s
the Arab live and be his friend, and we infer the happiness of the lovers
from the invocation of "Love the Conqueror," which brings the Damon and
Pythias story, to a close.

A very brief orchestral prelude introduces the opening chorus with
solos:--

"Alas! our land is desolate,
The children cry for bread;
Around, fierce fire and sword devour,
Our women wail their dead.

"We pray for vengeance on the foe,
To death consign them all;
Siva, arise and fight for us,
Or see thine altars fall."

As the expressive chorus comes to a close, an allegro movement leads to a
dialogue between the people and the watchman, and subsequently with the
horseman, who announces the approach of the victorious army, followed by
a second chorus of the people invoking Siva ("Vishnu, Vishnu, thou hast
heard our Cry!"). The scene is very dramatic throughout, and is
accompanied by vigorous and suggestive music. The next number is a
triumphal march, remarkable for its local color, and gradually increasing
in power and effect as the army approaches the city. It is followed by an
excited dialogue between Sawa and Sayid, with choral responses, and leads
up to a beautiful melody for Sayid:--

"Where sets the sun adown the crimson west
My native valley lies;
There by a gentle stream that murmurs rest
My father's tents arise.

"Fearing no harm, the happy peasant tills,
The woolly flocks increase;
The shepherd's pipe is heard upon the hills,
And all around is peace."

Another dramatic scene follows, in which Sawa consents to Sayid's return
to his father, and accepts Ilmas as his bondswoman, which leads to a very
spirited and elaborate melody for the latter ("First of his Prophet's
Warriors he"). The first part closes with the departure of Sayid and a
repetition of the choral invocation of Siva.

The second part opens in an apartment of Sawa's palace, and discloses
Ilmas sitting with her maidens, as a thunderstorm dies away in the
distance. The latter join in a graceful chorus, which is one of the most
beautiful numbers in the cantata:--

"Sweet the balmy days of spring,
And blushing roses that they bring;
But sweeter far is love."

Ilmas answers them in a broad and exultant strain ("Ay, sweet indeed is
Love"). As the song ends, Sawa and attendants enter, and the scene closes
with a very dramatic chorus and solos, accompanying the preparations for
death. The second scene opens