Pardon de Ploermel," and the siciliano in Mascagni's "Cavalleria
rusticana" and the prologue in Leoncavallo's "Pagliacci" are other
cases in point. Of these only the last can be said to achieve its
purpose in arresting the early attention of the audience. When the
curtain opens we see a public place in Gaza in front of the temple
of Dagon. The Israelites are on their knees and in attitudes of
mourning, among them Samson. The voice of lamentation takes a fugal
form--

[figure: a musical score excerpt]

as the oppressed people tell of the sufferings which they have
endured:--

Nous avons vu nos cites renversees
Et les gentils profanants ton autel, etc.


The expression rises almost to the intensity of sacrilegious
accusation as the people recall to God the vow made to them in
Egypt, but sinks to accents of awe when they reflect upon the
incidents of their former serfdom. Now Samson stands forth. In a
broad arioso, half recitative, half cantilena, wholly in the
oratorio style when it does not drop into the mannerism of
Meyerbeerian opera, he admonishes his brethren of their need to
trust in God, their duty to worship Him, of His promises to aid
them, of the wonders that He had already wrought in their behalf;
he bids them to put off their doubts and put on their armor of
faith and valor. As he proceeds in his preachment he develops
somewhat of the theatrical pose of John of Leyden in "The Prophet."