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The most important change in the Settlement Law was the repeal of the settlement by hiring and service, which prevented the free circulation of labour, interfered with the liberty of the subject, and fixed an intolerable burden upon the parish. This law was repealed by the 64th and 65th sections of the Act; the settlement by occupation of a tenement, without payment of rates, by the 66th; while other sections effected various improvements in the law of removal. The old law made it more prudent for a woman to have a number of children without a husband than with a husband, as she could throw the burden of their support upon the parish, or through the parish force the putative father to support them; and if he could not give security to pay, he was liable to imprisonment. By this means marriages were often forced. These evils were remedied by rendering the unmarried mother liable for the maintenance of her children, by rendering it unlawful to pay to her any sums which the putative father might be compelled to contribute for the reimbursement[365] of the parish, and by rendering it necessary that evidence additional to that of the mother should be required to corroborate her charge against the person accused of being the father. The law worked fairly well, though it was discovered that many mothers shrank from prosecuting the fathers of their babies at the price of disclosing their shame, and thus illegitimate children were brought up in the utmost squalor.

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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.On the motion for taking this Bill into further consideration, on the 8th of April, Mr. Hussey presented various petitions from merchants regarding the measure, and moved that the Bill required recommittal. He was seconded by Fox, who now, though approving of the main principles of the Bill, took occasion to contend for the development of the advanced doctrines of political liberty inculcated by the French revolutionists, and to urge the insertion of clauses in the Bill, in accordance with them. When the day for the debate on the Bill arrived, Fox called on Burke, though he had not done so for some time, and, in the presence of a common friend, entered into explanations which appeared satisfactory. Fox then proposed that the answer of Burke should not take place on the discussion of the Quebec Bill, though this was the Bill on which this topic had been introduced. Burke refused to comply; but the two old friends walked to the House together, displaying the last show of friendship which was to take place between them. Accordingly, on the 6th of May, when the chairman of the Committee put the question, that the Quebec Bill be read paragraph by paragraph, Burke rose, and determined to have a fair hearing on the question of the French Revolution, and proceeded to inveigh strongly against it. Then there were loud cries of "Order!" and "Question!" and Mr. Baker declared that the argument of Mr. Burke was calculated to involve the House in unnecessary altercation, and perhaps with the Government of another nation. Fox said his right honourable friend could scarcely be said to be out of order, for it seemed to be a day of privilege, when any gentleman might stand up and take any topic, and abuse any Government, whether it had reference to the point in question or not; that not a word had been said of the French Revolution, yet he had risen and abused it. He might just as well have abused that of China or Hindostan. This taunt came with ill grace from Fox, who had himself introduced this extraneous topic into the debates on this very Bill, and seized that occasion to attack Burke's opinions in his absence.[See larger version]
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