rring episodes during
the journey and the visit spring from the librettist's imagination.
The story in substance is as follows:--

King Solomon, learning of the Queen's intention to visit him, sends
his favorite courtier Assad to escort her. While she waits outside the
gates of Jerusalem, Assad announces her arrival to the King and
Sulamith, the daughter of the high-priest, to whom the courtier is
affianced. Observing his disturbed looks, the King, after dismissing
his attendants, inquires the cause. Assad replies that on their
journey through the forest he had encountered a nymph bathing whose
beauty had so impressed him as to banish even the thoughts of his
affianced. The wise Solomon counsels him to marry Sulamith at once.
Meanwhile the Queen comes into the King's presence, and as she lifts
her veil reveals the unknown fair one. She affects ignorance of
Assad's passion; but when she learns that he is to wed Sulamith love
for him springs up in her own breast. Upon the day of the wedding
ceremony Assad, carried away by his longing for the Queen, declares
her to be his divinity, and is condemned to death for profaning the
Temple. Both the Queen and Sulamith appeal to the King for mercy. He
consents at last to save his life, but banishes him to the desert. The
Queen seeks him there, and makes an avowal of her love; but Assad
repulses her. As Sulamith comes upon the scene a simoom sweeps across
the desert. They perish in each other's arms; while in a mirage the
Queen and her attendants are seen journeying to their home.

The first act opens in the great hall of Solomon's palace with a
brilliant, joyous chorus ("Open the Halls, adorn the Portals") in
praise of the King's glory. After the entrance of the high-priest,
Sulamith sings a fascinating bridal song ("My own Assad returns"),
richly oriental both in music and sentiment, dreamy and luxurious in
its tone, and yet full of joyous expectation, with characteristic
choral refrain and dainty accompaniment. The fourth and fifth scenes
are full of agitation and unrest, and lead up to Assad's explanation
of his perturbed condition ("At Lebanon's Foot I met Arabia's Queen"),
a monologue aria of rich glowing color and reaching a fine dramatic
climax as it progresses from its sensuous opening to the passionate
intensity of its finale. It is followed by the entrance of the Queen,
accompanied by a brilliant march and a jubilant chorus ("To the Sun of
the South our Welcome we bring