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before deductions from them can be opposed in the scale to statements by writers who with or without expert knowledge, describe objectively their own familiar surroundings. A volume full of indirect allusions cannot upset ten matter of fact lines from the parish chronicler, the Dryasdust observer. We should be particularly careful to distinguish the figurative, paradoxical or ironical modes of expression. Thus when we are told that in 1428 "the Jews of Abingdon" performed an interlude before Henry VI \ we should understand even without quotation marks that this is the name of that company of actors, probably derived in part from the subject of their play.

It is thus seen that a good deal of work remains to be done by the reviser of so subtle a theory and such ample materials as are implied in. the Lee-Wolf thesis. To this task we will now address ourselves. And as a preliminary step, can we estimate how much attention the contemporary Jew did absorb, dramaticaüy speaking? Supposing some fifteen hundred Tudor-Stuart plays, from Elizabeth to the Restoration, do we find twenty or fifty with Jewish characters in them? Are those important or minor parts? How many in each play?

The number of plays, characters and scènes are simple quantitative matters; and the following table is intended to furnish as complete a survey as I am at present able to supply.

1 Sidney Lee in The Times, Nov. 1.1883; the quotation marks are in the original.

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