New-York tribune. [volume] (New York [N.Y.]) 1866-1924, 1916-08-06
Biblical Stories in
Opera and Oratorio
Dr. Chrysanders Theory-No Dramatic Instinct Among
the Ancient Hebrews-Operatic Patriarchs-Cain,
the Modern Philosopher Joseph, His
Brothers and Potphars Wife.
By II. E. KREHBlEL.
Copyright 1sls-Th. Tribune Association.

was the belief of Dr. Chsander born OF his deep de-
voton Handel in whose works he lived and moved and
had his being that the heroic histories of the ews offered
no fit material representation In his view the Jews
never created poetry partly because OF the Mosaic pro-
hbton against plastic deneaton OF their Deity partly be
tragic element which so potent an influence IN the
DEVELOPMENT Greek DRAMA wanting IN their heroes
The theory that the Song Songs that cantce OF cantces Of
love was pastoral play had Judgement in his mind the poem
seemed less dramatic to him than the Book of JOB The former
sprang from dy life OF the northern tribes and reflected
that life latter much profound in concepto PROVED
bv its form that the a real stageplay nsurmountab
barred to the Hebrew poet What poetic field to him
then? Only the hymning of Deity invisible omnpresent and
omnpont the swelling call to combat for the glory OF Ood
against an nmcal world and the celebration OF an ideal con-
sstne peaceful happy existence the Land OF promise un
der Gods protecting This God presented Himself occa
sonay as militant alpoweul warrior but only in moments
when the fortunes His people critically at issue These
moments however, exceptional and tew as rue Ood
manifested Himself prophecy through words and music Ihe
laws were promulgated song the prophetic PROMISES
denuncatons and calls repentance and there grew up mag
nifcent liturgical service in the temple
Hebrew poetry epic and lyrical thus antagonsc to the
drama So Dr. Cysander contends was the Hebrew HIM
self only had he prediction for plastic creation MS
lie dramatic in the illustrated IN greek tragedy
He lived care-free, existence and either tell under
righteous for his transgressons or walked the
way prescribed Lord and found at last in Abrahams
BOSOM His life simple; his srvngs his ongngs
his Yet when to the defence or celebration OF MS
spiritual possessions his soul filled with such spirit OF he
roc daring glow Of enthusiasm not to be paraeed
among another peoples OF antiquity He thus became mt
subject only OF the armusic IN this art TOR only one
of its Spheres sublime the most appropriate and ecient
vehicle OF which is the oraorio.
One part OF this argument to me irrelevant the other
not firmly founded fact 1t does not follow that because the
Greek conscience evolved the conceptions OF rebeous pride and
punitive Fate while the Hebrew conscience did not there
fore the Greeks the predesned OF the arttom out
OF which grew the opera and the Hebrews OF the form when
grew into the oratoo Neither is it that because people
are not disposed toward dramatic creation themselves they can
not or may not the of dramatic creatvenesS IN others
Dr. Chrysande argument made in lecture at the Ohanneum
in Hamburg 1896 preceded analysis OF Handes Biblical
oatoros their relation Hebrew history and his exposition
of that he unfoded chronoogcay from the Exodus
down to Macabean period itself sufficient to furnish
many fit operate plots than have been written Nor are
there lacking these OF the elements OF Greek
legend mythology which the mansprng OF the TRACE
dies Athens. The parallels striking ephthas daughter
and Dhgena Samson and his slavery and the sevude Her
ces and Peseus the fate OF and other heroes made mad
by pride the cantopy OF Nebuchadnezza OF whose vanity
Dr. Hansck once reminded Wagner warning him against the
fate the Babyonian king who became like unto ate
grass composed by Verd think reverenty Of Aces
and the Christian doctrine of atonement.