[11] At the same time, he became closely acquainted with scholars Shneur Sachs and Leopold Zunz, who encouraged him to write original poetry on Jewish and Biblical heroes.

[10] The following year he wrote translations of Alfieri's Saul (as Aḥarit Sha’ul) and Goethe's Erlkönig (as Melekh balahot), among other works.

[5][11] Other compositions of this period include translations of Arnault's La feuille (as Daliyyah niddaḥat) and Mickiewicz's Farys [pl] (as Ha-Aravi ba-midbar),[14] as well as elegies on the death of M. A.

[9][11] While in Berlin, Lebensohn wrote a cycle of lyric poems, including Ahuva azuva ('Sorrowful Lover'), Yom huledet ahuvati ('My Beloved's Birthday'), Aḥot lanu ('A Sister to Us'), and Ḥag ha-aviv ('The Festival of Spring').

It consists of six epic poems on Jewish subjects with naturalistic description:[15] Shelomo ('Solomon'), Kohelet ('Ecclesiastes'), Nikmat Shimshon ('Samson's Vengeance'), Yael ve-Sisra ('Jael and Sisera'), Moshe al Har ha-Avarim ('Moses on Mount Abarim'), and Yehuda ha-Levi ('Judah Halevi').

[16][17] In the Jewish Encyclopedia (1904), Herman Rosenthal and Peter Wiernik wrote that "Lebensohn's poetry surpasses that of his father, and is characterized by a deep pathos and a beauty of expression which are rare in Neo-Hebrew verse.

[11] In 1895, a six-volume collection of his poems and those of his father appeared under the title Kol shire Ada"m u-Mikh"al.[19] Lebensohn's work had a strong influence on J. L. Gordon, his contemporary and friend,[20] and other lyric poets of the next generation.

J. L. Gordon's wrote an allegorical drama, Ho Aḥ ('O, Brother'), which is placed in the first part of Kol Shiray Yehudah, and Samuel David Luzzatto penned a kinah in Lebenson's honor.