History of the Jews, Vol. 3 (of 6). Graetz Heinrich

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СКАЧАТЬ language employed only by scholars, but might become a means of educating the people. The auxiliary signs tended to break down the barrier between the learned (Chacham) and the unlearned (Am-ha-Arez).

      An immediate consequence of contact with the Arabs and the study of the Holy Writ was the birth of neo-Hebraic poetry. Poetical natures naturally felt themselves impelled to make use of the copious Hebrew vocabulary in metrical compositions and polished verse, in the same manner as the Arabs had done with their language. But while the Arabic bards sang of the sword, of chivalry, of unbridled love, bewailed the loss of worldly possessions, and attacked with their satire such of their enemies as they could not reach with the sword, the newly-awakened Hebrew poetry knew of but one subject worthy of enthusiasm and adoration, God and His providence, of but one subject worthy of lament, the destitution and sorrows of the Jewish nation. The new-born Hebrew poetry, however different in form and matter from that of the Bible, had a religious foundation in common with it. The psalm of praise and the soul-afflicting dirge of lamentation were taken by the neo-Hebraic poets as their models. But a third element also claimed attention. Since the state had lost its independence, learning had become the soul of Judaism; religious deeds, if not accompanied by knowledge of the Law, were accounted of no worth. The main feature of the Sabbath and festival services was the reading of portions of the Law and the Prophets, the interpretation thereof by the Targumists and the explanation of the text by the Agadists (preachers of homilies). Neo-Hebraic poetry, if it was to reach the hearts of the people, could not be entirely devoid of a didactic element. The poet's only scene of action was the synagogue, his only audience, the congregation assembled for prayer and instruction, and his poetry, therefore, necessarily assumed a synagogical or liturgical character.

      The poetical impulse was strengthened by practical necessity. The original divine service with its short and simple prayers was no longer sufficient. It was extended, it is true, by the recitation of psalms and appropriate liturgical compositions, but even this did not fill up the time which the congregation would gladly have spent in the house of God. This was especially felt on the New Year's festival and on the Day of Atonement, which were dedicated to deep devotion, and during the greater part of which the congregation remained in the house of prayer, contrite, and imploring forgiveness and redemption. It was evident that the divine service must be amplified, and more matter for meditation provided. In this manner arose the synagogical, or, as it was also called, the poetanic composition. At the head of the succession of neo-Hebraic poets stands José bar José Hayathom (or Haithom), whose works are not without true poetic ring, although devoid of artistic form. The date and nationality of this poet are entirely unknown, but it appears probable that he was a native of Palestine, and that he lived not earlier than the first Gaonic century.

      José b. José took as the subject of his poems the emotions and memories which move a Jewish congregation on New Year's Day. On this occasion, the birthday of a new division of time, on which, according to Jewish ideas, the fate that the year has in store for men and communities is decided, God is extolled in a sublime poem as the mighty Master, the Creator of the world, the just Judge and the Redeemer of Israel. This poem, which was attached to the old prayers for the prescribed blowing of the cornet, and was intended to interpret them, embraces in a small compass the story of Israel's glorious past, its oppressed present, and promised future. José's poem is at once a psalm of triumph and of lamentation, interwoven with penitential prayers and words of hope. The resurrection is described in a few striking, picturesque lines.

      Another and longer of José's poems has for its theme the ancient worship in the Temple on the Day of Atonement, which an attentive nation had once followed in devotional mood, and the description of which was well calculated to awaken the great memories of the glorious times of national independence (Abodah). It is a sort of liturgical epic, which describes simply, and without any lyrical strain, the creation of the universe and of man, the ungodliness of the first generation, Abraham's recognition of God, the election of his posterity as God's peculiar people, and the calling of Aaron's family to the service of the Temple. Arrived at the priesthood of Aaron, the poet, following the account of the Mishna, goes on to describe the duties of the high-priest in the Temple on the Day of Atonement, and concludes with the moment when the high-priest, accompanied by the whole nation, joyful and assured by visible signs of forgiveness, leaves the Temple for his home, – a beautiful fragment of the past, which has always awakened a powerful echo in the hearts of the Jewish people.

      Elevation of thought and beauty of language are the characteristics of José b. José's poetry. His New Year's sonnets and Temple epic have become parts of the divine service of certain congregations, and have served as models for others. His verses are unrhymed and without meter, a proof of their great antiquity. The only artificial feature of his poetical works is the alphabetical or acrostic commencement of verses, for which several of the Psalms, Jeremiah's Lamentations, and the post-talmudical prayers served as models. In the first fruits of the new Hebraic poetry, form is completely subservient to the subject-matter. There has been preserved from ancient times another Abodah, ascribed to a poet named Simon ben Caipha. It appears to have been written in imitation of that of José b. José, but is greatly inferior to its model. However, it was honored by being adopted by the synagogue of the Gaonate. To the name of Simon Caipha, which sounds like the Jewish name of the apostle Peter, a peculiar legend is attached: The apostle, who supports the foundation of the Catholic Church, is represented as having written this Abodah in order to declare in the opening part his truly Jewish acknowledgment of God's unity, and to renounce his adherence to Jesus, as though the disciple who three times denied his Master had desired in this liturgical poem to attest his unbelief.

      It was impossible that Jewish liturgical poetry could long remain satisfied with this simplicity of form. Little by little the Jews became acquainted with the poetry of the Arabs, the agreeable sound of its rhymes captivated them, and they were led to regard rhyme as the perfection of poetry. The poetanists, therefore, if they would be well received, could not afford to neglect this artistic device, and they assiduously devoted themselves to its cultivation. As far as is known, the first poet who introduced rhyme into the neo-Hebraic poetry was a certain Jannai, probably an inhabitant of Palestine. He composed versified prayers for those special Sabbaths which, either by reason of historical events connected with them, or of being a time of preparation for the approaching festivals, were possessed of particular importance. The Agadic discourses, which had been introduced on these Sabbaths, do not seem to have pleased the congregations any longer, because the preachers were unable to find new and attractive matter; they seem, indeed, to have read out the same discourses in a given order from year to year.

      The poems of Jannai and his fellow-workers aimed at giving the substance of these Agadic expositions in the form of agreeable verse. Hence, Jannai's productions are versified Agadas. But as he was not enough of a poet to reproduce the elevated and striking passages of Agadic literature, as his rhymes were heavy and labored, and as he also burdened himself with the task of commencing his verses with consecutive letters of the alphabet, and of interweaving his name into them, his poems are dull, clumsy, and unwieldy.

      Altogether neo-Hebraic poetry gained nothing during its earlier years by the introduction of rhyme. Eleazar ben Kalir or Kaliri (of Kiriat-Sepher), one of the first and most prolific of the poetanic writers, and a disciple of Jannai, was just as clumsy and harsh as his master, and his style was even more obscure. He wrote over 150 liturgical pieces, including hymns for the festivals, penitential prayers for the holy-days, songs of lamentation for the principal fasts, and various other compositions which cannot be classed under distinct heads. Kaliri put into most artificial verses a large portion of the Agadic literature, but only a few of his compositions have any poetical value, and none possesses beauty. In order to overcome the difficulties which were presented by the allusions to the Agada, by the use of rhyme, of the alphabetically arranged initial words and the interweaving of his name, Kaliri was obliged to do violence to the Hebrew language, to set at defiance the fixed rules which govern the use of words, and to create unprecedented combinations. In place of word-pictures, he often presents to his reader obscure riddles, which it is impossible to solve without a thorough acquaintance with the Agadic writings. Nevertheless, Kaliri's poetic compositions made their way into the liturgies of the Babylonian, СКАЧАТЬ