The Book of Delight and Other Papers

MARRIAGE SONG

OPHRAH

To her sleeping Love

TO OPHRAH

These lovers' tears often meet us in the Hebrew poems. Ibn Gabirol speaks of his tears as fertilizing his heart and preserving it from crumbling into dust. Mostly, however, the Hebrew lover's tears, when they are not tokens of grief at the absence of the beloved, are the involuntary confession of the man's love. It is the men who must weep in these poems. Charizi sings of the lover whose heart succeeds in concealing its love, whose lips contrive to maintain silence on the subject, but his tears play traitor and betray his affection to all the world. Dr. Sulzbach aptly quotes parallels to this fancy from Goethe and Brentano.

This suggestion of parallelism between a medieval Hebrew poet and Goethe must be my excuse for an excursion into what seems to me one of the most interesting examples of the kind. In one of his poems Jehudah Halevi has these lines:

It is this last image that has so interesting a literary history as to tempt me into a digression. But first a word must be said of the translation and the translator. The late Amy Levy made this rendering, not from the Hebrew, but from Geiger's German with obvious indebtedness to Emma Lazarus. So excellent, however, was Geiger's German that Miss Levy got quite close to the meaning of the original, though thirty-eight Hebrew lines are compressed into twelve English. Literally rendered, the Hebrew of the last lines runs:

This image of the bell is purely Hebraic; it is, of course, derived from the High Priest's vestments. Jehudah Halevi often employs it to express melodious proclamation of virtue, or the widely-borne voice of fame. Here he uses it in another context, and though the image of the bell is not repeated, yet some famous lines from Tennyson's "Maud" at once come into one's mind:

It is thus that the lyric poetry of one age affects, or finds its echo in, that of another, but in this particular case it is, of course, a natural thought that true love must survive the grave. There is a mystical union between the two souls, which death cannot end. Here, again, we meet the close connection between love and mysticism, which lies at the root of all deep love poetry. But we must attend to the literary history of the thought for a moment longer. Moses ibn Ezra, though more famous for his Synagogue hymns, had some lyric gifts of a lighter touch, and he wrote love songs on occasion. In one of these the poet represents a dying wife as turning to her husband with the pathetic prayer, "Remember the covenant of our youth, and knock at the door of my grave with a hand of love."

I will allude only to one other parallel, which carries us to a much earlier period. Here is an Arab song of Taubah, son of Al-Humaiyir, who lived in the seventh century. It must be remembered that it was an ancient Arabic folk-idea that the spirits of the dead became owls.

C.J.L. Lyall, writing of the author of these lines, Taubah, informs us that he was the cousin of Laila, a woman of great beauty. Taubah had loved her when they were children in the desert together, but her father refused to give her to him in marriage. He led a stormy life, and met his death in a fight during the reign of Mu'awiyah. Laila long survived him, but never forgot him or his love for her. She attained great fame as a poetess, and died during the reign of 'Abd-al-Malik, son of Marwan, at an advanced age. "A tale is told of her death in which these verses figure. She was making a journey with her husband when they passed by the grave of Taubah. Laila, who was travelling in a litter, cried, By God! I will not depart hence till I greet Taubah. Her husband endeavored to dissuade her, but she would not hearken; so at last he allowed her. And she had her camel driven up the mound on which the tomb was, and said, Peace to thee, O Taubah! Then she turned her face to the people and said, I never knew him to speak falsely until this day. What meanest thou? said they. Was it not he, she answered, who said

Nay, but I have greeted him, and he has not answered as he said. Now, there was a she-owl crouching in the gloom by the side of the grave; and when it saw the litter and the crowd of people, it was frightened and flew in the face of the camel. And the camel was startled and cast Laila headlong on the ground; and she died that hour, and was buried by the side of Taubah."

The fascination of such parallels is fatal to proportion in an essay such as this. But I cannot honestly assert that I needed the space for other aspects of my subject. I have elsewhere fully described the Wedding Odes which Jehudah Halevi provided so abundantly, and which were long a regular feature of every Jewish marriage. But, after the brilliant Spanish period, Hebrew love songs lose their right to high literary rank. Satires on woman's wiles replace praises of her charms. On the other hand, what of inspiration the Hebrew poet felt in the erotic field beckoned towards mysticism. In the paper which opens this volume, I have written sufficiently and to spare of the woman-haters. At Barcelona, in the age of Zabara, Abraham ibn Chasdai did the best he could with his misogynist material, but he could get no nearer to a compliment than this, "Her face has the shimmer of a lamp, but it burns when held too close" ("Prince and Dervish," ch. xviii). The Hebrew attacks on women are clever, but superficial; they show no depth of insight into woman's character, and are far less effective than Pope's satires.

The boldest and ablest Hebrew love poet of the satirical school is Immanuel of Rome, a younger contemporary of Dante. He had wit, but not enough of it to excuse his ribaldry. He tells many a light tale of his amours; a pretty face is always apt to attract him and set his pen scribbling. As with the English dramatists of the Restoration, virtue and beauty are to Immanuel almost contradictory terms. For the most part, wrinkled old crones are the only decent women in his pages. His pretty women have morals as easy as the author professes. In the second of his Machberoth he contrasts two girls, Tamar and Beriah; on the one he showers every epithet of honor, at the other he hurls every epithet of abuse, only because Tamar is pretty, and Beriah the reverse. Tamar excites the love of the angels, Beriah's face makes even the devil fly. This disagreeable pose of Immanuel was not confined to his age; it has spoilt some of the best work of W.S. Gilbert. The following is Dr. Chotzner's rendering of one of Immanuel's lyrics. He entitles it

Immanuel, it is only just to point out, occasionally draws a worthier character. In his third Machbereth he tells of a lovely girl, who is intelligent, modest, chaste, coy, and difficult, although a queen in beauty; she is simple in taste, yet exquisite in poetical feeling and musical gifts. The character is the nearest one gets in Hebrew to the best heroines of the troubadours. Immanuel and she exchange verses, but the path of flirtation runs rough. They are parted, she, woman-like, dies, and he, man-like, sings an elegy. Even more to Immanuel's credit is his praise of his own wife. She has every womanly grace of body and soul. On her he showers compliments from the Song of Songs and the Book of Proverbs. If this be the true man revealed, then his light verses of love addressed to other women must be, as I have hinted, a mere pose. It may be that his wife read his verses, and that his picture of her was calculated to soothe her feelings when reading some other parts of his work. If she did read them, she found only one perfect figure of womanliness in her husband's poems, and that figure herself. But on the whole one is inclined to think that Immanuel's braggartism as to his many love affairs is only another aspect of the Renaissance habit, which is exemplified so completely in the similar boasts of Benvenuto Cellini.

Be this as it may, it is not surprising to find that in the Shulchan Aruch (Orach Chayyim, ch. 317, Section 16), the poems of Immanuel are put upon the Sabbath Index. It is declared unlawful to read them on Saturdays, and also on week-days, continues the Code with gathering anger. Those who copy them, still more those who print them, are declared sinners that make others to sin. I must confess that I am here on the side of the Code. Immanuel's Machberoth are scarcely worthy of the Hebrew genius.

There has been, it may be added, a long struggle against Hebrew love songs. Maimonides says ("Guide," iii. 7): "The gift of speech which God gave us to help us learn and teach and perfect ourselves—this gift of speech must not be employed in doing what is degrading and disgraceful. We must not imitate the songs and tales of ignorant and lascivious people. It may be suitable to them, but it is not fit for those who are bidden, Ye shall be a holy nation." In 1415 Solomon Alami uses words on this subject that will lead me to my last point. Alami says, "Avoid listening to love songs which excite the passions. If God has graciously bestowed on you the gift of a sweet voice, use it in praising Him. Do not set prayers to Arabic tunes, a practice which has been promoted to suit the taste of effeminate men."

But if this be a crime, then the worst offender was none other than the famous Israel Najara. In the middle of the sixteenth century he added some of its choicest lyrics to the Hebrew song-book. The most popular of the table hymns (Zemiroth) are his. He was a mystic, filled with a sense of the nearness of God. But he did not see why the devil should have all the pretty tunes. So he deliberately wrote religious poems in metres to suit Arabic, Turkish, Greek, Spanish, and Italian melodies, his avowed purpose being to divert the young Jews of his day from profane to sacred song. But these young Jews must have been exigent, indeed, if they failed to find in Najara's sacred verses enough of love and passion. Not only was he, like Jehudah Halevi, a prolific writer of Wedding Odes, but in his most spiritual hymns he uses the language of love as no Hebrew poet before or after him has done. Starting with the assumption that the Song of Songs was an allegory of God's espousal with the bride Israel, Najara did not hesitate to put the most passionate words of love for Israel into God's mouth. He was strongly attacked, but the saintly mystic Isaac Luria retorted that Najara's hymns were listened to with delight in Heaven—and if ever a man had the right to speak of Heaven it was Luria. And Hebrew poetry has no need to be ashamed of the passionate affection poured out by these mystic poets on another beloved, the Queen Sabbath.

This is not the place to speak of the Hebrew drama and of the form which the love interest takes in it. Woman, at all events, is treated far more handsomely in the dramas than in the satires. The love scenes of the Hebrew dramatists are pure to coldness. These dramas began to flourish in the eighteenth century; Luzzatto was by no means an unworthy imitator of Guarini. Sometimes the syncretism of ideas in Hebrew plays is sufficiently grotesque. Samuel Romanelli, who wrote in Italy at the era of the French Revolution, boldly introduces Greek mythology. It may be that in the Spanish period Hebrew poets introduced the muses under the epithet "daughters of Song." But with Romanelli, the classical machinery is more clearly audible. The scene of his drama is laid in Cyprus; Venus and Cupid figure in the action. Romanelli gives a moral turn to his mythology, by interposing Peace to stay the conflict between Love and Fame. Ephraim Luzzatto, at the same period, tried his hand, not unsuccessfully, at Hebrew love sonnets.

Love songs continued to be written in Hebrew in the nineteenth century, and often see the light in the twentieth. But I do not propose to deal with these. Recent new-Hebrew poetry has shown itself strongest in satire and elegy. Its note is one of anger or of pain. Shall we, however, say of the Hebrew race that it has lost the power to sing of love? Has it grown too old, too decrepid?

Heine is the answer. But Heine did not write in Hebrew, and those who have so far written in Hebrew are not Heines. It is, I think, vain to look to Europe for a new outburst of Hebrew love lyrics. In the East, and most of all in Palestine, where Hebrew is coming to its own again, and where the spring once more smiles on the eyes of Jewish peasants and shepherds, there may arise another inspired singer to give us a new Song of Songs in the language of the Bible. But we have no right to expect it. Such a rare thing of beauty cannot be repeated. It is a joy forever, and a joy once for all.

A HANDFUL OF CURIOSITIES