Ehrenkranz also has some songs in which are described the sorrows of various occupations,--a kind of poetry more specially cultivated by Berel Broder. Of the latter little is known except that he composed his songs probably at a time anterior to those just mentioned, that he had lived at Brody, hence his name, and that he had never published them. They were collected by some one after his death and published several times; however, it is likely that several of them are of other authorship, as is certainly the case with 'The Wanderer,' which belongs to Ehrenkranz. As has been said above, he prefers to dwell on the many troubles that beset the various occupations of his countrymen, of the shepherd, the gravedigger, the wagon-driver, the school teacher, the go-between, the usurer, the precentor, the smuggler. They are all arranged according to the same scheme, and begin with such lines as: 'I, poor shepherd,' 'I, lame beadle,' 'I, miserable driver,' 'I, wretched school teacher,' and so forth. The best of these, and one of the most popular of the kind, is probably the 'Song of the Gravedigger.' Of the two songs of dispute, 'Day and Night' and 'Shoemaker and Tailor,' the first is remarkable in that each praises the other, instead of the more common discussions in which the contending parties try to outrival one another in the display of their virtues. The style of these two Galicians and their very subject-matter were soon appropriated by a very large class of folksingers in Russia who amuse guests at wedding feasts. Before passing over to the writers in Russia we shall mention the two other Galicians who, writing at a later time, have remained unknown beyond their own country, but one of whom at least deserves to be known to a larger circle of readers. The one, David Apotheker, in his collection 'Die Leier,' pursues just such aims as his Polish or Russian fellow-bards and is entirely without any local coloring. The poems are written in a pure dialect, without any admixture of German words, but their poetic value is small, as they are much too didactic. Of far higher importance and literary worth are the productions of his contemporary, Bajrach Benedikt Schafir. Being well versed in German and Polish literature, he generally imitates the form of the best poems in those languages and often paraphrases them for his humble audiences. His language is now almost the literary German, now his native dialect, according as he sings of high matters or in the lighter vein. In the introduction to one of his earlier pamphlets written in a pure German, he says that in Germanizing his native dialect it has been his purpose so to purify the Jargon that it should become intelligible even to German Jews. The most of his songs were collected in 'Melodies from the Country near the River San.' These he divided into four parts: Jewish national songs, songs of commemoration, songs of feeling, and comical songs,--the first three, with an elegy on the death