Like the allegory, the fable has been a favorite subject of imitation among the writers from the beginning of this century. We possess such, partly translations or adaptations, partly original, from Suchostawer, Dr. Ettinger, Gottlober, Reichersohn, Katzenellenbogen. Of Suchostawer's, only one, a translation of one of Krylov's fables, 'The Cat and the Mice,'[61] has come down to us. It was written in 1829, and, like the fables by Ettinger, circulated in the thirties and forties, is far superior to any translation from Krylov that has appeared before 1880. The most original production is that by Gottlober called 'The Parliament,' a poem of more than one thousand lines, in which he gives an explanation why the lion had been chosen king of all the animals. While some of the matter contained in it is unquestionably borrowed from other sources, yet the whole is moulded in so novel a form, with such a pronounced Jewish setting and biting wit, that it occupies a place by itself in the history of fables. After the candidacy of all the beasts, from the donkey to the wolf, had been rejected as incompatible with the highest security of the rest, the lion appears on the scene, and by his majestic presence at once silences the contending parties; and he is at once and unanimously chosen to his high post. "He rules in fairness, does no wrong, not a sigh is heaved by any of the animals against him; the forest is ruled as of yore: the weak lie still, the strong go free, the great are great, the humble are humble: well to him who has sharp teeth! It has been so of old, and you cannot change the course of things. But no one need complain of the lion as long as he feels no hunger in his stomach, for then he is all peace and rest,--God grant there be many such!" The whole of Krylov was translated into Judeo-German, though with but moderate success, in 1879 by Zwi Hirsch Reichersohn, and more weakly still in 1890 by Israel Singer. Two of the fables have been admirably rendered by Katzenellenbogen, who has also produced a number of excellent poems in the popular style which surpass those of Goldfaden in regularity of structure. He has also translated a few poems from the Russian and Hebrew, all with the same degree of care displayed in the renderings from Krylov. His songs have not been disseminated among the people, the most of them not having been published until quite lately.