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PREFACE literature" and his example was followed by a number of new writers, several of whom proved to be men of extraordinary gifts.

The movement bears curious resemblance to that of the present literary renaissance of Ireland.

Some truly marvelous results were soon achieved, the list of writers produced by the new literature including the names of men like Rabinovitch (Sholom Aleikhem) and Peretz, whose tales were crowned with immense popularity.

Sholom Ash belongs to a younger group of Yiddish story-tellers and now that Abramovitch, Rabinovitch and Peretz are in their graves (they have all died during the last two years) he is the most popular living producer of Yiddish fiction.

His narratives and plays are alive with a spirit of poetic realism, with a stronger leaning toward the poetic than toward reality, perhaps, but always throbbing with dramatic force and beauty. Sholom Ash's passion for color and melody manifests itself as much in his rich, ravishing style as in the picturesque images it evokes. The "jargon of servant maids" becomes music in his hands.

His "God of Vengeance," which is his strongest play, is one of the best things he has written in any form. Absorbingly interesting and instinct with human sympathy, it mounts to a natural climax of cataclysmal force and great spiritual beauty.

The theme, while thoroughly original and unique, reflects the artistic traditions of the country in which the author was born and bred. It was a matter of course that the young literature of which he v