ical score excerpt]

[figure: a musical score excerpt]

The High Priest makes mock of the Judge of Israel: Let him empty the
wine cup and sing the praise of his vanquisher! Dalila, in the pride of
her triumph, tauntingly tells him how simulated love had been made to
serve her gods, her hate, and her nation. Samson answers only in
contrite prayer. Together in canonic imitation (the erudite form does
not offend, but only gives dignity to the scene) priest and siren offer
a libation on the altar of the Fish god.

[figure: a musical score excerpt]

The flames flash upward from the altar. Now a supreme act of insolent
impiety; Samson, too, shall sacrifice to Dagon. A boy is told to lead
him where all can witness his humiliation. Samson feels that the time
for retribution upon his enemies is come. He asks to be led between the
marble pillars that support the roof of the temple. Priests and people,
the traitress and her dancing women, the lords of the Philistines, the
rout of banqueters and worshippers--all hymn the praise of Dagon. A
brief supplication to Israel's God--

"And Samson took hold of the two middle pillars upon which the house
stood and on which it was borne up, of the one with his right hand and
of the other with his left.

"And Samson said, 'Let me die with the Philistines.' And he bowed
himself with all his might: and the house fell upon the lords and upon
all the people that were therein. So the dead which he slew at his
death were more than they which he slew in his life."

CHAPTER V

"DIE KONIGIN VON SABA"

The most obvious reason why Goldmark's "Konigin von Saba" should be
seen and heard with pleasure lies in its book and scenic investiture.
Thoughtfully considered the book is not one of great worth, but in the
handling of things which give pleasure to the superficial observer it
is admirable. In the first place it presents a dramatic story which is
rational; which strongly enlists the interest if not the sympathies of
the observer; which is unhackneyed; which abounds with imposing
spectacles with which the imagination of childhood already had made
play, that are not only intrinsically brilliant and fascinating but
occur as necessary adjuncts of the story. Viewed from its ethical side
and considered with reference to the sources whence its elements
sprang, it falls under a considerable measure of condemnation, as will
more plainly appear after its incidents have been rehearsed.

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