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 is a conspicuous representative should shape itself under the influence of the much older and richer literary treasures of Slavic Russia and Poland. If it was natural for the novel of countries like France, Germany, Norway or Italy to fall under the sway of Turgenev, Tolstoi, Dostoyevski, Chekhov and Gorki, how much more so was it for a non-Russian fiction produced on Russian soil to seek guidance, directly or indirectly, in the same source.

Human sympathy is the watchword. Pity for and interest in the underdog — the soul of Russian art — became, from the very outset, the underlying principle of the new-born Yiddish art. No human being is so utterly brutalized as to possess not a single spark worthy of the artist's sympathetic, though ruthlessly impartial, attention, — this is the basic rule of Yiddish letters.

Himself a creature of the gutter, Yekel Tchaftchovitch, the central figure of "The God of Vengeance," is stirred by the noblest ambition known to a father in the world of orthodox Judaism. Imbedded in the slime that fills Yekel's soul is a jewel of sparkling beauty. But the very income by which he seeks to secure his daughter's spiritual splendor contains the germs of her loathsome fall and of his own crushing defeat.

The clash between Yekel's revolting career and his paternal idealism, and the catastrophe to which it inevitably leads form one of the strongest and most fascinating situations known to the modern drama.