accumulated a fortune of £10,000. The works produced during these latter
years were "Judas Maccabæus," 1747; "Alexander," 1748; "Joshua,"
1748; "Susannah," 1749; "Solomon," 1749; "Theodora," 1750; "Choice of
Hercules," 1751; "Jephthah," 1752, closing with this a stupendous series
of dramatic oratorios. While at work on the last, his eyes suffered an
attack which finally resulted in blindness.

Like Milton in the case of "Paradise Lost," Handel preferred one of his
least popular oratorios, "Theodora." It was a great favorite with him,
and he used to say that the chorus, "He saw the lovely youth," was finer
than anything in the "Messiah." The public were not of this opinion, and
he was glad to give away tickets to any professors who applied for them.
When the "Messiah" was again produced, two of these gentlemen who had
neglected "Theodora" applied for admission. "Oh! your sarvant, meine
Herren!" exclaimed the indignant composer. "You are tamnable dainty!
You would not go to 'Theodora'--dere was room enough to dance dere when
dat was perform." When Handel heard that an enthusiast had offered to
make himself responsible for all the boxes the next time the despised
oratorio should be given--"He is a fool," said he; "the Jews will not
come to it as to 'Judas Maccabæus,' because it is a Christian story; and
the ladies will not come, because it is a virtuous one."

Handel's triumph was now about to culminate in a serene and acknowledged
preeminence. The people had recognized his greatness, and the reaction
at last conquered all classes. Publishers vied with each other in
producing his works, and their performance was greeted with great
audiences and enthusiastic applause. His last ten years were a peaceful
and beautiful ending of a stormy career.