propose remedies for these according to their political and social convictions. David Edelstadt was the poet of the Anarchistic party, as Morris Winchevsky represents Socialistic tendencies. The influence of both on their respective adherents has been great, but the latter has been a power for good among a wider circle of readers, within and without his party. Both show by the language which they use that it was mere accident that threw them into the ranks of Judeo-German writers, for while usually the diction of the older poets abounds in words of Hebrew origin, theirs is almost entirely free from them, so that one can read their productions with no other knowledge than that of the literary German language. Edelstadt mastered neither his poetical subjects nor the dialect. The latter is a composition of the literary German with dialectic forms, and his rhythms are halting, his ideas one-sided. There is not a poem among the fifty that he has written that is not didactic. Many of these are in praise of Anarchists and heroes of freedom who have fallen in the unequal combat with the present conditions of society. There are poems in memory of Sophia Perovskaya, Louise Michel, John Brown, and even Albert Parsons and Louis Ling. He sings of the eleventh of November, the Fall of the Bastile, of strikes, misery, and suffering. Most of these are a call to war with society. They are neither of the extreme character that one generally ascribes to the Anarchists, nor do they sound any sincere notes. They seem to be written not because Edelstadt is a poet, but because he belongs to the Anarchistic party. In all his collection there is one only in which he directs himself especially to the Jews, and one of its stanzas is significant, as it lies at the foundation of much of Rosenfeld's poetry: it tells that they have escaped the cruel Muscovite only to be jailed in the dusky sweat-shops where they slowly bleed at the sewing-machine.