ore the
throne and a rejoicing assemblage of nobles and peoples does homage to
the King. Even the Moorish Kings bend the knee voluntarily; they have
been unfortunate, but they have been conquered by the greatest hero of
the world; they are conquered by "the Cid!" When the King asks them
what the name means {402} they tell him that its signification is
"Master"; full of enthusiasm all around adopt this name for their hero.
The Cid will be Diaz' title henceforth, immortal as his glorious star!

The people loudly call for Diaz to appear, but are told that
immediately after the battle Alvar had sent the hero a challenge. At
the same time Alvar enters unhurt, and Chimene who stands near the King
with her women ready to greet the victor, grows white and faint,
believing that Diaz has been killed by Alvar. She impetuously
interrupts the latter, who begins to relate the events, and unable to
control her feelings any longer she pours out her long pent up love for
Diaz, at the same time bewailing the slain hero and swearing
faithfulness to his memory unto death.--"He lives" cries Alvar, and at
this moment the Cid, as we must now call him appears, stormily hailed
by great and small.

Deeply moved he lays down his victorious sword at the feet of his King,
who embraces him pronouncing him Sire of Saldaja, Cardenja and
Belforad. Then he leads him to his lady who sinks into his arms
supremely happy. The Bishop blesses the noble pair and all join in his
prayer, that love may guide them through life and death.

{403}

KIRKE (CIRCE).

A Music-Tragedy in a Prologue and three acts by AUGUST BUNGERT.

Kirke, the first part of Bungert's Odyssey was given for the first time
in Dresden January 29th 1898. It had the same immense success as
Odysseus' Return. Nevertheless it is weaker in many parts, which is
perhaps due in part to the less congenial subject of its heroine. All
the sweet parts of the tragedy, like the chorus of the Oceanides in the
Prologue, the quartetti of the four nymphs and Periander's song of
Ithaka are perfect in melody and expression. The strong and violent
parts are Bungert's weakness they are often rather more noisy and wild
than powerful, and they remind strongly of Wagner. Nevertheless the
building up of the whole is grand and dramatic, and the hearer's
interest never flags.

Prologue. "Polyphemus."

From the sea rises in the form of a chain of mountains the figure of
Gaea in blue-green moonli