The Book of Delight and Other Papers Part 9

Before turning to one rather arrestive parallel, a word may be said on Graetz's idea, that Canticles uses the expression "love's arrows." Were this so, the symbolism could scarcely be attributed to other than a Greek original. The line occurs in the n.o.ble panegyric of love cited before, with which Canticles ends, and in which the whole drama culminates. There is no room in this eulogy for Graetz's rendering, "Her arrows are fiery arrows,"

nor can the Hebrew easily mean it. "The flashes thereof are flashes of fire," is the best translation possible of the Hebrew line. There is nothing Greek in the comparison of love to fire, for fire is used in common Hebrew idiom to denote any powerful emotion (comp. the a.s.sociation of fire with jealousy in Ezekiel x.x.xix. 4).

Ewald, while refusing to connect the Idylls with Canticles, admitted that one particular parallel is at first sight forcible. It is the comparison of both Helen and Shulammith to a horse. Margoliouth thinks the Greek inexplicable without the Hebrew; Graetz thinks the Hebrew inexplicable without the Greek. In point of fact, the Hebrew and the Greek do not explain each other in the least. In the Epithalamium (Idyll xviii. 30) Theocritus writes,

Or as in a chariot a mare of Thessalian breed, So is rose-red Helen, the glory of Lacedemon.

The exact point of comparison is far from clear, but it must be some feature of beauty or grace. Such a comparison, says Margoliouth, is extraordinary in a Greek poet; he must have derived it from a non-Greek source. But it has escaped this critic and all the commentaries on Theocritus, that just this comparison is perfectly natural for a Sicilian poet, familiar with several series of Syracusan coins of all periods, on which appear chariots with Nike driving horses of the most delicate beauty, fit figures to compare to a maiden's grace of form. Theocritus, however, does not actually compare Helen to the horse; she beautifies or sets off Lacedemon as the horse sets off the chariot. Graetz, convinced that the figure is Greek, p.r.o.nounces the Hebrew unintelligible without it. But it is quite appropriate to the Hebrew poet. Having identified his royal lover with Solomon, the poet was almost driven to make some allusion to Solomon's famed exploit in importing costly horses and chariots from Egypt (I Kings x. 26-29). And so Canticles says (i. 9):

I have compared thee, O my love, To a team of horses, in Pharaoh's chariots.

Thy cheeks are comely with rows of pearls, Thy neck with chains of gold.

The last couplet refers to the ornaments of the horse's bridle and neck.

Now, to the Hebrew the horse was almost invariably a.s.sociated with war. The Shulammite is elsewhere (vi. 4) termed "terrible as an army with banners."

In Theocritus the comparison is primarily to Helen's beauty; in Canticles to the Shulammite's awesomeness,

Turn away thine eyes from me, For they have made me afraid.

These foregoing points of resemblance are the most significant that have been adduced. And they are not only seen to be each unimportant and inconclusive, but they have no c.u.mulative effect. Taken as wholes, as was said above, the Idylls and Canticles are the poles asunder in their moral att.i.tude towards love and in their general literary treatment of the theme.

Of course, poets describing the spring will always speak of the birds; Greek and Hebrew loved flowers, Jew and Egyptian heard the turtle-dove as a harbinger of nature's rebirth; sun and moon are everywhere types of warm and tender feelings; love is the converter of a winter of discontent into a glorious summer. In all love poems the wooer would fain embrace the wooed.

And if she prove coy, he will tell of the menial parts he would be ready to perform, to continue unrebuked in her vicinity. Anacreon's lover (xx) would be water in which the maid should bathe, and the Egyptian sighs, "Were I but the washer of her clothes, I should breathe the scent of her." Or the Egyptian will cry, "O were I the ring on her finger, that I might be ever with her," just as the Shulammite bids her beloved (though in another sense) "Place me as a seal on thine hand" (Cant. viii. 6). Love intoxicates like wine; the maiden has a honeyed tongue; her forehead and neck are like ivory. Nothing in all this goes beyond the ident.i.ty of feeling that lies behind all poetical expression. But even in this realm of metaphor and image and symbolism, the North-Semitic _wasf_ and even more the Hebraic parallels given in other parts of the Bible are closer far. Hosea xiv. 6-9 (with its lilies, its figure of Israel growing in beauty as the olive tree, "and his smell as Lebanon"), Proverbs (with its eulogy of faithful wedded love, its lips dropping honeycomb, its picture of a bed perfumed with myrrh, aloes, and cinnamon, the wife to love whom is to drink water from one's own well, and she the pleasant roe and loving hind)--these and the royal Epithalamium (Ps. xlv), and other Biblical pa.s.sages too numerous to quote, const.i.tute the real parallels to the imagery and idealism of Canticles.

The only genuine resemblance arises from ident.i.ty of environment. If Theocritus and the poet of Canticles were contemporaries, they wrote when there had been a somewhat sudden growth of town life both in Egypt and Palestine. Alexander the Great and his immediate successors were the most a.s.siduous builders of new cities that the world has ever seen. The charms of town life made an easy conquest of the Orient. But pastoral life would not surrender without a struggle. It would, during this violent revolution in habits, rea.s.sert itself from time to time. We can suppose that after a century of experience of the delusions of urban comfort, the denizens of towns would welcome a reminder of the delights of life under the open sky.

There would be a longing for something fresher, simpler, freer. At such a moment Theocritus, like the poet of Canticles, had an irresistible opportunity, and to this extent the Idylls and the Song are parallel.

But, on the other hand, when we pa.s.s from external conditions to intrinsic purport, nothing shows better the difference between Theocritus and Canticles than the fact that the Hebrew poem has been so susceptible of allegorization. Though the religious, symbolical interpretation of the Song be far from its primary meaning, yet in the Hebrew muse the sensuous and the mystical glide imperceptibly into one another. And this is true of Semitic poetry in general. It is possible to give a mystical turn to the quatrains of Omar Khayyam. But this can hardly be done with Anacreon. There is even less trace of Semitic mysticism in Theocritus than in Anacreon.

Idylls and Canticles have some similarities. But these are only skin deep.

In their heart of hearts the Greek and Judean poets are strangers, and so are their heroes and heroines.

No apology is needed for the foregoing lengthy discussion of the Song of Songs, seeing that it is incomparably the finest love poem in the Hebrew, or any other language. And this is true whatever be one's opinion of its primary significance. It was no doubt its sacred interpretation that imparted to it so lasting a power over religious symbolism. But its human import also entered into its eternal influence. The Greek peasants of Macedonia still sing echoes from the Hebrew song. Still may be heard, in modern Greek love chants, the sweet old phrase, "black but comely," a favorite phrase with all swarthy races; "my sister, my bride" remains as the most tender term of endearment. To a certain extent the service has been repaid. Some of the finest melodies to which the Synagogue hymns, or Piyyutim, are set, are the melodies to _Achoth Ketannah_, based on Canticles viii. 8, and _Berach Dodi_, a frequent phrase of the Hebrew book.

The latter melody is similar to the finer melodies of the Levant; the former strikingly recalls the contemporary melodies of the Greek Archipelago. To turn a final glance at the other side of the indebtedness, we need only recall that Edmund Spenser's famous Marriage Ode--the Epithalamium--the n.o.blest marriage ode in the English language, and Milton's equally famous description of Paradise in the fourth book of his Epic, owe a good deal to direct imitation of the Song of Songs. It is scarcely an exaggeration to a.s.sert that the stock-in-trade of many an erotic poet is simply the phraseology of the divine song which we have been considering so inadequately. It did not start as a repertoire; it has ended as one.

We must now make a great stride through the ages. Between the author of the Song of Songs and the next writer of inspired Hebrew love songs there stretches an interval of at least fourteen centuries. It is an oft-told story, how, with the destruction of the Temple, the Jewish desire for song temporarily ceased. The sorrow-laden heart could not sing of love. The disuse of a faculty leads to its loss; and so, with the cessation of the desire for song, the gift of singing became atrophied. But the decay was not quite complete. It is commonly a.s.sumed that post-Biblical Hebrew poetry revived for sacred ends; first hymns were written, then secular songs. But Dr. Brody has proved that this a.s.sumption is erroneous. In point of fact, the first Hebrew poetry after the Bible was secular not religious. We find in the pages of Talmud and Midrash relics and fragments of secular poetry, s.n.a.t.c.hes of bridal songs, riddles, elegies, but less evidence of a religious poetry. True, when once the medieval burst of Hebrew melody established itself, the Hebrew hymns surpa.s.sed the secular Hebrew poems in originality and inspiration. But the secular verses, whether on ordinary subjects, or as addresses to famous men, and invocations on doc.u.ments, at times far exceed the religious poems in range and number. And in many ways the secular poetry deserves very close attention. A language is not living when it is merely ecclesiastical. No one calls Sanskrit a living language because some Indian sects still pray in Sanskrit. But when Jewish poets took to using Hebrew again--if, indeed, they ever ceased to use it--as the language of daily life, as the medium for expressing their human emotions, then one can see that the sacred tongue was on the way to becoming once more what it is to-day in many parts of Palestine--the living tongue of men.

It must not be thought that in the Middle Ages there were two cla.s.ses of Hebrew poets: those who wrote hymns and those who wrote love songs. With the exception of Solomon ibn Gabirol--a big exception, I admit--the best love songs were written by the best hymn writers. Even Ibn Gabirol, who, so far as we know, wrote no love songs, composed other kinds of secular poetry. One of the favorite poetical forms of the Middle Ages consisted of metrical letters to friends--one may almost a.s.sert that the best Hebrew love poetry is of this type--epistles of affection between man and man, expressing a love pa.s.sing the love of woman. Ibn Gabirol wrote such epistles, but the fact remains that we know of no love verses from his hand; perhaps this confirms the tradition that he was the victim of an unrequited affection.

Thus the new form opens not with Ibn Gabirol, but with Samuel ibn Nagrela.

He was Vizier of the Khalif, and Nagid, or Prince, of the Jews, in the eleventh century in Spain, and, besides Synagogue hymns and Talmudic treatises, he wrote love lyrics. The earlier hymns of Kalir have, indeed, a strong emotional undertone, but the Spanish school may justly claim to have created a new form. And this new form opens with Samuel the Nagid's pretty verses on his "Stammering Love," who means to deny, but stammers out a.s.sent. I cite the metrical German version of Dr. Egers, because I have found it impossible to reproduce (Dr. Egers is not very precise or happy in his attempt to reproduce) the puns of the original. The sense, however, is clear. The stammering maid's words, being mumbled, convey an invitation, when they were intended to repulse her loving admirer.

Wo ist mein stammelnd Lieb?

Wo sie, die wurz'ge, blieb?

Verdunkelt der Mond der Sterne Licht, Ueberstrahlt den Mond ihr Angesicht!

Wie Schwalbe, wie Kranich, die Bei ihrer Ankunft girren, Vertraut auf ihren Gott auch sie In ihrer Zunge Irren.

Mir schmollend rief sie "Erzdieb,"

Hervor doch haucht sie "Herzdieb"-- Hin springe ich zum Herzlieb.

"Ehrloser!" statt zu wehren, "Her, Loser!" la.s.st sie h.o.r.en; Nur rascher dem Begehren Folgt' ich mit ihr zu kosen, Die lieblich ist wie Rosen.

This poem deserves attention, as it is one of the first, if not actually the very first, of its kind. The Hebrew poet is forsaking the manner of the Bible for the manner of the Arabs. One point of resemblance between the new Hebrew and the Arabic love poetry is obscured in the translation. In the Hebrew of Samuel the Nagid the terms of endearment, applied though they are to a girl, are all in the masculine gender. This, as Dr. Egers observes, is a common feature of the Arabic and Persian love poetry of ancient and modern times. An Arab poet will praise his fair one's face as "bearded"

with garlands of lilies. Hafiz describes a girl's cheeks as roses within a net of violets, the net referring to the beard. Jehudah Halevi uses this selfsame image, and Moses ibn Ezra and the rest also employ manly figures of speech in portraying beautiful women. All this goes to show how much, besides rhyme and versification, medieval Hebrew love poetry owed to Arabic models. Here, for instance, is an Arabic poem, whose author, Radhi Billah, died in 940, that is, before the Spanish Jewish poets began to write of love. To an Arabic poet Laila replaces the Lesbia of Catullus and the Chloe of the Elizabethans. This tenth century Arabic poem runs thus:

Laila, whene'er I gaze on thee, My altered cheeks turn pale; While upon thine, sweet maid, I see A deep'ning blush prevail.

Laila, shall I the cause impart Why such a change takes place?-- The crimson stream deserts my heart To mantle on thy face.

Here we have fully in bloom, in the tenth century, those conceits which meet us, not only in the Hebrew poets of the next two centuries, but also in the English poets of the later Elizabethan age.

It is very artificial and scarcely sincere, but also undeniably attractive.

Or, again, in the lines of Zoheir, addressed by the lover to a messenger that has just brought tidings from the beloved,

Oh! let me look upon thine eyes again, For they have looked upon the maid I love,

we have, in the thirteenth century, the very airs and tricks of the cavalier poets. In fact, it cannot be too often said that love poetry, like love itself, is human and eternal, not of a people and an age, but of all men and all times. Though fashions change in poetry as in other ornament, still the language of love has a long life, and age after age the same conceits and terms of endearment meet us. Thus Hafiz has these lines,

I praise G.o.d who made day and night: Day thy countenance, and thy hair the night.

Long before him the Hebrew poet Abraham ibn Ezra had written,

On thy cheeks and the hair of thy head I will bless: He formeth light and maketh darkness.

In the thirteenth century the very same witticism meets us again, in the Hebrew _Machberoth_ of Immanuel. But obviously it would be an endless task to trace the similarities of poetic diction between Hebrew and other poets: suffice it to realize that such similarities exist.

Such similarities did not, however, arise only from natural causes. They were, in part at all events, due to artificial compulsion. It is well to bear this in mind, for the recurrence of identical images in Hebrew love poem after love poem impresses a Western reader as a defect. To the Oriental reader, on the contrary, the repet.i.tion of metaphors seemed a merit. It was one of the rules of the game. In his "Literary History of Persia" Professor Browne makes this so clear that a citation from him will save me many pages. Professor Browne (ii, 83) a.n.a.lyzes Sharafu'd-Din Rami's rhetorical handbook ent.i.tled the "Lover's Companion." The "Companion"

legislates as to the similes and figures that may be used in describing the features of a girl.

"It contains nineteen chapters, treating respectively of the hair, the forehead, the eyebrows, the eyes, the eyelashes, the face, the down on lips and cheeks, the mole or beauty-spot, the lips, the teeth, the mouth, the chin, the neck, the bosom, the arm, the fingers, the figure, the waist, and the legs. In each chapter the author first gives the various terms applied by the Arabs and Persians to the part which he is discussing, differentiating them when any difference in meaning exists; then the metaphors used by writers in speaking of them, and the epithets applied to them, the whole copiously ill.u.s.trated by examples from the poets."

No other figures of speech would be admissible. Now this "Companion"

belongs to the fourteenth century, and the earlier Arabic and Persian poetry was less fettered. But principles of this kind clearly affected the Hebrew poets, and hence there arises a certain monotony in the songs, especially when they are read in translation. The monotony is not so painfully prominent in the originals. For the translator can only render the substance, and the substance is often more conventional than the nuances of form, the happy turns and subtleties, which evaporate in the process of translation, leaving only the conventional sediment behind.

This is true even of Jehudah Halevi, though in him we hear a genuinely original note. In his Synagogue hymns he joins hands with the past, with the Psalmists; in his love poems he joins hands with the future, with Heine. His love poetry is at once dainty and sincere. He draws indiscriminately on Hebrew and Arabic models, but he is no mere imitator. I will not quote much from him, for his best verses are too familiar. Those examples which I must present are given in a new and hitherto unpublished translation by Mrs. Lucas.

MARRIAGE SONG

Fair is my dove, my loved one, None can with her compare: Yea, comely as Jerusalem, Like unto Tirzah fair.

Shall she in tents unstable A wanderer abide, While in my heart awaits her A dwelling deep and wide?

The magic of her beauty Has stolen my heart away: Not Egypt's wise enchanters Held half such wondrous sway.

E'en as the changing opal In varying l.u.s.tre glows, Her face at every moment New charms and sweetness shows.

White lilies and red roses There blossom on one stem: Her lips of crimson berries Tempt mine to gather them.

By dusky tresses shaded Her brow gleams fair and pale, Like to the sun at twilight, Behind a cloudy veil.

Her beauty shames the day-star, And makes the darkness light: Day in her radiant presence Grows seven times more bright