, ensues,
introducing a simple, but well-sustained chorale for full chorus ("How
mighty is Thy Name"). At this point the "Man of God" appears, rebuking
the Levites for their polluted offerings. His denunciations are declaimed
in strong, spirited phrases, accompanied by the chorus of the people
("They have profaned it"), beginning in unison. The scene now changes to
the camp of the Philistines, where Saph, their man of war, shouts out his
angry and boisterous defiance in his solo ("Philistines, hark, the
Trumpet sounding"). It is followed by a choral response from the
Philistines ("Speed us on to fight"), which is in the same robust and
stirring style, though the general effect is theatrical and somewhat
commonplace. Combined with it is a choral response by the priests of
Dagon, of an Oriental character. After this clash of sound follows an air
of a sombre style by Eli ("Hear my Prayer, O Lord"), the introduction and
accompaniment of which are very striking. The "Man of God" once more
appears, announcing the approaching death of Eli's sons to a weird,
sepulchral accompaniment of the reeds and trombones, and leading up to a
very effective duet between them ("Lord, cause Thy Face to shine upon Thy
Servant"). Another chorale ensues ("O make a joyful Noise"), and after a
brief recitative Hannah has a most exultant song, overflowing with love
and gratitude at the birth of Samuel ("I will extol Thee, O Lord"). The
first part closes with a brief recitative between Hannah and Eli,
preluding a fugued chorus ("Hosanna in the highest"), built up on two
motives and one of the most elaborate numbers in the oratorio.

The second part opens with a chaste and lovely melody, the morning prayer
of the child Samuel ("Lord, from my Bed again I rise"), followed with
some pretty recitative between the child and his parents, and an
unaccompanied quartet, set to the same choral theme that was heard in the
organ prelude to the overture. The next number is the long and showy
instrumental march of the Israelites, followed by two very striking
choruses,--the first ("Hold not Thy Peace and be not still, O God") of
which appeals for divine help against the enemy, and the second, an
allegro ("O God, make them like a Wheel"), leads into a fugue ("So
persecute them"), which is very energetic in character, and closes with
the martial hymn, "God and King of Jacob's Nation," sung to the melody of
the preceding march.

The oratorio abounds in contrasts, an