introductory cadence marked by the Oriental scale, out of which the
second dance melody is constructed--a scale which has the
peculiarity of an interval composed of three semitones, and which
we know from the song of the priestesses in Verdi's "Aida":--

[figure: a musical score excerpt]

[figure: a musical score excerpt]

The High Priest makes mock of the Judge of Israel: Let him empty
the wine cup and sing the praise of his vanquisher! Dalila, in the
pride of her triumph, tauntingly tells him how simulated love had
been made to serve her gods, her hate, and her nation. Samson
answers only in contrite prayer. Together in canonic imitation (the
erudite form does not offend, but only gives dignity to the scene)
priest and siren offer a libation on the altar of the Fish god.

[figure: a musical score excerpt]

The flames flash upward from the altar. Now a supreme act of
insolent impiety; Samson, too, shall sacrifice to Dagon. A boy is
told to lead him where all can witness his humiliation. Samson
feels that the time for retribution upon his enemies is come. He
asks to be led between the marble pillars that support the roof of
the temple. Priests and people, the traitress and her dancing
women, the lords of the Philistines, the rout of banqueters and
worshippers--all hymn the praise of Dagon. A brief supplication to
Israel's God--

"And Samson took hold of the two middle pillars upon which the