of Moses Montefiore, forming the first part, the comical songs the second part, of the collection. The most of the comical songs are in the form of dialogues in which a German, _i.e._ a Jew of the reformed church, discusses with a Khassid the advantage of education; in others he describes the ignorance of the latter. Many of them do not rise above the character of theatre couplets, but in the lyrical part the tone is better, and in some of his songs he rivals the best folksingers of Russia. His 'Midnight Prayer' and 'Greeting to Zion' are touching expressions of longing for the ancient home, just as 'Przemysl, You my Dear Cradle,' and 'Homesickness,' are full of yearning for his native country. Of the four songs of commemoration, two deal on the famous accusation, in 1883, of the use of Gentile blood by the Jews in the Passover ceremony, one describes the fire in the Vienna Ring theatre, while another narrates a similar catastrophe in the town of Sheniava. As early as 1863[51] there was printed in Kiev a volume of songs under the name of 'The Evil-tongued Wedding-jester,' by Izchak Joel Linetzki. Before me lies a somewhat later edition of the book: it is published in a form of rare attractiveness for those days and bears on the title-page a picture of two men, one in European dress, the other in the garments of a Khassid, in the attitude of discussion. This illustration has appeared on all the subsequent editions of the same work; it expresses the author's purpose, which becomes even more patent in his prose works, to instruct the Khassidim in the advantages of culture, however, the few poems in the book devoted to this differ from the usual unconditional praise of reform, in that they point out that the servile imitator of the Gentiles is no better than the stubborn advocate of the old regime. Two of the poems are versified versions of the Psalms, and there are also the usual songs of reflection, and a song of dispute between the mirror and the clock. Two of the poems sing of the joys of May, presenting the rare example of pure lyrics at that early time. These alone will hold a comparison with the best of Ehrenkranz's songs; the others are somewhat weak in diction and loose in execution.