The Renascence of Hebrew Literature (1743-1885). Nahum Slouschz
It is the true literature of the Jewish people that we are called upon to examine, the product of the ghetto, the reflex of its psychic states, the expression of its misery, its suffering, and also its hope. The people of the Bible is not dead, and in its very own language we must seek the true Jewish spirit, the national soul.
Let not the reader expect to find perfection of form, pure art, in its often monotonous lyric poetry, or its prolix, didactic novels. The authors of the ghetto felt too much, suffered too much, were too much under the dominance of a life of misery, a semi-Asiatic, semi-mediaeval régime, to have had heart for the cultivation of mere form. Does the Song of Songs fall short of being a literary document of the first order because it does not equal the dramas of Euripides in artistic completeness? It is conceded that the proper aim of the artist is art, finished and perfect art, but to the philosopher, the social investigator, the important thing is the advance of ideas.
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The object of the writer in presenting this essay to the public was not to presume to give a detailed exposition of the development of modern Hebrew literature, accomplishing itself under the most complex of social and political conditions and in a social milieu totally unknown to the public at large. That would have led too far. It was not even possible to give an adequate idea of all the authors requiring mention within the limited frame adopted perforce. Besides, nothing or almost nothing existed in the way of monographs that might have facilitated the task. [Footnote: In point of fact, all that can be cited are the following: the admirable biographical essays on Mapu, Smolenskin, etc., by Reuben Brainin; those of S. Bernfeld on Rapoport, etc., these two critics writing in Hebrew; and the sketch of our subject by M. Klausner, in the Russian language. Besides, mention may be made of an article in the Revue des Revues, by M. Ludvipol, of Paris. In spite of the diversity of schools and the conditions giving rise to them, which are here to be treated for the first time from the point of view of a modern history of literature, the reader will readily convince himself that the subject lacks neither coherence nor unity. It is superfluous to say that in this first attempt at a history of modern Hebrew literature, the grouping of movements and schools borrowed from the Occidental literatures is bound to have only relative value.]
The aim set up by the present writer is merely to follow up the various stages through which modern Hebrew literature has passed, to deduce and specify the general principles that have moulded it, and analyze the literary and social value of the works produced by the representative writers of the epoch embraced.
In a word, the object is to show how Hebrew poetry was emancipated from the tradition of the Middle Ages under the influence of the Italian humanists, how it underwent a process of modernization, and served as the model for a literary renascence in Germany and Austria. [Footnote: Especially Moses Hayyim Luzzatto, in his "Glory to the Righteous", published in 1743, which has been made the point of departure in the present inquiry.] In these two countries Hebrew letters were enriched and perfected from the point of view of form as well as content. Finally, due to favorable circumstances, the Hebrew language captured its place as the literary and national language among the Jews of Poland, and particularly of Lithuania.
In this progress eastward, Hebrew literature has never been faithless to its mission. Two currents of ideas, more or less distinct, characterize it. On the one hand is the intellectual emancipation of the Jewish masses, which had fallen into ignorance, and, as a consequence, the conflict with prejudice and Rabbinic dogmatism; and, on the other hand, the awakening of national sentiment and Jewish solidarity. These two currents of ideas finally flow together in contemporaneous literature, in the creation of the national Jewish movement in its various modifications. During a period of about twenty years, since 1882, the course of events has forced the national emancipation of the Jewish masses upon their educated leaders. By the same token, Hebrew has been assigned a dominating position in all vital questions agitating Judaism, and there has been brought about a literary development that is truly significant.
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CHAPTER I
IN ITALY
MOSES HAYYIM LUZZATTO
In its precise sense, the term Renascence cannot be applied to the movement that asserted itself in Hebrew literature at the end of the fifteenth century, as little as the term Decadence can be applied to the epoch preceding it.
Long before Dante and Boccaccio, as far back as the eleventh century, Hebrew literature, particularly in Spain, and to a certain extent also in the Provence, had reached a degree of development unknown in European languages during the Middle Ages.
Though the persecutions toward the end of the fourteenth and the fifteenth century crushed the Jewish communities in Spain and in the Provence, they yet did not succeed in annihilating completely the intellectual traditions of the Spanish and French Jews. Remnants of Jewish science and Jewish literature were carried by the refugees into the countries of their adoption, and in the Netherlands, in Turkey, even in Palestine, schools were founded after a short interval.
But a literary revival was possible only in Italy. Elsewhere, in the backward countries of the North and the East, the Jews, smarting from blows recently inflicted, withdrew within themselves. They took refuge in the most sombre of mysticisms, or, at least, in dogmatism of the narrowest kind. The Italian Jewish communities, thanks to the more bearable conditions prevailing around them, were in a position to carry on the literary traditions of Jewish Spain. In Italy thinkers arose, and writers, and poets. There was Azariah dei Rossi, the father of historical criticism; Messer Leon, the subtle philosopher; Elijah Levita, the grammarian; Leon of Modena, the keen-witted rationalist; Joseph Delmedigo, of encyclopedic mind; the Frances brothers, both poets, who combated mysticism; and many others too numerous to mention. [Footnote: For the greater part of these writers, see Gustav Karpeles, Geschichte der jüdischen Literatur, 2 vols., Berlin, 1886.] These, together with a few stray writers in Turkey and the Netherlands, imparted a certain degree of distinction to the Hebrew literature of the sixteenth and the seventeenth century. Heirs to the Spanish traditions, they nevertheless were inclined to oppose the spirit and particularly the rules of Arabic prosody, which had put manacles upon Hebrew poetry. Their efforts were directed to the end of introducing new literary forms and new concepts into Hebrew literature.
They did not meet with notable success. The greater number of Jewish men of letters, whose knowledge of foreign literatures was meagre, were destined to remain in the thrall of the Middle Ages until a much later time. As to the unlettered, they preferred to make use of the vernacular, which presented fewer difficulties than the Hebrew.
The task of tearing asunder the chains that hampered the evolution of
Hebrew in a modern sense devolved upon an Italian Jew of amazing talent.
He became the true, the sovereign inaugurator of the Hebrew Renascence.
Moses Hayyim Luzzatto was born at Padua, in 1707. He was descended from a family celebrated for the Rabbinic scholars and the writers it had given to Judaism, a celebrity which it has continued to earn for itself down to our own day.
His education was strictly Rabbinic, consisting chiefly of the study of the Talmud, under the direction of a Polish teacher, for the Polish Rabbis had attained to a position of great esteem as early as Luzzatto's day. He lost little time in initiating his pupil into the mysteries of the Kabbalah, and so the early childhood years of our poet were a sad time spent in the stifling atmosphere of the ghetto. Happily for him, it was an Italian ghetto, whence secular learning had not been banished completely.
While pursuing his religious studies, the child became acquainted with the Hebrew poetry of the Middle Ages and with the Italian literature of his own time. In the latter accomplishment lies his superiority to the Hebrew scholars of other countries, who were shut off from every outside influence, and held fast to obsolete forms and ideas.
From early youth Luzzatto showed remarkable aptitude for poetry. At the age of seventeen he composed a drama in verse entitled "Samson and Delilah". A little later he published a work on prosody, Leshon Limmudim ("The Language of Learners", Mantua, 1727), and dedicated it to his Polish teacher. The