"The following hath been tried and found reliable, and Rabbi Saadia ben Joseph made use of it. He discovered it in the cave of Rabbi Eleazar Kalir, and all the wise men of Israel together with their pupils applied the remedy with excellent effect:—At the beginning of the month of Sivan take some wheatmeal and knead it, and be sure to remain standing. Make cakes and bake them, write thereon the verse, 'Memory hath He made among His wondrous acts: gracious and merciful is the Lord.' Take an egg and boil it hard, peel it, and write on it the names of five angels; eat such a cake every day, for thirty days, with an egg, and thou wilt learn all thou seest, and wilt never forget."
The manuscript illuminated Haggadahs are replete with interest and information. But I must avoid further observations on these manuscripts except in so far as they illustrate my present subject. In the Haggadah the question is asked, "Why do we eat this Matzah?" and at the words "this Matzah" the illuminated manuscripts contain, in the great majority of cases, representations of Matzoth. These in some instances present rather interesting features, which may throw historical light on the archeology of the subject. Some of these figured Matzoth are oval, one I have seen star-shaped, but almost all are circular in form. Many, however, unlike the modern Matzah and owing to the shape of the mould, have a broad border distinct from the rest of the cake. The Crawford Haggadah, now in the Ryland library, Manchester, pictures a round Matzah through which a pretty flowered design runs. Others, again, and this I think a very ancient, as it certainly is a very common, design, are covered with transverse lines, which result in producing diamond-shaped spaces with a very pleasing effect, resembling somewhat the appearance of the lattice work cakes used in Italy and Persia, I think. The lines, unless they be mere pictorial embellishments, are, possibly, as in the Leeds cakes, rows of indentations resulting from the punctuation of the Matzah. In one British Museum manuscript (Roman rite, 1482), the star and diamond shapes are combined, the border being surrounded with small triangles, and the centre of the cake being divided into diamond-like sections. In yet another manuscript the Matzah has a border, divided by small lines into almost rectangular sections, while the body of the cake is ornamented with a design in which variously shaped figures, quadrilaterals and triangles, are irregularly interspersed. One fanciful picture deserves special mention, as it is the only one of the kind in all the illustrated manuscripts and printed Haggadahs in the Oxford and British Museum libraries. This Matzah occurs in an Italian manuscript of the fourteenth century. It is adorned with a flowered border, and in the centre appears a human-faced quadruped of apparently Egyptian character.
Poetry and imagination are displayed in some of these devices, but in only one or two cases did the artists attain high levels of picturesque illustration. How suggestive, for instance, is the chain pattern, adopted in a manuscript of the Michaelis Collection at Oxford. It must not be thought that this idea at least was never literally realized, for only last year I was shown a Matzah made after a very similar design, possibly not for use on the first two nights of Passover. The bread of affliction recalls the Egyptian bonds, and it is an ingenious idea to bid us ourselves turn the ancient chains to profitable use—by eating them. This expressive design is surpassed by another, found in a beautifully-illuminated manuscript of the fourteenth century. This Matzah bears a curious device in the centre: it is a prison door modelled with considerable skill, but I do not suppose that Matzoth were ever made in this fashion.
NOTES
"THE BOOK OF DELIGHT"
The connection between Zabara's work and the Solomon and Marcolf legend was first pointed out in my "Short History of Jewish Literature" (1906), p. 95. I had long before detected the resemblance, though I was not aware of it when I wrote an essay on Zabara in the Jewish Quarterly Review. To the latter (vi, pp. 502 et seq.) the reader is referred for bibliographical notes, and also for details on the textual relations of the two editions of Zabara's poem.
A number of parallels with other folk-literatures are there indicated;
others have been added by Dr. Israel Davidson, in his edition of the "Three
Satires" (New York, 1904), which accompany the "Book of Delight" in the
Constantinople edition, and are also possibly by Zabara.
The late Professor David Kaufmann informed me some years ago that he had a manuscript of the poem in his possession. But, after his death, the manuscript could not be found in his library. Should it eventually be rediscovered, it would be desirable to have a new, carefully printed edition of the Hebrew text of the "Book of Delight." I would gladly place at the disposal of the editor my copy of the Constantinople edition, made from the Oxford specimen. The Bodleian copy does not seem to be unique, as had been supposed.
The literature on the Solomon and Marcolf legend is extensive. The following references may suffice. J.M. Kemble published (London, 1848) "The Dialogue of Solomon and Saturnus," for the Aelfric Society. "Of all the forms of the story yet preserved," says Mr. Kemble, "the Anglo-Saxon are undoubtedly the oldest." He talks vaguely of the intermixture of Oriental elements, but assigns a northern origin to one portion of the story. Crimm had argued for a Hebrew souice, thinking Marcolf a name of scorn in Hebrew. But the Hebrew Marcolis (or however one may spell it) is simply Mercury. In the Latin version, however, Marcolf is distinctly represented as coming from the East. William of Tyre (12th cent.) suggests the identity of Marcolf with Abdemon, whom Josephus ("Antiquities," VIII, v, 3) names as Hiram's Riddle-Guesser. A useful English edition is E. Gordon Duff's "Dialogue or Communing between the Wise King Salomon and Marcolphus" (London, 1892). Here, too, as in the Latin version, Marcolf is a man from the Orient. Besides these books, two German works deserve special mention. F. Vogt, in his essay entitled Die deutschen Dichtungen won Salomon und Markolf, which appeared in Halle, in 1880, also thinks Marcolf an Eastern. Finally, as the second part of his "Untersuchungen zur mittelhochdeutschen Spielmannspoesie" (Schwerin, 1894), H. Tardel published Zum Salman-Morolf. Tardel is skeptical as to the Eastern provenance of the legend.
It has been thought that a form of this legend is referred to in the fifth century. The Contradictio Solomonis, which Pope Gelasius excluded from the sacred canon, has been identified with some version of the Marcolf story.