History of the Jews, Vol. 5 (of 6). Graetz Heinrich

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СКАЧАТЬ and situations. Enriquez de Paz, or, as he was styled in his poetical capacity, Antonio Enriquez de Gomez, composed more than two and twenty comedies, some of which were put upon the stage at Madrid, and, being taken for Calderon's productions, were received with much applause. Neither Mars nor the Muses succeeded in protecting him against the Inquisition; he could escape its clutches only by rapid flight. He lived a long time in France. His prolific muse celebrated Louis XIV, the queen of France, the powerful statesman Richelieu, and other high personages of the court. He bewailed in elegies his misfortunes and the loss of his country, which he loved like a son, step-mother though she had been to him. Although blessed by fortune, Enriquez de Paz felt himself unhappy in the rude north, far from the blue mountains and mild air of Spain. He lamented:

      "I have won for myself wealth and traveled over many seas, and heaped up ever fresh treasures by thousands; now my hair is bleached, my beard as snowy white as my silver bars, the reward of my labors."

      He lived in France, too, as a Christian, but proclaimed his sympathy with Judaism by mourning in elegiac verses the martyrdom of Lope de Vera y Alarcon. Finally he settled down in the asylum of the Marranos, whilst his effigy was burnt on the funeral pile at Seville. There had been again a great auto-da-fé (1660) of sixty Marranos, of whom four were first strangled and then burned, whilst three were burned alive. Effigies of escaped Marranos were borne along in procession, and thrown into the flames – amongst them that of the knight of San Miguel, the writer of comedies. A new-Christian, who was present at this horrible sight, and soon after escaped to Amsterdam, met Gomez in the street, and exclaimed excitedly: "Ah! Señor Gomez! I saw your effigy burn on the funeral pile at Seville!" "Well," he replied, "they are welcome to it." Along with his numerous secular poems, Enriquez Gomez left one of Jewish national interest in celebration of the hero-judge Samson. The laurels which the older Spanish poet Miguel Silveyra, also a Marrano, whom he admired, had won by his epic, "The Maccabee," haunted him until he had brought out a companion piece. To the blind hero who avenged himself on the Philistines by his very death, Gomez assigned verses which expressed his own heart:

      "I die for Thy holy word, for Thy religion,

      For Thy doctrine, Thy hallowed commandments,

      For the nation adopted by Thy choice,

      For Thy sublime ordinance I die."

      Another point of view is presented by two emigrant Marranos of this period, father and son, the two Pensos, the one rich in possessions and charity, the other in poetical gifts. They probably sprang from Espejo, in the province of Cordova, escaped from the fury of the Inquisition, and at last settled, after many changes of residence, as Jews in Amsterdam. Isaac Penso (died 1683) the elder, a banker, was a father to the poor. He spent a tithe of the income from his property on the poor, and distributed, up to his death, 40,000 gulden. His decease aroused deep regret in the community of Amsterdam. His son (Felice) Joseph Penso, also called De la Vega from his mother's family (1650–1703), was a rich merchant, and turned his attention to poetry. A youth of seventeen, he awoke the long-slumbering echo of neo-Hebraic poesy, and caused it to strike its highest note. Joseph Penso boldly undertook a most difficult task; he composed a Hebrew drama. Since Immanuel Romi had written his witty tales in verse, the neo-Hebraic muse had been stricken with sterility, for which the increasing troubles of the times were not alone to blame. Moses da Rieti and the poetic school of Salonica composed verses, but did not write poetry. Even the greatest of Jewish poets, Gebirol and Jehuda Halevi, had produced only lyric and didactic poetry, and had not thought of the drama. Joseph Penso, inspired by the poetical air of Spain, the land of his birth, where Lope de Vega's and Calderon's melodious verses were heard beside the litany of the monks and the cry of the sacrificial victims, transferred Spanish art forms to neo-Hebraic poetry. Penso happily imitated the various kinds of metre and strophe of European poetry in the language of David and Isaiah.

      One may not, indeed, apply a severe standard to Joseph Penso's drama, but should endeavor to forget that long before him Shakespeare had created life-like forms and interests. For, measured by these, Penso's dramatic monologue and dialogue seem puerile. However free from blame his versification is, the invention is poor, the ideas commonplace. A king who takes a serious view of his responsibilities as ruler is led astray, now by his own impulses (Yezer), now by a coquette (Isha), now by Satan. Three other opposing forces endeavor to lead him in the right way – his own judgment (Sechel), divine inspiration (Hashgacha), and an angel. These are the characters in Penso's drama "The Captives of Hope" (Asiré ha-Tikwah). But if one takes into consideration the object which Penso had in view, viz., to hold up a mirror to Marrano youths settled at Amsterdam, who had been used to Spanish licentiousness, and to picture to them the high value of a virtuous life, the performance of the youthful poet is not to be despised. Joseph Penso de la Vega composed a large number of verses in Spanish, occasional poetry, moral and philosophical reflections, and eulogies on princes. His novels, entitled "The Dangerous Courses" (los Rumbos peligrosos), were popular.

      Marrano poets of mediocre ability were so numerous at this time in Amsterdam, that one of them, the Spanish resident in the Netherlands, Manuel Belmonte (Isaac Nuñes), appointed count-palatine, founded an academy of poetry. Poetical works were to be handed in, and as judges he appointed the former confessor, De Rocamora, and another Marrano, who composed Latin verses, Isaac Gomez de Sosa. The latter was so much enraptured of Penso's Hebrew drama, that he triumphantly proclaimed, in Latin verse:

      "Now is it at length attained! The Hebrew Muse strides along on high-heeled buskin safe and sound. With the measured step of poetry she is conducted auspiciously by Joseph – sprung from that race which still is mostly in captivity. Lo! a clear beam of hope shines afresh, that now even the stage may be opened to sacred song. Yet why do I praise him? The poet is celebrated by his own poetry, and his own work proclaims the praise of the master."

      Another of the friends of the Jewish dramatist was Nicolas de Oliver y Fullana (Daniel Jehuda), poet, and colonel in the Spanish service; he was knighted, entered the service of Holland, and was an accurate cartographer and cosmographer. There was also Joseph Szemach (Sameh) Arias, a man of high military rank, who translated into Spanish the work of the historian Josephus against Apion, which controverted the old prejudices and falsehoods against Jews. This polemic was not superfluous even at this time. Of the Jewish Marrano poetesses, it will suffice to name the fair and gifted Isabel Correa (Rebecca), who twined a wreath of various poems, and translated the Italian popular drama, "The True Shepherd" (Pastor Fido, by Guarini) into beautiful Spanish verse. Isabel was the second wife of the poet-warrior, De Oliver y Fullana.

      Of a far different stamp was the Marrano Thomas de Pinedo (Isaac, 1614–1679) of Portugal, educated in a Jesuit college at Madrid. He was more at home in classical than in Jewish antiquity, and applied himself to a branch of study little cultivated in Spain in his time, that of ancient geography. He, too, was driven out of Spain by the Inquisition, and deemed himself fortunate to have escaped unhurt. The philologist De Pinedo dwelt later on in Amsterdam, where he printed his comprehensive work. He composed his own epitaph in Latin.

      We must not leave unmentioned a personage celebrated at that time perhaps beyond his deserts, Jacob Jehuda Leon (Templo, 1603–1671). If not a Marrano, he was of Marrano descent, and resided first at Middelburg, then at Amsterdam, and was more an artist than a man of science. Leon devoted himself to the reproduction of the first Temple and its vessels, as they are described in the Bible and the Talmud. He executed a model of the Temple on a reduced scale (3 yards square, 1½ in height), and added a concise, clear description in Spanish and Hebrew. Work of so unusual a character attracted extraordinary notice at a time when every kind of antiquarian learning, especially biblical, was highly prized. The government of Holland and Zealand gave the author the copyright privilege. Duke August of Brunswick, and his wife Elizabeth, wished to possess a German translation of Leon's description, and commissioned Professor John Saubert, of Helmstädt, to undertake it. While corresponding with the author so as to ensure thoroughness, he was anticipated by another man who brought out a German translation at Hanover. This circumstance caused great annoyance to Professor Saubert. Templo, as Leon and his posterity were surnamed from his work in connection with the Temple, engaged in controversies СКАЧАТЬ