The full title of the book is _Theodore Cyphon, or the Benevolent Jew_. There were two editions of it. The first came out in 1796, the second in 1823. Of the second edition the British Museum possesses a complete copy; of the first edition an imperfect example--consisting of the first of the three volumes--has recently been presented to the University Library, Cambridge. The “benevolent Jew” is one Shechem Bensadi, and he is drawn with more than sympathy. Shechem lends money at exorbitant rates to the improvident aristocracy, and devotes his gains to the relief of deserving unfortunates. Nay, his clients are not always deserving. When robbed, Shechem refuses to prosecute; he showers favors on those who treat him despitefully. His philanthropy is extended to Jew and Gentile alike. There is one remarkable scene in the fifth chapter, in which Shechem is shown in a large storehouse, surrounded by scores of poor Jews to whom he supplies goods, thus enabling them to earn a livelihood. In equally striking chapters Shechem plays the rôle of benefactor and friend to others than his own coreligionists. The first edition of _Theodore Cyphon_ was obviously suggested by Cumberland’s success. Curiously enough, the sub-title, _The Benevolent Jew_, is used in the sheet concerning Cumberland’s play printed in vol. vii of the _Transactions_ of the Jewish Historical Society of England, p. 177. It is not improbable that the second edition of _Theodore Cyphon_ was due to the popularity of Scott’s _Ivanhoe_, which was published in December, 1819. There are not wanting some superficial parallels between Scott’s masterpiece and Walker’s earlier and more moderate production. Eve, Shechem’s daughter, nurses Walker’s hero, just as Isaac’s daughter Rebecca nurses Scott’s hero. The most interesting parallel--perhaps the only real one--is presented in two scenes, one in _Ivanhoe_, the other in _Theodore Cyphon_. The first is the occasion on which Rebecca sings her famous hymn. Scott describes his poem as a “translation” of a hymn with which the evening ritual of the Synagogue concluded. It is really an original composition inspired by various scriptural texts, and in its turn may have suggested some great lines in Kipling’s _Recessional_. Is it possible that Scott’s idea of Rebecca’s hymn was suggested by Walker? For, in the second scene alluded to above, Eve, too, is overheard singing a song to “music wild, yet so soft.” Walker gives us only the last stanza of Eve’s song, which runs thus (p. 46 of vol. i of the 1796 edition): The wand’rers of Israel, through nations dispers’d, Shall again dwell in safety, again rest in peace; And the harp, that so plaintive our sorrows rehears’d, Shall thrill with new pleasures, as pleasures increase; The sweet, spicy shrubs, that wave over the hills, Untouch’d by the simoom, eternally blow, Frankincense and myrrh from their bosom distils, And love shall attend on our path as we go.