In the province of dramatic music, too, Jews have made a prominent position for themselves. It suffices to mention Meyerbeer and Offenbach, representatives of two widely divergent departments of the art. Again, to assert the prominence of Jews as actors is uttering a truism. Adolf Jellinek, one of the closest students of the racial characteristics of Jews, thinks that they are singularly well equipped for the theatrical profession by reason of their marked subjectivity, which always induces objective, disinterested devotion to a purpose, and their cosmopolitanism, which enables them to transport themselves with ease into a new world of thought.[60] "It is natural that a race whose religious, literary, and linguistic development in hundreds of instances proves unique talent to adapt itself with marvellous facility to the intellectual life of various countries and nations, should bring forth individuals gifted with power to project themselves into a character created by art, and impersonate it with admirable accuracy in the smallest detail. What the race as a whole has for centuries been doing spontaneously and by virtue of innate characteristics, can surely be done with greater perfection by some of its members under the consciously accepted guidance of the laws of art." Many Jewish race peculiarities--quick perception, vivacity, declamatory pathos, perfervid imagination--are prime qualifications for the actor's career, and such names as Bogumil Davison, Adolf Sonnenthal, Rachel Felix, and Sarah Bernhardt abundantly illustrate the general proposition. Strenuous efforts to ascertain the name of the first Jewish actor in Germany have been unavailing. Possibly it was the unnamed artist for whom, at his brother's instance, Lessing interceded at the Mannheim national theatre. Legion is the name of the Jewish artists of this century who have attained to prominence in every department of the dramatic art, in every country, even the remotest, on the globe. Travellers in Russia tell of the crowds that evening after evening flock to the Jewish-German theatres at Odessa, Kiev, and Warsaw. The plays performed are adaptations of the best dramatic works of all modern nations. We outside of Russia have been made acquainted with the character of these performances by the melodrama "Shulammith," enacted at various theatres by a Jewish-German _opera bouffe_ company from Warsaw, and the writer once--can he ever forget it?--saw "Hamlet" played by jargon actors. When Hamlet offers advice to Ophelia in the words: "Get thee to a nunnery!" she promptly retorts: _Mit Eizes bin ich versehen, mein Prinz!_ (With good advice I am well supplied, my lord!).