Readers of the “Hebrew Melodies” must have been struck by the appearance of _two_ poems based on Psalm 137. Byron first wrote: “We sate down and wept by the waters,” and later on another version beginning: “In the valley of waters we wept.” Byron himself observed the duplication, and wished to suppress the former copy. It is well that he yielded to Nathan’s importunities, for the first version is assuredly the finer. But the incident shows the close connection between the verses and the music. For Byron ended the discussion with these words: “I must confess I give a preference to my second version of this elegy; and since your music differs so widely from the former, I see no reason why it should not also make its public appearance.” Such being the close bond between poet and musician, it is all the more regrettable that the latter did not make a more competent use of his opportunity. A better fate befell the earlier collaboration which (in 1807) resulted in Thomas Moore’s “Irish Melodies”--a title which suggested that given to Byron’s series. Stevenson served Moore better than Nathan was able to serve Byron. Yet it seems a pity to leave things in this condition. Such poems as those already alluded to--and such others as “Saul,” the “Vision of Belshazzar,” and the “Destruction of Sennacherib”--all bear the clearest marks of their design; they were written to be sung, not merely to be read or recited. Jeffrey spoke of their sweetness; Lytton of their depth of feeling; Nathan himself realized that “Oh! weep for those” reaches the acme of emotional sympathy for persecuted Israel. Here, then, there is a chance for a modern Jewish musician. S. Mandelkern, in 1890, gave us a spirited translation of the verses into the Hebrew language. Let a better artist than Nathan now translate them musically into the Hebrew spirit. COLERIDGE’S “TABLE TALK” Coleridge was not master of his genius; his genius was master of him. In one place he speaks of the midrashic fancies about the state of our first parents as “Rabbinic dotages”; in another he laments, with Schelling, that these same rabbinic stories are neglected, and proceeds in his periodical, _The Friend_, to quote several with obvious approval. Again, he writes in one passage of the “proverbial misanthropy and bigotry” of Pharisaism; then, in another, he asserts, on the authority of Grotius, that the “Lord’s Prayer” was a selection from the liturgy of the Synagogue.