History of the Jews, Vol. 4 (of 6). Graetz Heinrich
kinds of perversities and mutual harm." He did not treat the subject in a dry, uninteresting style, but sought to clothe it in attractive garments. With this end in view, Kalonymos adapted a part of the Arabic encyclopedia of science (which was in circulation under the name of "Treatises of the Righteous Brethren") for a dialogue between man and beasts, giving the theme a Jewish coloring.
In another work, "Touchstone" (composed at the end of 1322), Kalonymos ben Kalonymos held up a mirror for his Jewish contemporaries, in which they could recognize their perversities, follies, and sins. To avoid giving himself the appearance of an irreproachable censor of morals, he enumerated his own sins, more in satire than as a confession. Kalonymos whimsically satirized even Judaism. He wished he had been born a woman, for then he would not have had to bear the burden of six hundred and thirteen religious laws, besides so many Talmudical restrictions and rigorous ordinances, which could not possibly be fulfilled, even when a man tried with the most exacting conscientiousness. As a woman, he would not have to trouble himself with so much reading, to study the Bible, the Talmud, and the subjects belonging to it, nor torment himself with logic, mathematics, physics, astronomy, and philosophy. By and by Kalonymos' satire grew deeply serious. The degradation of his Jewish co-religionists, and the bloody persecutions occasioned by the Shepherds and the lepers, dispelled his mocking humor, and satire was changed into lamentation. In Rome, which King Robert assigned to him as a place of residence, Kalonymos, having been furnished with letters of recommendation, obtained entry into a joyous, vivacious, imaginative circle of men, by whom he was stimulated to write a peculiar parody. He composed a treatise for the Jewish carnival (Purim), in which he imitated the tenor and spirit of the Talmud, its method, controversies, and digressions, with considerable wit. It is a fine parody, exciting laughter at every step, and one can not tell whether it was intended as a harmless carnival joke or as a satire on the Talmud. Kalonymos occupied a position of importance in the Roman congregation. Handsome in form, of abundant accomplishments, solid character, all his excellencies enhanced by the good opinion of King Robert of Naples, he was everyone's favorite. The Italian Jews were proud of him. But Kalonymos was not a true poet, still less an artist.
Much more gifted, profound, and imaginative was his older friend and admirer, Immanuel ben Solomon Romi (born about 1265, died about 1330). He was an anomaly in the Jewish society of the Middle Ages. He belonged to that species of authors whose writings are all the more attractive because not very decent. Of overflowing wit, extravagant humor, and caustic satire, he is always able to enchain his readers, and continually to provoke their merriment. Immanuel may be called the Heine of the Jewish Middle Ages. Immanuel had an inexhaustible, ready supply of brilliant ideas. And all this in the holy language of the Prophets and Psalmists. Granted that the neo-Hebrew poets and thinkers, the grammarians and Talmudists, had lent flexibility to the language, but none of Immanuel's predecessors had his power of striking from it showers of sparkling wit. But if, on the one side, he developed the Hebrew language almost into a vehicle for brilliant repartee, on the other side, he robbed it of its sacred character. Immanuel transformed the chaste, closely-veiled maiden muse of Hebrew poetry into a lightly-clad dancer, who attracts the attention of passers-by. He allows his muse to deal with the most frivolous and indelicate topics without the slightest concealment or shame. His collection of songs and novels tends to exert a very pernicious and poisonous effect upon hot-blooded youth. But Immanuel was not the hardened sinner, as he describes himself, who thought of nothing but to carry on amours, seduce the fair, and deride the ugly. He sinned only with the tongue and the pen, scarcely with the heart and the senses.
Though he often indulges in unmeasured self-laudation, this simple description of his moral conduct must still be credited: "I never bear my enemies malice, I remain steadfast and true to my friends, cherish gratitude towards my benefactors, have a sympathetic heart, am not ostentatious with my knowledge, and absorb myself in science and poetry, whilst my companions riot in sensual enjoyments." Immanuel belonged to those who are dominated by their wit, and cannot refrain from telling some pointed witticism, even if their dearest friends are its victims, and the holiest things are dragged in the mire by it. He allowed himself to be influenced by the vivacity of the Italians and the Europeanized Jews, and put no curb upon his tongue. What is remarkable in this satirist is that his life, his position, and occupation seem to have been in contradiction with his poetical craft. In the Roman community he filled an honorable position, was something like a president, at all events a man of distinction. He appears to have belonged to the medical profession, although he made sport of the quackery of physicians. In short, he led the domestic life of his time, a life permeated by morality and religion, giving no opportunity for excess. But his honorable life did not prevent him from singing riotous songs, and from writing as though he were unconscious of the seriousness of religion, of responsibility and learning. Immanuel was acquainted, if not on intimate terms, with the greatest poet of the Middle Ages, the first to open the gates of a new epoch, and to prognosticate the unity of Italy in poetic phrase. Probably they came to know each other on one of Dante's frequent visits to Rome, either as ambassador or exile. Although their poetic styles are as opposite as the poles – Dante's ethereal, grave, and elevated; Immanuel's forcible, gay, and light – they, nevertheless, have some points of contact. Each had absorbed the culture of the past; Dante the catholic, scholastic, and romantic elements; Immanuel the biblical, Talmudical, Maimunist, philosophical, and neo-Hebraic products. Both elaborated this many-hued material, and molded it into a new kind of poetry. The Italians at that time were full of the impulse of life, and Immanuel's muse is inspired by the witchery of spring. He wrote ably in Italian, too, of which a beautiful poem, still extant, gives evidence. Immanuel was the first to adapt Italian numbers to the neo-Hebraic lyre. He introduced the rhyme in alternate lines (Terza rima in sonnet form), by which he produced a musical cadence. His poems are not equally successful. They are wanting not in imagination, but in tenderness and grace. His power lies in poetical prose (Meliza), where he can indulge in free and witty allusions. In this style he composed a host of short novels, riddles, letters, panegyrics, and epithalamia, which, by clever turns and comic situations, extort laughter from the most serious-minded readers.
In one of his novels he introduces a quarrelsome grammarian of the Hebrew language, a verbal critic who takes the field in grammatical campaigns, and is accompanied by a marvelously beautiful woman. Immanuel enters into a hair-splitting disputation that he may have the opportunity of coquetting with the lovely lady. He suffers defeat in grammar, but makes a conquest in love. Immanuel's description of hell and paradise, in which he imitated his friend Dante, is full of fine satire. Whilst the Christian romantic poet shows gravity and elevation in his poetical creation, represents sinners and criminals, political opponents and enemies of Italy, cardinals and popes, as being tortured in hell, metes out, as it were, the severe sentences of judgment day; his Jewish friend, Immanuel, invents scenes in heaven and hell for the purpose of giving play to his humorous fancy. Dante wrote a divine, Immanuel a human, comedy. He introduces his pilgrimage to heaven and hell by relating that he once felt greatly oppressed by the burden of his sins, and experienced compunction; at this juncture his young friend Daniel, by whose untimely death he had lately been deeply affected, appeared to him, and offered to guide him through the dismal portals of hell and the elysian fields of the blessed. In the chambers of hell Immanuel observes all the wicked and godless of the Bible. Aristotle, too, is there, "because he taught the eternity of the world," and Plato, "because he asserted the reality of species" (Realism). Most of all he scourges his contemporaries in this poem. He inflicts the torment of the damned upon the deriders of science; upon a Talmudist who secretly led a most immoral life; upon men who committed intellectual thefts, and upon those who sought to usurp all the honors of the synagogue, the one to have his seat by the Ark of the Covenant, the other to read the prayers on the Day of Atonement. Quack doctors are also precipitated into hell, because they take advantage of the stupidity and credulity of the multitude, and bring trusting patients to a premature grave. His young, beatified guide goes with him through the gates of Paradise. How the departed spirits rejoice at the poet's approach! They call out, "Now is the time to laugh, for Immanuel has arrived." In the description of paradise and its inhabitants, Immanuel affects to treat his theme very seriously; but he titters softly within the very gates of heaven. Of course, he notices the holy men, the patriarchs, the pious kings and heroes of the Jewish past, the prophets and the great teachers, the poets, Jehuda Halevi and Charisi, the Jewish philosopher Maimuni. But next to King David, who fingers the harp and sings psalms, he observes the harlot Rahab who concealed