Potiphar appears, Selicha tells her tale, and Pickelhering is sent in quest of Joseph, who steps upon the scene to be greeted by his master's far from gentle reproaches: "Thou gallowsbird, thou good-for-naught! Thou whom so true and good I thought! 'Twere just to take thy life from thee. But no! still harsher this decree: In dungeon chained shalt thou repine, Where neither sun nor moon can shine. Forever there bewail thy lot unheard; Now leave my sight, begone, thou gallowsbird.'" This ends the scene. Of course, at the last, Joseph escapes his doom, and, to the great joy of the sympathetic public, is raised to high dignities and honors. This farce was presented at Frankfort-on-the-Main by Jewish students of the city, aided by some from Hamburg and Prague, with extravagant display of scenery. Tradition ascribes the authorship to a certain Beermann. "Ahasverus" is of similar coarse character, so coarse, indeed, that the directors of the Frankfort Jewish community, exercising their rights as literary censors, forbade its performance, and had the printed copies burnt. A somewhat more refined comedy is _Acta Esther et Achashverosh_, published at Prague in 1720, and enacted there by the pupils of the celebrated rabbi David Oppenheim, "on a regular stage with drums and other instruments." "The Deeds of King David and Goliath," and a travesty, "Haman's Will and Death" also belong to the category of Purim farces. By an abrupt transition we pass from their consideration to the Hebrew classical drama modelled after the pattern of Moses Chayyim Luzzatto's. Greatest attention was bestowed upon historical dramas, notably those on the trials and fortunes of Marranos, the favorite subjects treated by David Franco Mendez, Samuel Romanelli, and others. Although their language is an almost pure classical Hebrew, the plot is conceived wholly in the spirit of modern times. At the end of the eighteenth century, a large number of writers turned to Bible heroes and heroines for dramatic uses, and since then Jewish interest in the drama has never flagged. The luxuriant fruitfulness of these late Jewish playwrights, standing in the sunlight of modern days, fully compensates for the sterility of the Jewish dramatic muse during the centuries of darkness. The first Jewish dramatist to use German was Benedict David Arnstein, of Vienna, author of a large number of plays, comedies and melodramas, some of which have been put upon the boards of the Vienna imperial theatre (_Burgtheater_). He was succeeded by L. M. Büschenthal, whose drama, "King Solomon's Seal," was performed at the royal theatre of Berlin. Since his time poets of Jewish race have enriched dramatic literature in all its departments. Their works belong to general literature, and need not be individualized in this essay.