‘Caractacus,’ written to the poem by H. A. Acworth for the Leeds Musical Festival of 1898, stands in the natural progressive order of his secular cantatas as the strongest of the series and, in many respects, the most remarkable of its class in any country or period. Elgar, in this and later choral works, appears in the double rôle of symphonist and choral writer, for the orchestra frequently rises into momentary preëminence and overshadows the choral machinery as a medium of expression. ‘Caractacus’ must be thought of in its orchestral coloring in order to grasp its full strength and beauty, for Elgar is a master of all modern orchestral resources. This cantata was written at the composer’s home at Malvern in the immediate environment of the stirring scenes related in its score and enacted in ancient times by the heroic defenders of British freedom, for it was at Malvern Hills on the Welsh frontier that Caractacus made his final stand against the legions of Rome. The work is in six scenes, the first depicting Caractacus and his warriors in his British camp at Malvern Hills at night. It opens after a short orchestral introduction with the stirring chorus, ‘Watchmen, alert!’ The king’s daughter Eigen and her betrothed Orbin break in upon the sad reveries of the disheartened monarch and their recital of the warning of the Druid maiden ushers in the beautiful trio sung by Eigen, Orbin and Caractacus, ‘At eve to the greenwood we wandered away.’ As they depart, the Spirits of the Hills sing a calm benediction, ‘Rest, weary monarch,’ one of the loveliest choral portions of the work, scored with consummate skill for both chorus and orchestra. The second scene shifts the action to the sacred oak grove and deals with the rites of the Druids as they cast the omens. There is a mystic dance of the Druid-maidens, ‘Tread the measure left and right,’ which is an inspiration of enthralling beauty and rhythmic grace but which never loses a certain solemn dignity. As the dance ceases, there follows the impassioned invocation to Taranis. The king enters, the Arch-Druid deceives him as to the omens, Orbin protests, but is cursed and driven forth by the Druids. The close of the scene is built up around the vigorous soldiers’ chorus, ‘Leap to the light, my brand of fight,’ and the contrasting chorus of Druids as they call down curses on Orbin. The third scene pictures the parting of the lovers as Orbin joins the force of Caractacus. It opens with a graceful rustic chorus of youths and maidens who are with Eigen, twining wreaths of flowers, ‘Come beneath our woodland bow’rs.’ The scene closes with the beautiful duet of the parting lovers. The fourth scene is again on Malvern Hills and Eigen and her maidens anxiously discuss the rumors of distant battle. The return of Caractacus and the remnants of his defeated army brings this part to a close with the impressive lament of Caractacus (in 7-pulse measure) accompanied by the chorus of warriors.