g his fate,
Raymond sinks back with a despairing cry.

In the third act the fishermen and women assemble on the banks of the
Rhine at day-break, preparing for their daily work. They also know the
Count's wife to be a mer-maid, and they sing a ballad of the
water-nymph. Suddenly Melusine appears and they take flight.
Melusine, finding the gates of her husband's castle closed, vainly
calls for him.--His mother answers in his stead, charging her with
witchcraft and refusing to admit her. Melusine, sure of Raymond's love
undauntedly answers that only Raymond's want of faith could undo
her.--In the meantime a herald announces the arrival of Crusaders with
Peter von Amiens.--The latter exhorts Count Raymond to join the holy
army in order to expiate his father's murder. Raymond is willing to
go, when Melusine entreats him not to leave her. All present press
around to insult her, only Bertram steps forth as her protector, once
more showing Raymond's bloody sword, an act, which she alone
understands. She kneels {222} to him, in order to save her husband,
but Raymond, misunderstanding her movements, accuses her of secret
intercourse with Bertram and in a fit of jealousy disowns her.
Scarcely have the luckless words escaped his lips, than a violent sound
of thunder is heard. Melusine curses the palace, and throws her
husband's ring at his feet. She disappears in the Rhine, Bertram
leaping after her, the stream overflows its banks, and a flash of
lightning destroys the castle. Gradually the scene changes to the one
of sylvan solitude in the first act. Raymond appears in pilgrim's garb
to seek for his lost love (see Tannhaeuser), Melusine once more emerges
from her grotto to comfort him, but also to bring him death. Happy, he
dies in her embrace, she buries him under water-lilies and returns to
her watery domains.

MERLIN.

Opera in three acts by CHARLES GOLDMARK.

Text by SIEGFRIED LIPINER.

This latest creation of the talented composer at once proved itself a
success, when produced for the first time in the Opera-House in Vienna.
Since then it has quickly passed to all the larger stages.

Merlin surpasses the Queen of Sheba in dramatic value and is equal to
it in glowing coloring and brilliant orchestration. Goldmark is quite
the reverse of Wagner. Though equally master of modern
instrumentation, he abounds in melodies. {223} Airs, duets and
choruses meet us of surpassing beauty and sweetness. The te