No other figures of speech would be admissible. Now this "Companion" belongs to the fourteenth century, and the earlier Arabic and Persian poetry was less fettered. But principles of this kind clearly affected the Hebrew poets, and hence there arises a certain monotony in the songs, especially when they are read in translation. The monotony is not so painfully prominent in the originals. For the translator can only render the substance, and the substance is often more conventional than the nuances of form, the happy turns and subtleties, which evaporate in the process of translation, leaving only the conventional sediment behind.
This is true even of Jehudah Halevi, though in him we hear a genuinely original note. In his Synagogue hymns he joins hands with the past, with the Psalmists; in his love poems he joins hands with the future, with Heine. His love poetry is at once dainty and sincere. He draws indiscriminately on Hebrew and Arabic models, but he is no mere imitator. I will not quote much from him, for his best verses are too familiar. Those examples which I must present are given in a new and hitherto unpublished translation by Mrs. Lucas.
MARRIAGE SONG
Fair is my dove, my loved one,
None can with her compare:
Yea, comely as Jerusalem,
Like unto Tirzah fair.
Shall she in tents unstable
A wanderer abide,
While in my heart awaits her
A dwelling deep and wide?
The magic of her beauty
Has stolen my heart away:
Not Egypt's wise enchanters
Held half such wondrous sway.
E'en as the changing opal
In varying lustre glows,
Her face at every moment
New charms and sweetness shows.
White lilies and red roses
There blossom on one stem:
Her lips of crimson berries
Tempt mine to gather them.
By dusky tresses shaded
Her brow gleams fair and pale,
Like to the sun at twilight,
Behind a cloudy veil.
Her beauty shames the day-star,
And makes the darkness light:
Day in her radiant presence
Grows seven times more bright