Frankel's third and last work was his _M'bo Ha-Yerushalmi_, which means “An Introduction to the Jerusalem Talmud.” Like the _Darkè Hammishnah_ it was written in Hebrew, and was published in 1870, that is to say, when the author was seventy years old. What makes the _M'bo Ha-Yerushalmi_ particularly valuable is the circumstance that in it he broke entirely new ground. It has, in fact, become an indispensable guide to all who have chosen Talmudical literature as their special study. In it Frankel displayed his usual thoroughness in the critical analysis of its details, especially of its many compilers, its peculiar language, and its relation to the Babylonian Talmud. The aims of Luzzatto and Frankel were in a large measure identical. They appeared in the early part of the nineteenth century when the presence of really able men was specially needed in the Jewish camp. At that particular time it was fast becoming evident that unless Rabbinical and other Jewish literature received an academical and classical treatment it would sink into utter oblivion, and it is mainly due to their exertions, both by the spoken word and the published writing, that this misfortune was averted. Their personal example moreover, in their capacity as heads of Rabbinical seminaries, stimulated their pupils to embark on original research into the various branches of Jewish science and literature, and showed them at the same time how to do it methodically and on scientific lines, with what results latter-day history has sufficiently demonstrated. Like Luzzatto, Frankel was actively engaged in literary work till almost the very day of his death, which occurred on February 23, 1875. He left no children of his own to mourn him, but, as this essay is in its humble way intended to show, he lives in the remembrance of his pupils, who revered him as a teacher and loved him as a man. Footnotes: [154-1] Entitled ‪אלה בני הנעורים‬. [157-1] The point lies here in the circumstance that the term “violoniste” is equivalent to the German word “Geiger.” XV THE INFLUENCE OF HEBREW LITERATURE ON HEINRICH HEINE It is curious to observe that Carlyle, who frequently writes with unqualified admiration of the literary genius of certain representatives of modern German literature, such as Goethe, Schiller, and Jean Paul Richter, makes only one brief reference to Heine. He there stigmatizes him with even more than his usual savagery, “blackguard.” The injustice of this obloquy has been amply proved by Heine's popularity on both sides of the Atlantic among English-speaking people.