One may not, indeed, apply a severe standard to Joseph Penso's drama, but should endeavor to forget that long before him Shakespeare had created life-like forms and interests. For, measured by these, Penso's dramatic monologue and dialogue seem puerile. However free from blame his versification is, the invention is poor, the ideas commonplace. A king who takes a serious view of his responsibilities as ruler is led astray, now by his own impulses (Yezer), now by a coquette (Isha), now by Satan. Three other opposing forces endeavor to lead him in the right way--his own judgment (Sechel), divine inspiration (Hashgacha), and an angel. These are the characters in Penso's drama "The Captives of Hope" (Asiré ha-Tikwah). But if one takes into consideration the object which Penso had in view, viz., to hold up a mirror to Marrano youths settled at Amsterdam, who had been used to Spanish licentiousness, and to picture to them the high value of a virtuous life, the performance of the youthful poet is not to be despised. Joseph Penso de la Vega composed a large number of verses in Spanish, occasional poetry, moral and philosophical reflections, and eulogies on princes. His novels, entitled "The Dangerous Courses" (los Rumbos peligrosos), were popular. Marrano poets of mediocre ability were so numerous at this time in Amsterdam, that one of them, the Spanish resident in the Netherlands, Manuel Belmonte (Isaac Nuñes), appointed count-palatine, founded an academy of poetry. Poetical works were to be handed in, and as judges he appointed the former confessor, De Rocamora, and another Marrano, who composed Latin verses, Isaac Gomez de Sosa. The latter was so much enraptured of Penso's Hebrew drama, that he triumphantly proclaimed, in Latin verse: "Now is it at length attained! The Hebrew Muse strides along on high-heeled buskin safe and sound. With the measured step of poetry she is conducted auspiciously by Joseph--sprung from that race which still is mostly in captivity. Lo! a clear beam of hope shines afresh, that now even the stage may be opened to sacred song. Yet why do I praise him? The poet is celebrated by his own poetry, and his own work proclaims the praise of the master."