He also devoted himself to the study of harmony and composition, and, disguised in a borrowed livery, used to frequent the opera-house galleries to which servants had free admittance. His musical progress was so marked that he was soon able to lead a chamber band of amateurs, and it was when so engaged that young Arne was one day found by his astonished father. The discovery of his son's musical talents Was at first met with a considerable display of wrath on the part of Thomas Arne, but eventually he had the good sense to recognise that the boy was more fitted for a musician than a lawyer, and after some hesitation to allow him to cultivate the talents which he so decidedly displayed. Not content with cultivating his own abilities, Arne henceforward turned his attention to the dormant faculties of his sister and brother, to the former of whom he gave such instruction in singing as to lead to her appearance on the operatic stage in Lampe's opera 'Amelia 'in March 1732. Encouraged by the success she achieved, he wrote new music for Addison's opera 'Rosamond,' which was produced at the Lincoln's Inn Fields theatre, on 7 March 1733, with Mrs. Barbier, Miss Arne, Mrs. Jones, Miss Chambers, Leveridge, Corfe, and the composer's younger brother in the principal parts, and was played for ten nights successively. His next work was a version of Fielding's 'Tom Thumb,' altered into 'The Opera of Operas,' a musical burlesque, which was produced at the Haymarket, 31 May 1733, and was acted eleven times. In the same year he produced (19 Dec.) at the same theatre a masque, 'Dido and Æneas,' in which both his brother and sister sang. Early in the following year the Arne family were engaged at Drury Lane, Miss Arne and 'young Master Arne' as singers, and the composer in some capacity which is not recorded, though, from the fact of his haying benefits on 29 April and 3 June, he must have already had some recognised post. In April 1734 Susanna Arne married Theophilus Cibber [see Cibber, Mrs.], and in 1736 Arne wrote music for the play of 'Zara,' in which she for the first time appeared as an actress. In the same year Arne married the singer Gecilia Young [see Arne, Gecilia]. On 4 March 1738 Milton's 'Comus,' with additions and alterations by Dr. Dalton, was produced at Drury Lane, the principal parts being performed by Quin, Milward, Cibber jun., Mills, Beard, Mrs. Cibber, Mrs. Clive, and Mrs. Arne. For this performance Arne wrote his well-known and charming music, which still retains the freshness and delicacy of its melody. In this work Arne already shows himself a master of the peculiarly English style which is the great charm of his music; he entered thoroughly into the spirit of Milton's masque, his setting of the words of some of the songs showing a degree of poetical and musical insight which is surprising at the period at which he wrote. Considering the beauty of the music and the strength of the cast, it is surprising to find that 'Comus' was played only about eleven times, though it was subsequently frequently revived at both houses, and has kept the stage almost until the present day. Arne's next works were settings of two masques, Congreve's 'Judgment of Paris,' and Thomson and Mallet's 'Alfred.' Both of these were performed on Friday and Saturday, 1 and 2 Aug. 1740, on a stage erected in the gardens of the house of Frederick, Prince of Wales, at Cliveden, Bucks, at a fête given in commemoration of the accession of George I and in honour of the birth of the Princess Augusta. The programme also included 'several scenes out of Mr. Rich's pantomime entertainments' (Gent. Mag. 1740, p. 411). This performance is memorable in the annals of English music, for it was for 'Alfred' that Arne composed 'Rule Britannia,' perhaps the finest national song possessed by any nation, and for which alone, even if he had produced nothing else, Arne would deserve a prominent place amongst musicians of all countries. Shortly after this performance, 'The Judgment of Paris' was given at Drury Lane, though 'Alfred' was not produced in London until 30 March 1745, when it was performed at Drury Lane for Mrs. Arne's benefit. In about 1740 or 1741 Arne (who was then living at Craven Buildings, near Drury Lane) obtained a royal grant assuring to him the copyright of his compositions for four-teen years. After producing several minor pieces at Drury Lane — amongst which is the beautiful music to 'As You Like It' and 'Twelfth Night' — Arne and his wife, towards the end of 1742, went to Dublin, where they remained until the end of 1744, both husband and wife winning fresh laurels as musician and singer. On their return from Ireland, Mrs. Arne was re-engaged at Drury Lane, and Arne was appointed composer to the same theatre, a post there is reason to believe he had occupied before; somewhat later he was appointed leader of the band of the theatre. At this time Arne was living 'next door to the Crown' in Great Queen Street, Lincoln's Inn Fields, but he seems soon to have removed, first to Charles Street, and eventually to the house in the Piazza, Covent Garden, which
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