The shorter poems are either translations from the Russian poet Nadson, or imitations of Heine. They are well done, though some suffer somewhat by their veiled allegory, at least at a superficial reading. The best of these are those that deal with social questions, or describe the laborer's sufferings. Preëminent among them is 'The Sewing of the Wedding Gown.'[71] If Thomas Hood's 'Song of the Shirt' is to be compared to a fine instrument, then this poem is a whole orchestra, from the sounds of which the walls of Jericho would fall. Instead of a criticism, a short review of the story will be given here. The scene is at a dressmaker's; the cast: the modiste, two dressmakers, and sewing-girls. The modiste tells of the care with which the wedding gown has to be sewed. The choir of sewing-girls sing the song of the prison. The first dressmaker speaks of the beauty of the gown, and compares the bride to an angel from heaven, whereupon the choir sings of the misery at home, of asking the 'angel' to advance a rouble on the work, of the 'angel's' cruel refusal, of the pawning of her silks for a loaf of bread, and of the girl's arrest by the 'angel.' "And the angel has taken care of me during the great frosts, and for three months has provided me with board and lodging." The second dressmaker compares the rustle of the silk to the noise made by her tired bones, speaks of the diamond buttons that will be sewed on the gown "as large as tears of the poor," and bids the wheel of the machine to drown the noise of her breaking bones. The choir sings the song of the grave, where no sewing is done, where all go down in a shroud forever. The second dressmaker continues the song, whereupon a girl, named 'Fond-of-Life,' protests, telling of her good health, of her desire to pass her youth in pleasure. The choir chides her with the Ragpicker's song, in which 'Fond-of-Life's' future is portrayed, and the conclusion to the song is given by the first dressmaker. The first dressmaker contrasts the luxury of the bride's bed with her straw bed on the floor, the bride's splendor of light in her parlor with the two candles at her head when she is dead. The modiste, oppressed by the sad songs that portray their own unhappiness, bids them sing of other people's happiness. To this the choir responds by singing the happiness of the bride, but the modiste sees in this only the girls' jealousy, whereupon the choir tells of the obedient daughter who is advised by her mother to scorn sweetness, getting the promise of a gilded nut if she behaves properly. When the nut is brought and cracked it is found to be wormy and bitter. Of course, that is a picture of a match made by the parents for their daughter. The modiste answers that happiness does not always dwell in high places; and the first dressmaker tells the story of labor, which is quite unique: There lived two brothers happily together. A stranger, who is no other than the Biblical