A work like this cannot be otherwise than the spontaneous outcome of a composer's feelings, untrammelled by outward considerations. The varied influences that are noticeable in the musical style of Saint-Saëns, and to which I have already made allusion, are perhaps more marked in this work than in any of his other operas. In the first act the choruses sung by the captive Hebrews breathe the spirit of Bach and Handel, and are conceived rather in the oratorio style. As a strong contrast to these we have the dainty chorus of the priestesses of Dagon and their characteristic dance, the fascinating trio in which Dalila endeavours to cast her spell over Samson, and the lovely air, "Printemps qui commence," which terminates the act and which has been sung by every contralto. Samson's spirited appeal to arms must also be mentioned. The second act commences with Dalila's invocation to love, praying for aid in her design to ensnare Samson. The lengthy duet between the heroine and the high priest is eminently dramatic, and the following duet between her and Samson may be ranked amongst the finest love scenes ever written. It contains a beautiful phrase sung by the temptress when endeavouring to inveigle her victim, which is reproduced later on in an admirably suggestive manner by the orchestra, and reappears in the third act, transformed into a mocking theme, when Dalila is scoffing at her victim in chains and deprived of his sight. The third and last act contains a touching prayer for Samson, bewailing his lost sight, some admirable ballet music, in which the composer has made effective use of the Eastern scale, and a masterly scene depicting the revelries of the Philistines, culminating in the destruction of the temple by Samson. So ends this beautiful score, the merits of which are so transparent and yet have remained so long unrecognised. [Illustration: FACSIMILE OF AUTOGRAPH SCORE OF "SAMSON ET DALILA"] In "Samson et Dalila" Saint-Saëns had made use of representative themes, and although he has done so in a sufficiently discreet fashion, avoiding anything approaching to Wagnerian polyphony, the fact deserves to be noted as affording, perhaps, the first instance in which the system has been rigorously followed by a French composer. There can be no doubt but that the device contributes to a great extent in securing that unity which is so much sought for nowadays in dramatic works. Another point to be noted is the suppression of detached numbers, the opera being divided into scenes that are logically developed.