In the measure in which the study of the Talmud in Spain grew, Bible exegesis and the study of Hebrew grammar declined. These branches were arrested in their development. But on the other hand, this period was rich in poets. The Hebrew language, during the two centuries since Ben-Labrat, had become smooth and pliable, so that it was no difficult matter to make verses, and employ rhyme and meter. The involved forms developed especially by Solomon Ibn-Gebirol found many imitators. The Arabic custom of writing letters of friendship in verses, adopted by the Spanish Jews, made a knowledge of prosody a necessity: he who did not desire to appear illiterate had to learn how to versify. The number of poems which at this period saw the light of day was legion. Amongst poets worthy of record, who also occupied themselves with matters other than poetry, were Judah Ibn-Giat, Judah Ibn-Abbas, Solomon Ibn-Sakbel, and the brothers Ibn-Ezra. They were all surpassed by the prince of poets, Jehuda Halevi, recognized even by his contemporaries as a master of song.
Solomon ben Sakbel, a relative of Rabbi Joseph Ibn-Sahal, unlike Ibn-Giat and Ibn-Abbas, whose muse was serious, used the Hebrew language for light love-verses. The new form of poetry introduced by the Arabic poet, Hariri of Basra, induced Ibn-Sakbel to make a similar attempt in the Hebrew language; he wrote a kind of satirical romance, called Tachkemoni, the hero of which, Asher ben Jehuda, is exposed to disappointments and vicissitudes. The hero tells his adventures in rhymed prose, interspersed with verses; he relates how, together with his love, he had passed a long time in the forest depths, until, tired of the monotony, he longed to join a circle of friends who passed their time in feasting. Attracted by the letter of some unknown fair one, he set out to find her, and was introduced into a harem, the master of which, with grim "Berber mien," threatened him with death. This, however, was only a mask assumed by the maid of his lady-love in order to frighten him. At length he had hopes of attaining his end, but when he meets the supposed mistress, he finds the entire affair to have been the joke of a friend. This poem has no artistic merit, and is only an imitation of his Arab model. The ease with which Ibn-Sakbel employs the Hebrew language, and the skill with which he combines profoundly serious reflections with the lightest banter, are the only features to be admired.
The four brothers Ibn-Ezra, of Granada, were richly endowed; they were noble, learned, and wealthy. Their names were Abu-Ibrahim Isaac, Abu-Harun Moses, Abulhassan Jehuda, and Abuhajaj Joseph, the youngest. Their father Jacob had occupied an office under King Habus, or rather under his vizir, Ibn-Nagrela. One might know by their noble character, said a contemporary historian, that these four princely sons of Ibn-Ezra were of David's blood and of ancient lineage. The most celebrated amongst them was Abu-Harun Moses (born 1070, died 1139), who boasted that he was the pupil of his eldest brother. He was the most prolific poet of his time.
A misfortune seems to have aroused his muse. He loved his niece, by whom he was loved in return. The brother, however, refused to give him his daughter, and the other brothers approved the decision. Moses fled from his father's house, and wandered to Portugal and Castile (1100). He was tortured by pangs of love, and time did not heal his wounds. False friends seem to have widened the breach between him and his brothers. His love found expression in verses, and the muse became his comforter. He sought to drown his sorrow in earnest study and to find in knowledge a solace for the loss of his brothers and his beloved. He indeed won friends and admirers who remained true to him until death. A man of high position in Christian Spain, who is represented as a benefactor of the Jews, took an interest in the unhappy Moses, on whom he bestowed his friendship. Moses Ibn-Ezra in many respects resembled Solomon Ibn-Gebirol. He also complained of deception and jealousy and of the hardships and faithlessness of the times. Like the poet of Malaga, his own emotions inspire him; there is no great aim in his poetic effusions. But Moses Ibn-Ezra was neither so tender nor so impressionable as Ibn-Gebirol, nor was he so sad or complaining, but at times sang lively songs, and dallied with the muse. He was far behind Ibn-Gebirol as a poet. His poetry was labored and stilted, his verses often hard, without sweetness and freshness, and neither rhythmical nor harmonious. Moses Ibn-Ezra was especially fond of using words of the same sound, with different and often opposite meaning, a habit which he had adopted from the Arabic poets. His command of the Hebrew language, the abundance of his poetical works, and the variety of meters with which he enriched Hebrew poetry are alike admirable. He composed a song-cycle, which he called a string of pearls, composed of 1210 verses in ten divisions; they were dedicated to his patron Ibn-Kamnial. These verses are as varied in form as in contents. The poet in this collection alternately sings the praise of wine, love, and joy, of voluptuous life amidst leafy bowers and the song of birds, complains of the separation from friends, of faithlessness and the approach of old age, incidentally recommends trust in God, and lastly, praises the art of poetry. Moses Ibn-Ezra also composed three hundred poems, in more than ten thousand verses, for special occasions, and also two hundred prayers for New Year and the Day of Atonement, portions of which were incorporated in the ritual of many congregations (of the communities of Spain, Montpellier, Avignon, and of the Romagnoles). But few of his religious poems have true poetic fervor; they are all composed according to the rules of the art, but true beauty is wanting. Moses Ibn-Ezra wrote, in Arabic, a dissertation on the rules of the poetic art, called "Conversations and Recollections," which at the same time is a sort of history of Spanish-Jewish poetry from its first beginnings. This work, dealing also with Arabic and Castilian poetry, is a treasure for the literary history of Spain. The poorest work of Moses Ibn-Ezra is his so-called philosophical treatise, written in Hebrew, wherein he expounds the barren philosophy of the times according to Arabic models.
Notwithstanding his comparative insignificance as a philosopher and his mediocrity as a poet, Moses Ibn-Ezra was held in high honor by his contemporaries on account of his facility in writing. He stood on a friendly footing with all important personages of the time, and they praised him in prose and verse, and he likewise praised them. He became reconciled to his brothers, when the love of his youth died in giving birth to a boy (1114). On her deathbed she spoke of him, and her words, which became a holy remembrance to him, inspired him to write an elegy which, imbued with true feeling, was far more poetical than his other works. This elegy Moses Ibn-Ezra sent to his eldest brother, and it was the first step toward their reconciliation. As his brothers departed this earth one by one, the survivor was overwhelmed with grief, and dedicated to their memory verses full of feeling. Moses Ibn-Ezra retained his poetic gift until a great age. Jehuda Halevi wrote a touching tribute to his memory.
The brilliant luminary of this period and its chief exponent was Abulhassan Jehuda ben Samuel Halevi (Ibn-Allevi), born in Old Castile in 1086. In the annals of mankind his name deserves a separate page with a golden border. To describe him worthily, history would need to borrow from poetry her most glowing colors and her sweetest tones. Jehuda Halevi was one of the chosen, to whom the expression, "an image of God," may be applied without exaggeration. He was a perfect poet, a perfect thinker, a worthy son of Judaism, which, through his poetry and thought, was ennobled and idealized.
When Spain shall have discarded its prejudices, and shall no longer estimate the greatness of its historical personages by the standard of the Church, then Jehuda Halevi will occupy a place of honor in its Pantheon. The Jewish nation has long since crowned him with the laurel-wreath of poetry, and recognized the wealth of piety and pure morality that he possessed.
"Pure and faithful, ever spotless
Was his song, even as his soul was:
Soul, that when the Maker fashioned,
With his handiwork delighted,
Straight he kissed the beauteous spirit;
And that kiss, in sweetest music
Echoing, thrills through all the singing
Of the poet consecrated."[1]
His deep moral earnestness was closely united with a cheerful, serene philosophy of life. The admiration which was showered upon him did not destroy his modesty, and despite his devotion to his friends, he still preserved his own peculiar characteristics and the independence of his views. His rich store of knowledge clustered about one center, and however great a poet, in the best sense of the word, he may have been, he was keenly conscious of his own feelings, thoughts, and actions. He prescribed rules for himself, and remained true to them. Deep as were his sentiments, he was far from excess of feeling, or sentimentality.