Kitabı oku: «The Book of Delight and Other Papers», sayfa 9
A Mohammedan king once asked a learned Rabbi why the Jews, who had in times long past been so renowned for their bravery, had in later generations become subdued, and even timorous. The Rabbi, to prove that captivity and persecution were the cause of the change, proposed an experiment. He bade the king take two lion's whelps, equally strong and big. One was tied up, the other was allowed to roam free in the palace grounds. They were fed alike, and after an interval both were killed. The king's officers found that the heart of the captive lion was but one-tenth as large as that of his free companion, thus evidencing the degenerating influence of slavery. This is meant, no doubt, as a fable, but, at least, it is not without a moral. The days of captivity are gone, and it may be hoped that Jewish large-heartedness has come back with the breath of freedom.
"MARRIAGES ARE MADE IN HEAVEN"
"The Omnipresent," said a Rabbi, "is occupied in making marriages." The levity of the saying lies in the ear of him who hears it; for by marriages the speaker meant all the wondrous combinations of the universe, whose issue makes our good and evil.
George Eliot
The proverb that I have set at the head of these lines is popular in every language of Europe. Need I add that a variant may be found in Chinese? The Old Man of the Moon unites male and female with a silken, invisible thread, and they cannot afterwards be separated, but are destined to become man and wife. The remark of the Rabbi quoted in "Daniel Deronda" carries the proverb back apparently to a Jewish origin; and it is, indeed, more than probable that the Rabbinical literature is the earliest source to which this piece of folk-philosophy can be traced.
George Eliot's Rabbi was Jose bar Chalafta, and his remark was made to a lady, possibly a Roman matron of high quality, in Sepphoris. Rabbi Jose was evidently an adept in meeting the puzzling questions of women, for as many as sixteen interviews between him and "matrons" are recorded in Agadic literature. Whether because prophetic of its subsequent popularity, or for some other reason, this particular dialogue in which Rabbi Jose bore so conspicuous a part is repeated in the Midrash Rabba alone not less than four times, besides appearing in other Midrashim. It will be as well, then, to reproduce the passage in a summarized form, for it may be fairly described as the locus classicus on the subject.
"How long," she asked, "did it take God to create the world?" and Rabbi Jose informed her that the time occupied was six days. "What has God been doing since that time?" continued the matron. "The Holy One," answered the Rabbi, "has been sitting in Heaven arranging marriages."—"Indeed!" she replied, "I could do as much myself. I have thousands of slaves, and could marry them off in couples in a single hour. It is easy enough."—"I hope that you will find it so," said Rabbi Jose. "In Heaven it is thought as difficult as the dividing of the Red Sea." He then took his departure, while she assembled one thousand men-servants and as many maid-servants, and, marking them off in pairs, ordered them all to marry. On the day following this wholesale wedding, the poor victims came to their mistress in a woeful plight. One had a broken leg, another a black eye, a third a swollen nose; all were suffering from some ailment, but with one voice they joined in the cry, "Lady, unmarry us again!" Then the matron sent for Rabbi Jose, admitted that she had underrated the delicacy and difficulty of match-making, and wisely resolved to leave Heaven for the future to do its work in its own way.
The moral conveyed by this story may seem, however, to have been idealized by George Eliot almost out of recognition. This is hardly the case. Genius penetrates into the heart, even from a casual glance at the face of things. Though it is unlikely that she had ever seen the full passages in the Midrash to which she was alluding, yet her insight was not at fault. For the saying that God is occupied in making marriages is, in fact, associated in some passages of the Midrash with the far wider problems of man's destiny, with the universal effort to explain the inequalities of fortune, and the changes with which the future is heavy.
Rabbi Jose's proverbial explanation of connubial happiness was not merely a bon mot invented on the spur of the moment, to silence an awkward questioner. It was a firm conviction, which finds expression in more than one quaint utterance, but also in more than one matter-of-fact assertion. To take the latter first:
"Rabbi Phineas in the name of Rabbi Abbahu said, We find in the Torah, in the Prophets, and in the Holy Writings, evidence that a man's wife is chosen for him by the Holy One, blessed be He. Whence do we deduce it in the Torah? From Genesis xxiv. 50: Then Laban and Bethuel answered and said [in reference to Rebekah's betrothal to Isaac], The thing proceedeth from the Lord. In the Prophets it is found in Judges xiv. 4 [where it is related how Samson wished to mate himself with a woman in Timnath, of the daughters of the Philistines], But his father and mother knew not that it was of the Lord. In the Holy Writings the same may be seen, for it is written (Proverbs xix. 14), House and riches are the inheritance of fathers, but a prudent wife is from the Lord."
Many years ago, a discussion was carried on in the columns of Notes and Queries concerning the origin of the saying round which my present desultory jottings are centred. One correspondent, with unconscious plagiarism, suggested that the maxim was derived from Proverbs xix. 14.
Another text that might be appealed to is Tobit vi. 18. The Angel encourages Tobit to marry Sarah, though her seven husbands, one after the other, had died on their wedding eves. "Fear not," said Raphael, "for she is appointed unto thee from the beginning."
Here we may, for a moment, pause to consider whether any parallels to the belief in Heaven-made marriages exist in other ancient literatures. It appears in English as early as Shakespeare:
God, the best maker of all marriages,
Combine your hearts in one.
Henry V., v. 2.
This, however, is too late to throw any light on its origin. With a little ingenuity, one might, perhaps, torture some such notion out of certain fantastic sentences of Plato. In the Symposium (par. 192), however, God is represented as putting obstacles in the way of the union of fitting lovers, in consequence of the wickedness of mankind. When men become, by their conduct, reconciled with God, they may find their true loves. Astrological divinations on the subject are certainly common enough in Eastern stories; a remarkable instance will be given later on. At the present day, Lane tells us, the numerical value of the letters in the names of the two parties to the contract are added for each name separately, and one of the totals is subtracted from the other. If the remainder is uneven, the inference drawn is favorable; but if even, the reverse. The pursuit of Gematria is apparently not limited to Jews. Such methods, however, hardly illustrate my present point, for the identity of the couple is not discovered by the process. Whether the diviner's object is to make this discovery, or the future lot of the married pair is all that he seeks to reveal, in both cases, though he charm never so wisely, it does not fall within the scope of this inquiry. Without stretching one's imagination too much, some passages in the Pantschatantra seem to imply a belief that marriage-making is under the direct control of Providence. Take, for instance, the story of the beautiful princess who was betrothed to a serpent, Deva Serma's son. Despite the various attempts made to induce her to break off so hideous a match, she declines steadfastly to go back from her word, and bases her refusal on the ground that the marriage was inevitable and destined by the gods.
As quaint illustrations may be instanced the following: "Raba heard a certain man praying that he might marry a certain damsel; Raba rebuked him with the words: 'If she be destined for thee, nothing will part thee from her; if thou art not destined for her, thou art denying Providence in praying for her.' Afterwards Raba heard him say, 'If I am not destined to marry her, I hope that either I or she may die,'" meaning that he could not bear to witness her union with another. Despite Raba's protest, other instances are on record of prayers similar to the one of which he disapproved. Or, again, the Midrash offers a curious illustration of Psalm lxii. 10, "Surely men of low degree are a breath, and men of high degree a lie." The first clause of the verse alludes to those who say in the usual way of the world, that a certain man is about to wed a certain maiden, and the second clause to those who say that a certain maiden is about to wed a certain man. In both cases people are in error in thinking that the various parties are acting entirely of their own free will; as a matter of fact, the whole affair is predestined. I am not quite certain whether the same idea is intended by the Yalkut Reubeni, in which the following occurs: "Know that all religious and pious men in this our generation are henpecked by their wives, the reason being connected with the mystery of the Golden Calf. The men on that occasion did not protest against the action of the mixed multitude [at whose door the charge of making the calf is laid], while the women were unwilling to surrender their golden ornaments for idolatrous purposes. Therefore they rule over their husbands." One might also quote the bearing of the mystical theory of transmigration on the predestination of bridal pairs. In the Talmud, on the other hand, the virtues of a man's wife are sometimes said to be in proportion to the husband's own; or in other words, his own righteousness is the cause of his acquiring a good wife. The obvious objection, raised by the Talmud itself, is that a man's merits can hardly be displayed before his birth—and yet his bride is destined for him at that early period.
Yet more quaint (I should perhaps rather term it consistent, were not consistency rare enough to be indistinguishable from quaintness) was the confident belief of a maiden of whom mention is made in the Sefer ha-Chasidim (par. 384). She refused persistently to deck her person with ornaments. People said to her, "If you go about thus unadorned, no one will notice you nor court you." She replied with firm simplicity, "It is the Holy One, blessed be He, that settles marriages; I need have no concern on the point myself." Virtue was duly rewarded, for she married a learned and pious husband. This passage in the "Book of the Pious" reminds me of the circumstance under which the originator of the latter-day Chasidism, Israel Baalshem, is said to have married. When he was offered the daughter of a rich and learned man of Brody, named Abraham, he readily accepted the alliance, because he knew that Abraham's daughter was his bride destined by heaven. For, like Moses Mendelssohn, in some other respects the antagonist of the Chasidim, Baalshem accepted the declaration of Rabbi Judah in the name of Rab: "Forty days before the creation of a girl, a proclamation [Bath-Kol] is made in Heaven, saying, 'The daughter of such a one shall marry such and such a one.'"
The belief in the Divine ordaining of marriages affected the medieval Synagogue liturgy. To repeat what I have written elsewhere: When the bridegroom, with a joyous retinue, visited the synagogue on the Sabbath following his marriage, the congregation chanted the chapter of Genesis (xxiv) that narrates the story of Isaac's marriage, which, as Abraham's servant claimed, was providentially arranged. This chapter was sung, not only in Hebrew, but in Arabic, in countries where the latter language was the vernacular. These special readings, which were additional to the regular Scripture lesson, seem to have fallen out of use in Europe in the seventeenth century, but they are still retained in the East. But all over Jewry the beautiful old belief is contained in the wording of the fourth of the "seven benedictions" sung at the celebration of a wedding, "Blessed art thou, O Lord our God, King of the Universe, who hast made man in thine image, after thy likeness, and hast prepared unto him out of his very self a perpetual fabric." Here is recalled the creation of Eve, of whom God Himself said, "I will make for man a help meet unto him." Not only the marriage, but also the bride was Heaven-made, and the wonderful wedding benediction enshrines this idea.
In an Agadic story, the force of this predestination is shown to be too strong even for royal opposition. It does not follow that the pre-arrangement of marriages implies that the pair cannot fall in love of their own accord. On the contrary, just the right two eventually come together; for once freewill and destiny need present no incompatibility. The combination, here shadowed, of a predestined and yet true-love marriage, is effectively illustrated in what follows:
"Solomon the king was blessed with a very beautiful daughter; she was the fairest maiden in the whole land of Israel. Her father observed the stars, to discover by astrology who was destined to be her mate in life and wed her, when lo! he saw that his future son-in-law would be the poorest man in the nation. Now, what did Solomon do? He built a high tower by the sea, and surrounded it on all sides with inaccessible walls; he then took his daughter and placed her in the tower under the charge of seventy aged guardians. He supplied the castle with provisions, but he had no door made in it, so that none could enter the fortress without the knowledge of the guard. Then the king said, 'I will watch in what way God will work the matter.'
"In course of time, a poor and weary traveller was walking on his way by night, his garments were ragged and torn, he was barefooted and ready to faint with hunger, cold, and fatigue. He knew not where to sleep, but, casting his eyes around him, he beheld the skeleton of an ox lying on a field hard by. The youth crept inside the skeleton to shelter himself from the wind, and, while he slept there, down swooped a great bird, which lifted up the carcass and the unconscious youth in it. The bird flew with its burden to the top of Solomon's tower, and set it down on the roof before the very door of the imprisoned princess. She went forth on the morrow to walk on the roof according to her daily wont, and she descried the youth. She said to him, 'Who art thou? and who brought thee hither?' He answered, 'I am a Jew of Acco, and a bird bore me to thee.' The kind-hearted maiden clothed him in new garments; they bathed and anointed him, and she saw that he was the handsomest youth in Israel. They loved one another, and his soul was bound up in hers. One day she said, 'Wilt thou marry me?' He replied, 'Would it might be so!' They resolved to marry. But there was no ink with which to write the Kethubah, or marriage certificate. Love laughs at obstacles. So, using some drops of his own blood as ink, the marriage was secretly solemnized, and he said, 'God is my witness to-day, and Michael and Gabriel likewise.' When the matter leaked out, the dismayed custodians of the princess hastily summoned Solomon. The king at once obeyed their call, and asked for the presumptuous youth. He looked at his son-in-law, inquired of him as to his father and mother, family and dwelling-place, and from his replies the king recognized him for the selfsame man whom he had seen in the stars as the destined husband of his daughter. Then Solomon rejoiced with exceeding joy and exclaimed, Blessed is the Omnipresent who giveth a wife to man and establisheth him in his house."
The moral of which seems to be that, though marriages are made in Heaven, love must be made on earth.
HEBREW LOVE SONGS
Palestine is still the land of song. There the peasant sings Arabic ditties in the field when he sows and reaps, in the desert when he tends his flock, at the oasis when the caravan rests for the night, and when camels are remounted next morning. The maiden's fresh voice keeps droning rhythm with her hands and feet as she carries water from the well or wood from the scanty forest, when she milks the goats, and when she bakes the bread.
The burden of a large portion of these songs is love. The love motive is most prominent musically during the long week of wedding festivities, but it is by no means limited to these occasions. The songs often contain an element of quaint, even arch, repartee, in which the girl usually has the better of the argument. Certainly the songs are sometimes gross, but only in the sense that they are vividly natural. With no delicacy of expression, they are seldom intrinsically coarse. The troubadours of Europe trilled more daintily of love, but there was at times an illicit note in their lays. Eastern love songs never attain the ideal purity of Dante, but they hardly ever sink to the level of Ovid.
But why begin an account of Hebrew love songs by citing extant Palestinian examples in Arabic? Because there is an undeniable, if remote, relationship between some of the latter and the Biblical Song of Songs. In that marvellous poem, outspoken praise of earthly beauty, frank enumeration of the physical charms of the lovers, thorough unreserve of imagery, are conspicuous enough. Just these features, as Wetzstein showed, are reproduced, in a debased, yet recognizable, likeness, by the modern Syrian wasf—a lyric description of the bodily perfections and adornments of a newly-wed pair. The Song of Songs, or Canticles, it is true, is hardly a marriage ode or drama; its theme is betrothed faith rather than marital affection. Still, if we choose to regard the Song of Songs as poetry merely of the wasf type, the Hebrew is not only far older than any extant Arabic instance, but it transcends the wasf type as a work of inspired genius transcends conventional exercises in verse-making. There are superficial similarities between the wasf and Canticles, but there is no spiritual kinship. The wasf is to the Song as Lovelace is to Shakespeare, nay, the distance is even greater. The difference is not only of degree, it is essential. The one touches the surface of love, the other sounds its depths. The Song of Songs immeasurably surpasses the wasf even as poetry. It has been well said by Dr. Harper (author of the best English edition of Canticles), that, viewed simply as poetry, the Song of Songs belongs to the loveliest masterpieces of art. "If, as Milton said, 'poetry should be simple, sensuous, passionate,' then here we have poetry of singular beauty and power. Such unaffected delight in all things fair as we find here is rare in any literature, and is especially remarkable in ancient Hebrew literature. The beauty of the world and of the creatures in it has been so deeply and warmly felt, that even to-day the ancient poet's emotion of joy in them thrills through the reader."
It is superfluous to justify this eulogy by quotation. It is impossible also, unless the quotation extend to the whole book. Yet one scene shall be cited, the exquisite, lyrical dialogue of spring, beginning with the tenth verse of the second chapter. It is a dialogue, though the whole is reported by one speaker, the Shulammite maid. Her shepherd lover calls to her as she stands hidden behind a lattice, in the palace in Lebanon, whither she has been decoyed, or persuaded to go, by the "ladies of Jerusalem."
The shepherd lover calls
Rise up, my love,
My fair one, come away!
For, lo, the winter is past,
The rain is over and gone,
The flowers appear on the earth:
The birds' singing time is here,
And the voice of the turtle-dove is heard in our land.
The fig-tree ripens red her winter fruit,
And blossoming vines give forth fragrance.
Rise up, my love,
My fair one, come away!
Shulammith makes no answer, though she feels that the shepherd is conscious of her presence. She is, as it were, in an unapproachable steep, such as the wild dove selects for her shy nest. So he goes on:
O my dove, that art in the clefts of the rock,
In the covert of the steep!
Let me see thy face,
Let me hear thy voice,
For sweet is thy voice, and thy face comely!
She remains tantalizingly invisible, but becomes audible. She sings a snatch from a vineyard-watcher's song, hinting, perhaps, at the need in which her person (her "vineyard" as she elsewhere calls it) stands of protection against royal foxes, small and large.
Shulammith sings
Take us the foxes,
The little foxes,
That spoil the vineyards:
For our vines are in blossom!
Then, in loving rapture,
Shulammith speaks in an aside
My beloved is mine, and I am his:
He feedeth his flock among the lilies!
But she cannot refuse her lover one glance at herself, even though she appear only to warn him of his danger, to urge him to leave her and return when the day is over.
Shulammith entreatingly to her lover
Until the evening breeze blows,
And the shadows disappear (at sunset),
Turn, my beloved!
Be thou as a young hart
Upon the cleft-riven hills!
This is but one of the many dainty love idylls of this divine poem. Or, again, "could the curious helplessness of the dreamer in a dream and the yearning of a maiden's affection be more exquisitely expressed than in the lines beginning, I was asleep, but my heart waked"? But, indeed, as the critic I am quoting continues, "the felicities of expression and the happy imaginings of the poem are endless. The spring of nature and of love has been caught and fixed in its many exquisite lines, as only Shakespeare elsewhere has done it; and, understood as we think it must be understood, it has that ethical background of sacrifice and self-forgetting which all love must have to be thoroughly worthy."
It is this ethical, or, as I prefer to term it, spiritual, background that discriminates the Song of Songs on the one hand from the Idylls of Theocritus, and, on the other, from the Syrian popular ditties. Some moderns, notably Budde, hold that the Book of Canticles is merely a collection of popular songs used at Syrian weddings, in which the bride figures as queen and her mate as king, just as Budde (wrongly) conceives them to figure in the Biblical Song. Budde suggests that there were "guilds of professional singers at weddings, and that we have in the Song of Songs simply the repertoire of some ancient guild-brother, who, in order to assist his memory, wrote down at random all the songs he could remember, or those he thought the best."
But this theory has been generally rejected as unsatisfying. The book, despite its obscurities, is clearly a unity. It is no haphazard collection of love songs. There is a sustained dramatic action leading up to a noble climax. Some passages almost defy the attempt to fit them into a coherent plot, but most moderns detect the following story in Canticles: A beautiful maid of Shulem (perhaps another form of Shunem), beloved by a shepherd swain, is the only daughter of well-off but rustic parents. She is treated harshly by her brothers, who set her to watch the vineyards, and this exposure to the sun somewhat mars her beauty. Straying in the gardens, she is on a day in spring surprised by Solomon and his train, who are on a royal progress to the north. She is taken to the palace in the capital, and later to a royal abode in Lebanon. There the "ladies of Jerusalem" seek to win her affections for the king, who himself pays her his court. But she resists all blandishments, and remains faithful to her country lover. Surrendering graciously to her strenuous resistance, Solomon permits her to return unharmed to her mountain home. Her lover meets her, and as she draws near her native village, the maid, leaning on the shepherd's arm, breaks forth into the glorious panegyric of love, which, even if it stood alone, would make the poem deathless. But it does not stand alone. It is in every sense a climax to what has gone before. And what a climax! It is a vindication of true love, which weighs no allurements of wealth and position against itself; a love of free inclination, yet altogether removed from license. Nor is it an expression of that lower love which may prevail in a polygamous state of society, when love is dissipated among many. We have here the love of one for one, an exclusive and absorbing devotion. For though the Bible never prohibited polygamy, the Jews had become monogamous from the Babylonian Exile at latest. The splendid praise of the virtuous woman at the end of the Book of Proverbs gives a picture, not only of monogamous home-life, but of woman's influence at its highest. The virtuous woman of Proverbs is wife and mother, deft guide of the home, open-handed dispenser of charity, with the law of kindness on her tongue; but her activity also extends to the world outside the home, to the mart, to the business of life. Where, in olden literature, are woman's activities wider or more manifold, her powers more fully developed? Now, the Song of Songs is the lyric companion to this prose picture. The whole Song works up towards the description of love in the last chapter—towards the culmination of the thought and feeling of the whole series of episodes. The Shulammite speaks:
Set me as a seal upon thy heart,
As a seal upon thine arm:
For love is strong as death,
Jealousy is cruel as the grave:
The flashes thereof are flashes of fire,
A very flame of God!
Many waters cannot quench love,
Neither can the floods drown it:
If a man would give the substance of his house for love,
He would be utterly contemned.
The vindication of the Hebrew song from degradation to the level of the Syrian wasf is easy enough. But some may feel that there is more plausibility in the case that has been set up for the connection between Canticles and another type of love song, the Idylls of Theocritus, the Sicilian poet whose Greek compositions gave lyric distinction to the Ptolemaic court at Alexandria, about the middle of the third century B.C.E. It is remarkable how reluctant some writers are to admit originality in ideas. Such writers seem to recognize no possibility other than supposing Theocritus to have copied Canticles, or Canticles Theocritus. It does not occur to them that both may be original, independent expressions of similar emotions. Least original among ideas is this denial of originality in ideas. Criticism has often stultified itself under the obsession that everything is borrowed. On this theory there can never have been an original note. The poet, we are told, is born, not made; but poetry, apparently, is always made, never born.
The truth rather is that as human nature is everywhere similar, there must necessarily be some similarity in its literary expression. This is emphatically the case with the expression given to the emotional side of human nature. The love of man for maid, rising everywhere from the same spring, must find lyric outlets that look a good deal alike. The family resemblance between the love poems of various peoples is due to the elemental kinship of the love. Every true lover is original, yet most true lovers, including those who have no familiarity with poetical literature, fall instinctively on the same terms of endearment. Differences only make themselves felt in the spiritual attitudes of various ages and races towards love. Theocritus has been compared to Canticles, by some on the ground of certain Orientalisms of his thought and phrases, as in his Praise of Ptolemy. But his love poems bear no trace of Orientalism in feeling, as Canticles shows no trace of Hellenism in its conception of love. The similarities are human, the differences racial.
Direct literary imitation of love lyrics certainly does occur. Virgil imitated Theocritus, and the freshness of the Greek Idyll became the convention of the Roman Eclogue. When such conscious imitation takes place, it is perfectly obvious. There is no mistaking the affectation of an urban lyrist, whose lovers masquerade as shepherds in the court of Louis XIV.
Theocritus seems to have had earlier Greek models, but few readers of his Idylls can question his originality, and fewer still will agree with Mahaffy in denying the naturalness of his goatherds and fishermen, in a word, his genuineness. Mahaffy wavers between two statements, that the Idylls are an affectation for Alexandria, and sincere for Sicily. The two statements are by no means contradictory. Much the same thing is true of Canticles, the Biblical Song of Songs. It is unreasonable for anyone who has seen or read about a Palestinian spring, with its unique beauty of flower and bird and blossom, to imagine that the author of Canticles needed or used second-hand sources of inspiration, however little his drama may have accorded with the life of Jerusalem in the Hellenistic period. And as the natural scenic background in each case is native, so is the treatment of the love theme; in both it is passionate, but in the one it is nothing else, in the other it is also spiritual. In both, the whole is artistic, but not artificial. As regards the originality of the love-interest in Canticles, it must suffice to say that there was always a strong romantic strain in the Jewish character.
Canticles is perhaps (by no means certainly) post-Exilic and not far removed in date from the age of Theocritus. Still, a post-Exilic Hebrew poet had no more reason to go abroad for a romantic plot than Hosea, or the author of Ruth, or the writer of the royal Epithalamium (Psalm xlv), an almost certainly pre-Exilic composition. This Psalm has been well termed a "prelude to the Song of Songs," for in a real sense Canticles is anticipated and even necessitated by it. In Ruth we have a romance of the golden corn-field, and the author chooses the unsophisticated days of the Judges as the setting of his tale. In Canticles we have a contrasted picture between the simplicity of shepherd-life and the urban voluptuousness which was soon to attain its climax in the court of the Ptolemies. So the poet chose the luxurious reign of Solomon as the background for his exquisite "melodrama." Both Ruth and Canticles are home-products, and ancient Greek literature has no real parallel to either.
