ar to the new-found gospel of his brother. An inspiring thought
comes to Cain; by killing Abel and destroying himself he will save
future generations from the sufferings to which they are doomed. With
this benevolent purpose in mind he commits the murder. The blow has
scarcely been struck before a multitude of spirit-voices call his name
and God thunders the question: "Where is Abel, thy brother?" Adam comes
from his cave and looks upon the scene with horror. Now Cain realizes
that his work is less than half done: he is himself still alive and so
is his son Enoch. He rushes forward to kill his child, but the mother
throws herself between, and Cain discovers that he is not strong-willed
enough to carry out his design. God's curse condemns him to eternal
unrest, and while the elements rage around him Cain goes forth into the
mountain wilderness.

Herr Bulthaupt did not permit chronology to stand in the way of his
action, but it can at least be said for him that he did not profane the
Book as Herr Ewers, Mr. d'Albert's latest collaborator, did when he
turned a story of Christ's miraculous healing of a blind woman into a
sensational melodrama. In the precious opera, "Tote Augen" ("Dead
Eyes"), brought out in March, 1916, in Dresden, Myrocle, the blind
woman, is the wife of Arcesius, a Roman ambassador in Jerusalem. Never
having seen him, Myrocle believes her husband to be a paragon of
beauty, but he is, in fact, hideous of features, crook-backed, and
lame; deformed in mind and heart, too, for he has concealed the truth
from her. Christ is entering Jerusalem, and Mary of Magdala leads
Myrocle to him, having heard of the miracles which he performs, and he
opens the woman's eyes at the moment that the multitude is shouting its
hosannahs. The first man who fills the vision of Myrocle is Galba,
handsome, noble, chivalrous, who had renounced the love he bore her
because she was the wife of his friend. In Galba the woman believes she
sees the husband whom in her fond imagination she had fitted out with
the charms of mind and person which his friend possesses. She throws
herself into his arms, and he does not repel her mistaken embraces; but
the misshapen villain throws himself upon the pair and strangles his
friend to death. A slave enlightens the mystified woman; the murderer,
not the dead hero at his feet, is her husband. Singularly enough, she
does not turn from him with hatred and loathing, but looks upon him
with a great pity