dying
affection. But the military Briton, who has invaded the country at
large, must needs now invade also this cosey abode of love. Frederick,
a brother officer, discovers Gerald and informs him that duty calls
(Britain always expects every man to do his duty, no matter what the
consequences to him) and he must march with his regiment. Frederick has
happened in just as Lakme is gone for some sacred water in which she
and Gerald were to pledge eternal love for each other, to each other.
But, spurred on by Frederick and the memory that "England expects,
etc.," Gerald finds the call of the fife and drum more potent than the
voice of love. Lakme, psychologist as well as botanist, understands the
struggle which now takes place in Gerald's soul, and relieves him, of
his dilemma by crushing a poisonous flower (to be exact, the Datura
stramonium) between her teeth, dying, it would seem, to the pious
delight of her father, who "ecstatically" beholds her dwelling with
Brahma.

The story, borrowed by Gondinet and Gille from the little romance "Le
Mariage de Loti," is worthless except to furnish motives for tropical
scenery, Hindu dresses, and Oriental music. Three English ladies,
Ellen, Rose, and Mrs. Bentson, figure in the play, but without dramatic
purpose except to take part in some concerted music. They are, indeed,
so insignificant in all other respects that when the opera was given by
Miss Van Zandt and a French company in London for the first time in
1885 they were omitted, and the excision was commended by the critics,
who knew that it had been made. The conversation of the women is all of
the veriest stopgap character. The maidens, Rose and Ellen, are English
ladies visiting in the East; Mrs. Bentson is their chaperon. All that
they have to say is highly unimportant, even when true. "What do you
see, Frederick?" "A garden." "And you, Gerald?" "Big, beautiful trees."
"Anybody about?" "Don't know." "Look again." "That's not easy; the
fence shuts out the view within." "Can't you make a peephole through
the bamboo?" "Girls, girls, be careful." And so on and so on for
quantity. But we must fill three acts, and ensemble makes its demands;
besides, we want pretty blondes of the English type to put in contrast
with the dark-skinned Lakme and her slave. At the first representation
in New York by the American Opera Company, at the Academy of Music, on
March 1, 1886, the three women were permitted to interfere with what
there is o