"What de devil you mean!" cried the impetuous composer, snatching the
music from him. "Didn't you say you could sing at sight?"

"Yes sir, but not at _first_ sight."

The people of Dublin warmly welcomed Handel, and the new oratorio,
the "Messiah," was performed at Music Hall, with choirs of both
cathedrals, and with some concertos on the organ played by the
composer. The performance took place, April 13, 1742. Four hundred
pounds were realized, which were given to charity. The success was so
great that a second performance was announced. Ladies were requested
to come without crinoline, thereby providing a hundred more seats than
at the first event.

The Irish people were so cordial, that the composer remained almost
a year among them. For it was not till March 23, 1743, that the
"Messiah" was performed in London. The King was one of the great
audience who heard it. All were so deeply impressed by the Hallelujah
chorus, that with the opening words, "For the Lord God omnipotent
reigneth," the whole audience, including the King, sprang to their
feet, and remained standing through the entire chorus. From that time
to this it has always been the custom to stand during this chorus,
whenever it is performed.

Once started on this line of thought, one oratorio after another
flowed from his prolific pen, though none of them proved to be as
exalted in conception as the "Messiah." The last work of this style
was "Jephtha," which contains the beautiful song, "Waft her, angels."
While engaged in composing this oratorio, Handel became blind, but
this affliction did not seem to lessen his power for work. He was now