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THREE:There were various actions at sea, in one quarter or other. Sir Hyde Parker, convoying a merchant fleet from the Baltic, on the 5th of August fell in with Admiral Zouttman near the Dogger Bank, also convoying a fleet of Dutch traders. An engagement took place, Zouttman having a few men-of-war more than Parker. The engagement was terrible. The ships on both sides were severely damaged, and the Hollandia��a sixty-four-gun ship of Zouttman's��went down with all its crew. Many of the other ships were with difficulty kept afloat. On reaching the Nore, the king and the Prince of Wales went on board, where they highly complimented both Parker and the rest of the officers. On the 12th of December Admiral Kempenfeldt, with thirteen ships-of-the-line, discovered, off Ushant, the French fleet, under De Guichen, convoying a fleet of transports and merchantmen, bound, some for the East and others for the West Indies, with troops and stores. The fleet of De Guichen was far superior to that of Kempenfeldt, but, the convoy being at a considerable distance from the transports and traders, Kempenfeldt adroitly made himself master of twenty sail of these vessels, and sailed off with them; and within a few days afterwards he[286] captured five more of these ships. There were also other fights of minor importance.Henry Purcell (b. 1658; d. 1695) produced the bulk of his works in William's reign. He composed the music to "The Tempest," "Dioclesian," "King Arthur," "Don Quixote," "Bonduca," and "Orpheus Britannicus." Many parts of these, and his sonatas, anthems, catches, rounds, glees, etc., are as much enjoyed now as in his own day. The music to Davenant's "Circe," by Banister, of Shadwell's "Psyche," by Lock, and of Dryden's "Albion and Albanius," by Grabut, had increased in England the liking for the lyrical drama; but Purcell's compositions wonderfully strengthened it, and from "King Arthur" may properly be dated the introduction of the English opera. Gay's "Beggar's Opera," six-and-thirty years after, however, was the first complete and avowed opera, and this did not establish that kind of entertainment in England. The wonderful success of this production, which was performed for sixty-two nights (not consecutive), was chiefly derived from the wit and satire of the composition itself, the abundance of popular airs introduced, and the party feeling which it gratified. The airs were selected and adapted by Dr. Pepusch, a German, who settled in London, and became celebrated there. He also furnished the overture, and wrote accompaniments to the airs. Eleven years after, Milton's "Comus" was adapted to the stage by the Rev. Dr. Dalton, with music by Dr. Arne, who afterwards composed the music for "Artaxerxes," and thence derived a high reputation.