The second part opens with a brilliant soprano solo ("Hear ye, Israel"), beginning with a note of warning, and then with trumpet obligato developing into another melody of an impetuous and animated description ("I, I am He that comforteth"). The solo leads to the magnificent chorus, "Be not afraid," in which, after a short pause, the entire force of voices, orchestra, and organ join in the sublime strain, sweeping on in broad, full harmony. There is a pause of the voices for two bars, then they move on in a strong fugue ("Though Thousands languish and fall"). At its close they are all merged again in the grand announcement, "Be not afraid," delivered with impetuosity, and ending with the same subject in powerful chorale form. The scene which follows is intensely dramatic. The prophet rebukes Ahab and condemns the Baal worship. Jezebel fiercely accuses Elijah of conspiring against Israel, and the People in sharp, impetuous phrases declare, "He shall perish," leading to the chorus, "Woe to him!" After a few bars for the instruments, Obadiah, in an exquisite recitative, counsels him to fly to the wilderness. In the next scene we behold Elijah alone, and in a feeble but infinitely tender plaint he resigns himself. It is hard to conceive anything grander and yet more pathetic than this aria, "It is enough," in which the prophet prays for death. A few bars of tenor recitative tell us that, wearied out, he has fallen asleep ("See, now he sleepeth beneath a juniper-tree in the wilderness, and there the angels of the Lord encamp round about all them that fear Him"). It introduces the trio of the Angels, "Lift thine Eyes to the Mountains," sung without accompaniment,--one of the purest, loveliest, and most delightful of all vocal trios. An exquisite chorus ("He watching over Israel") follows, in which the second theme, introduced by the tenors ("Shouldst thou, walking in Grief"), is full of tender beauty; the trio and chorus are the perfection of dream-music. At its close the Angel awakes Elijah, and once more we hear his pathetic complaint, "O Lord, I have labored in vain; oh, that I now might die!" In response comes an aria of celestial beauty, sung by the Angel ("Oh, rest in the Lord"), breathing the very spirit of heavenly peace and consolation,--an aria of almost matchless purity, beauty, and grace. Firmly and with a certain sort of majestic severity follows the chorus, "He that shall endure to the end." The next scene is one of the most impressive and dramatic in the oratorio. Elijah no longer prays for death; he longs for the divine presence. He hears the voice of the Angel: "Arise now, get thee without, stand on the mount before the Lord; for there His glory will appear and shine on thee. Thy face must be veiled, for He draweth near." With great and sudden strength the chorus announces: "Behold! God the Lord passed by." With equal suddenness it drops to a pianissimo, gradually worked up in a crescendo movement, and