Curses and vows of vengeance against Israel, her hero, and her God from the mouth of Dagon's servant.

One of his imprecations is destined to be fulfilled:-- Maudit soit le sein de la femme Qui lui donna le jour! Qu'enfin une compagne infame Trahisse son amour! Revolutions run a rapid course in operatic Palestine.

The insurrection is but begun with the slaying of Abimelech, yet as the Philistines, bearing away his body, leave the scene, it is only to make room for the Israelites, chanting of their victory.

We expect a sonorous hymn of triumph, but the people of God have been chastened and awed by their quick deliverance, and their paean is in the solemn tone of temple psalmody, the first striking bit of local color which the composer has introduced into his score--a reticence on his part of which it may be said that it is all the more remarkable from the fact that local color is here completely justified:-- [figure: a musical score excerpt, sung to the words "Praise, ye Jehovah! Tell all the wondrous story! Psalms of praise loudly swell!] "Hymne de joie, hymne de deliverance Montez vers l'Eternel!" It is a fine piece of dramatic characterization; which is followed by one whose serene beauty is heightened by contrast.

Dalila and a company of singing and dancing Philistine women come in bearing garlands of flowers.