Other details are missing from Evelyn's Pretended Messiah; the interested reader may pursue the strange tale in Graetz's History of the Jews or the partly fictionalized biography by Joseph Kastein, The Messiah of Ismir.[5] We may note in passing one additional incident. After his first banishment from Smyrna (as a result of pronouncing the sacred tetragrammaton in Hebrew), Sevi met the mystic Abraham ha-Yakini, who subsequently forged in archaic characters and style a document entitled "The Great Wisdom of Solomon"—a document accepted by Sevi as an authentic "archeological" revelation. The event was shortly followed by a bizarre celebration of Sevi's marriage as the Son of God ("En Sof") with the Torah, and may have provided climactic metaphysical confirmation of Sevi's hopes. In the manner of the old apocalypses, it pronounced Sevi the "saviour of My people, Israel," one who in time "shall overthrow the great dragon and kill the serpent."[6]
Good as Evelyn's Pretended Messiah may have been for contemporaries as a review of recent "news," and we must not underestimate this function, to the modern reader it seems closer to fiction, of a peculiarly propagandistic and ironic kind. Aside from omissions from the story—partly a matter of ignorance or failure in perception, and partly deliberate exclusion of inconvenient material—Evelyn's enthusiastic acceptance of his source's frequent theatrical metaphors is one measure of the distance from history of the Pretended Messiah. When Evelyn's Sevi is grave, it is a "formal and pharisaical gravitie" which is "starcht on." His motives in general seem highly conscious, even deliberate; and despite a certain doubleness in the point of view of the Pretended Messiah, the reason for Sevi's comic simplicity is not difficult to discover. Sir Paul Rycaut, as I have suggested, seems primarily interested in the effects of the movement on trade. The most vehement thinking of the book, though ascribed to an unnamed opponent of Sevi, could well be that of Rycaut himself:
[The opponent observed] in what a wilde manner the whole People of the Jewes was transported, with the groundless beliefe of a Messiah, leaving not onely their Trade, and course of living, but publishing Prophesies of a speedy Kingdome, of rescue from the Tyranny of the Turk, and leading the Grand Signior himself Captive in Chaines; matters so dangerous and obnoxious to the State wherein they lived, as might justly convict them of Treason and Rebellion, and leave them to the Mercy of that Justice, which on the least jealousie and suspicion of Matters of this nature uses to extirpate Families, and subvert the Mansion-houses of their own People, much rather of the Jewes, on whom the Turkes would gladly take occasion to dispoile them of their Estates, and condemn the whole Nation to perpetual slavery.
(pp. 78-79)
Evelyn retains this and similar material, apparently never suspecting that the Turks may well have been hesitant from real fear; but the burden of his emphasis is more overtly political and religious. Evelyn is less than ingenuous, perhaps, in associating Sevi with Peter Serini's fake brother, or even with Mahomed Bei—another of the "late famous impostors." But the connection does have the effect of putting Sevi in an imaginary world where all masks will be discovered and the truth known. Ultimately, Evelyn's Jews, like Dryden's and Milton's, are English—"our modern Enthusiasts and other prodigious Sects amongst us, who Dreame of the like Carnal Expectations, and a Temporal Monarchy" (sig. A8; italics mine). One hardly needs to fill out the reading. With a traditional reminder that "the Time is not yet Accomplished," Evelyn warns English sectarians to beware of misleading fictions—"to weigh how nearly their Characters approach the Style and Design of those deluded wretches."
Evelyn's words here suggest something of the wider interest of the Pretended Messiah. For in threatening the modern enthusiasts, as it were, with the status of comic fiction, he also hinted at the literal immediacy of such explicitly imaginative works as Absalom and Achitophel, Paradise Regained, and Samson Agonistes. What Evelyn's Pretended Messiah helps to reveal, then, is not only the potential metaphoric value of news itself, but also the peculiar proximity of poetry to "history" in a period when historical thought was inseparable from apocalyptic myth.[7]
University of California,
Los Angeles