is then treated fugally, and with marked effect. Then comes the journey from Egypt to the land of Canaan. The bass, progressing in quavers, expresses motion. From time to time a curious syncopated semiquaver figure is heard in the upper part: it may be intended to represent sobbing. The following quotation, including one of these "sobbing" passages, will give a good idea of the character of this section-- [Music illustration] A short, solemn phrase is headed, "The Burial of Israel." Then a finely worked-out fugal section depicts the great grief of the bystanders. It is in four parts, but in one place the addition of a fifth part and stretto treatment render the feeling of grief more intense. A peaceful closing section in the major key and in triple time expresses the consoled minds of the survivors. From this _resume_ of these "Bible" Sonatas, it will be seen that they have nothing in common with the ordinary sonata of the time in which they were written. They were bold attempts at programme-music; and, as we have already said, the form is entirely determined by the subject-matter. In the old edition of these "Bible" Sonatas, in addition to the preface of which we have made mention, Kuhnau has related the Bible stories in his own characteristic language. We give a translation of the first two, as specimens. I. _The Combat between David and Goliath_ The portrait given in Scripture of great Goliath is something quite uncommon: a monster of nature appears, a giant, tall as a tree. Six ells will not suffice to measure his length; the high helmet of brass which he wears on his head makes him appear still taller; and the scaly coat of mail, the greaves of brass placed about his legs, together with the enormously heavy shield which he carries, also his strong spear, tipped with iron, like unto a weaver's beam, sufficiently show that he is of mighty strength, and that all these exceedingly heavy loads do not inconvenience him in the slightest. If the mere description of this man creates fear, how much greater will not the terror of the poor Israelites be when the living image of this their enemy appears before them. For he stands before them in his brazen armour, rivalling the sun in brilliancy, makes with the rustling of his armour a terrible din, and snorts and bellows as if he would devour them at one mouthful; his words sound in their ears like dreadful thunder. He holds in contempt his enemies and their equipage, and demands that a hero be sent out to him from their camp; this combat is to show whose shoulders shall bear the yoke of bondage. By this means he imagines that the sceptre will soon pass from the Israelites to the Philistines. But a miracle is about to happen! When courage fails all the heroes of Israel, when the giant has only to show himself, to cause them to flee, when, also, the terrible warrior continues, according to his custom, to pour contempt on the enemy, David, a slim, courageous stripling, a simple shepherd-boy, then