roles. It is interesting here to mention that in Leman Rede’s “The Skeleton Witness,” the Jew, Simeon Levi, is presented as being duped and nearly ruined by the Christian villain. We find oftentimes a reversion to the anti-Jewish sentiment on the stage, both English and American; thus, Sir Henry Taylor in a “Sicilian Summer” makes the Jews brigands and desperadoes; Potter’s dramatization of Du Maurier’s “Trilby” makes Svengali a charlatan and a scoundrel. Knoblauch, now Knoblock, portrays in “The Faun”, a distasteful Jewish moneylender, and many less-known plays introduce Jews in unfavorable situations. Yet Henry A. Jones presents a fine Jewish character in “Judah Llewellyn”, “a dreamer-preacher, of honorable and heroic mould’; and Augustus Thomas in “As a Man Thinks” has created a Jewish doctor of great force and personal appeal. Thus on the English stage, the Jew has fared variously, portrayed now as a villain, now as a saint, now in neutral colors. To Richard Cumberland,
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