ger he published "Talmudical Fragments in the Bodleian Library." He has in press at the present time an edition of the "Midrash Hagodol" and a work on the "Jewish Sectaries," at the beginning of the growth of Christianity. Of numerous other labors in which he is at present engaged, we need not speak.
The record of his literary and scholarly work is but half of Dr. Schechter's life, for he combines with his great erudition an intense interest in life. He is a great lover of novels, is interested in political events, a great admirer of Abraham Lincoln and is thoroughly interested in current events. He is vivacious in conversation, witty, and has a charming bonhomie about him which captivates. He is not arrogant, though uncompromising, and makes steadfast friendships. Judge Mayer Sulzburger of Philadelphia is his great admirer ever since a visit to Dr. Schechter's home. Other men, differing with him on questions of theology, religious observance, etc.,
remain his most ardent admirers. He is on friendly terms with Claude Montefiore, most liberal in his religious views, and in his brief residence in London, was known as a sturdy upholder of his own view of communal problems. He is not an outspoken advocate of Zionism, and opposes with his customary frankness certain phases of the movement, but a man so imbued with Jewish learning and love for the Jewish race, its literature, traditions, its history, as he is, must be in some agreement with the present aspect of the movement. In the development of the religion of American Jews, he will unquestionably be a great force, for already the reform wing of the Jewish world is taking inventory of its possessions, feeling already a necessity for clearer utterance. As Zionists, we may greet Dr. Schechter as one who will intensify the love for all of the Jewish past which we wish to preserve and translate into national activity.
XXX.
Another Jewish Folksong
THERE is much truth in the thought, oft expressed, that the melodies of those who know least of music as an art, are the finest expressions of art. We may well believe that that art is highest which affects the greatest number with its feeling. And of all art, the art of the folk-song is the most contagious in its emotion of any of the lyrics of the human race. There seems to be something lost — freshness, artlessness, spontaneity — in the more correct and more cultured song, which limits its appreciators. In addition to the two fine folk songs we published last month we would add the following, which is also admirable.
DRAUSSEN blaest ein Wind, ein kalter,Eine Nacht ohne Licht und Schein....Beim Laempchen still sitzt ein AlterIm einsamen Kaemmerlein.Seine Augen gluehen,Sein Bart is schneeweiss....Er denkt an ZionUnd weint gar heiss.Es brennen die Schmerzen,Dem kranken HerzenEntringt sich das zitternde Wort:Jeruscholojim,Jeruscholojim,Du mein teurer, heiliger Ort.....
Ach, weinen will ich, seufzen, trauern, Vergessen Lust und Tanz, Begraben is unter jenen Mauern Mein Glueck, mein Pracht, mein Glanz. Keine Priester geblieben, Die Opfer verdorben, Die Seher vertrieben Im Golus gestorben. Andern zur Ehre Baut man Altaere Auf dem heil'gen Moria dort : Jeruscholojim, Jeruscholojim, Du mein teuerer, heiliger Ort.....
Die Zeit hat an dir gefressen, Tief gruben die Zaehne in dir sich ein, Doch kann ich dich nicht vergessen, Nie dich vergessen — nein ! Rom hat zerstoert Deine heiligen Spuren, Der Osmane verheert Deine bluehende Fluren. Eine Wand is geblieben Drauf steht geschrieben Mit juedischem Blut das Wort : Jeruscholojim, Jeruscholojim, Mein teuerer, heiliger Ort.