Of his longer works, 'Stempenju' is the most artistically conceived and most carefully executed. In his previous productions such as 'Child's Play,' and 'Sender Blank,' he had humorously depicted scenes from the life of the merchant class. In the first of these, he introduces us into the life and love of a rich man's spoiled, half-educated son. In the second, which he names a novel without love, we get an excellent picture of a tyrant and miser, the terror of his family, the merchant Sender Blank. He is on his death-bed, and his congregated children are, each in his own way, dreaming of the moment when they shall be free to do as they like, when they shall no longer be kept in poverty. But Sender Blank gets well again, and his family departs, each one to his home with shattered hopes. In 'Stempenju' we have a more carefully laid plot, and his first attempt at a novel in which a romantic love plays a part. Stempenju is a violinist, the leader of a band that plays at weddings. He has great talent for music and has developed his powers entirely by self-instruction. He is a real artist, and like many others of his profession takes life easy, and is of amorous propensities. He has frequently made love to Jewish women, but the latter generally pay no attention to his assurances. But once he falls in with a girl who takes his words in earnest, and in a prosaic way, without any idea of love on her part, compels him to marry her. She takes him in her hands and would have him lead a settled, prosaic life also. But he finds relief from his sordid existence every time he journeys away with his band to play at some wedding. Once he notices upon such an occasion a young married woman who awakes in him the first inkling of a real, romantic love. Rochel--that is her name--is both beautiful in form and kind and lovable in character. After many overtures he almost succeeds in gaining her love. It is the easier to succumb to Stempenju's importunities since she has a silly, worthless man for a husband. She finally comes out victoriously from her inner struggle, for her religious conviction of the holiness of the marriage ties are stronger in her than her natural inclination. Stempenju returns home, and tries to find his consolation and relief from his scolding wife by having more frequent recourse to his violin. He plays even more sweetly and more sadly than before.