Later I
remembered the censor, and realised for the first time that in
England, when a subject is unfit for a drama, it is treated as an
oratorio. As soon as possible I bought Handel's "Susanna" instead, and
found that Handel curiously--or perhaps not curiously--had also been
before me in thinking of treating the subject operatically. In fact
"Susanna" is as much an opera as "Rinaldo," the only difference being
that a few choruses are forcibly dragged in to give colour to the
innocent pretence. Handel's librettist, whoever he was, did his work
downright badly. That he glorifies the great institution of permanent
marriage and says nothing of the corresponding great institution of
the Divorce Court, is only what might be expected of the horrible
eighteenth century--the true dark age of Europe; but surely even a
composer of Handel's powers could scarcely do himself justice with
such a choice blend of stupidity and cant religion as this--
"_Chorus_. How long, O Lord, shall Israel groan
In bondage and in pain?
Jehovah! hear Thy people moan,
And break the tyrant's chain!
"_Joachim._ Our crimes repeated have provok'd His rage,
And now He scourges a degen'rate age.
O come, my fair Susanna, come,
And from my bosom chase its gloom," etc.
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