eighteenth century--the true dark age of Europe; but surely even a
composer of Handel's powers could scarcely do himself justice with
such a choice blend of stupidity and cant religion as this--

"_Chorus_. How long, O Lord, shall Israel groan
In bondage and in pain?
Jehovah! hear Thy people moan,
And break the tyrant's chain!

"_Joachim._ Our crimes repeated have provok'd His rage,
And now He scourges a degen'rate age.
O come, my fair Susanna, come,
And from my bosom chase its gloom," etc.

Or is the abrupt third line of Joachim's speech to be regarded as a
masterstroke of characterisation? I will tell the whole story, to show
what manner of subject has been thought proper for an oratorio.
Joachim and Susanna are of course perfect monsters of fidelity; though
it is only fair to say that Joachim's virtue is not insisted on, or,
for that matter, mentioned. Joachim goes out of town--he says so:
"Awhile I'm summoned from the town away"--and Susanna, instead of
obeying his directions to entertain some friends, goes into a dark
glade, whither the Elders presently repair. She declines their
attentions; then they declare they caught her with an unknown lover,
who fled; and she is condemned to death, the populace seeing naught
but justice in the sentence. But before they begin to hurl the stones,
Daniel steps forward and by sheer eloquent impudence persuades the
people to have the case re-tried, with him for judge. He sends one
elder out of court, and asks the other under what tree Susanna
committed the indiscretion. The poor wretch, knowing no science,