Dr.
Chrysander's argument, made in a lecture at the Johanneum in Hamburg in 1896, preceded an analysis of Handel's Biblical oratorios in their relation to Hebrew history, and his exposition of that history as he unfolded it chronologically from the Exodus down to the Maccabaean period was in itself sufficient to furnish many more fit operatic plots than have yet been written.

Nor are there lacking in these stories some of the elements of Greek legend and mythology which were the mainsprings of the tragedies of Athens.

The parallels are striking: Jephtha's daughter and Iphigenia; Samson and his slavery and the servitude of Hercules and Perseus; the fate of Ajax and other heroes made mad by pride, and the lycanthropy of Nebuchadnezzar, of whose vanity Dr.Hanslick once reminded Wagner, warning him against the fate of the Babylonian king who became like unto an ox, "ate grass and was composed by Verdi"; think reverently of Alcestis and the Christian doctrine of atonement! The writers of the first Biblical operas sought their subjects as far back in history, or legend, as the written page permitted.

Theile composed an "Adam and Eve" in 1678; but our first parents never became popular on the serious stage.

Perhaps the fearful soul of the theatrical costumer was frightened and perplexed by the problem which the subject put up to him.