"I know something about waltz time," the pupil declared. "Believe it or not, I'm a professional dancer!"
"You are? Well, stop swinging to a fast foxtrot like you've been doing, and swing to a waltz time instead!"
That tip changed his golf swing from terrible to pretty fair in five seconds.'
Now, between the quarter-note and the next two half-notes there is no pause which is perfect since these two half-notes symbolize backswing-transition and downswing-impact (or better said, getting into transition and impact). The quarter-note (trigger) should fluidly mix with the first of the two half notes (backswing-transition) as it is in reality. Lastly, the two half-notes are mirroring each other; it is very important to understand (and they help us to) that the time of backswing should be more or less equal to the time of the first part of the downswing (till the impact) only (and not till the finish). Hence the two half-notes are ideally put by the composer, so to speak.
Last but not least, it is a good moment to remind Tommy Armour's 'One-Two-Wait-Three' method that also matches Haendel's pattern here. Armour was of the opinion that the best and simplest tip to ensure a great timing of the swing motion is the pause at the top of the backswing -- hence the 'Wait' part that is being symbolized by the pause between two half-notes that is per se more enhanced than this between the quarter-note and the half-note (i.e. between trigger and the backswing phase).