions, and to be performed by a great number of the best
voices and instruments. There will be no action on the stage,[23] but
the scene will represent in a picturesque manner a rural prospect, with
rocks, groves, fountains, and grottos, among which will be disposed a
chorus of nymphs and shepherds; the habits, and every other decoration,
suited to the subject. Also on the 13th, 17th, 20th. The libretto
printed for J. Watts, in three acts."

The rival establishment had produced the work as it was originally given
at Cannons; but as intimated in his advertisement, Handel made additions,
interpolating a number of airs and choruses from the serenata which he
had composed at Naples, thus requiring the work to be sung both in
Italian and English,--a polyglot practice from which our own times are
not exempt. The part of Acis was sung by Senesino, a male soprano;
Galatea by Signora Strada; and Polyphemus by Montagnana. The other
parts--Clori and Eurilla sopranos, Filli and Dorinda contraltos, and
Silvio tenor--were also represented. It was performed eight times in
1732, and was brought out in the same form at Oxford in 1733; but in 1739
Handel rest