some perplexing problems solutions of his own, so as to make the whole uniform and historically correct. In his introduction he mentions a few important facts about the popularity of the subject, and the manner of its performance, or recitation. He says: "No other story from our Holy Scripture has made such an impression or has become so known to the masses of the Jews as the 'Sale of Joseph.' ... As far back as we can remember it has been played among us by beggar-students, or by the old-fashioned badchens at weddings." It is not uncommon to see a performance of this play given at the present time in some small town. The actors are generally the beggar-students who have to play both the male and female parts, as no women are allowed to perform together with the men. Some large unoccupied room is furnished with benches on which the sexes are generally seated separately. The stage is of the most primitive character, without decorations of any kind; and the actors like to parade in fantastic clothes which have nothing in common with the historical truth. Either the whole of the play, or at least certain passages are sung according to traditional tunes. In the 'Sale of Joseph' it is always the monologue of Joseph before his mother's grave upon which the greatest care is bestowed, as it is the most pathetic part of the drama. It is probably the prototype of M. Gordon's ballad of 'The Stepmother' and similar popular versions, for in them, as in Gordon's version, Joseph's mother sends up her consoling words to her son from her grave. An excellent description of such a performance is given in Dienesohn's 'Herschele,'[114] where the hero of the novel plays the part of Joseph. These mysteries are not the only form of histrionic art. On the Purim, many masqueraders may be seen passing from house to house, followed by a curious crowd of children, anxious to catch a glimpse of the strange mummery of men and impossible animals. In some places the children and even grown persons manage to enter the house either by sheer force, or under the proverbial pretext that they are the "bear's brother." The actors begin in a chanting way: "Good evening, my good people, do you know what Purim means?" after which they proceed with the explanation and the performance of some grotesque scene. Each group has its own Purim play, which is generally some unrecognizable fragment of the 'Ahasuerus-play,' but frequently also some original production which is jealously guarded from being imitated by rival boy performers. There is no merit in them, but an investigation even of this form of the Purim play might bring out some interesting points or bits of antiquity. The length of the burlesque is graded according to the expectation of the final monetary reward, to which they allude with the stereotyped phrase: "The play is out, give us a coin, and throw us out of doors!"[115]