[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.