The Book of Delight and Other Papers. Israel Abrahams

for rather would I die once, than suffer many deaths every day." Again, once a wicked woman pursued a heroic man. He met some devils. "What are you running from?" asked they. "From a wicked woman," he answered. The devils turned and ran away with him.

      One rather longer story may be summarized thus: Satan, disguised in human shape, met a fugitive husband, who had left his wicked wife. Satan told him that he was in similar case, and proposed a compact. Satan would enter into the bodies of men, and the other, pretending to be a skilful physician, would exorcise Satan. They would share the profits. Satan begins on the king, and the queen engages the confederate to cure the king within three days, for a large fee, but in case of failure the doctor is to die. Satan refuses to come out: his real plan is to get the doctor killed in this way. The doctor obtains a respite, and collects a large body of musicians, who make a tremendous din. Satan trembles. "What is that noise?" he asks. "Your wife is coming," says the doctor. Out sprang Satan and fled to the end of the earth.

      These tales and quips, it is true, are directed against "wicked" women, but if Zabara really wrote them, it would be difficult to acquit him of woman-hatred, unless the stories have been misplaced, and should appear, as part of the "Book of Delight," within the Leopard section, which rounds off a series of unfriendly tales with a moral friendly to woman. In general, Oriental satire directed against women must not be taken too seriously. As Güdemann has shown, the very Jews that wrote most bitterly of women were loud in praise of their own wives—the women whom alone they knew intimately. Woman was the standing butt for men to hurl their darts at, and one cannot help feeling that a good deal of the fun got its point from the knowledge that the charges were exaggerated or untrue. You find the Jewish satirists exhausting all their stores of drollery on the subject of rollicking drunkenness. They roar till their sides creak over the humor of the wine-bibber. They laugh at him and with him. They turn again and again to the subject, which shares the empire with women in the Jewish poets. Yet we know well enough that the writers of these Hebrew Anacreontic lyrics were sober men, who rarely indulged in overmuch strong drink. In short, the medieval Jewish satirists were gifted with much of what a little time ago was foolishly styled "the new humor." Joseph Zabara was a "new" humorist. He has the quaint subtlety of the author of the "Ingoldsby Legends," and revelled in the exaggeration of trifles that is the stock-in-trade of the modern funny man. Woman plays the part with the former that the mother-in-law played a generation ago with the latter. In Zabara, again, there is a good deal of mere rudeness, which the author seems to mistake for cutting repartee. This, I take it, is another characteristic of the so-called new humor.

      The probable explanation of the marked divergence between Zabara's stories and the moral he draws from them lies, however, a little deeper. The stories themselves are probably Indian in origin; hence they are marked by the tone hostile to woman so characteristic of Indian folk-lore. On the other hand, if Zabara himself was a friendly critic of woman, his own moralizings in her favor are explained. This theory is not entirely upset by the presence even of the additional stories, for these, too, are translations, and Zabara cannot be held responsible for their contents. The selection of good anecdotes was restricted in his day within very narrow limits.

      Yet Zabara's reading must have been extensive. He knew something of astronomy, philosophy, the science of physiognomy, music, mathematics, and physics, and a good deal of medicine. He was familiar with Arabian collections of proverbs and tales, for he informs his readers several times that he is drawing on Arabic sources. He knew the "Choice of Pearls," the Midrashic "Stories of King Solomon," the "Maxims of the Philosophers," the "Proverbs of the Wise"; but not "Sendabar" in its Hebrew form. His acquaintance with the language of the Bible was thorough; but he makes one or two blunders in quoting the substance of Scriptural passages. Though he disclaimed the title of a Talmudic scholar, he was not ignorant of the Rabbinic literature. Everyone quotes it: the fox, the woman, Enan, and the author. He was sufficiently at home in this literature to pun therein. He also knew the story of Tobit, but, as he introduces it as "a most marvellous tale," it is clear that this book of the Apocrypha was not widely current in his day. The story, as Zabara tells it, differs considerably from the Apocryphal version of it. The incidents are misplaced, the story of the betrothal is disconnected from that of the recovery of the money by Tobit, and the detail of the gallows occurs in no other known text of the story. In one point, Zabara's version strikingly agrees with the Hebrew and Chaldee texts of Tobit as against the Greek; Tobit's son is not accompanied by a dog on his journey to recover his father's long-lost treasure.

      One of the tales told by Zabara seems to imply a phenomenon of the existence of which there is no other evidence. There seems to have been in Spain a small class of Jews that were secret converts to Christianity. They passed openly for Jews, but were in truth Christians. The motive for the concealment is unexplained, and the whole passage may be merely satirical.

      It remains for me to describe the texts now extant of the "Book of Delight." In 1865 the "Book of Delight" appeared, from a fifteenth century manuscript in Paris, in the second volume of a Hebrew periodical called the Lebanon. In the following year the late Senior Sachs wrote an introduction to it and to two other publications, which were afterwards issued together under the title Yen Lebanon (Paris, 1866). The editor was aware of the existence of another text, but, strange to tell, he did not perceive the need of examining it. Had he done this, his edition would have been greatly improved. For the Bodleian Library possesses a copy of another edition of the "Book of Delight," undated, and without place of issue, but printed in Constantinople, in 1577. One or two other copies of this edition are extant elsewhere. The editor was Isaac Akrish, as we gather from a marginal note to the version of Tobit given by Joseph Zabara. This Isaac Akrish was a travelling bookseller, who printed interesting little books, and hawked them about. Dr. Steinschneider points out that the date of Isaac Akrish's edition can be approximately fixed by the type. The type is that of the Jaabez Press, established in Constantinople and Salonica in 1560. This Constantinople edition is not only longer than the Paris edition, it is, on the whole, more accurate. The verbal variations between the two editions are extremely numerous, but the greater accuracy of the Constantinople edition shows itself in many ways. The rhymes are much better preserved, though the Paris edition is occasionally superior in this respect. But many passages that are quite unintelligible in the Paris edition are clear enough in the Constantinople edition.

      The gigantic visitor of Joseph, the narrator, the latter undoubtedly the author himself, is a strange being. Like the guide of Gil Bias on his adventures, he is called a demon, and he glares and emits smoke and fire. But he proves amenable to argument, and quotes the story of the washerwoman, to show how it was that he became a reformed character. This devil quotes the Rabbis, and is easily convinced that it is unwise for him to wed an ignorant bride. It would seem as though Zabara were, on the one hand, hurling a covert attack against some one who had advised him to leave Barcelona to his own hurt, while, on the other hand, he is satirizing the current beliefs of Jews and Christians in evil spirits. More than one passage is decidedly anti-Christian, and it would not be surprising to find that the framework of the romance had been adopted with polemic intention.

      The character of the framework becomes more interesting when it is realized that Zabara derived it from some version of the legends of which King Solomon is the hero. The king had various adventures with a being more or less demoniac in character, who bears several names: Asmodeus, Saturn, Marcolf, or Morolf. That the model for Zabara's visitor was Solomon's interlocutor, is not open to doubt. The Solomon legend occurs in many forms, but in all Marcolf (or whatever other name he bears) is a keen contester with the king in a battle of wits. No doubt, at first Marcolf filled a serious, respectable rôle; in course of time, his character degenerated into that of a clown or buffoon. It is difficult to summarize the legend, it varies so considerably in the versions. Marcolf in the best-known forms, which are certainly older than Zabara, is "right rude and great of body, of visage greatly misshapen and foul." Sometimes he is a dwarf, sometimes a giant; he is never normal. He appears with his counterpart, a sluttish wife, before Solomon, who, recognizing him as famous for his wit and wisdom, challenges him to a trial of wisdom, promising great rewards as the prize of victory. The two exchange a series of questions and answers, which may be compared in spirit, though not in actual content, with the questions and answers to be found in Zabara. Marcolf succeeds in thoroughly tiring out the king, and though the courtiers are for driving Marcolf off with scant courtesy, the king interposes, fulfils his promise, and dismisses his adversary