Chapter II (1)

When, as Heine puts it, "a great hand solicitously beckoned," he left his German fatherland in his prime, and went to Paris. In its sociable atmosphere, he felt more comfortable, more free, than in his own home, where the Jew, the author, the liberal, had encountered only prejudices. The removal to Paris was an inauspicious change for the poet, and that he remained there until his end was still less calculated to redound to his good fortune. He gave much to France, and Paris did little during his life to pay off the debt. The charm exercised upon every stranger by Babylon on the Seine, wrought havoc in his character and his work, and gives us the sole criterion for the rest of his days. Yet, despite his devotion to Paris, home-sickness, yearning for Germany, was henceforth the dominant note of his works. At that time Heine considered Judaism "a long lost cause." Of the God of Judaism, the philosophical demonstrations of Hegel and his disciples had robbed him; his knowledge of doctrinal Judaism was a minimum; and his keen race-feeling, his historical instinct, was forced into the background by other sympathies and antipathies. He was at that time harping upon the long cherished idea that men can be divided into _Hellenists_ and _Nazarenes_. Himself, for instance, he looked upon as a well-fed Hellenist, while Boerne was a Nazarene, an ascetic. It is interesting, and bears upon our subject, that most of the verdicts, views, and witticisms which Heine fathers upon Boerne in the famous imaginary conversation in the Frankfort _Judengasse_, might have been uttered by Heine himself. In fact, many of them are repeated, partly in the same or in similar words, in the jottings found after his death.

This conversation is represented as having taken place during the Feast of _Chanukka_. Heine who, as said above, took pleasure at that time in impersonating a Hellenist, gets Boerne to explain to him that this feast was instituted to commemorate the victory of the valiant Maccabees over the king of Syria. After expatiating on the heroism of the Maccabees, and the cowardice of modern Jews, Boerne says:[103]

"Baptism is the order of the day among the wealthy Jews. The evangel vainly announced to the poor of Judaea now flourishes among the rich. Its acceptance is self-deception, if not a lie, and as hypocritical Christianity contrasts sharply with the old Adam, who will crop out, these people lay themselves open to unsparing ridicule.--In the streets of Berlin I saw former daughters of Israel wear crosses about their necks longer than their noses, reaching to their very waists. They carried evangelical prayer books, and were discussing the magnificent sermon just heard at Trinity church. One asked the other where she had gone to communion, and all the while their breath smelt. Still more disgusting was the sight of dirty, bearded, malodorous Polish Jews, hailing from Polish sewers, saved for heaven by the Berlin Society for the Conversion of Jews, and in turn preaching Christianity in their slovenly jargon. Such Polish vermin should certainly be baptized with cologne instead of ordinary water."

This is to be taken as an expression of Heine's own feelings, which come out plainly, when, "persistently loyal to Jewish customs," he eats, "with good appetite, yes, with enthusiasm, with devotion, with conviction," _Shalet_, the famous Jewish dish, about which he says: "This dish is delicious, and it is a subject for painful regret that the Church, indebted to Judaism for so much that is good, has failed to introduce _Shalet_. This should be her object in the future. If ever she falls on evil times, if ever her most sacred symbols lose their virtue, then the Church will resort to _Shalet_, and the faithless peoples will crowd into her arms with renewed appetite. At all events the Jews will then join the Church from conviction, for it is clear that it is only _Shalet_ that keeps them in the old covenant. Boerne assures me that renegades who have accepted the new dispensation feel a sort of home-sickness for the synagogue when they but smell _Shalet_, so that _Shalet_ may be called the Jewish _ranz des vaches_."

Heine forgot that in another place he had uttered this witticism in his own name. He long continued to take peculiar pleasure in his dogmatic division of humanity into two classes, the lean and the fat, or rather, the class that continually gets thinner, and the class which, beginning with modest dimensions, gradually attains to corpulency. Only too soon the poet was made to understand the radical falseness of his definition. A cold February morning of 1848 brought him a realizing sense of his fatal mistake. Sick and weary, the poet was taking his last walk on the boulevards, while the mob of the revolution surged in the streets of Paris. Half blind, half paralyzed, leaning heavily on his cane, he sought to extricate himself from the clamorous crowd, and finally found refuge in the Louvre, almost empty during the days of excitement. With difficulty he dragged himself to the hall of the gods and goddesses of antiquity, and suddenly came face to face with the ideal of beauty, the smiling, witching Venus of Milo, whose charms have defied time and mutilation. Surprised, moved, almost terrified, he reeled to a chair, tears, hot and bitter, coursing down his cheeks. A smile was hovering on the beautiful lips of the goddess, parted as if by living breath, and at her feet a luckless victim was writhing. A single moment revealed a world of misery. Driven by a consciousness of his fate, Heine wrote in his "Confessions": "In May of last year I was forced to take to my bed, and since then I have not risen. I confess frankly that meanwhile a great change has taken place in me. I no longer am a fat Hellenist, the freest man since Goethe, a jolly, somewhat corpulent Hellenist, with a contemptuous smile for lean Jews--I am only a poor Jew, sick unto death, a picture of gaunt misery, an unhappy being."

This startling change was coincident with the first symptoms of his disease, and kept pace with it. The pent-up forces of faith pressed to his bedside; religious conversations, readings from the Bible, reminiscences of his youth, of his Jewish friends, filled his time almost entirely. Alfred Meissner has culled many interesting data from his conversations with the poet. For instance, on one occasion Heine breaks out with:[104]

"Queer people this! Downtrodden for thousands of years, weeping always, suffering always, abandoned always by its God, yet clinging to Him tenaciously, loyally, as no other under the sun. Oh, if martyrdom, patience, and faith in despite of trial, can confer a patent of nobility, then this people is noble beyond many another.--It would have been absurd and petty, if, as people accuse me, I had been ashamed of being a Jew. Yet it were equally ludicrous for me to call myself a Jew.--As I instinctively hold up to unending scorn whatever is evil, timeworn, absurd, false, and ludicrous, so my nature leads me to appreciate the sublime, to admire what is great, and to extol every living force." Heine had spoken so much with deep earnestness. Jestingly he added: "Dear friend, if little Weill should visit us, you shall have another evidence of my reverence for hoary Mosaism. Weill formerly was precentor at the synagogue. He has a ringing tenor, and chants Judah's desert songs according to the old traditions, ranging from the simple monotone to the exuberance of Old Testament cadences. My wife, who has not the slightest suspicion that I am a Jew, is not a little astonished by this peculiar musical wail, this trilling and cadencing. When Weill sang for the first time, Minka, the poodle, crawled into hiding under the sofa, and Cocotte, the polly, made an attempt to throttle himself between the bars of his cage. 'M. Weill, M. Weill!' Mathilde cried terror-stricken, 'pray do not carry the joke too far.' But Weill continued, and the dear girl turned to me, and asked imploringly: 'Henri, pray tell me what sort of songs these are.' 'They are our German folk songs,' said I, and I have obstinately stuck to that explanation."

Meissner reports an amusing conversation with Madame Mathilde about the friends of the family, whom the former by their peculiarities recognized as Jews. "What!" cried Mathilde, "Jews? They are Jews?" "Of course, Alexander Weill is a Jew, he told me so himself;--why he was going to be a rabbi." "But the rest, all the rest? For instance, there is Abeles, the name sounds so thoroughly German." "Rather say it sounds Greek," answered Meissner. "Yet I venture to insist that our friend Abeles has as little German as Greek blood in his veins." "Very well! But Jeiteles--Kalisch--Bamberg--Are they, too.... O no, you are mistaken, not one is a Jew," cried Mathilde. "You will never make me believe that. Presently you will make out Cohn to be a Jew. But Cohn is related to Heine, and Heine is a Protestant." So Meissner found out that Heine had never told his wife anything about his descent. He gravely answered: "You are right. With regard to Cohn I was of course mistaken. Cohn is certainly not a Jew."

These are mere jests. In point of fact, his friends' reports on the religious attitude of the Heine of that period are of the utmost interest. He once said to Ludwig Kalisch, who had told him that the world was all agog over his conversion:[105] "I do not make a secret of my Jewish allegiance, to which I have not returned, because I never abjured it. I was not baptized from aversion to Judaism, and my professions of atheism were never serious. My former friends, the Hegelians, have turned out scamps. Human misery is too great for men to do without faith."

The completest picture of the transformation, truer than any given in letters, reports, or reminiscences, is in his last two productions, the _Romanzero_ and the "Confessions." There can be no more explicit description of the poet's conversion than is contained in these "confessions." During his sickness he sought a palliative for his pains--in the Bible. With a melancholy smile his mind reverted to the memories of his youth, to the heroism which is the underlying principle of Judaism. The Psalmist's consolations, the elevating principles laid down in the Pentateuch, exerted a powerful attraction upon him, and filled his soul with exalted thoughts, shaped into words in the "Confessions":[106] "Formerly I felt little affection for Moses, probably because the Hellenic spirit was dominant within me, and I could not pardon the Jewish lawgiver for his intolerance of images, and every sort of plastic representation. I failed to see that despite his hostile attitude to art, Moses was himself a great artist, gifted with the true artist's spirit. Only in him, as in his Egyptian neighbors, the artistic instinct was exercised solely upon the colossal and the indestructible. But unlike the Egyptians he did not shape his works of art out of brick or granite. His pyramids were built of men, his obelisks hewn out of human material. A feeble race of shepherds he transformed into a people bidding defiance to the centuries--a great, eternal, holy people, God's people, an exemplar to all other peoples, the prototype of mankind: he created Israel. With greater justice than the Roman poet could this artist, the son of Amram and Jochebed the midwife, boast of having erected a monument more enduring than brass.

As for the artist, so I lacked reverence for his work, the Jews, doubtless on account of my Greek predilections, antagonistic to Judaic asceticism. My love for Hellas has since declined. Now I understand that the Greeks were only beautiful youths, while the Jews have always been men, powerful, inflexible men, not only in early times, to-day, too, in spite of eighteen hundred years of persecution and misery. I have learnt to appreciate them, and were pride of birth not absurd in a champion of the revolution and its democratic principles, the writer of these leaflets would boast that his ancestors belonged to the noble house of Israel, that he is a descendant of those martyrs to whom the world owes God and morality, and who have fought and bled on every battlefield of thought."

In view of such avowals, Heine's return to Judaism is an indubitable fact, and when one of his friends anxiously inquired about his relation to God, he could well answer with a smile: _Dieu me pardonnera; c'est son metier._ In those days Heine made his will, his true, genuine will, to have been the first to publish which the present writer will always consider the distinction of his life. The introduction reads: "I die in the belief in one God, Creator of heaven and earth, whose mercy I supplicate in behalf of my immortal soul. I regret that in my writings I sometimes spoke of sacred things with levity, due not so much to my own inclination, as to the spirit of my age. If unwittingly I have offended against good usage and morality, which constitute the true essence of all monotheistic religions, may God and men forgive me."

With this confession on his lips Heine passed away, dying in the thick of the fight, his very bier haunted by the spirits of antagonism and contradiction....

"Greek joy in life, belief in God of Jew,
And twining in and out like arabesques,
Ivy tendrils gently clasp the two."

In Heine's character, certainly, there were sharp contrasts. Now we behold him a Jew, now a Christian, now a Hellenist, now a romanticist; to-day laughing, to-morrow weeping, to-day the prophet of the modern era, to-morrow the champion of tradition. Who knows the man? Yet who that steps within the charmed circle of his life can resist the temptation to grapple with the enigma?

One of the best known of his poems is the plaint:

"Mass for me will not be chanted,
_Kadosh_ not be said,
Naught be sung, and naught recited,
Round my dying bed."

The poet's prophecy has not come true. As this tribute has in spirit been laid upon his grave, so always thousands will devote kindly thought to him, recalling in gentleness how he struggled and suffered, wrestled and aspired; how, at the dawn of the new day, enthusiastically proclaimed by him, his spirit fled aloft to regions where doubts are set at rest, hopes fulfilled, and visions made reality.

THE MUSIC OF THE SYNAGOGUE[107]

Ladies and Gentlemen:--Let the emotions aroused by the notes of the great masters, now dying away upon the air, continue to reverberate in your souls. More forcibly and more eloquently than my weak words, they express the thoughts and the feelings appropriate to this solemn occasion.

A festival like ours has rarely been celebrated in Israel. For nearly two thousand years the muse of Jewish melody was silent; during the whole of that period, a new chord was but seldom won from the unused lyre. The Talmud[108] has a quaint tale on the subject: Higros the Levite living at the time of the decadence of Israel's nationality, was the last skilled musician, and he refused to teach his art. When he sang his exquisite melodies, touching his mouth with his thumb, and striking the strings with his fingers, it is said that his priestly mates, transported by the magic power of his art, fell prostrate, and wept. Under the Oriental trappings of this tale is concealed regretful anguish over the decay of old Hebrew song. The altar at Jerusalem was demolished, and the songs of Zion, erst sung by the Levitical choirs under the leadership of the Korachides, were heard no longer. The silence was unbroken, until, in our day, a band of gifted men disengaged the old harps from the willows, and once more lured the ancient melodies from their quavering strings.

Towering head and shoulders above most of the group of restorers is he in whose honor we are assembled, to whom we bring greeting and congratulation. To you, then, Herr Lewandowski, I address myself to offer you the deep-felt gratitude and the cordial wishes of your friends, of the Berlin community, and, I may add, of the whole of Israel. You were appointed for large tasks--large tasks have you successfully performed. At a time when Judaism was at a low ebb, only scarcely discernible indications promising a brighter future, Providence sent you to occupy a guide's position in the most important, the largest, and the most intelligent Jewish community of Germany. For fifty years your zeal, your diligence, your faithfulness, your devotion, your affectionate reverence for our past, and your exalted gifts, have graced the office. Were testimony unto your gifts and character needed, it would be given by this day's celebration, proving, as it does, that your brethren have understood the underlying thought of your activities, have grasped their bearing upon Jewish development, and have appreciated their influence.

You have remodelled the divine service of the Jewish synagogue, superadding elements of devotion and sacredness. Under your touch old lays have clothed themselves with a modern garb--a new rhythm vibrates through our historic melodies, keener strength in the familiar words, heightened dignity in the cherished songs. Two generations and all parts of the world have hearkened to your harmonies, responding to them with tears of joy or sorrow, with feelings stirred from the recesses of the heart. To your music have listened entranced the boy and the girl on the day of declaring their allegiance to the covenant of the fathers; the youth and the maiden in life's most solemn hour; men and women in all the sacred moments of the year, on days of mourning and of festivity.

A quarter of a century ago, when you celebrated the end of twenty-five years of useful work, a better man stood here, and spoke to you. Leopold Zunz on that occasion said to you: "Old thoughts have been transformed by you into modern emotions, and long stored words seasoned with your melodies have made delicious food."

This is your share in the revival of Jewish poesy, and what you have resuscitated, and remodelled, and re-created, will endure, echoing and re-echoing through all the lands. In you Higros the Levite has been restored to us. But your melodies will never sink into oblivious silence. They have been carried by an honorable body of disciples to distant lands, beyond the ocean, to communities in the remote countries of civilization. Thus they have become the perpetual inheritance of the congregation of Jacob, the people that has ever loved and wooed music, only direst distress succeeding in flinging the pall of silence over song and melody.

Holy Writ places the origin of music in the primitive days of man, tersely pointing out, at the same time, music's conciliatory charms: it is the descendant of Cain, the fratricide, a son of Lemech, the slayer of a man to his own wounding, who is said to be the "father of all such as play on the harp and guitar" (_Kinnor_ and _Ugab_). Another of Lemech's sons was the first artificer in every article of copper and iron, the inventor of weapons of war, as the former was the inventor of stringed instruments. Both used brass, the one to sing, the other to fight. So music sprang from sorrow and combat. Song and roundelay, timbrels and harp, accompanied our forefathers on their wanderings, and preceded the armed men into battle. So, too, the returning victor was greeted, and in the Temple on Moriah's crest, joyful songs of gratitude extolled the grace of the Lord. From the harp issued the psalm dedicated to the glory of God--love of art gave rise to the psalter, a song-book for the nations, and its author David may be called the founder of the national and Temple music of the ancient Hebrews. With his song, he banished the evil spirit from Saul's soul; with his skill on the psaltery, he defeated his enemies, and he led the jubilant chorus in the Holy City singing to the honor and glory of the Most High.

Compare the Hebrew and the Hellenic music of ancient times: Orpheus with his music charms wild beasts; David's subdues demons. By means of Amphion's lyre, living walls raise themselves; Israel's cornets make level the ramparts of Jericho. Arion's melodies lure dolphins from the sea; Hebrew music infuses into the prophet's disciples the spirit of the Lord. These are the wondrous effects of music in Israel and in Hellas, the foremost representatives of ancient civilization. Had the one united with the other, what celestial harmonies might have resulted! But later, in the time of Macedonian imperialism, when Alexandria and Jerusalem met, the one stood for enervated paganism, the other for a Judaism of compromise, and a union of such tones produces no harmonious chords.

But little is known of the ancient Hebrew music of the Temple, of the singers, the songs, the melodies, and the instruments. The Hebrews had songs and instrumental music on all festive, solemn occasions, particularly during the divine service. At their national celebrations, in their homes, at their diversions, even on their journeys and their pilgrimages to the sanctuary, their hymns were at once religious, patriotic, and social.[109] They had the viol and the cithara, flutes, cymbals, and castanets, and, if our authorities interpret correctly, an organ (_magrepha_), whose volume of sound surpassed description. When, on the Day of Atonement, its strains pealed through the chambers of the Temple, they were heard in the whole of Jerusalem, and all the people bowed in humble adoration before the Lord of hosts. The old music ceased with the overthrow of the Jewish state. The Levites hung their harps on the willows of Babylon's streams, and every entreaty for the "words of song" was met by the reproachful inquiry: "How should we sing the song of the Lord on the soil of the stranger?" Higros the Levite was the last of Israelitish tone-artists.

Israel set out on his fateful wanderings, his unparalleled pilgrimage, through the lands and the centuries, along an endless, thorny path, drenched with blood, watered with tears, across nations and thrones, lonely, terrible, sublime with the stern sublimity of tragic scenes. They are not the sights and experiences to inspire joyous songs--melody is muffled by terror. Only lamentation finds voice, an endless, oppressive, anxious wail, sounding adown, through two thousand years, like a long-drawn sigh, reverberating in far-reaching echoes: "How long, O Lord, how long!" and "When shall a redeemer arise for this people?" These elegiac refrains Israel never wearies of repeating on all his journeyings. Occasionally a fitful gleam of sunlight glides into the crowded Jewish quarters, and at once a more joyous note is heard, rising triumphant above the doleful plaint, a note which asserts itself exultingly on the celebration in memory of the Maccabean heroes, on the days of _Purim_, at wedding banquets, at the love-feasts of the pious brotherhood. This fusion of melancholy and of rejoicing is the keynote of mediaeval Jewish music growing out of the grotesque contrasts of Jewish history. Yet, despite its romantic woe, it is informed with the spirit of a remote past, making it the legitimate offspring of ancient Hebrew music, whose characteristics, to be sure, we arrive at only by guesswork. Of that mediaeval music of ours, the poet's words are true: "It rejoices so pathetically, it laments so joyfully."

Whoever has heard, will never forget Israel's melodies, breaking forth into rejoicing, then cast down with sadness: flinging out their notes to the skies, then sinking into an abyss of grief: now elated, now oppressed; now holding out hope, now moaning forth sorrow and pain. They convey the whole of Judah's history--his glorious past, his mournful present, his exalted future promised by God. As their tones flood our soul, a succession of visions passes before our mental view: the Temple in all its unexampled splendor, the exultant chorus of Levites, the priests discharging their holy office, the venerable forms of the patriarchs, the lawgiver-guide of the people, prophets with uplifted finger of warning, worthy rabbis, pale-faced martyrs of the middle ages; but the melodies conjuring before our minds all these shadowy figures have but one burden: "How should we sing the song of the Lord on the soil of the stranger?"

That is the ever-recurring _motif_ of the Jewish music of the middle ages. But the blending of widely different emotions is not favorable in the creation of melody. Secular occurrences set their seal upon religious music, of which some have so high a conception as to call it one of the seven liberal arts, or even to extol it beyond poetry. Jacob Levi of Mayence (Maharil), living at the beginning of the fifteenth century, is considered the founder of German synagogue music, but his productions remained barren of poetic and devotional results. He drew his best subjects from alien sources. At the time of the Italian Renaissance, music had so firmly established itself in the appreciation of the people that a preacher, Judah Muscato, devoted the first of his celebrated sermons to music, assigning to it a high mission among the arts. He interpreted the legend of David's AEolian harp as a beautiful allegory. Basing his explanation on a verse in the Psalms, he showed that it symbolizes a spiritual experience of the royal bard. Another writer, Abraham ben David Portaleone, found the times still riper; he could venture to write a theory of music, as taught him by his teachers, Samuel Arkevolti and Menahem Lonsano, both of whom had strongly opposed the use of certain secular melodies then current in Italy, Germany, France, and Turkey for religious songs. Among Jewish musicians in the latter centuries of the middle ages, the most prominent was Solomon Rossi. He, too, failed to exercise influence on the shaping of Jewish music, which more and more delighted in grotesqueness and aberrations from good taste. The origin of synagogue melodies was attributed to remoter and remoter periods; the most soulful hymns were adapted to frivolous airs. Later still, at a time when German music had risen to its zenith, when Bach, Handel, Haydn, Mozart, and Beethoven flourished, the Jewish strolling musician _Klesmer_, a mendicant in the world of song as in the world of finance, was wandering through the provinces with his two mates.

Suddenly a new era dawned for Israel, too. The sun of humanity sent a few of its rays into the squalid Ghetto. Its walls fell before the trumpet blast of deliverance. On all sides sounded the cry for liberty. The brotherhood of man, embracing all, did not exclude storm-baptized Israel. The old synagogue had to keep pace with modern demands, and was arrayed in a new garb. Among those who designed and fashioned the new garment, he is prominent in whose honor we have met to-day.

From our short journey through the centuries of music, we have returned to him who has succeeded in the great work of restoring to its honorable place the music of the synagogue, sorely missed, ardently longed for, and bringing back to us old songs in a new guise. An old song and a new melody! The old song of abiding love, loyalty, and resignation to the will of God! His motto was the beautiful verse: "My strength and my song is the Lord"; and his unchanging refrain, the jubilant exclamation: "Blessed be thou, fair Musica!" A wise man once said: "Hold in high honor our Lady of Music!" The wise man was Martin Luther--another instance this of the conciliatory power of music, standing high above the barriers raised by religious differences. It is worthy of mention, on this occasion, that at the four hundredth anniversary celebration in honor of Martin Luther, in the Sebaldus church at Nuremberg, the most Protestant of the cities of Germany, called by Luther himself "the eye of God," a psalm of David was sung to music composed by our guest of the day.

"Hold in high honor our Lady of Music!" We will be admonished by the behest, and give honor to the artist by whose fostering care the music of the synagogue enjoys a new lease of life; who, with pious zeal, has collected our dear old melodies, and has sung them to us with all the ardor and power with which God in His kindness endowed him.

"The sculptor must simulate life, of the poet I demand intelligence;
The soul can be expressed only by Polyhymnia!"

An orphan, song wandered hither and thither through the world, met, after many days, by the musician, who compassionately adopted it, and clothed it with his melodies. On the pinions of music, it now soars whithersoever it listeth, bringing joy and blessing wherever it alights. "The old song, the new melody!" Hark! through the silence of the night in this solemn moment, one of those old songs, clad by our _maestro_ in a new melody, falls upon our ears: "I remember unto thee the kindness of thy youth, the love of thy espousals, thy going after me in the wilderness, through a land that is not sown!"

Hearken! Can we not distinguish in its notes, as they fill our ears, the presage of a music of the future, of love and good-will? We seem to hear the rustle of the young leaves of a new spring, the resurrection foretold thousands of years agone by our poets and prophets. We see slowly dawning that great day on which mankind, awakened from the fitful sleep of error and delusion, will unite in the profession of the creed of brotherly love, and Israel's song will be mankind's song, myriads of voices in unison sending aloft to the skies the psalm of praise: Hallelujah, Hallelujah!

INDEX

Aaron, medical writer, 79

Abbahu, Haggadist, 21

Abbayu, rabbi, quoted, 232-233

Abina, rabbi, 19

Abitur, poet, 24

Aboab, Isaac, writer, 45, 130

Aboab, Samuel, Bible scholar, 45

Abrabanel, Isaac, scholar and statesman, 42, 99

Abrabanel, Judah, 42, 95

Abraham in Africa, 255

Abraham Bedersi, poet, 171

Abraham ben Chiya, scientist, 83, 93

Abraham ben David Portaleone, musician, 376

Abraham de Balmes, physician, 95

Abraham dei Mansi, Talmudist, 116

Abraham ibn Daud, philosopher, 35

Abraham ibn Ezra, exegete, 36
mathematician, 83

Abraham ibn Sahl, poet, 34, 88

Abraham Judaeus. See Abraham ibn Ezra

Abraham of Sarteano, poet, 224

Abraham Portaleone, archaeolegist, 45, 97

Abraham Powdermaker, legend of, 285-286

Abt and Mendelssohn, 314

Abyssinia, the Ten Tribes in, 262-263

Ackermann, Rachel, novelist, 119

Acosta, Uriel, alluded to, 100

_Acta Esther et Achashverosh_, drama, 244

Actors, Jewish, 232, 246, 247-248

Adia, poet, 24

Adiabene, Jews settle in, 251

AEsop's fables translated into Hebrew, 34

"A few words to the Jews by one of themselves," by Charlotte
Montefiore, 133

Afghanistan, the Ten Tribes in, 259

Africa, interest in, 249-250
in the Old Testament, 255
the Talmud on, 254
the Ten Tribes in, 262

Agau spoken by the Falashas, 265

Aguilar, Grace, author, 134-137
testimonial to, 136-137

"Ahasverus," farce, 244

Ahaz, king, alluded to, 250

Akiba ben Joseph, rabbi, 19, 58
quoted, 253, 256

Albert of Prussia, alluded to, 288

Albertus Magnus and Maimonides, 156, 164
philosopher, 82
proscribes the Talmud, 85

Albo, Joseph, philosopher, 42

Al-Chazari, by Yehuda Halevi, 31
commentary on, 298

Alemanno, Jochanan, Kabbalist, 95

Alessandro Farnese, alluded to, 98

Alexander III, pope, and Jewish diplomats, 99

Alexander the Great, 229, 254

Alexandria, centre of Jewish life, 17
philosophy in, 75

Alfonsine Tables compiled, 92

Alfonso V of Portugal and Isaac Abrabanel, 99

Alfonso X, of Castile, patron of Jewish scholars, 92, 93

Alfonso XI, of Castile, 170, 260

Alityros, actor, 232

Alkabez, Solomon, poet, 43

_Alliance Israelite Universelle_, and the Falashas, 264

"Almagest" by Ptolemy translated, 79
read by Maimonides, 159

_Almansor_ by Heine, 347

Almohades and Maimonides, 148

_Altweiberdeutsch._ See _Judendeutsch_

Amatus Lusitanus, physician, 42, 97

Amharic spoken by the Falashas, 265

Amoraim, Speakers, 58

Amos, prophet, alluded to, 251

Amsterdam, Marrano centre, 128-129

Anahuac and the Ten Tribes, 259

Anatoli. See Jacob ben Abba-Mari ben Anatoli

Anatomy in the Talmud, 77

Anna, Rashi's granddaughter, 118

Anti-Maimunists, 39-40

Antiochus Epiphanes, alluded to, 193

Antonio di Montoro, troubadour, 97, 180-181

Antonio dos Reys, on Isabella Correa, 129

Antonio Enriquez di Gomez. See Enriquez, Antonio.

Antonio Jose de Silva, dramatist, 100, 236-237

Aquinas, Thomas, philosopher, 82
and Maimonides, 156, 164
under Gabirol's influence, 94
works of, translated, 86

Arabia, Jews settle in, 250-251
the Ten Tribes in, 256-257

Arabs influence Jews, 80
relation of, to Jews, 22

Argens, d', and Mendelssohn, 303

Aristeas, Neoplatonist, 17

Aristobulus, Aristotelian, 17

Aristotle, alluded to, 250
and Maimonides, 156
interpreted by Jews, 85
quoted, 249

Arkevolti, Samuel, grammarian, 376

Armenia, the Ten Tribes in, 259

Arnstein, Benedict David, dramatist, 245

Art among Jews, 102

"Art of Carving and Serving at Princely Boards, The" translated, 91

Arthurian legends in Hebrew, 87

Ascarelli, Deborah, poetess, 44, 124

Asher ben Yehuda, hero of a romance, 34, 213

Ashi, compiler of the Babylonian Talmud, 19

Ashkenasi, Hannah, authoress, 120

_Asireh ha-Tikwah_, by Joseph Pensa, 237-238

_Asiya_, Kabbalistic term, 41

Astruc, Bible critic, 13

Auerbach, Berthold, novelist, 49, 50
quoted, 303

Auerbach, J. L., preacher, 322

_Augsburger Allgemeine Zeitung_ and Heine, 340

Avenare. See Abraham ibn Ezra

Avencebrol. See Gabirol, Solomon

Avendeath, Johannes, translator of "The Fount of Life," 26

Averroees and Maimonides, 163-164

Avicebron. See Gabirol, Solomon

Avicenna and Maimonides, 156, 158

Azariah de Rossi, scholar, 45

_Azila_, Kabbalistic term, 41

Barrios, de, Daniel, critic, 47, 129

Barruchius, Valentin, romance writer, 171

Bartholdy, Salomon, quoted, 308

Bartolocci, Hebrew scholar, 48

Bassista, Sabbatai, bibliographer, 47

Bath Halevi, Talmudist, 117

Bechai ibn Pakuda, philosopher, 35, 137

Beck. K., poet, 49

_Beena_, Kabbalistic term, 41

Beer, Jacob Herz, establishes a synagogue, 322

Beer, M., poet, 49

Behaim, Martin, scientist, 96

Belmonte, Bienvenida Cohen, poetess, 130

"Belshazzar" by Heine, 344

Bendavid. See Lazarus ben David

"Beni Israel" and the Ten Tribes, 259

Benjamin of Tudela, traveller, 37, 258
quoted, 263

Berachya ben Natronai (Hanakdan), fabulist, 34, 88

Beria, a character in Immanuel Romi's poem, 221-222

_Beria_, Kabbalistic term, 41

Bernhard, employer of Mendelssohn, 298, 300, 304

Bernhardt, Sarah, actress, 246

Bernstein, Aaron, Ghetto novelist, 50
quoted, 272

Bernstorff, friend of Henriette Herz, 313

Berschadzky on Saul Wahl, 282

Beruriah, wife of Rabbi Meir, 110-112

Bible. See Old Testament, The

Bible critics, 12, 13, 14

Bible dictionary, Jewish German, 100

"Birth and Death" from the Haggada, 66

_Biurists_, the Mendelssohn school, 309

Blackcoal, a character in "The Gift of Judah," 214

Blanche de Bourbon, wife of Pedro I, 169

Bleichroeder quoted, 296-297

Bloch, Pauline, writer, 140

Boccaccio, alluded to, 35

Boeckh, alluded to, 333

Bonet di Lattes, astronomer, 95

Bonifacio, Balthasar, accuser of Sara Sullam, 127

"Book of Diversions, The" by Joseph ibn Sabara, 214

"Book of Samuel," by Litte of Ratisbon, 119, 120

"Book of Songs" by Heine, 353

Boerne, Ludwig, quoted, 313-314, 359-361

Borromeo, cardinal, alluded to, 98

Brinkmann, friend of Henriette Herz, 313

Bruno di Lungoborgo, work of, translated, 86

Bruno, Giordano, philosopher, 82

_Buch der Lieder_ by Heine, 353

Buffon quoted, 89

Bueschenthal, L. M., dramatist, 245

Buxtorf, father and son, scholars, 48
translates "The Guide of the Perplexed," 155

Calderon, alluded to, 239

Calderon, the Jewish, 100

Calendar compiled by the rabbis, 77

Caliphs and Jewish diplomats, 98

Campe, Joachim, on Mendelssohn, 314-315

Cardinal, Peire, troubadour, 171-172

Casimir the Great, Jews under, 286

Cassel, D., scholar, 49
quoted, 19-20

Castro de, Orobio, author, 47

Ceba, Ansaldo, and Sara Sullam, 125-128

_Celestina_, by Rodrigo da Cota, 97, 235

Chananel, alluded to, 257

Chanukka, story of, 359-360

Charlemagne and Jewish diplomats, 98

Charles of Anjou, patron of Hebrew learning, 92

Chasan, Bella, historian, 120

Chasdai ben Shaprut, statesman, 82

Chasdai Crescas, philosopher, 42, 93-94

Chassidism, a form of Kabbalistic Judaism, 46

_Chesed_, Kabbalistic term, 41

Children in the Talmud, 63-64

Chiya, rabbi, 19

Chiya bar Abba, Halachist, 21

Chmielnicki, Bogdan, and the Jews, 288

_Chochma_, Kabbalistic term, 41

_Chotham Tochnith_ by Abraham Bedersi, 171

"Chronicle of the Cid," the first, by a Jew, 90, 170

Cicero and the drama, 232

Clement VI, pope, and Levi ben Gerson, 91

Cochin, the Ten Tribes in, 259

Cohen, friend of Heine, 350

Cohen, Abraham, Talmudist, 118

Cohen, Joseph, historian, 44

Coins, Polish, 286

Columbus, alluded to, 181
and Jews, 96

Comedy, nature of, 195-196

Commendoni, legate, on the Polish Jews, 287

"Commentaries on Aristotle" by Averroes, 163

"Commentary on Ecclesiastes" by Obadiah Sforno, 95

Commerce developed by Jews, 101-102

_Comte Lyonnais, Palanus_, romance, 90, 171

"Confessions" by Heine, quoted, 365-366

Conforte, David, historian, 43

_Consejos y Documentos al Rey Dom Pedro_ by Santob de Carrion, 173-174

_Consolacam as Tribulacoes de Ysrael_ by Samuel Usque, 44

Constantine, translator, 81

"Contemplation of the World" by Yedaya Penini, 40

"Contributions to History and Literature" by Zunz, 337

Copernicus and Jewish astronomers, 86

Correa, Isabella, poetess, 129

Cota, da, Rodrigo, dramatist, 97, 235

"Counsel and Instruction to King Dom Pedro" by Santob de Carrion, 173-174

"Court Secrets" by Rachel Ackermann, 119

Cousin, Victor, on Spinoza, 145

Creation, Maimonides' theory of, 160

Creed, the Jewish, by Maimonides, 151-152

Creizenach, Th., poet, 49

Cromwell, Oliver, and Manasseh ben Israel, 99

_Dalalat al-Hairin_, "Guide of the Perplexed," 154

Damm, teacher of Mendelssohn, 299

"Dance of Death," attributed to Santob, 174

Daniel, Immanuel Romi's guide in Paradise, 223

_Dansa General_, attributed to Santob, 174

Dante and Immanuel Romi, 35, 89, 220, 223

Dante, the Hebrew, 124

"Dark Continent, The." See Africa

David, philosopher, 83

David ben Levi, Talmudist, 46

David ben Yehuda, poet, 223

David d'Ascoli, physician, 97

David della Rocca, alluded to, 124

David de Pomis, physician, 45, 97

Davison, Bogumil, actor, 246

Deborah, as poetess, 106-107

_De Causis_, by David, 83

Decimal fractions first mentioned, 91

"Deeds of King David and Goliath, The," drama, 244

Delitzsch, Franz, quoted, 24

Del Medigo, Elias. See Elias del Medigo and Joseph del Medigo

De Rossi, Hebrew scholar, 48

Deutsch, Caroline, poetess, 139, 142-143

Deutsch, Emanuel, on the Talmud, 68-70

_Deutsche Briefe_ by Zunz, 337

_Dialoghi di Amore_ by Judah Abrabanel, 42, 95

_Dichter und Kaufmann_ by Berthold Auerbach, 49

_Die Freimuetigen_, Zunz contributor to, 330

_Die gottesdienstlichen Vortraege der Juden_ by Zunz, 48, 333-335

Diez, alluded to, 333

Dingelstedt, Franz, quoted, 319

Dioscorides, botanist, 82

_Disciplina clericalis_, a collection of tales, 89, 171

_Divina Commedia_, travestied, 35
imitated, 89, 124

_Doctor angelicus_, Thomas Aquinas, 94

_Doctor Perplexorum_, "Guide of the Perplexed," 154, 155

Document hypothesis of the Old Testament, 13

Dolce, scholar and martyr, 119

Donnolo, Sabattai, physician, 82

Dorothea of Kurland and Mendelssohn, 315

Dotina, friend of Henriette Herz, 313

Drama, the, among the ancient Hebrews, 229
classical Hebrew, 244-245, 248
first Hebrew, published, 239
first Jewish, 234
Jewish German, 246-247

Drama, the German, Jews in, 245
the Portuguese, Jews in, 236-237, 238
the Spanish, Jews in, 235-236

Dramatists, Jewish, 230, 235, 236, 237, 238, 239, 244, 245, 248

Drinking songs, 200-201, 204, 205, 209, 212-213

Dubno, Solomon, commentator, 309

Dukes, L., scholar, 49

Dunash ben Labrat, alluded to, 257

"Duties of the Heart" by Bechai, 137

_Eben Bochan_, by Kalonymos ben Kalonymos, 216-219

Egidio de Viterbo, cardinal, 44

Eibeschuetz, Jonathan, Talmudist, 47

Eldad ha-Dani, traveller, 37, 80, 257-258

Elias del Medigo, scholar, 44, 94

Elias Kapsali, scholar, 98

Elias Levita, grammarian, 44, 95

Elias Mizrachi, scholar, 98

Elias of Genzano, poet, 224

Elias Wilna, Talmudist, 46

Eliezer, rabbi, quoted, 253

Eliezer ha-Levi, Talmudist, 36

Eliezer of Metz, Talmudist, 36

El Muallima, Karaite, 117

_Em beyisrael_, Deborah, 107

Emden, Jacob, Talmudist, 47

Emin Pasha, alluded to, 250

"Enforced Apostasy," by Maimonides, 152

Engel, friend of Henriette Herz, 313

Enriquez, Antonio, di Gomez, dramatist, 100, 236

Enriquez, Isabella, poetess, 130

_En-Sof_, Kabbalistic term, 40, 41

Ephraim, the Israelitish kingdom, 251

Ephraim, Veitel, financier, 304, 316

Erasmus, quoted, 44

_Esheth Lapidoth_, Deborah, 106

Eskeles, banker, alluded to, 305

Esterka, supposed mistress of Casimir the Great, 286

"Esther," by Solomon Usque, 235

Esthori Hafarchi, topographer, 93

Ethiopia. See Abyssinia

Euchel, Isaac, Hebrew writer, 48, 309

Eupolemos, historian, 17

Euripides, alluded to, 230

Ewald, Bible critic, 14

"Exodus from Egypt, The" by Ezekielos, 230

Ezekiel, prophet, quoted, 252, 294-295

Ezekielos, dramatist, 17, 230

Ezra, alluded to, 253

Fables translated by Jews, 79, 86-87, 88

Fagius, Paul, Hebrew scholar, 44, 95

Falashas, the, and the missionaries, 263, 267
and the Negus Theodore, 267
customs of, 266
described by Halevy, 264
history of, 263
intellectual eagerness of, 266, 268
Messianic expectations of, 267-268
religious customs of, 265-266

Faust of Saragossa, Gabirol, 199

_Faust_ translated into Hebrew, 248

Felix, Rachel, actress, 246

Ferdinand and Isabella of Spain and Isaac Abrabanel, 99

Ferrara, duke of, candidate in Poland, 278

Figo, Azariah, rabbi, 45

Fischels, Rosa, translator of the Psalms, 120

"Flaming Sword, The," by Abraham Bedersi, 171

"Flea Song" by Yehuda Charisi, 212

Fleck, actor, 311

Foa, Rebekah Eugenie, writer, 139

Folquet de Lunel, troubadour, 171-172

Fonseca Pina y Pimentel, de, Sara, poetess, 130

"Foundation of the Universe, The," by Isaac Israeli, 93

"Foundation of the World, The," by Moses Zacuto, 238-239

"Fount of Life, The," by Gabirol, 26

Fox fables translated, 79

Frank, Rabbi Dr., alluded to, 345

Fraenkel, David, teacher of Mendelssohn, 293

Frankel, Z, scholar, 49

Frankl, L. A., poet, 49

Frank-Wolff, Ulla, writer, 139

Franzos, K. E., Ghetto novelist, 50

Frederick II, emperor, patron of Hebrew learning, 40, 85, 89, 92

Frederick the Great and Mendelssohn, 301-303
and the Jews, 316-317

Freidank, German author, 185

Friedlaender, David, disciple of Mendelssohn, 48, 317, 350

Froehlich, Regina, writer, 131

Fuerst, J., scholar, 49

Gabirol, Solomon, philosopher, 26-27, 82-83, 94
poet, 24, 25-26, 27, 199

Gad, Esther, alluded to, 132

Galen and Gamaliel, 81
works of, edited by Maimonides, 153

Gama, da, Vasco, and Jews, 96-97

Gamaliel, rabbi, 18, 77, 81

Gans, David, historian, 47

Gans, Edward, friend of Heine, 324, 346, 350

Gaspar, Jewish pilot, 96

Gayo, Isaac, physician, 86

Geiger, Abraham, scholar, 49

Geldern, van, Betty, mother of Heine, 341, 344

Geldern, van, Gottschalk, Heine's uncle, 341

Geldern, van, Isaac, Heine's grandfather, 341

Geldern, van, Lazarus, Heine's uncle, 341

Geldern, van, Simon, author, 341

Gentz, von, Friedrich, friend of Henriette Herz, 313

Geometry in the Talmud, 77

German literature cultivated by Jews, 87

Gerson ben Solomon, scientist, 90

_Gesellschafter_, Zunz contributor to the, 330

_Ghedulla_, Kabbalistic term, 41

Ghemara, commentary on the Mishna, 60

Ghetto tales, 50

_Ghevoora_, Kabbalistic term, 41

Gideon, Jewish king in Abyssinia, 263

"Gift from a Misogynist, A," satire, by Yehuda ibn Sabbatai, 34, 214-216

Glaser, Dr. Edward, on the Falashas, 263

Goethe, alluded to, 314
and Jewish literature, 103-104
on Yedaya Penini, 40

Goldschmidt, Henriette, writer, 139

Goldschmidt, Johanna, writer, 139

Goldschmied, M., Ghetto novelist, 50

Goldsmid, Anna Maria, writer, 137

Goldsmid, Isaac Lyon, alluded to, 137

Gottloeber, A., dramatist, 248

Goetz, Ella, translator, 120

Graetz, Heinrich, historian, 49
quoted, 185

Graziano, Lazaro, dramatist, 235

Greece and Judaea contrasted, 194

Grimani, Dominico, cardinal, alluded to, 95

Grimm, alluded to, 333

Guarini, dramatist, 239

Gugenheim, Fromet, wife of Mendelssohn, 303
quoted, 307

"Guide of the Perplexed, The," contents of, 157-163
controversy over, 164-166
English translation of, 155 (note)
purpose of, 155

Gumpertz, Aaron, and Mendelssohn, 297, 299
quoted, 298

Gundisalvi, Dominicus, translator of "The Fount of Life," 26

Guensburg, C., preacher, 322

Guensburg, Simon, confidant of Stephen Bathori, 287

"Gustavus Vasa" by Grace Aguilar, 134

Gutzkow, quoted, 306

Haggada and Halacha contrasted, 21, 60, 194-195

Haggada, the, characterized, 18, 54-55, 60-61, 64-70
cosmopolitan, 33
described by Heine, 20
ethical sayings from, 61-63
poetic quotations from, 65-68

Haggada, the, at the Passover service, 344-345

Hai, Gaon, 22

Halacha and Haggada contrasted, 21, 60, 194-195

Halacha, the, characterized, 18, 54-55
subjective, 33

Halevy, Joseph, and the Falashas, 264
quoted, 265-266

Halley's comet and Rabbi Joshua, 77

"Haman's Will and Death," drama, 244

Hamel, Glikel, historian, 120

Haendele, daughter of Saul Wahl, 276

Hariri, Arabic poet, 32, 34 (note)

Haroun al Rashid, embassy to, 99

Hartmann, M., poet, 49

Hartog, Marian, writer, 137

Hartung, actor, 248

_Ha-Sallach_, Moses ibn Ezra, 205

Hebrew drama, first, published, 237

Hebrew language, plasticity of, 32-33

Hebrew studies among Christians, 44, 47-48, 95, 98

Heckscher, Fromet, ancestress of Heine, 341

Hegel and Heine, 346

Heine, Heinrich, poet, 49
and Venus of Milo, 362
appreciation of, 340
characterized by Schopenhauer, 357-358
character of, 367
conversion of, 348-351
family of, 341-342, 344
Ghetto novelist, 50
in Berlin, 346-347
in Goettingen, 347-348
in Paris, 358-359
Jewish traits of, 345-348, 353-357
on Gabirol, 25-26
on the Jews, 362-363, 365-366
on Yehuda Halevi, 27
on Zunz, 327-328, 333
quoted, 9, 20, 28, 206
religious education of, 343
return of, to Judaism, 366
wife of, 363-364
will of, 366-367

Heine, Mathilde, wife of Heinrich Heine, 363-364

Heine, Maximilian, quoted, 344

"Heine of the middle ages," Immanuel Romi, 219

Heine, Samson, father of Heinrich Heine, 341, 342

Heine, Solomon, uncle of Heinrich Heine, 345, 352

Hellenism and Judaism, 75-76

Hellenists, Heine on, 359, 362

Hennings, alluded to, 314

Henry of Anjou, election of, in Poland, 286-287

Herder, poet, and Mendelssohn, 314
quoted, 296

Hermeneutics by Maimonides, 162-163

Herod and the stage, 230-231

Herrera, Abraham, Kabbalist, 99

Hertzveld, Estelle and Maria, writers, 140

Herz, Henriette, alluded to, 131, 133-346
and Dorothea Mendelssohn, 306
character of, 312-313
_salon_ of, 311-314

Herz, Marcus, physicist, 310, 311

Herzberg-Fraenkel, L., Ghetto novelist, 50

Herzfeld, L., scholar, 49

Hess, M., quoted, 109

"Highest Faith, The" by Abraham ibn Daud, 36

Higros the Levite, musician, 369, 374

Hildebold von Schwanegau, minnesinger, 182

Hillel, rabbi, 18
quoted, 255

Hillel ben Samuel, translator 86

Himyarites and Jews, 256

Hirsch, scholar, 49

Hirsch, Jenny, writer, 139

"History and Literature of the Israelites" by Constance and Anna Rothschild, 142

"History of Synagogue Poetry" by Zunz, 336

"History of the Jews in England" by Grace Aguilar, 135

"History of the National Poetry of the Hebrews" by Ernest Meier, 14

Hitzig, architect, alluded to, 298

Hitzig, Bible critic, 13, 14

_Hod_, Kabbalistic term, 41

Holbein, Hans, illustrates a Jewish book, 102

Holdheim, S., scholar, 49

Holland, exiles in, 128-129

Homberg, Herz disciple of Mendelssohn, 48, 309

"Home Influence" by Grace Aguilar, 134

Hosea, king, alluded to, 250

Hosea, prophet, alluded to, 251
"Hours of Devotion" by
Fanny Neuda, 140

Humanism and the Jews, 94-95

Humboldts, the, and Hennriette Herz, 311, 312, 313

Humor in antiquity, 191-192
in Jewish German literature, 225-226
nature of, 195-195, 356-357

Hurwitz, Bella, historian, 120

Hurwitz, Isaiah, Kabbalist, 43

Ibn Alfange, writer, 170

Ibn Chasdai, Makamat writer, 35

Ibn Sina and Maimonides, 156

_Iggereth ha-Sh'mad_ by Maimonides, 152

_Ikkarim_ by Joseph Albo, 42

Ima Shalom, Talmudist, 113

Immanuel ben Solomon, poet, 35, 89, 90, 219-221, 222-223
and Dante, 35, 89, 220, 223
quoted, 220, 221, 222

Immanuel Romi. See Immanuel ben Solomon

India, the Ten Tribes in, 259

Indians and the Ten Tribes, 259

Innocent III, pope, alluded to, 184

Intelligences, Maimonides' doctrine of the, 159

"Interest and Usury" from the Haggada, 67-68

_Iris_, Zunz contributor to the, 330

Isaac Alfassi, alluded to, 257

Isaac ben Abraham, Talmudist, 36

Isaac ben Moses, Talmudist, 36

Isaac ben Sheshet, philosopher, 42

Isaac ben Yehuda ibn Ghayyat, poet, 201, 202

Isaac ibn Sid, astronomer, 92

Isaac Israeli, mathematician, 93

Isaac Israeli, physician, 81, 82, 257

Isaiah, prophet, quoted, 251, 252

Ishmael, poet, alluded to, 118

Israel, kingdom of, 250-251

"Israel Defended" translated by Grace Aguilar, 134

"Israelites on Mount Horeb, The," by Simon van Geldern, 341

Isserles, Moses, Talmudist, 46, 100, 286

Italy, Jews of 45-46, 116

Itzig, Daniel, naturalization of, 317

Jabneh, academy at, 57, 227-228

Jacob ben Abba-Mari ben Anatoli, scholar, 39-40, 85

Jacob ben Elias, poet, 224

Jacob ben Machir, astronomer, 86

Jacob ben Meir, Talmudist, 36

Jacob ben Nissim, alluded to, 257

Jacob ibn Chabib, Talmudist 43

Jason, writer, 17

Jayme, J, of Aragon, patron of Hebrew learning, 92

Jellinek, Adolf, preacher, 49
quoted, 33, 245-246

Jeremiah, prophet, quoted, 251

Jerusalem, friend of Moses Mendelssohn, 314

Jerusalem, Kabbalists in, 43

Jesus, mediator between Judaism and Hellenism, 76
quotes the Old Testament, 13

"Jewish Calderon, The," Antonio Enriquez di Gomez, 236

Jewish drama, the first, 234

"Jewish Faith, The," by Grace Aguilar, 135

Jewish German drama, the, 246-247

Jewish historical writings, lack of, 23-24

Jewish history, spirit of, 269-271

"Jewish Homiletics" by Zunz, 333-335

Jewish literature and Goethe, 103-104
characterized, 11-12
comprehensiveness of, 37
definition of, 328
extent of, 9-10, 22
Hellenic period of, 16-17
in Persia, 90
love in, 122-123
name of, 10
rabbinical period of, 38

Jewish philosophers, 17, 22, 23, 35, 40, 42

Jewish poetry, and Syrian, 80
future of, 50
subjects of, 24-25

Jewish poets, 49

Jewish race, the, liberality of, 33-34
morality of, 36
preservation of, 108-109
subjectivity of, 33, 353-354
versatility of, 79

Jewish scholars, 49

Jewish Sybil, the, 17-18

"Jewish Voltaire, The," Immanuel Romi, 219

Jewish wit, 354-356

Jews, academies of, 75, 79
and Columbus, 96
and commerce, 101-102
and Frederick the Great, 316-317
and the invention of printing, 38
and the national poetry of Germany, 87
and the Renaissance, 43-44, 74-75, 94-95, 223, 224
and troubadour poetry, 171-173
and Vasco da Gama, 96-97
as diplomats, 98-99
as economists, 103
as interpreters of Aristotle, 85
as linguists, 75
as literary mediators, 97-98
as physicians, 19, 37, 44, 45, 81-82, 86, 95, 97
as scientific mediators, 78
as teachers of Christians, 95, 98
as traders, 74-75
as translators, 44, 79, 86-87, 88, 89, 90, 91-92
as travellers, 37-38
as wood engravers, 102
characterized by Heine, 362-363, 365-366
defended by Reuchlin, 95
in Arabia, 256-257
in Holland, 46
in Italy, 45-46, 116
in Poland, 46, 286-288
in the modern drama, 235-237, 245
in the sciences, 102
of Germany, in the middle ages, 186
of Germany, poverty of, 319
of the eighteenth century, 294
relation of, to Arabs, 22
under Arabic influences, 78, 80
under Hellenic influences, 76
under Roman influences, 76, 77

Joao II, of Portugal, employs Jewish scholars, 96

Jochanan, compiler of the Jerusalem Talmud, 19, 114

Jochanan ben Zakkai, rabbi, 18, 56-57, 228

John of Seville, mathematician, 91

Josefowicz brothers in Lithuania, 287-288

Joseph ben Jochanan, wife of, 119

Joseph del Medigo, scholar, 45

Joseph Ezobi, poet, 89

Joseph ibn Aknin, disciple of Maimonides, 155

Joseph ibn Nagdela, wife of, 117

Joseph ibn Sabara, satirist, 34, 214

Joseph ibn Verga, historian, 42

Joseph ibn Zaddik, philosopher, 35

Josephus, Flavius, historian, 13, 18, 44
at Rome, 232
quoted, 230

Joshua, astronomer, 77

Joshua, Samaritan book of, on the Ten Tribes, 252

Joshua ben Chananya, rabbi, 18

Joshua, Jacob, Talmudist, 47

Jost, Isaac Marcus, historian, 49, 321
on Zunz, 320

"Journal for the Science of Judaism," 324-325, 329, 352

Juan Alfonso de Baena, poet, 90, 179

Judaea and Greece contrasted, 194

Judaeo-Alexandrian period, 16-17

Judah Alfachar and Maimonides, 165

Judah Hakohen, astronomer, 93

Judah ibn Sabbatai, satirist, 34, 214

Judah ibn Tibbon, translator, 39, 84

Judah Tommo, poet, 224

Judaism and Hellenism, 75-76
served by women, 115-116

_Judendeutsch_, patois, 47, 294
literature in, 47, 100-101
philological value of, 100
used by women, 119

Judges, quoted, 107

Judith, queen of the Jewish kingdom in Abyssinia, 262, 263

Kabbala, the, attacked and defended, 45, 46
influence of, 93, 99
studied by Christians, 44
supposed author of, 19
system of, outlined, 40-41

Kabbalists, 43, 95, 99

_Kalam_, Islam theology, 81

_Kalila we-Dimna_, fox fables, translated, 79

Kalir, Eliezer, poet, 25

"Kaliric," classical in Jewish literature, 25

Kalisch, Ludwig, quoted, 364-365

Kalonymos ben Kalonymos as a satirist, 35, 216-219
as a scholar, 89

Kant and Maimonides, 146, 164
's philosophy among Jews, 310

Kara, Abigedor, Talmudist, 47

Karaite doctrines in Castile, 117

Karo, Joseph, compiler of the _Shulchan Aruch_, 43

Kasmune (Xemona), poetess, 24, 118

Kaspi, Joseph, philosopher, 42

Kayserling, M., quoted, 300

Kepler and Jewish astronomers, 91, 92

_Kether_, Kabbalistic term, 41

Kimchi, David, grammarian, 39, 84

"King Solomon's Seal" by Bueschenthal, 245

Kisch, teacher of Moses Mendelssohn, 297

_Klesmer_, musician, 377

Kley, Edward, preacher, 49, 322

Kohen, Sabbatai, Talmudist, 46

Kompert, Leopold, Ghetto novelist, 50

Korbi, character in "The Gift of Judah," 214

Krochmal, scholar, 49

Kuh, M. E., poet, 49

Kulke, Ghetto novelist, 50

Kunth, tutor of the Humboldts, 311

_La Doctrina Christiana_, attributed to Santob, 174

La Fontaine, and Hebrew fable translations, 34, 88

Landau, Ezekiel, Talmudist, 47

Laura (Petrarch's) in "Praise of Women," 223

_Layesharim Tehillah_ by Luzzatto, 240-241

"Lay of Zion" by Yehuda Halevi, 28-31, 210

Lazarus ben David, philosopher, 310, 350

Lazarus, Emma, poetess, 140

Lazarus, M., scholar, 49

_Lecho Dodi_, Sabbath song, 43

Legend-making, 288-289

Legends, value of, 289-292

Lehmann, M., Ghetto novelist, 50

Leibnitz and Maimonides, 146

_Leibzoll_, tax, 294

Lemech, sons of, inventions of, 372

Leo de Modena, rabbi, 45, 128

Leo Hebraeus. See Judah Abrabanel

Leon di Bannolas. See Levi ben Gerson

Lessing, alluded to, 246
and Mendelssohn, 299, 300, 314
as fabulist, 88
on Yedaya Penini, 40

Letteris, M. E., dramatist, 248

"Letters to a Christian Friend on the Fundamental Truths of Judaism,"
by Clementine Rothschild, 141

Levi ben Abraham, philosopher, 40

Levi ben Gerson, philosopher, 42, 90-91

Levi (Henle), Elise, writer, 139

Levi of Mayence, founder of German synagogue music, 376

Levin (Varnhagen), Rahel, alluded to, 131, 346
and Judaism, 132
and the emancipation movement, 132-133

Levita, Elias. See Elias Levita

Lewandowski, musician, work of, 370-371, 377-378

"Light of God" by Chasdai Crescas, 42

Lindo, Abigail, writer, 137

Lithuania, Jews in, 282, 285

Litte of Ratisbon, historian, 119

_Litteraturbriefe_ by Mendelssohn, 301

_Litteraturgeschichte der synagogalen Poesie_ by Zunz, 336

Lokman's fables translated into Hebrew, 34

Lonsano, Menahem, writer on music, 376

Lope de Vega, alluded to, 239

Love in Hebrew poetry, 122-123, 225

Love in Jewish and German poetry, 186

Lucian, alluded to, 18

"Lucinde" by Friedrich von Schlegel, 306

Luis de Torres accompanies Columbus, 96

Luria, Solomon, Talmudist, 46, 286

Luther, Martin, and Rashi, 84
quoted, 377
under Jewish influences, 98

Luzzatto, Moses Chayyim, dramatist, 45, 239-241

Luzzatto, S. D., scholar, 49, 137

Maffei, dramatist, 240

_Maggidim_, itinerant preachers, 227