The last, and in some respects, perhaps, the most interesting chapter in the Machberoth, is the one entitled Ha-Topheth-ve-Ha-Eden, or “Hell and Paradise.” If, after all that has been said, there is still any doubt about the friendship between Dante and Immanuel, this chapter, as well as the circumstances in which it was written, will effectively dispel it. According to recent investigations (cp. Ersch and Gruber's Real-Encyklopädie, sub “Dante”), it would seem that Dante's Inferno and Purgatorio were not published before the years 1314 and 1318 respectively, because certain incidents and events that happened during those years are mentioned therein. At that time Immanuel was about fifty years old, and had just begun his wanderings in a state of destitution. Now, considering that in those times, before the invention of printing, a written copy of any important work could only be procured by wealthy people, the question naturally arises, From whom did Immanuel obtain a MS. copy of the Divina Commedia that enabled him to compose an imitation of it in Hebrew? This perplexing question can, however, be answered in the following manner. Although Immanuel was not in possession of a copy of Dante's poem, he had most likely heard it read and recited by the author himself before the members of the political and literary society called “Young Italy,” to which reference has already been made. And he was no doubt so deeply impressed by the work that it remained fresh in his memory for a number of years. It may, perhaps, be supposed that he was thus able to write his Hebrew imitation without actually having a written copy before him.
As regards the merits, the conception, and the style of the Ha-Topheth-ve-Ha-Eden it may be said that it holds a unique position in Hebrew literature. In the introduction the author states that, having reached his sixtieth year, the sudden death of a younger friend caused him much anxiety about his own future, and he wished to know the fate that awaited him beyond the grave. To effect this he invoked the spirit of the Prophet Daniel. Thereupon the vision of a venerable old man appeared to him amidst thunder and lightning, and told him that he had come to show him his future place in the world of spirits. Immanuel asked to be first conducted to the regions of hell, and the old man led him there. On the way they passed through several places, which are reminiscent of Dante's Inferno, such as “a valley of corpses,” and “the gate of rejection,” in front of which “a flaming sword turned in every direction.” Myriads of souls were then being dragged through the gate by evil spirits to receive their punishment for sins committed by them in life, and on that gate the words were inscribed: “Here is an entrance only, but no outlet.” These words recall the passage in Dante (Inferno, iii. 9):—
Abandon hope all ye who enter here.
Passing through the gate into hell Immanuel sees tortures inflicted upon sinners, among whom are specially mentioned sceptics, gamblers, adulterers, misers, spendthrifts, and hypocrites. A certain class of Jewish preachers and precentors are also placed by Immanuel in the infernal regions, because they were in the habit, whilst preaching or reciting prayers, of lifting up their eyes to the women's gallery instead of heavenwards. At the mention of these hypocrites Immanuel, remembering his own failings, became pale with fear. But his conductor reassured him by saying that, though he could not pronounce him quite free from sin, yet he hoped that his virtues and his merits as an author of several excellent books would procure for him a seat in Paradise. Presently Immanuel and his leader leave Hell and betake themselves to Paradise. Looking round him, he sees the souls of all the Biblical and post-Biblical personages, who have in some way or other reflected credit on the Jewish race, either by their literary works or by their valour, honesty, and virtue. He is greeted with great joy by Moses, David, and Solomon, who eulogize the commentaries he had written on their literary productions. On leaving them, Immanuel notices another group at some distance, which was enveloped in a dazzling blaze of glory. And asking his leader who they were, he was told that they were the pious of all nations (חסידי אומות העולם) who, during their life on earth, had been pre-eminent in charity, virtue, and learning, and were in consequence rewarded with seats of honour in Paradise. Close to them Immanuel noticed a magnificent throne in the course of erection, which he was given to understand was to be occupied by a friend, or rather a brother of his, as he is called, Daniel by name. It is still a matter of uncertainty to whom the author referred. But, on reading the context, it seems an inevitable conclusion that he must, as Geiger suggested, have alluded to Dante (Daniel). Near the throne of his friend, he was told, his own would be erected, so that they might both be united again after death and enjoy together heavenly bliss ever after.
The few special passages bearing on this friendship are so characteristic of Immanuel's liberal-mindedness that a reproduction of them here may not be out of place. They run somewhat as follows:—
“I do not know what has caused me to think of my friend Daniel, who, as an associate and friend, was to me of inestimable worth. It was he who showed me the path of truth and righteousness, who helped me greatly when fortune had forsaken me, and whose gigantic intellect is still spoken of on earth with unqualified admiration. On my asking my guide where my own throne would be placed after my death, he said: ‘You are certainly far inferior in greatness to your friend, whose name and fame will always be held in great honour by posterity. Yet, because you have both lived after the same pattern, and have both striven after truth, you shall be united again after death. Your throne shall be erected near to his, and, sitting hereafter close to each other, you will be like Joshua, who once was the attendant and disciple of Moses. Having been united in life by a mutual bond of friendship, no power shall separate your souls for ever.’ When I heard this my joy was unbounded, so happy was I in the thought that my lot would be like his, and that we should both have seats in Paradise. And having asked my conductor to let me see the throne destined for my friend, he took me by the hand, and led me to a tent where the hand of a master builder had erected a monument wonderful to view. Angels passed to and fro, women ornamented it with different costly textures, and numerous spirits made it ablaze with gold, rubies, and sapphires. And soon there stood before my wondering eye a throne formed of ebony, covered with purple and gold, and surmounted by a beautiful, glittering crown, which shone like the beams of the sun. This, said my guide, is Daniel's throne. You see, my son, the work that he has erected in the world is full of fame and renown, and equally great and glorious shall be the throne which he is to occupy in the world of spirits.”
The Ha-Topheth-ve-Ha-Eden closes with the guide's request that he should write down for the benefit of posterity all that he saw in his wanderings through Hell and Paradise. Thereupon he vanishes in the tumult of a storm, which causes the author to awake from his dream.
From what has been said it will be seen that a marked mental affinity existed between Dante and Immanuel. To both history, scholasticism, and romanticism provided materials for their work. They were both influenced by the new national spirit that had inspired the members of “Young Italy” to struggle for the liberation of their countrymen—bodily and mentally—from the yoke of priestcraft and superstition. Finally, it will be admitted that the Ha-Topheth-ve-Ha-Eden in style, dramatic effect, and graphic description has much in common with the Divina Commedia, although the condensed imitation is, of course, vastly inferior to the original. Yet there are several features in it which are peculiar to Immanuel. The most remarkable one is this: while Dante is narrow-minded enough to exclude from Paradise all and every one who does not profess Christianity, including even his leader, Virgil, Immanuel assigns places of honour there to the good and righteous of all nations and of all ages, provided they do not deny the existence of God and of a divine spirit in man.
Professor Th. Paur refers to this point in the essay that was mentioned above, and writes as follows:—
“If we closely examine the sentiments set forth in the little poetical volume (Ha-Topheth-ve-Ha-Eden), we must confess that the Jew Immanuel need not blush in the presence of the Christian Dante. It is true that he, like Dante, condemns those philosophical theories in which the personality of God, the creation of the world by his power, and the existence of a divine spirit in man are denied. But Immanuel shows more courage than Dante by effectively stigmatizing hypocrisy in all its various shapes and forms. He also possesses a greater spirit of tolerance than the latter had shown towards men professing creeds different from his own—a beautiful human naïveté in matters of religion—which must be sought after with the lantern of Diogenes among the Christians of that period.”