that its acknowledgment (Fame) will fall to its share like a bride, if only it allows itself to be led by Reason and her handmaid Patience, averting its gaze from ignoble strife, and becoming absorbed in the wonders of Creation. "Could we, with undimmed eyes, for a moment see the world as it is, divested of pretense, we should see Pride and Folly, which speak so scornfully of Virtue and Knowledge, deeply humbled." Through an extraordinary occurrence, a kind of miracle, Truth is revealed, Deceit unmasked, Pride becomes a laughing-stock, and the fickle mob is led to recognize true Merit. Luzzatto in his dramatic parable clothes and vivifies this train of ideas, and enunciates them in monologues and dialogues through the mouth of acting, or, more correctly, speaking characters. Luzzatto's masterpiece is indeed not a drama in the strict sense of the word. The characters represented are not of flesh and blood, but mere abstractions: Reason and Folly, Merit and Deceit, are placed on the stage. The dramatic action is slight. It is in truth a beautiful wreath of fragrant flowers of poesy, a series of delightful monologues and dialogues. In it Luzzatto embodies deep thoughts, difficult to quicken into life or to paint in poetical colors; but he succeeded. The wonderful evolution of the vegetable world, the extraordinary phenomena of light, are treated in dramatic verse by Luzzatto with the same facility as the appropriate subjects for poetry, and this too in the Hebrew language, not readily lending itself to new forms of thought, and with the self-imposed fetters of a meter never sinned against. His style is dignified, and he employed a diction quite his own, replete with youthful charms, beauty, and harmony. Thereby he supplied a new impulse for the coming age. When the mists of error passed away, the general chaos of thought was reduced to some sort of order, and a happier period opened, young poets derived inspiration from the soft warm rays diffused by the genius of Luzzatto. A modern Hebrew poet who helped to accomplish the transition from the old to the new period, David Franco Mendes, owes his inspiration to Luzzatto.