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The comte de Grasse, whose own ships were much scattered and partly becalmed, and who moreover was hampered by the transports carrying soldiers and stores, did not See also:

PRESS (through Fr. presse from Lat. pressare, frequentative of premere, to crush, squeeze, press)

press the attack See also:

home. His See also:

CHIEF (from Fr. chef, head, Lat. caput)

chief wish was to carry his fleet through the channel between Dominica and Guadaloupe, while Rodney was anxious to force a battle. During the See also:

NIGHT

night of the 11th-12th the greater See also:

PART

part of the French had cleared the channel, but a collision took place between two of their ships by which one was severely damaged, The crippled See also:

VESSEL (O. Fr. vaissel, from a rare Lat. vascellum, dim. of vas, vase, urn)

vessel was seen and pursued by four ships of the British van. The comte de Grasse recalled all his vessels, and See also:

BORE

bore down towards the British. Rodney ordered the last of his ships to See also:

lead into See also:

ACTION

action, the others following her in See also:

SUCCESSION (Lat. successio, from succedere, to follow after)

succession, and the detached ships falling in behind as they returned from the pursuit. The two fleets in line of battle passed one another, the French steering in a southerly, the British in a northerly direction. Both were going very slowly. See also:

FIRE (in O. Eng. f j'r; the word is common to West German languages, cf. Dutch vuur, Ger. Feuer; the pre-Teutonic form is seen in Sanskrit pu, pavaka, and Gr. irup; the ultimate origin is usually taken to be a root meaning to purify, cf. Lat. purus)

Fire was opened about 8 o'See also:

CLOCK

clock, and by ro o'clock the leading British See also:

SHIP

ship had passed the last of the French. While the action was in progress, one of the variable winds of the coast began to See also:

BLOW, JOHN (1648-1708)

blow from the See also:

south, while the See also:

NORTHERN

northern extremities of the fleets were in an easterly See also:

BREEZE

breeze. Confusion was produced in both forces, and a great See also:

gap was created in the French line just ahead of the " Formidable" (roo), Rodney's See also:

FLAGSHIP

flagship. The See also:

CAPTAIN (derived from Lat. ca put, head, through the Low Lat. capitanus)

captain of the fleet, Sir See also:

Charles See also:

Douglas, called his See also:

ATTENTION (from Lat. ad-tendo, await, expect; the condition of being " stretched " or " tense ")

attention to the opening, and urged him to See also:

STEER, PAUL WILSON (186o– )

steer through it. The fighting instructions then in force made it See also:

INCUMBENT (from Lat. incumbere, to lean, lie upon)

incumbent on an See also:

ADMIRAL

admiral to preserve the See also:

order in which he began the action unchanged.

Rodney hesitated to depart from the traditional order, but after a few moments of doubt accepted the See also:

SUGGESTION

suggestion. The " Formidable" was steered through the opening, followed by six of those immediately behind her. The ships towards the See also:

REAR

rear passed through the disordered French in the See also:

SMOKE (from O. Eng. smeocan, to smoke, reek, cf. Dutch meek, Ger. Schmauch, probably allied to Gr. vol9caiv)

smoke, which was very thick, without knowing what they had done till they were beyond the enemy. About r o'clock the British had all either gone beyond the French or were to the See also:

east of them. The French were broken into three bodies, and were completely disordered. The comte de Grasse, in his flagship the " Ville de See also:

Paris," with five other vessels, was isolated from his van and rear. Rodney directed his attack on these six vessels, which were taken after a very gallant resistance. It was the See also:

general belief of the fleet that many more would have been captured if Rodney had pursued more vigorously, but he was content with the prizes he had taken. Two more of the French were captured by Sir See also:

SAMUEL

Samuel See also:

Hood, afterwards Lord Hood, in the See also:

MONA

Mona Passage on the 19th of April. See Beatson, Naval and Military See also:

MEMOIRS

Memoirs (See also:

LONDON

London, 1804), vol. 5 ; and a careful See also:

ANALYSIS (Gr. avci and Meta, to break up into parts)

analysis from the French See also:

side by See also:

Chevalier, Histoire de la marine francaise See also:

PENDANT (through Fr. from Lat. pendere, to hang)

pendant la guerre de t'independance americaine (Paris, 1877). (D.

H.) See also:

SAINT (lat. sanctus, " holy ")

SAINT-SAENS, 'CHARLES CAMILLE (1835- ), French composer, was See also:

BORN, IGNAZ, EDLER VON (1742–1791)

born in Paris on the 3rd of See also:

OCTOBER

October 1835. After having as a See also:

child taken lessons on the piano, and learned the elements of See also:

composition, he entered the Paris See also:

CONSERVATOIRE (the Fr. equivalent of Ital. Conservatorio, Ger. Conservatorium, from Med. Lat. conservatorium, a place where anything is preserved, Lat. conservare, to preserve)

Conservatoire in the See also:

ORGAN

organ class, then presided over by See also:

EUGENE

Eugene Benoist, obtaining the second See also:

PRIZE, or PRIZE OF WAR (Fr. prise, from prendre, to take)

prize in 1849, and the first two years later. For a See also:

SHORT, FRANCIS JOB (1857– )

short See also:

time he studied composition under See also:

Halevy, and in 1852, and again in 1864, competed without success for the See also:

GRAND

Grand Prix de See also:

Rome. Notwithstanding these unaccountable failures, Saint-Saens worked indefatigably. In 1853, when only eighteen, he was appointed organist at the See also:

Church of St Merry, and from 1861 to 1877 was organist at the Madeleine, in succession to Lefebure-Wely. An See also:

OVERTURE (Fr. ouverture, opening)

overture entitled " See also:

SPARTACUS

Spartacus," which has remained unpublished, was crowned at a competition instituted in x863 by the Societe Sainte Cecile of See also:

BORDEAUX

Bordeaux. The greatest See also:

TRIUMPH (triumphus)

triumph of his See also:

early career was, however, attained in 1867, when the prize was unanimously awarded to him for his See also:

CANTATA (Italian for a song or story set to music)

cantata " See also:

Les Noces de Promethee " in the competition organized during the See also:

INTERNATIONAL, THE

International See also:

EXHIBITION

Exhibition of that See also:

YEAR

year—a prize competed for by over two See also:

HUNDRED

hundred musicians. Though he had acquired a great name as a pianist, and had made successful See also:

CONCERT (through the French from Lat. con-, with, and certare, to strive)

concert See also:

TOURS

tours through See also:

EUROPE

Europe, he had not succeeded in reaching the ears of the larger public by the See also:

PRODUCTION (Lat. productionem, from producere, to pro-duce)

production of an See also:

OPERA (Italian for " work ")

opera, which in See also:

France See also:

COUNTS

counts for more than anything else. After the tragic events of 1870, when Saint-Satins did his See also:

DUTY (from " due," that which is owing, O. Fr. deu, dil, past participle of devoir; Lat. debere, debitum; cf. " debt ")

duty as a patriot by serving in the See also:

NATIONAL

National Guard, the opportunity at last offered itself, and a one-See also:

ACT (Lat. actus, actum)

act opera from his See also:

PEN (Lat. penna, a feather, pen)

pen, La Princesse jaune, with words by See also:

Louis Gallet, was produced at the Opera Comique with moderate success on the 12th of See also:

JUNE

June 1872. Le Timbre d'argent, a four-act opera performed at the See also:

THEATRE (BEarpov, " a place for seeing," from OeacOae)

Theatre Lyrique in 1877, was scarcely more successful. In the meanwhile his " symphonic poems" " Le Rouet d'Omphale," " Danse See also:

MACABRE

Macabre," " Phaeton " and " La Jeunesse d'Hercule "obtained for him a See also:

WORLD

world-wide celebrity. These admirable examples of " See also:

PROGRAMME, or PROGRAM

programme See also:

MUSIC

music " See also:

COUNT (Lat. comes, gen. comitis, Fr. comte, Ital. conte, Span. conde)

count among his best known See also:

WORKS

works.

At last, through the See also:

INFLUENCE (Late Lat. influentia, from influere, to flow in)

influence of See also:

LISZT, FRANZ (1811-1886)

Liszt, his Biblical opera See also:

Samson et Dalila was brought out at See also:

WEIMAR

Weimar in 1877. This See also:

WORK

work, generally accepted as his operatic masterpiece, had been begun as far back as 1869, and an act had been heard at one of Colonne'r concerts in 1875. Notwithstanding its great success at Weimar, its first performance on French See also:

SOIL

soil took place at See also:

ROUEN

Rouen in 1890. The following year it was given in Paris at the See also:

Eden Theatre, and finally in 1892 was produced at the Grand Opera, where it has remained one of the most attractive works of the repertoire. Its Biblical subject stood in the way of its being performed on the London See also:

STAGE (Fr. 6/age; from Lat. stare, to stand)

stage until 1909, when it was given at Covent See also:

GARDEN (from O. Fr. garden, mod. Fr. jardin; this, like our words " garth," a paddock attached to a building, and " yard," comes from a Teutonic word for an enclosure which appears in Gothic as gards and O. H. Ger. gart, cf. Dutch gaarde and Ger. .garten)

Garden with great success. None of his works is better calculated to exemplify the dual tendencies of his See also:

style. The first act, with its somewhat formal choruses, suggests the influence of See also:

Bach and See also:

HANDEL, GEORGE FREDERICK (1685–1759)

Handel, and is treated rather in the manner of an See also:

ORATORIO

oratorio. The more dramatic portions of the opera are not uninfluenced by See also:

MEYERBEER, GIACOMO (1791-1863)

Meyerbeer, while in the mellifluous strains allotted to the temptress there are occasional suggestions of See also:

GOUNOD, CHARLES FRANCOIS (1818--1893)

Gounod. Of See also:

Wagner there is but little trace, See also:

SAVE, or SAVA (Ger. Sau; Hungarian Szdva; Lat. Savus)

save in the fact that the composer has divided his work into scenes, thus avoiding the old-fashioned denominations of " See also:

air," " See also:

DUET (an adaptation of the Ital. duetto, from Lat. duo, two)

duet," " trio," &c.. The See also:

SCORE (O.E. scor, from sceran, to cut, notch, cf. " shear ")

score, however, is not devoid of individuality. The influences mentioned above, possibly excepting that of Bach in the earlier scenes, are rather of a superficial nature, for Saint-Satins has undoubtedly a style of his own. It is a composite style, certainly, and all the materials that go towards forming it may not be absolutely his; that is, the See also:

ECLECTICISM (from Gr. fr)

eclecticism of his mind may lead him at one moment to adopt an archaic See also:

FORM (Lat. forma)

form of expression, at another to employ the See also:

CURRANT

currant musical See also:

LANGUAGE (adapted from the Fr. langage, from langue, tongue, Lat. lingua)

language of his See also:

day, and sometimes to blend the two.

It is perhaps in the latter See also:

case that he shows most individuality; for although his works may denote the varied influences of such totally dissimilar masters as Bach, See also:

BEETHOVEN, LUDWIG VAN (1770-1827)

Beethoven, Liszt and Gounod, he ever contrives to put in some-thing of his own. After the production of Samson et Dalila Saint-Satins stood at the parting of the ways—looked at askance by the reactionary See also:

section of the French musicians, and suspected of harbouring subversive Wagnerian ideas, but ready to be welcomed by the progressive party. Both sides were doomed to disappointment, for in his subsequent operas Saint-Satins attempted to effect a See also:

COMPROMISE (pronounced compromize; through Fr. from Lat. compromittere)

compromise between the older and the newer forms of opera. He had already entertained the See also:

IDEA (Gr. Ibia, connected with i&eiv, to see; cf. Lat. species from specere, to look at)

idea of utilizing the history of France for operatic purposes. The first and only result of this project has been See also:

ETIENNE, CHARLES GUILLAUME (1778-1845)

Etienne See also:

MARCEL, ETIENNE (d: 1358)

Marcel, an opera produced at See also:

Lyons in 1879. Although of unequal merit, owing partly to its want of unity of style, this work contains much music of an attractive See also:

KIND (O. E. ge-cynde, from the same root as is seen in " kin," supra)

kind, and scarcely deserves the neglect into which it has fallen. Forsaking the history of France he now composed his opera See also:

Henry VIII., produced at the Paris Grand Opera in 1883. The librettists had concocted a piece that was sufficiently well knit and abounded in dramatic contrasts. While adhering to his See also:

SYSTEM

system of compromise by retaining certain conventional operatic features, Saint-Satins had in this instance advanced somewhat by employing leit motivs in a more rigorous See also:

FASHION (adapted from Fr. facon, agon, Lat. factio, making, facere, to do or make)

fashion than hitherto, although he had not gone so far as to discard airs cut after the old See also:

PATTERN

pattern, duets and quartets. Henry VIII., which was given at Covent Garden in 1898, occupies an See also:

HONOURABLE (Fr. honorable, from Lat. honorabilis, worthy of honour)

honourable place among the composer's works. See also:

Fraser See also:

PINE (Lat. Pinus, Gr. srlrur)

pine, a lyrical See also:

DRAMA (literally "action," from Gr. Snail, act or do)

drama produced at the Paris Opera Comique in 1887, achieved a succes d'estime and no more. A not much better See also:

FATE

fate befell Ascanio, an opera founded on See also:

Paul See also:

MEURICE, FRANCOIS PAUL (1818-1905)

Meurice's drama Benvenuto See also:

CELLINI, BENVENUTO (1500-1571)

Cellini, and brought out at the Grand Opera in r8go.

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