Hebrew Humor and Other Essays

r success in Music and Poetry was undoubted, and becomes even more striking when it is remembered that it had been won by the Jewish nation at a time when in Greece, for instance, the cultivatio

st with the Architecture, then with the Music, a

drawing up of its ground-plan some glimmering of symmetry and purity of form. Noticeable also is the great skill manifested at that time by the Jewish artisans in the manufacture of the furniture of the Tabernacle, the beautiful covers and curtains with their inwoven cherubims, the seven-branched golden candlestick of beaten work, and the circular-shaped laver made by them from the metallic mirrors presented by the women of the community (Exod. xxxviii. 8). The erection of the Tabernacle was followed by some centuries of architectural and artistic barrenness. This epoch includes the time of their sojourn in the Arabian desert, and the period during which they were govern

there is hardly anything new left to be said about it. A few observations, however, concerning the builders, and the difficulties encountered by them at its erection, may not be out of place here. Some writers are of opinion that the fame and magnificence of the Temple were entirely due to the skill of Phoenician artisans, and not to the proficiency of Jewish workmen. The soundness of this theory is, however, very questionable. In the first place, we have it on the authority of the Biblical memorials that the assistance given by the Phoenicians

ange to say, put together without the aid of tools. The latter, made as they were out of a material from which weapons of war are manufactured, were used as little as possible at the erection of a building which was intended, in conformity with the true spirit of Judaism, to serve as a symbol of Peace. There is another noticeable feature in connexion with the building, namely, that all its bronze works were cast in earthen moulds in the valley of the Jordan. This spot was specially selected for the purpose, on account of its fine clay soil. Thus it will be seen that even at this early period in the history of architecture the Jews must have had some knowledge of mining. Later on, at the time when the Romans were the m

who speaks of Fons perennis aquae, cavati sub terra montes (cp. Hist. vol. 12). As for the bridges or viaducts, it is said that they were four in number, and of a peculiar construction. One led over the valley of Gihon; another, call

we are told that, in addition to the temple, he also built colonnades, theatres, and castles (cp. Jos. Ant. xv. 8. 1). According to the same authority (Bell. Jud. 5. 44), the beauty of King Herod's residential palace was beyond all description. It consisted of a block of various marble buildings, with artistically formed roofs, each building having magnificent halls

buildings, among which the king's private residence, that of the Egyptian princes, and the so-called house of the forest of Lebanon, were the most prominent. With the aid of his great waterworks in the neighbourhood of the city, Solomon laid out all kinds of gardens and pleasure-grounds, the beaut

ublic buildings, may be seen from the passage in Eurip. Iph. Aul

o be mentioned that the ancient Hebrews did not to any great extent cultivate this art. This was in consequence of the law which forbade them to introduce any kind of graven image in their places of worship. A few monuments, however, are mentioned as having bee

common ones, such as the axe, saw, and others, the compass (Mechugah) (Isa. xliv. 13),

of the Lord" (Exod. xxxvi. 1), and had they not been classed among the wisest men of their time, and held in high esteem by the community at large, no respect would have been paid to them by the Biblical memorials. The number of Jewish artisans of every description appears to have been consi

among the Greeks, Jewish tradition ascribes the invention of the first musical instrument to shepherds. Jubal is designated in the Bible as the father of all such as handle the harp or organ (Gen. iv. 21). Other passages in the same book relating to musical instruments and to their use, are found in connexion with Laban, Miriam, and Jephthah. But a real and systematic cultivation of the art of music did not begin before the days of Samuel and Saul; the former of whom seems to have been the founder of a regular school of music (

t tones, and was audible at a very long distance. These instruments seem to have been used in the Temple service after a pause in the singing. Such a pause was perhaps notified by the word Selah (???), which is so often met with in the Psalms, and is translated in the Septuagint by diapsalma (διαψ?λμα) (cf. B?tticher, De inferis rebusque post mortem futuris Hebraeorum et Graecorum opiniones, Dresden, 1868, p. 198). That the Temple music must have exercis

ich men in Israel often, employed music and song at their banquets (Amos vi. 4–6). When bridal processions passed through the streets, they were accompanied with music and song (Jer. vii. 34). The same was the case when victories were celebrated, or when the Jewish armies went to battle (Exod. xv

e spirit of the Lord came over him" (2 Chron. xx. 14). Thus the art of music was looked upon by the Hebrews as being the outcome of divine inspiration, and its disciples were consequently held in great esteem by them. But music and song only flourished among them so long as they were masters in their own co

and lyrical. The latter occupies the most prominent position. The drama is represented by two pieces, the Book of Job and the Song of Songs. The Book of Job is considered by many as the masterpiece of Hebrew poetry. Its fine introduction with its double scene in heaven and on earth, in which Satan plays so prominent a r?le, was imitated by Goethe in his "Faust." Equally grand, though in a different style, is the S

irach, better known under the name of Ecclesiasticus. Though the religious element is not entirely excluded from these books, yet they chiefly treat of worldly subjects. Some passages therein contain humorous desc

een surpassed in any other literature in simplicity of diction and originality of sentiment. Being the classical expression of the speech of the religious mind, they have naturall

ah (chap, xii), of Hezekiah (ibid. xxxviii. 9), and of Habakkuk. There are also Hebrew songs which are similar to the Psalms in respect of form, but not of subject. To this class of Psalms belong, for instance, Jac

s, according to them, only an Adam or Enosh (???, ????), an insignificant, helpless being, in comparison to Eloha (????, Arab. Allah), the most powerful Lord of the universe. Thus man is compared by them to a flower that withers, to a shadow that passes by, and to a cloud that vanishes in the air; while at the same time they call the thunder "the voice of the Lord," the wind "his mess

sweet plants. The mountains and the hills break forth into song, and the trees of the fields clap their hands. In those happy days, neither the light of the sun nor the brightness of the moon will be required by the liberated exiles, for the Lord will be unto them an everlasting light (Isa. xxxv. 1; lv. 12; lx. 20). On t

wrote in no regular metrical periods, but only preserved a kind of parallelism of sentences. No one will deny that the Greeks and the Romans have produced literary works, which in elegance of expression and symmetry of form are much superior to those of the Hebrews. But at the same time it will be conceded by those who h

ions with whom they have come in contact. Surely, if they had done nothing else but given them the sacred volume, the Book of Books, which contains so many golden rules for the cultiva

tno

Cp. abo