One of the best allegorical poems is the triad, 'The Aristocratic Marriage.' In the first part, 'The Betrothal,' he tells us how the humble Egyptian slave, Israel, was betrothed to his aristocratic bride on Mount Sinai. God was the father who gave away the Law to his son, and Moses was the _Schadchen_, the go-between, the never-failing concomitant of a Jewish marriage. The second part describes a typical Jewish wedding--Israel's entrance into Jerusalem; while the third shows how Israel has misused his opportunity while living in the house of his wife's father during the years that immediately follow the marriage. He committed adultery with idolatry, and God drove him out of his home, but out of regard for his pious ancestry He allowed him to take his wife along with him on his wanderings, and promised him that after ages of repentance He would send him the Messiah to restore him to his former home. A similar triad, but of a historical nature, is his well-known 'That Little Trace of a Jew,' in which he successively portrays the virtues, the sufferings, and the vices of his race. The last part is identical in sentiment with Gordon's 'Arise, my People,' and inculcates tolerance for the various religious parties of the Jews and love of worldly learning. 'The Firebrand' relates the destruction of the Temple; 'Rebecca's Death' gives a Talmudical version of the event; and 'Cain' tells of his wanderings over the face of the earth after his killing of his brother, and his vain search of death. The latter is the most popular of his Biblical songs. Among the other poems, many of which are of sterling worth, there must be mentioned his lullaby, whose widespread dissemination is only second to Berenstein's cradle song. The poems which Goldfaden has written during his lifetime would fill several large volumes; they can be found scattered through various periodicals which have appeared in the last thirty years, and in the greater part of the dramas which he has composed for the stage which he has created. Most of these are mere street ballads, but there are some of a serious nature; of these mention will be made in the chapter on the theatre. To the best productions of his first, the most original period of his poetical activity, belong the poems touching women, contained in the volume entitled 'The Jewess.' From the contents we learn that one of them is a translation from Béranger, the other from the Russian. It is also characteristic of the history of Jewish folk-music that one of the songs, as we are informed in the same place, is to be sung to the tune of a well-known Russian lullaby, the other with a Little-Russian melody, while for a third, is mentioned one of M. Gordon's songs.