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378:, which prompted Arthur Sherbo, a later critic, to claim that they "were kind to Smart and Arnold" for their silence. Another later critic, Moira Dearnley, said, "devotion and human relationships is uneasy, not to say ridiculous." Another critic, Frances Anderson, said: "it was not reprinted and seemed of mediocre quality". However, this turned out to be untrue.
270:
tells the story of
Abraham and Sarah at Gerar (Genesis 20) in three acts. Although there are multiple versions of the story with different characters, Smart relies on the version in which Abraham pretends that Sarah is his sister, and the king of Gerar, Abimilech, wishes to marry her. God intervenes
274:
There is an emphasis on the sexual jealousy of
Abraham over Abimelech's treatment of Sarah. This was partly done for "theatrical effect". However, there is also an emphasis on the impious actions of the Gentiles of Gerar and of their inability to love properly, especially when Hagar sings:
271:
by telling
Abimelech that Sarah is married and should be returned to Abraham; Abimelech returns Sarah to Abraham but criticizes Abraham for lying. The oratorio leaves out the final portion of Abimelech's biblical story in which Sarah is made fertile by God along with Abimelech's women.
117:, Smart most likely wrote the work out of a need to earn money. However, his previous oratorio only lasted a few nights, and Smart hoped that his second could succeed where the other failed. This would be the last work in Smart's final years that was written completely for adults.
97:, and he tries to take Sarah as his wife. After God intervenes in a dream, Sarah, who was previously barren, is restored to Abraham and made fertile. The oratorio emphasizes the sexual jealousy and the sexual fidelity of spouses.
235:, but the libretto was sold during its run at the Theatre Royal, Haymarket, in 1768 and the run of the revised version of the oratorio at the Covent Garden in 1772. These works were published anonymously but
720:
231:
was performed once at the
Theatre Royal on 18 March 1768 and once, after Smart's death, at Covent Garden on 25 March 1772. There are no surviving scores for
307:
As the oratorio continues, there is emphasis that only those who follow the true God are capable of understanding the proper ways to act.
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359:
was "a very pleasing
Oratorio, though there is great sameness in the songs, but the chorusses are masterly and grand". Later,
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claimed that "the applause obtained by this his second oratorical production , established the reputation of its composer ".
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ran for only one night, each time. It was to be Smart's last work dedicated to an adult audience.
548:
360:
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247:. The "pasticcios" were musical selections from Handel used by the composer Samuel Arnold.
8:
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claimed that the oratorio was changed "greatly for the better". Another review in
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618:. Ed. Marcus Walsh and Karina Williamson. Oxford: Clarendon, 1983. 472 pp.
752:
616:
The
Poetical Works of Christopher Smart, II: Religious Poetry 1763-1771
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and who is universally allowed to be a SMART Fellow, and a tolerable
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58:
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in 1768. A heavily revised version of the oratorio ran at
239:, Smart's friend, attributes the libretto to Smart and
604:. Lewisburg: Bucknell University Press, 2001. 342 pp.
202:, who tho' of a diminutive Size, hath such amazing
590:. New York: Twayne Publishers, Inc., 1974. 139 pp.
124:ran in the "Musical Intelligencer" section of the
721:The Parables of Our Lord and Saviour Jesus Christ
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405:
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194:has been a long while in Training under little
611:Michigan State University Press, 1967. 303 pp.
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637:
609:Christopher Smart: Scholar of the University.
597:. New York: Barnes & Noble, 1969. 332 pp.
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537:The London Stage 1660-1800: Part 4, 1747-1776
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294:Their appetite from such a form as Sarah's?
105:Years before, Smart wrote a libretto for an
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291:And more of brutal nature, should controul
182:on Friday 19th of February, tho' the Odds
347:ran at the Covent Garden, a reviewer in
334:Officers, soldiers, and other attendants
285:Of an enamour'd Gentile - Couldst think,
254:
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288:That men remoter from the truth of God,
282:Have suffer'd profanation from the lips
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214:, he will seize on any Man alive, and
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146:on Wednesday next, when he will run
707:Hymns for the Amusement of Children
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61:written by Smart, the first being
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184:in the upper half of the Scaffold
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150:. He was bred by the celebrated
45:. It was first performed in the
602:Christopher Smart: Clown of God
595:The Poetry of Christopher Smart
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57:was the second of two oratorio
873:Cultural depictions of Abraham
555:. Vol II, London: 1819. p. 468
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455:. Vol IV, London: 1789. p. 666
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81:retells the biblical story of
1:
868:Libretti by Christopher Smart
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343:After the second version of
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539:. Carbondale, 1962. p. 1619
67:written in 1764. Just like
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889:
769:Poems on Several Occasions
553:A General History of Music
158:the great Match round the
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737:
700:Hymns and Spiritual Songs
694:Hymn to the Supreme Being
666:
659:
134:"YOUNG Abimilech will be
130:on 16 March, which said:
37:in three acts written by
535:Stone Jr., G. (editor).
453:General History of Music
381:
310:
245:General History of Music
853:English-language operas
526:, Vol. II (1772) p. 219
188:Three and a Half to One
765:Mrs Midnight's Oratory
264:
241:pasticcios from Handel
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586:Anderson, Frances E.
524:The Theatrical Review
353:The Theatrical Review
349:The Theatrical Review
322:Phichol Chief Captain
258:
132:
120:An advertisement for
91:met the King of Gerar
19:
848:Christian literature
614:Smart, Christopher.
216:take him by the Ears
41:and put to music by
478:Smart (1983) p. 159
464:Smart (1983) p. 158
442:Smart (1983) p. 161
430:Smart (1983) p. 160
805:Asylum confinement
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212:gets with his Airs
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653:Christopher Smart
593:Dearnley, Moira.
588:Christopher Smart
451:Burney, Charles.
339:Critical response
148:three Trial-heats
127:Public Advertiser
47:Haymarket Theatre
39:Christopher Smart
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607:Sherbo, Arthur.
600:Mounsey, Chris.
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675:A Song to David
667:Religious works
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259:First page of
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237:Charles Burney
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156:flying Pegasus
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279:Lo, her ears
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838:1772 operas
828:1768 operas
753:The Hilliad
208:Composition
198:, a Man of
154:, who rode
142:Theatrical
843:1772 poems
833:1768 poems
822:Categories
581:References
164:Psalmodist
160:Hop-Garden
101:Background
89:when they
688:Abimelech
376:Abimelech
357:Abimelech
345:Abimelech
299:Abimelech
268:Abimelech
261:Abimelech
251:Abimelech
233:Abimelech
229:Abimelech
192:Abimilech
168:Abimilech
152:Kit Crazy
136:exercised
122:Abimelech
95:Abimelech
79:Abimelech
73:Abimelech
59:librettos
55:Abimelech
53:in 1772.
30:Abimelech
22:Abimelech
798:See also
374:ignored
263:libretto
221:—
204:Strength
107:oratorio
35:oratorio
24:libretto
316:Abraham
243:in his
206:in his
180:Sampson
140:Foote's
113:. Like
109:called
83:Abraham
858:Operas
777:(1763)
771:(1752)
682:Hannah
301:94-99)
196:Arnold
115:Hannah
111:Hannah
69:Hannah
64:Hannah
33:is an
775:Poems
660:Works
382:Notes
328:Hagar
325:Sarah
311:Roles
186:were
144:Heath
87:Sarah
685:and
370:and
366:The
176:Saul
85:and
174:to
170:is
138:on
824::
551:.
469:^
435:^
423:^
402:^
390:^
218:."
190:.
166:.
93:,
71:,
645:e
638:t
631:v
297:(
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