Most difficult of identification are now Gottlober's poems,[49] he having never brought out himself a collective volume of his verses, although he certainly must have written a great number of them as early as the thirties when he published his comedy 'Dās Decktuch.' Those that have been printed later in the periodicals are either translations or remodellings of well-known poems in German, Russian, and Hebrew; but even they have promptly been caught by the popular ear. The one beginning 'Ich lach' sich vun euere Traten aus,' in which are depicted humorously the joys of the Jewish recluse, has been pointed out by Katzenellenbogen as a remodelling of a poem that appeared in a Vienna periodical;[50] the sources of some of the others he mentions himself, while the introductory poem in his comedy is a translation of Schiller's 'Der Jüngling am Bache.' From these facts it is probably fair to assume that most, if not all, of his other poems are borrowings from other literatures, preëminently German. This is also true of his other productions, which will be mentioned in another place. Nevertheless he deserves an honorable place among the popular poets, as his verses are written in a pure dialect of the Southern variety,--he is a native of Constantin in the Government of Volhynia,--and as they have been very widely disseminated. No one has exercised a greater influence on the succeeding generation of bards than the Galician Wolf Ehrenkranz, better known as Welwel Zbarżer, _i.e._ from Zbaraż, who half a century ago delighted small audiences in Southern Russia with his large repertoire. There are still current stories among those who used to know him then, of how they would entice him to their houses and treat him to wine and more wine, of which he was inordinately fond, how when his tongue was unloosened he would pour forth improvised songs in endless succession, while some of his hearers would write them down for Ehrenkranz's filing and finishing when he returned to his sober moods. These he published later in five volumes, beginning in the year 1865 and ending in 1878. While there had previously appeared poems in Judeo-German in Russia, he did not dare to publish them in Galicia except with a Hebrew translation, and this method was even later, in the eighties, adopted by his countrymen Apotheker and Schafir. Ehrenkranz has employed every variety of folksong known to Judeo-German literature except historical and allegorical subjects. Prominent among them are the songs of reflection. Such, for example, is 'The Nightingale,' in which the bird complains of the cruelty of men who expect him to sing sweetly to them while they enslave him in a cage, but the nightingale is the poet who in spite of his aspiration to fly heavenwards must sing to the crowd's taste, in order to earn a living. In a similar way 'The Russian Tea-machine,' 'The Mirror,' 'The Theatre,' and many others serve him only as excuses to