CHAPTER VII

Graetz.—III, 5 (on Troki,ibid., IV, 18, end. M. Mocatta,Faith Strengthened, London, 1851).

Steinschneider.—Jewish Literature, p. 115seq.

W. Bacher.—Qirqisani the Qaraite, and his Work on Jewish Sects,J.Q.R., VII, p. 687.

----Jehuda Hadassi's Eshkol Hakkofer,J.Q.R., VIII, p. 431.

S. Poznanski.—Karaite Miscellanies,J.Q.R., VIII, p. 681.

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Kalirian and Spanish Piyutim (Poems).—Jannai.—Kalir.

Arabic to a large extent replaced Hebrew as the literary language of the Jews, but Hebrew continued the language of prayer. As a mere literary form, Rabbinic Hebrew retained a strong hold on the Jews; as a vehicle of devotional feeling, Hebrew reigned supreme. The earliest additions to the fixed liturgy of the Synagogue were prose-poems. They were "Occasional Prayers" composed by the precentor for a special occasion. An appropriate melody or chant accompanied the new hymn, and if the poem and melody met the popular taste, both won a permanent place in the local liturgy. The hymns were unrhymed and unmetrical, but they may have been written in the form ofalphabetical acrostics, such as appear in the 119th and a few other Psalms.

It is not impossible that metre and rhyme grew naturally from the Biblical Hebrew. Rhyme is unknown in the Bible, but the assonances which occur may easily run into rhymes. Musical form is certainly present in Hebrew poetry, though strict metres are foreign to it. As an historical fact, however, Hebrew rhymed verse can be traced on the one side to Syriac, on the other to Arabic influences. In the latter case the influence was external only. Early Arabic poetry treats of war and love, but the first Jewish rhymsters sang of peace and duty. The Arab wrote for the camp, the Jew for the synagogue.

Two distinct types of verse, orPiyut(i.e. Poetry), arose within the Jewish circle: the ingenious and the natural. In the former, the style is rugged and involved; a profusion of rare words and obscure allusions meets and troubles the reader; theverse lacks all beauty of form, yet is alive with intense spiritual force. This style is often termed Kalirian, from the name of its best representative. The Kalirian Piyut in the end spread chiefly to France, England, Burgundy, Lorraine, Germany, Bohemia, Poland, Italy, Greece, and Palestine. The other type of new-Hebrew Piyut, the Spanish, rises to higher beauties of form. It is not free from the Kalirian faults, but it has them in a less pronounced degree. The Spanish Piyut, in the hands of one or two masters, becomes true poetry, poetry in form as well as in idea. The Spanish style prevailed in Castile, Andalusia, Catalonia, Aragon, Majorca, Provence, and in countries where Arabic influence was strongest.

Kalir was the most popular writer of the earlier type of new-Hebrew poetry, but he was not its creator. An older contemporary of his, from whom he derived both his diction and his method of treating poeticsubjects, was Jannai. Though we know that Jannai was a prolific writer, only seven short examples of his verse remain. One of these is the popular hymn, "It was at Midnight," which is still recited by "German" Jews at the home-service on the first eve of Passover. It recounts in order the deliverances which, according to the Midrash, were wrought for Israel at midnight, from Abraham's victory over the four kings to the wakefulness of Ahasuerus, the crisis of the Book of Esther. In the last stanza is a prayer for future redemption:

Bring nigh the hour which is nor day nor night!Most High! make known that thine is day, and thine the night!Make clear as day the darkness of our night!As of old at midnight.

This form of versification, with a running refrain, afterwards became very popular with Jewish poets. Jannai also displays the harsh alliterations, the learned allusions to Midrash and Talmud, which were carried to extremes by Kalir.

It is strange that it is impossible to fix with any certainty the date at which Jannai and Kalir lived. Kalir may belong to the eighth or to the ninth century. It is equally hard to decide as to his birth-place. Rival theories hold that he was born in Palestine and in Sardinia. His name has been derived from Cagliari in Sardinia and from the Latincalyrum, a cake. Honey-cakes were given to Jewish children on their first introduction to school, and the nickname "Kaliri," or "Boy of the Cake," may have arisen from his youthful precocity. But all this is mere guess-work.

It is more certain that the poet was also the singer of his own verses. His earliest audiences were probably scholars, and this may have tempted Kalir to indulge in the recondite learning which vitiates his hymns. At his worst, Kalir is very bad indeed; his style is then a jumble of words, his meaning obscure and even unintelligible. He uses a maze of alphabeticalacrostics, line by line he wreathes into his compositions the words of successive Bible texts. Yet even at his worst he is ingenious and vigorous. Such phrases as "to hawk it as a hawk upon a sparrow" are at least bold and effective. Ibn Ezra later on lamented that Kalir had treated the Hebrew language like an unfenced city. But if the poet too freely admitted strange and ugly words, he added many of considerable force and beauty. Kalir rightly felt that if Hebrew was to remain a living tongue, it was absurd to restrict the language to the vocabulary of the Bible. Hence he invented many new verbs from nouns.

But his inventiveness was less marked than his learning. "With the permission of God, I will speak in riddles," says Kalir in opening the prayer for dew. The riddles are mainly clever allusions to the Midrash. It has been pointed out that these allusions are often tasteless and obscure. But they are more often beautiful andinspiring. No Hebrew poet in the Middle Ages was illiterate, for the poetic instinct was fed on the fancies of the Midrash. This accounts for their lack of freshness and originality. The poet was a scholar, and he was also a teacher. Much of Kalir's work is didactic; it teaches the traditional explanations of the Bible and the ritual laws for Sabbath and festivals; it provides a convenient summary of the six hundred and thirteen precepts into which the duties of the Law were arranged. But over and above all this the genius of Kalir soars to poetic heights. So much has been said of Kalir's obscurity that one quotation must, in fairness be given of Kalir at his simplest and best. The passage is taken from a hymn sung on the seventh day of Tabernacles, the day of the great Hosannas:

O give ear to the prayer of those who long for thy salvation,Rejoicing before thee with the willows of the brook,And save us now!O redeem the vineyard which thou hast planted,And sweep thence the strangers, and save us now!O regard the covenant which thou hast sealed in us!O remember for us the father who knew thee,To whom thou, too, didst make known thy love,And save us now!O deal wondrously with the pure in heartThat thy providence may be seen of men, and save us now!O lift up Zion's sunken gates from the earth,Exalt the spot to which our eyes all turn,And save us now!

O give ear to the prayer of those who long for thy salvation,Rejoicing before thee with the willows of the brook,And save us now!

O redeem the vineyard which thou hast planted,And sweep thence the strangers, and save us now!O regard the covenant which thou hast sealed in us!O remember for us the father who knew thee,To whom thou, too, didst make known thy love,And save us now!

O deal wondrously with the pure in heartThat thy providence may be seen of men, and save us now!O lift up Zion's sunken gates from the earth,Exalt the spot to which our eyes all turn,And save us now!

Such hymns won for Kalir popularity, which, however, is now much on the wane.

Kalir And Jannai.

Graetz.—III, 4.

Translations of Poems in Editions of the Prayer-Book, andJ.Q.R., VII, p. 460; IX, p. 291.

L.N. Dembitz,—Jewish Services, p. 222seq.

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Translation of the Bible into Arabic.—Foundation of a Jewish Philosophy of Religion.

Saadiah was born in Fayum (Egypt) in 892, and died in Sura in 942. He was the founder of a new literature. In width of culture he excelled all his Jewish contemporaries. To him Judaism was synonymous with culture, and therefore he endeavored to absorb for Judaism all the literary and scientific tendencies of his day. He created, in the first place, a Jewish philosophy, that is to say, he applied to Jewish theology the philosophical methods of the Arabs. Again, though he vigorously opposed Karaism, he adopted its love of philology, and by his translation of the Bible intoArabic helped forward a sounder understanding of the Scriptures.

At the age of thirty-six Saadiah received a remarkable honor; he was summoned to Sura to fill the post of Gaon. This election of a foreigner as head of the Babylonian school proves, first, that Babylonia had lost its old supremacy, and, secondly, that Saadiah had already won world-wide fame. Yet the great work on which his reputation now rests was not then written. Saadiah's notoriety was due to his successful championship of Rabbinism against the Karaites. His determination, his learning, his originality, were all discernible in his early treatises against Anan and his followers. The Rabbinites had previously opposed Karaism in a guerilla warfare. Saadiah came into the open, and met and vanquished the foe in pitched battles. But he did more than defeat the invader, he strengthened the home defences. Saadiah's polemical works have always apositive as well as a negative value. He wished to prove Karaism wrong, but he also tried to show that Rabbinism was right.

As a champion of Rabbinism, then, Saadiah was called to Sura. But he had another claim to distinction. The Karaites founded their position on the Bible. Saadiah resolved that the appeal to the Bible should not be restricted to scholars. He translated the Scriptures into Arabic, and added notes. Saadiah's qualifications for the task were his knowledge of Hebrew, his fine critical sense, and his enlightened attitude towards the Midrash. As to the first qualification, it is said that at the age of eleven he had begun a Hebrew rhyming dictionary for the use of poets. He himself added several hymns to the liturgy. In these Saadiah's poetical range is very varied. Sometimes his style is as pure and simple as the most classical poems of the Spanish school. At other times, his verses have all the intricacy,harshness, and artificiality of Kalir's. Perhaps his mastery of Hebrew is best seen in his "Book of the Exiled" (Sefer ha-Galui), compiled in Biblical Hebrew, divided into verses, and provided with accents. As the title indicates, this book was written during Saadiah's exile from Sura.

Saadiah's Arabic version of the Scriptures won such favor that it was read publicly in the synagogues. Of old the Targum, or Aramaic version, had been read in public worship together with the original Hebrew. Now, however, the Arabic began to replace the Targum. Saadiah's version well deserved its honor.

Saadiah brought a hornet's nest about his head by his renewed attacks on Karaism, contained in his commentary to Genesis. But the call to Sura turned Saadiah's thoughts in another direction. He found the famous college in decay. The Exilarchs, the nominal heads of the whole of the Babylonian Jews, were often unworthyof their position, and it was not long before Saadiah came into conflict with the Exilarch. The struggle ended in the Gaon's exile from Sura. During his years of banishment, he produced his greatest works. He arranged a prayer-book, wrote Talmudical essays, compiled rules for the calendar, examined the Massoretic works of various authors, and, indeed, produced a vast array of books, all of them influential and meritorious. But his most memorable writings were his "Commentary on the Book of Creation" (Sefer Yetsirah) and his masterpiece, "Faith and Philosophy" (Emunoth ve-Deoth).

This treatise, finished in the year 934, was the first systematic attempt to bring revealed religion into harmony with Greek philosophy. Saadiah was thus the forerunner, not only of Maimonides, but also of the Christian school-men. No Jew, said Saadiah, should discard the Bible, and form his opinions solely by his ownreasoning. But he might safely endeavor to prove, independently of revelation, the truths which revelation had given. Faith, said Saadiah again, is the sours absorption of the essence of a truth, which thus becomes part of itself, and will be the motive of conduct whenever the occasion arises. Thus Saadiah identified reason with faith. He ridiculed the fear that philosophy leads to scepticism. You might as well, he argued, identify astronomy with superstition, because some deluded people believe that an eclipse of the moon is caused by a dragon's making a meal of it.

For the last few years of his life Saadiah was reinstated in the Gaonate at Sura. The school enjoyed a new lease of fame under the brilliant direction of the author of the great work just described. After his death the inevitable decay made itself felt. Under the Moorish caliphs, Spain had become a centre of Arabic science, art, and poetry. In the tenth century, Cordovaattained fame similar to that which Athens and Alexandria had once reached. In Moorish Spain, there was room both for earnest piety and the sensuous delights of music and art; and the keen exercise of the intellect in science or philosophy did not debar the possession of practical statesmanship and skill in affairs. In the service of the caliphs were politicians who were also doctors, poets, philosophers, men of science. Possession of culture was, indeed, a sure credential for employment by the state. It was to Moorish Spain that the centre of Judaism shifted after the death of Saadiah. It was in Spain that the finest fruit of Jewish literature in the post-Biblical period grew. Here the Jewish genius expanded beneath the sunshine of Moorish culture. To Moses, the son of Chanoch, an envoy from Babylonia, belongs the honor of founding a new school in Cordova. In this he had the support of the scholar-statesman Chasdai, the first of a long lineof medieval Jews who earned double fame, as servants of their country and as servants of their own religion. To Chasdai we must now turn.

Saadiah.

Graetz.—III, 7.

Schiller-Szinessy.—Encycl. Brit., Vol. XXI, p. 120.

M. Friedländer.—Life and Works of Saadia.J.Q.R., Vol. V, p. 177.

Saadiah's Philosophy (Owen),J.Q.R., Vol. III, p. 192.

Grammar and Polemics (Rosin),J.Q.R., Vol. VI, p. 475; (S. Poznanski)ibid., Vol. IX, p. 238.

E.H. Lindo.—History of the Jews of Spain and Portugal(London, 1848).

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Chasdai Ibn Shaprut.—Menachem and Dunash, Chayuj and Janach.—Samuel the Nagid.

If but a small part of what Hebrew poets sang concerning Chasdai Ibn Shaprut be literal fact, he was indeed a wonderful figure. His career set the Jewish imagination aflame. Charizi, in the thirteenth century, wrote of Chasdai thus:

In southern Spain, in days gone by,The sun of fame rose up on high:Chasdai it was, the prince, who gaveRich gifts to all who came to crave.Science rolled forth her mighty waves,Laden with gems from hidden caves,Till wisdom like an island stood,The precious outcome of the flood.Here thirsting spirits still might findKnowledge to satisfy the mind.Their prince's favor made new dayFor those who slept their life away.They who had lived so long apartConfessed a bond, a common heart,From Christendom and Moorish lands,From East, from West, from distant strands.His favor compassed each and all.Girt by the shelter of his grace,Lit by the glory of his face,Knowledge held their heart in thrall.He showed the source of wisdom and her springs,And God's anointment made them more than kings.His goodness made the dumb to speak his name,Yea, stubborn hearts were not unyielding long;And bards the starry splendor of his fameMirrored in lucent current of their song.

This Chasdai, the son of Isaac, of the family of Shaprut (915-970), was a physician and a statesman. He was something of a poet and linguist besides; not much of a poet, for his eulogists say little of his verses; and not much of a linguist, for he employed others (among them Menachem, the son of Zaruk, the grammarian) to write his Hebrew letters for him. But he was enough of a scholar to appreciate learning in others, and as a patron of literature he placed himself in the front of the new Jewish development in Spain. From Babylonia he was hailed as the head of the school in Cordova. At his palatial abode wasgathered all that was best in Spanish Judaism. He was the patron of the two great grammarians of the day, Menachem, the son of Zaruk, and his rival and critic, Dunash, the son of Labrat. These grammarians fought out their literary disputes in verses dedicated to Chasdai. Witty satires were written by the friends of both sides. Sparkling epigrams were exchanged in the rose-garden of Chasdai's house, and were read at the evening assemblies of poets, merchants, and courtiers. It was Chasdai who brought both the rivals to Cordova, Menachem from Tortosa and Dunash from Fez. Menachem was the founder of scientific Hebrew grammar; Dunash, more lively but less scholarly, initiated the art of writing metrical Hebrew verses. The successors of these grammarians, Judah Chayuj and Abulwalid Merwan Ibn Janach (eleventh century), completed what Menachem and Dunash had begun, and placed Hebrew philology on a firm scientific basis.

Thus, with Chasdai a new literary era dawned for Judaism. His person, his glorious position, his liberal encouragement of poetry and learning, opened the sealed-up lips of the Hebrew muse. As a contemporary said of Chasdai:

The grinding yoke from Israel's neck he tore,Deep in his soul his people's love he bore.The sword that thirsted for their blood he brake,And cold oppression melted for his sake.For God sent Chasdai Israel's heart to moveOnce more to trust, once more his God to love.

Chasdai did not confine his efforts on behalf of his brethren to the Jews of Spain. Ambition and sympathy made him extend his affection to the Jews of all the world. He interviewed the captains of ships, he conversed with foreign envoys concerning the Jews of other lands. He entered into a correspondence with the Chazars, Jews by adoption, not by race. It is not surprising that the influence of Chasdai survived him. Under the next two caliphs,Cordova continued the centre of a cultured life and literature. Thither flocked, not only the Chazars, but also the descendants of the Babylonian Princes of the Captivity and other men of note.

Half a century after Chasdai's death, Samuel Ibn Nagdela (993-1055) stood at the head of the Jewish community in Granada. Samuel, called the Nagid, or Prince, started life as a druggist in Malaga. His fine handwriting came to the notice of the vizier, and Samuel was appointed private secretary. His talents as a statesman were soon discovered, and he was made first minister to Habus, the ruler of Granada. Once a Moor insulted him, and King Habus advised his favorite to cut out the offender's tongue. But Samuel treated his reviler with much kindness, and one day King Habus and Samuel passed the same Moor. "He blesses you now," said the astonished king, "whom he used to curse."

"Ah!" replied Samuel, "I did as youadvised. I cut out his angry tongue, and put a kind one there instead."

Samuel was not only vizier, he was also Rabbi. His knowledge of the Rabbinical literature was profound, and his "Introduction to the Talmud" (Mebo ha-Talmud) is still a standard work. He expended much labor and money on collecting the works of the Gaonim. The versatility of Samuel was extraordinary. From the palace he would go to the school; after inditing a despatch he would compose a hymn; he would leave a reception of foreign diplomatists to discuss intricate points of Rabbinical law or examine the latest scientific discoveries. As a poet, his muse was that of the town, not of the field. But though he wrote no nature poems, he resembled the ancient Hebrew Psalmists in one striking feature. He sang new songs of thanksgiving over his own triumphs, uttered laments on his own woes, but there is an impersonal note in these songs as there is in the similarlyrics of the Psalter. His individual triumphs and woes were merged in the triumphs and woes of his people. In all, Samuel added some thirty new hymns to the liturgy of the Synagogue. But his muse was as versatile as his mind. Samuel also wrote some stirring wine songs. The marvellous range of his powers helped him to complete what Chasdai had begun. The centre of Judaism became more firmly fixed than ever in Spain. When Samuel the Nagid died in 1055, the golden age of Spanish literature was in sight. Above the horizon were rising in a glorious constellation, Solomon Ibn Gebirol, the Ibn Ezras, and Jehuda Halevi.

Chasdai.

Graetz,—III, p. 215 [220].

Dunash And Menachem.

Graetz.—III, p. 223 [228].

Janach.

Encycl. Brit., Vol. XIII, p. 737.

Chayuj.

M. Jastrow, Jr.—The Weak and Geminative Verbs in Hebrew by Hayyûg(Leyden, 1897).

Hebrew Philology.

Steinschneider.—Jewish Literature, p. 131.

Chazars.

Letter of Chasdai to Chazars(Engl. transl. by Zedner,Miscellany of the Society of Hebrew Literature, Vol. I).

Graetz.—III, p. 138 [140].

Samuel Ibn Nagdela.

Graetz,—III, p, 254 [260].

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Solomon Ibn Gebirol.—"The Royal Crown."—Moses Ibn Ezra.—Abraham Ibn Ezra.—The Biblical Commentaries of Ibn Ezra and the Kimchis.

"In the days of Chasdai," says Charizi, "the Hebrew poets began to sing." We have seen that the new-Hebrew poetry was older than Chasdai, but Charizi's assertion is true. The Hebrew poets of Spain are melodious, and Kalir is only ingenious. Again, it was in Spain that Hebrew was first used for secular poetry, for love songs and ballads, for praises of nature, for the expression of all human feelings. In most of this the poets found their models in the Bible. When Jehuda Halevi sang in Hebrew of love, he echoed the "Song of Songs." When Moses Ibn Ezra wrote penitential hymns, or Ibn Gebirol divinemeditations, the Psalms were ever before them as an inspiration. The poets often devoted all their ambition to finding apt quotations from the sacred text. But in one respect they failed to imitate the Bible, and this failure seriously cramped their genius. The poetry of the Bible depends for its beauty partly on its form. This form is what is calledparallelism of line. The fine musical effect produced by repeating as an echo the idea already expressed is lost in the poetry of the Spanish Jews.

Thus Spanish-Jewish poetry suffers, on the one side, because it is an imitation of the Bible, and therefore lacks originality, and on the other side it suffers, because it does not sufficiently imitate the Biblical style. In spite of these limitations, it is real poetry. In the Psalms there is deep sympathy for the wilder and more awful phenomena of nature. In the poetry of the Spanish Jews, nature is loved in her gentler moods. One of these poets,Nahum, wrote prettily of his garden; another, Ibn Gebirol, sang of autumn; Jehuda Halevi, of spring. Again, in their love songs there is freshness. There is in them a quaint blending of piety and love; they do not say that beauty is a vain thing, but they make beauty the mark of a God-fearing character. There is an un-Biblical lightness of touch, too, in their songs of life in the city, their epigrams, their society verses. And in those of their verses which most resemble the Bible, the passionate odes to Zion by Jehuda Halevi, the sublime meditations of Ibn Gebirol, the penitential prayers of Moses Ibn Ezra, though the echoes of the Bible are distinct enough, yet amid the echoes there sounds now and again the fresh, clear voice of the medieval poet.

Solomon Ibn Gebirol was born in Malaga in 1021, and died in 1070. His early life was unhappy, and his poetry is tinged with melancholy. But his unhappinessonly gave him a fuller hope in God. As he writes in his greatest poem, he would fly from God to God:

From thee to thee I fly to winA place of refuge, and withinThy shadow from thy anger hide,Until thy wrath be turned aside.Unto thy mercy I will cling,Until thou hearken pitying;Nor will I quit my hold of thee,Until thy blessing light on me.

These lines occur in Gebirol's "Royal Crown" (Kether Malchuth) a glorious series of poems on God and the world. In this, the poet pours forth his heart even more unreservedly than in his philosophical treatise, "The Fountain of Life," or in his ethical work, "The Ennoblement of Character," or in his compilation from the wisdom of the past, "The Choice of Pearls" (if, indeed, this last book be his). The "Royal Crown" is a diadem of praises of the greatness of God, praises to utter which make man, with all his insignificance, great.

Wondrous are thy works, O Lord of hosts,And their greatness holds my soul in thrall.Thine the glory is, the power divine,Thine the majesty, the kingdom thine,Thou supreme, exalted over all.* * * * *Thou art One, the first great cause of all;Thou art One, and none can penetrate,Not even the wise in heart, the mysteryOf thy unfathomable Unity;Thou art One, the infinitely great.

Wondrous are thy works, O Lord of hosts,And their greatness holds my soul in thrall.Thine the glory is, the power divine,Thine the majesty, the kingdom thine,Thou supreme, exalted over all.

* * * * *

Thou art One, the first great cause of all;Thou art One, and none can penetrate,Not even the wise in heart, the mysteryOf thy unfathomable Unity;Thou art One, the infinitely great.

But man can perceive that the power of God makes him great to pardon. If he see it not now, he will hereafter.

Thou art light: pure souls shall thee behold,Save when mists of evil intervene.Thou art light, that, in this world concealed,In the world to come shall be revealed;In the mount of God it shall be seen.

And so the poet in one of the final hymns of the "Royal Crown," filled with a sense of his own unworthiness, hopefully abandons himself to God:

My God, I know that those who pleadTo thee for grace and mercy needAll their good works should go before,And wait for them at heaven's high door.But no good deeds have I to bring,No righteousness for offering.No service for my Lord and King.Yet hide not thou thy face from me,Nor cast me out afar from thee;But when thou bidd'st my life to cease,ou lead me forth in peaceUnto the world to come, to dwellAmong thy pious ones, who tellThy glories inexhaustible.There let my portion be with thoseWho to eternal life arose;There purify my heart aright,In thy light to behold the light.Raise me from deepest depths to shareHeaven's endless joys of praise and prayer,That I may evermore declare:Though thou wast angered, Lord, I will give thanks to thee,For past is now thy wrath, and thou dost comfort me.

Yet hide not thou thy face from me,Nor cast me out afar from thee;But when thou bidd'st my life to cease,ou lead me forth in peaceUnto the world to come, to dwellAmong thy pious ones, who tellThy glories inexhaustible.

There let my portion be with thoseWho to eternal life arose;There purify my heart aright,In thy light to behold the light.Raise me from deepest depths to shareHeaven's endless joys of praise and prayer,That I may evermore declare:Though thou wast angered, Lord, I will give thanks to thee,For past is now thy wrath, and thou dost comfort me.

Ibn Gebirol stood a little outside and a good deal above the circle of the Jewish poets who made this era so brilliant. Many of them are now forgotten; they had their day of popularity in Toledo, Cordova, Seville, and Granada, but their poems have not survived.

In the very year of Ibn Gebirol's death Moses Ibn Ezra was born. Of his life little is certain, but it is known that he wasstill alive in 1138. He is called the "poet of penitence," and a gloomy turn was given to his thought by an unhappy love attachment in his youth. A few stanzas of one of his poems run thus:

Sleepless, upon my bed the hours I number,And, rising, seek the house of God, while slumberLies heavy on men's eyes, and dreams encumberTheir souls in visions of the night.In sin and folly passed my early years,Wherefore I am ashamed, and life's arrearsNow strive to pay, the while my tearsHave been my food by day and night.* * * * *Short is man's life, and full of care and sorrow,This way and that he turns some ease to borrow,Like to a flower he blooms, and on the morrowIs gone—a vision of the night.How does the weight of sin my soul oppress,Because God's law too often I transgress;I mourn and sigh, with tears of bitternessMy bed I water all the night.* * * * *My youth wanes like a shadow that's cast,Swifter than eagle's wings my years fly fast,And I remember not my gladness past,Either by day or yet by night.Proclaim we then a fast, a holy day,Make pure our hearts from sin, God's will obey,And unto him, with humbled spirit prayUnceasingly, by day and night.May we yet hear his words: "Thou art my own,My grace is thine, the shelter of my throne,For I am thy Redeemer, I alone;Endure but patiently this night!"

Sleepless, upon my bed the hours I number,And, rising, seek the house of God, while slumberLies heavy on men's eyes, and dreams encumberTheir souls in visions of the night.

In sin and folly passed my early years,Wherefore I am ashamed, and life's arrearsNow strive to pay, the while my tearsHave been my food by day and night.

* * * * *

Short is man's life, and full of care and sorrow,This way and that he turns some ease to borrow,Like to a flower he blooms, and on the morrowIs gone—a vision of the night.

How does the weight of sin my soul oppress,Because God's law too often I transgress;I mourn and sigh, with tears of bitternessMy bed I water all the night.

* * * * *

My youth wanes like a shadow that's cast,Swifter than eagle's wings my years fly fast,And I remember not my gladness past,Either by day or yet by night.

Proclaim we then a fast, a holy day,Make pure our hearts from sin, God's will obey,And unto him, with humbled spirit prayUnceasingly, by day and night.

May we yet hear his words: "Thou art my own,My grace is thine, the shelter of my throne,For I am thy Redeemer, I alone;Endure but patiently this night!"

But his hymns, many of which won a permanent place in the prayer-book, are not always sad. Often they are warm with hope, and there is a lilt about them which is almost gay. His chief secular poem, "The Topaz" (Tarshish), is in ten parts, and contains 1210 lines. It is written on an Arabic model: it contains no rhymes, but is metrical, and the same word, with entirely different meanings, occurs at the end of several lines. It needs a good deal of imagination to appreciate Moses Ibn Ezra, and this is perhaps what Charizi meant when he called him "the poet's poet."

Another Ibn Ezra, Abraham, one of thegreatest Jews of the Middle Ages, was born in Toledo before 1100. He passed a hard life, but he laughed at his fate. He said of himself:

If I sold shrouds,No one would die.If I sold lamps,Then, in the sky,The sun, for spite,Would shine by night.

Several of Abraham Ibn Ezra's hymns are instinct with the spirit of resignation. Here is one of them:

I hope for the salvation of the Lord,In him I trust, when fears my being thrill,Come life, come death, according to his word,He is my portion still.Hence, doubting heart! I will the Lord extolWith gladness, for in him is my desire,Which, as with fatness, satisfies my soul,That doth to heaven aspire.All that is hidden shall mine eyes behold,And the great Lord of all be known to me,Him will I serve, his am I as of old;I ask not to be free.Sweet is ev'n sorrow coming in his name,Nor will I seek its purpose to explore,His praise will I continually proclaim,And bless him evermore.

I hope for the salvation of the Lord,In him I trust, when fears my being thrill,Come life, come death, according to his word,He is my portion still.

Hence, doubting heart! I will the Lord extolWith gladness, for in him is my desire,Which, as with fatness, satisfies my soul,That doth to heaven aspire.

All that is hidden shall mine eyes behold,And the great Lord of all be known to me,Him will I serve, his am I as of old;I ask not to be free.

Sweet is ev'n sorrow coming in his name,Nor will I seek its purpose to explore,His praise will I continually proclaim,And bless him evermore.

Ibn Ezra wandered over many lands, and even visited London, where he stayed in 1158. Ibn Ezra was famed, not only for his poetry, but also for his brilliant wit and many-sided learning. As a mathematician, as a poet, as an expounder of Scriptures, he won a high place in Jewish annals. In his commentaries he rejected the current digressive and allegorical methods, and steered a middle course between free research on the one hand, and blind adherence to tradition on the other. Ibn Ezra was the first to maintain that the Book of Isaiah contains the work of two prophets—a view now almost universal. He never for a moment doubted, however, that the Bible was in every part inspired and in every part the word of God. But he was also the father of the "Higher Criticism." Ibn Ezra's pioneer work in spreading scientific methods of study in France was shared by Joseph Kimchi, who settled in Narbonne in the middle of the twelfthcentury. His sons, Moses and David, were afterwards famous as grammarians and interpreters of the Scriptures. David Kimchi (1160-1235) by his lucidity and thoroughness established for his grammar, "Perfection" (Michlol), and his dictionary, "Book of Roots," complete supremacy in the field of exegesis. He was the favorite authority of the Christian students of Hebrew at the time of the Reformation, and the English Authorized Version of 1611 owed much to him.

At this point, however, we must retrace our steps, and cast a glance at Hebrew literature in France at a period earlier than the era of Ibn Ezra.

Translations Of Spanish-Hebrew Poems:

Emma Lazarus.—Poems(Boston, 1889).

Mrs. H. Lucas.—The Jewish Year(New York, 1898), and in Editions of the Prayer-Books. See also (Abrahams)J.Q.R., XI, p. 64.

Ibn Gebirol.

Graetz.—III, 9.

D. Rosin.—The Ethics of Solomon Ibn Gebirol, 7.J.Q.R., III, p. 159.

Moses Ibn Ezra.

Graetz.—III, p. 319 [326].

Abraham Ibn Ezra.

Graetz.—III, p. 366 [375].

Abraham Ibn Ezra's Commentary on Isaiah (tr. by M. Friedländer, 1873).

M. Friedländer.—Essays on Ibn Ezra(London, 1877). See alsoTransactions of the Jewish Historical Society of England, Vol. II, p. 47, and J. Jacobs,Jews of Angevin England, p. 29seq.

Kimchi Family.

Graetz.—III, p. 392 [404].

Spanish-Jewish Exegesis And Poetry.

Steinschneider.—Jewish Literature, pp. 141, 146-179.

ToC

Nathan of Rome.—Alfassi.—Rashi.—Rashbam.

Before Hebrew poets, scientists, philosophers, and statesmen had made Spain famous in Jewish annals, Rashi and his school were building up a reputation destined to associate Jewish learning with France. In France there was none of the width of culture which distinguished Spain. Rashi did not shine as anything but an exponent of traditional Judaism. He possessed no graces of style, created no new literature. But he represented Judaism at its simplest, its warmest, its intensest. Rashi was a great writer because his subject was great, not because he wrote greatly.

But it is only a half-truth to assert that Rashi had no graces of style. For, if grace be the quality of producing effects with theleast display of effort, then there was no writer more graceful than Rashi. His famous Commentary on the Talmud is necessarily long and intricate, but there is never a word too much. No commentator on any classic ever surpassed Rashi in the power of saying enough and only enough. He owed this faculty in the first place to his intellectual grasp. He edited the Talmud as well as explained it. He restored the original text with the surest of critical instincts. And his conscience was in his work. So thoroughly honest was he that, instead of slurring over difficulties, he frankly said: "I cannot understand ... I do not know," in the rare cases in which he was at a loss. Rashi moreover possessed that wondrous sympathy with author and reader which alone qualifies a third mind to interpret author to reader. Probing the depth of the Talmud, Rashi probed the depth of the learned student, and realized the needs of the beginner. Thus thebeginner finds Rashi useful, and the specialist turns to him for help. His immediate disciples rarely quote him by name; to them he is "theCommentator."

Rashi was not the first to subject the Talmud to critical analysis. The Gaonim had begun the task, and Nathan, the son of Yechiel of Rome, compiled, in about the year 1000, a dictionary (Aruch) which is still the standard work of reference. But Rashi's nearest predecessor, Alfassi, was not an expounder of the Talmud; he extracted, with much skill, the practical results from the logical mazes in which they were enveloped. Isaac, the son of Jacob Alfassi, derived his name from Fez, where he was born in 1013. He gave his intellect entirely to the Talmud, but he acquired from the Moorish culture of his day a sense of order and system. He dealt exclusively with theHalachah, or practical contents of the Rabbinic law, and the guide which he compiled to the Talmud soonsuperseded all previous works of its kind. Solomon, the son of Isaac, best known asRabbiShelomoIzchaki (Rashi), was born in 1040, and died in 1105, in Troyes, in Champagne. From his mother, who came of a family of poets, he inherited his warm humanity, his love for Judaism. From his father, he drew his Talmudical knowledge, his keen intellect. His youth was a hard one. In accordance with medieval custom, he was married as a boy, and then left his home in search of knowledge rather than of bread. Of bread he had little, but, starved and straitened in circumstances though he was, he became an eager student at the Jewish schools which then were dotted along the Rhine, residing now at Mainz, now at Speyer, now at Worms. In 1064 he settled finally in Troyes. Here he was at once hailed as a new light in Israel. His spotless character and his unique reputation as a teacher attracted a vast number of eager students.

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