and operatic centre of the Ghetto. The contrast be- 
tween this theatre and any other place of amusement in 
a district of equal poverty is another testimony to the 
latent tastes of the Jew. It is one of the best places to 
view the characteristics of the community, if, indeed, the 
amusements of a people do not always reveal the inner 
man relaxed as nothing else does. It is a genuine Yolks- 
theater. One leaves America almost before entering the 
theatre. Large signs in Hebrew characters announce 
the plays, which are given on Wednesday, Saturday, and 
Sunday evenings. Twenty-five cents admits one to the 
best seat in the house. The floor is level ; the stage 
quite a little elevated ; there are quasi boxes on each 
side, and a well-filled gallery is seen in the rear. The dec- 
orations are abominable, but American and not Jewish. 
The only other American incident is the cat-call, which 
is periodically heard from the gallery on the appearance 
of the villain. The play, which gives a large place to 
the chorus, suggestive rather of the Greek drama than 
the opera, is genuinely Jewish, and the language, the 
Jewish jargon (Jtldisch). The better type of play usu- 
ally narrates the experiences of one of the old Jewish 
heroes, portraying to the intense satisfaction of the audi- 
ence his triumphs over one of the historic oppressors 
of the Jews. The poorer plays, which never descend to 
the level of the American farce comedy, to say nothing 
of burlesque, treat, for example, of the experiences of a 
recent immigrant in adapting himself to the customs of 
his new home. The delightful unconventionality of the 
place is well exhibited between the acts when the vendor 
of cakes and confections and fruits makes his rounds. 
The munching of these delicacies may then be heard,