(Joachim J. M. S. Yeshaya) Medieval Hebrew Poetry

Medieval Hebrew Poetry
in Muslim Egypt
Etudes sur
Ie Judalsme Medieval
Fondees par
Georges Vajda
Dirigees par
Paul B. Fenton
TOME XLIV
Karaite Texts and Studies
Edited by
Meira Polliack
Michael G. Wechsler
VOLUME 3
Medieval Hebrew Poetry
in Muslim Egypt
The Secular Poetry of the Karaite Poet

Moses ben Abraham Darei
By
Joachim J. M. S. Yeshaya
BRILL
LEIDEN BOSTON
2011
This book is printed on acid-free paper.
Library of Congress Cataloging-in-Publication Data
Medieval Hebrew poetry in Muslim Egypt: the secular poetry of the Karaite poet
Moses ben Abraham Dar'i / by Joachim J.M.S. Yeshaya.
p. cm.-(Etudes sur Ie judalsme medieval, ISSN 0169-815X; v. 44) (Karaite texts
and studies ; v. 3)
Includes bibliographical references and index.
ISBN 978-90-04-19130-3 (hardback: alk. paper) 1. Dar'!, Moses ben Abraham,
12th/13th cent.-Criticism and interpretation. 2. Hebrew poetry, Medieval-Egypt-
History and criticism. I. Yeshaya, Joachim J.M.S. II. Title. III. Series.
PJ5050.D34Z752010
892.4)12-dc22
2010033346
ISSN 0169-815X
ISBN 978 90 04 19130 3
Copyright 2011 by Koninklijke Brill NV, Leiden, The Netherlands.

Koninklijke Brill NV incorporates the imprints Brill, Hotei Publishing,
IDC Publishers, Martinus Nijhoff Publishers and VSP.
All rights reserved. No part of this publication may be reproduced, translated,

stored in a retrieval system, or transmitted in any form or by any means, electronic,
mechanical, photocopying, recording or otherwise, without prior written permission
from the publisher.
Authorization to photocopy items for internal or personal use is granted by

Koninklijke Brill NV provided that the appropriate fees are paid directly to
The Copyright Clearance Center, 222 Rosewood Drive, Suite 910,
Danvers, MA 01923, USA.
Fees are subject to change.
Voor Tineke Louagie)
51 Te6H OtIeHb JII06JIIO
CONTENTS
Acknowledgements xi
List of Abbreviations xiii
Transliteration of Arabic xv
Transliteration of Hebrew xvii
Introduction 1
Chapter One History of Research 9

1.1 Nineteenth-Century Scholarship 9
1.2 Twentieth-Century Scholarship 15
1.3 The Edition by Leon Weinberger 17
Chapter Two Manuscript Tradition 21

2.1 List of Available Manuscripts 21
2.2 Manuscript NLR Evr. I 802 24
2.3 Criteria for Editing and Selecting Poems 28
Chapter Three History of Fa~imid and Ayyiibid Egypt 31

3.1 Islamic Urban Civilisation 31
3.2 The Jewish Community 34
3.3 The Karaite Community 39
Chapter Four Moses ben Abraham Darci 47

4.1 Biographical Data 47
4.2 Social and Professional Life 53
Chapter Five Poetics and Poetry 59

5.1 The Arabic Poetical Tradition 59
5.2 Hebrew Poetry in Muslim Spain 64
5.3 Hebrew Poetry in the Muslim East 68
5.4 Is Karaite Poetry distinct from Rabbanite Poetry? 75
Chapter Six Secular Genres 79

6.1 Religiosity and Secularity 79
6.2 Praise Poetry 83
x CONTENTS
6.3 Poetry of Complaint 88

6.4 Wisdom Poetry 89
6.5 Wine and Love Poetry 93
6.6 Homonymic Poetry 97
Chapter Seven Motifs and Themes 101

7.1 Praise of Old Age 101
7.2 Time and World 103
7.3 Wealth and Poverty 104
7.4 Hypocrisy of Friends 106
7.5 Women and Marriage 108
7.6 Body and Soul 109
7.7 Memento Mori 112
7.8 Love and Rivalry 114
Chapter Eight Language and Style 119

8.1 Hebrew Lexicon 119
8.2 Grammar and Syntax 121
8.3 Style and Rhetoric 122
8.4 Poetical Form and Prosody 128
8.5 Quotations 131
8.6 Judaeo-Arabic Language and Style 135
Chapter Nine The Significance of Moses Dar'i 139
Chapter Ten Edition: Poems Nos. 1-152) on the Basis of

MS NLR Evr. I 802) with Commentary 145
Alphabetical List of Poems Nos. 1-152 295

Alphabetical List of Biblical Names 299
Variant Readings 301
Bibliography 319
Index of Names and Subjects 333
Plate Section 339
ACKNOWLEDGEMENTS
This study started life as a PhD dissertation entitled Moses ben Abraham
Dar'"i: A Karaite Poet and Physician from Twelfth-Century Egypt 1
defended at the University of Groningen) the Netherlands) in March
2009. On the appearance of this study) thanks are again due first of all
to my Doktorvater Professor Wout Jac. van Bekkum) who graciously
adopted me into the group of scholars of medieval Hebrew poetry and
to whom lowe my entrance into every aspect of academic life. I am
also grateful to my second supervisor Professor Klaas A. D. Smelik
and to the members of my doctoral committee) consisting of Jonathan
Deeter) Elisabeth Hollender) Naoya Katsumata) Ronit Nikolsky) Arie
Schippers) and Irene Zwiep. Professor Elisabeth Hollender deserves
a special mention here) as she has given me the great opportunity to
continue my research in a postdoctoral DFG-project in Germany.
I express my sincere respect and deepest gratitude to my editors)
Meira Polliack) Michael Wechsler) Katelyn Chin) Michael J. Mozina)
and Jennifer Pavelko) as well as to Tova Beeri) for their help during the
preparation of this book. Catherine Romanik deserves my full grati-
tude for having carefully corrected the English text. I am also deeply
thankful to Yechiel Kara and Smadar Hulyfor their indispensable help
in realising this study.
Other scholars who should be thanked for their assistance at the
various stages of research are I}aggai Ben-Shammai) Uri Melammed)
Livnat Holtsman) Peter Lehnardt) Raymond Scheindlin) Peter Cole)
Boris Zaykovsky) and Peter Verkinderen.
I was fortunate to consult a variety of libraries during my research.
Mention should be made of the Ghent) Leuven) Groningen) Leiden)
and Cambridge University Libraries; Bibliotheca Rosenthaliana)
Amsterdam; School of Oriental and African Studies Library and
British Library) London; Widener Library) Harvard University; the
National Library of Russia) St. Petersburg; and the Jewish National
]. ]. M. S. Yeshaya, Moses ben Abraham Darci: A Karaite Poet and Physician from
Twelfth-Century Egypt. Selective Edition ofthe Diwan on the Basis ofManuscript Firko-
vicz Heb. I 802, with Introduction and Commentary (University of Groningen, 2009).
xii ACKNOWLEDGEMENTS
and University Library (including the Institute of Microfilmed Hebrew

Manuscripts) Jerusalem. I do not remember having experienced from
the staff of these libraries anything but willingness to help; I express
my heartfelt thanks to them.
Finally) I cannot thank my family enough for supporting me uncon-
ditionally throughout the writing process. My parents) Greet Nelis and
David Yeshaya) were always very eager to hear about my progress and
to share my accomplishments) as were my sister Sarah) my grand-
parents Anne-Marie Van Bortel and Juul Nelis) my uncle Hans and
Josiane) and Tineke)s parents Danny Louagie and Christine Acx. As
for the friends who have been close to me in the last few years) I am
sure that they are aware of my gratitude and will excuse the omission
of their names.
Last but not least) it is to my beloved fiancee Tineke Louagie that
this book) with love and gratitude) is dedicated. Without your support)
advice and regular calls for fun) meditation and relaxation) during
our trips to Lichtervelde) Antwerpen) Nijlen and our travels to Cairo)
Jerusalem) Moscow) Palm Springs) and many destinations-to-come) it
would have been impossible to successfully complete this book.
LIST OF ABBREVIATIONS
Genesis) n4tWNi~ = 'i~ Nahum) ClnJ = '1nJ

Exodus) nl0W = 'OW Habakkuk) i'1i'~n = '~n
Leviticus) Nii'4t l = 'i'4t l Zephaniah) ;,4tJ!)Y = '!)Y
Numbers) i~"TO~ = 'O~ Haggai) 4t.1n = '.1n
Deuteronomy) C4ti~"T = '~"T Zechariah) ;,4ti~t = '~t
Joshua) VW1;,4t = 'Wl;,4t Maleachi) 4t~NZ,O = 'NZ,O
Judges) C4t t'!)1W = '!)1W Psalms) c4tz,;,n = ';,n
1 Samuel) 'N Z,Nl0W = N"W Job) ~14tN = '14t N
2 Samuel) '~ Z,Nl0W = ~"W Proverbs) 4tZ,WO = '1210
1 Kings) 'N C4t~Z,O = N"O Song of Songs) C4t i 4t W;, i 4t W = 121";'121
2 Kings) '~ C4t~Z,O = ~"O Ecclesiastes) nz';, i' = ';'i'
Isaiah) ;,4tV~ = '~ Threni) ;,~4tN = '~4tN
Jeremiah) ;,4tOi4t = 'i4t Esther) inON = 'ON
Ezekiel) Z,Ni'tn4t = 'n4t Daniel) Z,N4tJ"T = 'J"T
Hosea) VW1;, = '1211;' Ezra) NitV = 'tV
Joel) Z,N14t = 'N14t Nehemiah) ;,4t onJ = 'nJ
Amos) 010V = 'ov 1 Chronicles) 'N C4t 04t;, 4ti~"T = N";,"T
Obadiah) ;,4t"T~1V = '~1V 2 Chronicles) '~ C4t 04t;, 4ti~"T = ~";'''T
J0 na) ;,J14t = 'J14t Babylonian Talmud) 4tz,~~ "TloZ,n = ~"n
Micha) ;,~4t0 = '~4t0 Rashi) 4ti'n~ ;,oZ,W 4t~i = 4t"lVi
TRANSLITERATION OF ARABIC
t 1, ~/\
z .1;, b y
t u
gh
t th
tJ
~
'-'
f j [.
q J h
k L
B kh
I d
t
J .)
m dh ,)
r
n ~
r J
h Jb Z j
W S
J lY'
Y ~
sh ~
~ UO
a/at 4 ~
The sign) is omitted when initial and followed by a vowel (i.e.) without
wa~la; thus: iqtidar for )Lxi9\) yet hasaba )qtidar for )\Ji91 ~) as well
as when final in plural verbs (i.e.) when functioning as al-alif al-fa~ila;
thus: yaCmalit rather than yaCmalit).
Vowels
a r (and lS maq~itra) a
t lS (yet ~; iW) i
it ;-- (yet ~: uww) u
Before alif al-wa~l the vowels G t$~ and ; are respectively represented
by a) i) and u (thus: calayhuma 'I-salam for r)l.J\ ~)fi 'l-kalam for
r~ j, and abu 'l-kadhib for ,-:-,..i.SJi y.\)' Tanwtn, though generally not
Indicated) is represented by un (for 11) an (for: \: lS: or) when denoting
any of the previous) final N) or in (for os or) when denoting the previ-
ous) final ').
TRANSLITERATION OF HEBREW
Z, N
m 0 b ~
n J ~ ~
s 0 g j./~
V d j/'i
P
f
!J
!)
h
v ,
;,
~
y z t
q i' h n
r i t t'
S 1v Y
sh W k ~
t n/'FI kh ~
The sign> is omitted when initial (e.g.) ish for 1U'~) yet la->ish for 1U'~7).
Doubling with the article and biblical vayyiqtol)) forms is generally not
indicated (e.g.) ha-katit~) not hak-katitb; va-yo>mer) not vay-yo>mer).
Vowels
a :"1 / (gadol)
T a _(furtive: ii) d
e ~.I. e e ...:/: (vocal)
0
0 i/ 0 T (qatan/ha,titf)
it ~ u
The signs i and it are also generally used in cases of scriptio defectiva
(e.g.) na~t for N~~ [= N4t~~ ] and qitm for OJ{ [= O~i']).
INTRODUCTION
Towards the end of his chapter on the poets of Damascus) in maqama

no. 18 of Sefer ta1Jkemont ((The Book of ta1Jkemont))) the famous trav-
eller Judah al-~arizi (1165-1225 CE) mentions an Egyptian poet liv-
ing in Damascus at the time he visited the city:!
O.t;liN 1?QiwV r,f / ,Qino/7 ni'lO~ O'l''?l ;"lip-\, / 'lQ Vi'~ i'ip~lf Vi~l
'n'~l Nr, / ,Qi'Q ;"IJ7~~D Nr, 'W~ O'l-9iW ;:1 o'~~D~ / ,Qi'i?7 1'1~:;1 :l'~D
'~ / lJi'1;'l nlr,~t?:;n in!~J~ :lwin Nl;"ll / 1?i,? O:lQ fi~ r,~~. ;"I~0:t
iJiVi7 !lin~ -r~~7 .-r~1? -r;.Lf 01~~1 / iJi'~Q tj~:;JQq Ti~i? Tt?iPV ~~r,o/
O'lllVJ1pV r,:tl I lJl'~D :l1t>7 ;"111;"1; ;"111;"1'1 / lJN3l ;"I~l' ;"I~Q ;"I1pnl I
nJ.'Vl. in~. 'Dl~Vll O~9~;:1 i~'Vlf ,qiNQ .Nl;"l1 / iJ'-Pf o'~Q~ o'i?~~Q
;"Inr,o/l / ln9o/~ 'n~tp7 :llVJ~ Ttl: 'Ql!lrlJ;7f ':t1 ~:tl '11~t? / ;"In~o/
;"I:Q '~ / in~Q'? T11'1 / inl''?l ~13t? ;"I~l~ -r.p / inl:J70 NQ~ r,.p :lW~
l'J~ r,.pl / l;"l~o/9 l'?~l=tl / fi?9 i:lJTi I f~i!)1? iViN'1 / f19 inin
l;"l:J,r,Vi;"l n!)iJt>;"I n':l:ll / l;"l:J!);"I
T :. .: - : : T T -:
In Damascus there was a certain Egyptian who composed poems forbid-

den to be heard. All people who hear them must tear their garments.
They are like rotten figs that cannot be eaten) they are so bad. I never
saw their like in all the land of Egypt for badness. But he imagines in his
arrogance and foolishness that Solomon the Little [Ibn Gabirol] is too
small to comprehend his thought and Abraham [ibn Ezra] is very awk-
ward compared with the purity of his language; that Moses [ibn Ezra]
was the shepherd of his flock and Judah [ha- Levi] praises the beauty of
his poetry; and that all poetic giants are as grasshoppers in his eyes. He
is the one who says about his contemptible poetry: ((My poetry is like the
poetry of Solomon) the Sepharadi) and each word in due season." Now
would that his soul might return to the Sepharadi and Solomon [ibn
Judah al-ijarizi) a native of Toledo in Christian Spai~ arrived in Alexandria in

1215 CE; he travelled around the Muslim East until his death in 1225 CE in Aleppo.
For more information on the latter part of his life in the Muslim East) see J. Sada~
"Rabbi Judah al-ijarizi at the Cross-Roads of Cultures/' [in Hebrew] Ptdmfm 68
(1996): 16-67; idem) "Un Intellectuel Juif au Confluent de Deux Cultures: Yehuda
al-ijarizi et sa Biographie Arabe))' in Judfos y musulmanes en aI-A ndalus y el Magreb,
Contactos intelectuales) ed. M. Fierro) 105-51 (Madrid: Casa de Velasquez) 2002);
J. Yahalom and J. Blau) The Wanderings ofJudah AI/:larizi: Five Accounts ofhis Travels
[in Hebrew] (Jerusalem: Ben-Zvi Institute) 2002); J. Blau) P. B. Fenton) and J. Yaha-
10m) Judah Alharizi: Kitdb al-Durar: A Book in Praise of God and the Israelite Com-
munities [in Hebrew] Oerusalem: Ben Zvi Institute) 2009); J. al-ijarIzi) Ta/:lkemonf [in
Hebrew]) ed. J. Yahalom and N. Katsumata (Jerusalem: Ben Zvi Institute) 2010).
2 INTRODUCTION
Gabirol] sit again upon his royal throne) that he might see the filth of
his poetry and his unclean spirit! Truly) he would break his skull) crush
his head) cut off his tait pull his legs) turn him on his face) and cast him
into a latrine.2
Interestingly enough) it has been suggested that al-I:Iarizi had Moses
Darci in mind when expressing this harsh criticism. 3 Regretfully) the
identification was based solely on the fact that Darci) born in Egypt
into a family of Jewish immigrants originating from Darca (present-
day Morocco) was known to have made an ill-fated visit to Damas-
cus) where he suffered from illness and a lack of hospitality. Whatever
Egyptian poet may have been targeted by al-I:Iarizi) his derogatory
comments are relevant to this study because they reflect his general
tendency to characterise Andalusian-Hebrew poetry as superior to
that of the rest of the Diaspora. Such emphasis on Spanish-Jewish
poetic superiority was not new; the famous Andalusian poet and liter-
ary critic Moses ibn Ezra (1055-1138 CE) devoted an entire chapter to
this theme in his famous treatise on poetics Kitab al-muiJa4ara wa-'l-
mudhakara ('<The Book of Discussion and Remembrance).4
Not surprisingly) al-I:Iarizi included Moses ibn Ezra in his clas-
sification of poets into five categories (in maqama no. 18 of Sefer
taiJkemoni):
ni'~T:;1 OVQ~ / nir,i"l~ niJi'71? 0VQ / nir,.po Viq~7 i'7n~ "~D ':;l V11
" n7~O' N';:1 / ;-qi'7~ O?~p' ~.p N';:1 '0/ ~ I ;-uiVi N1~ ;i7~Q;:1 / nir,!)o/
/ ;'~~';P~ '0/ ~ Vi' ~ 1'":, n~ N~ N;l / ;,~rpQ ;'71;'07 1'~ '~ 1'?i?;:1 ;,b'So/
"} N1T~ 1~ o~":'~~ "} '1~D ;'7~;'~ " n7~0 I Q't'~D n'~W;:1 ;'7~0;:1}
2 The Hebrew text is taken from J. Yahalom and J. Blau) The Wanderings) 183. The
English translation is derived from V. E. Reichert) The TaIJkemoni ofJudah al-lfarizi
(Jerusalem: Cohen Publishers) 1973) 2:63) with minor adaptations.
3 Joshua H. Schorr (He-lfalu$ 6 [1861]: 56-59) suggested this and Moritz Stein-
schneider refuted it in "Mose b. Zedaka) Imran b. Sadaka) und Mose Darci/' Judische
Zeitschrift fur Wissenschaft und Leben 9 (1871): 178. See also J. Schirman~ Hebrew
Poetry in Spain and the Provence [in Hebrew] (Jerusalem: The Bialik Institute) 1954)
2:144 n. 276; J. Yahalom and J. Blau) The Wanderings) 183 n. 257. The problematic
status of the identification is inherently part of a larger issue concerning the correct
dating of Moses Darci) which this book will address in chapter 4) section 1.
4 A. S. Halkin) ed.) Kitab al-muhadara wal-mudhakara: Liber Discussionis et Com-
memorationis (Poetica Hebraica) fin 'Hebrew] (Jerusalem: Meqi~e Nirdamim) 1975)
54-87. Kitab al-mulJatJara was the subject of my unpublished MA thesis; some of
its conclusions were included in J. Yeshaya) "Literary Criticism in the Judaeo-
Arabic Culture of al-Andalus: Moses ibn Ezra as a Professional Literary Critic))' in
Bacal MilUm: Liber Amicorum Julien Kiener) ed. K. De Graef: 241-55 (University of
Ghent) 2004).
INTRODUCTION 3
n'Vl'7V?;:I ;,7.p~;:IJ / 00'?~ o'Qi"1;:1J P'1 l~ tt9i' "J Nlr,p l~ ;'Wb

;"N~r l~ ttQi; "i ON~.Q ;,~n;,; " "1~t? '}?iw1? ~~ n7.\?o N';:J ;;J'l:}~n
nCJ.go ;;J'D~tl n'~':;1?;;J ;,7.\?~;:Il / ;'7~~"J n~Q ''??~ 'J;;:I ;'~WT "1
'}'V!1 '1Q;:I 0 ;;J":I~~ " '1'V! 11.1:p / oQQ O'} 1;I~~;:I "":IrQ '1~lVJ1? r,f
n'Vl'QD;:I ;,7.p~;:IJ / 00'?~ 0'Qi"1;:11 r,~:t:;1 'W~ ;,:t'V1~;:1 viN'1 P1;I? "
piz71J.,:;i oi:,;, 0;' ,viN o',;ivin;, n~Dn N';'l I O;"~T:H O~:;)1J ;,r,!)vi N';'
0: 0: - : o?tr:l1i f}o~l: ;,~ry~J ,~w~~i: I o:JQJ oj~J: ;,:tl~~~ / TO?JQ~o~
Know that poetry is divided into five grades: some of them of great lofti-
ness) others of despised lowliness. The first grade) which is superior to
them all) is the rank of R. Solomon the Little [Ibn Gabirol] for there is
no rank above it. Nor did there come after him anyone who could reach
it. The second grade) beneath it is the rank of R. Judah ha- Levi) R. Abra-
ham ben Ezra) R. Moses ben Ezra) R. Joseph ben ~addiq) and poets like
them. The third grade) beneath it is the rank of all the poets of Spain)
such as R. Judah <Abbas) R. Joseph ben Zabara) and R. Zera~ya ha-Levi)
who was from the land of Gerunda [Girona]. The fourth grade) beneath
it) is the rank of all the poets from the East who are honored among
them) such as the poetry of R. Abraham the Egyptian) and the poems of
R. Isaac) head of the college that is in Baghdad) and poets like them. The
fifth grade) which is lowest of them all and despised) is the rank of the
poets who are today in Damascus and in Egypt) in Aleppo and Iraq) in
Mosul and Baghdad) and in the land of Merataim. 5
AI-~arizi reproached Eastern poets of his time for their lack of poeti-
cal ability and especially for the general decline in their knowledge of
Hebrew. In a telling account) al-I:Iarizi relates how) when asked about
a Hebrew word) Eastern Jews acted as if they were being addressed in a
foreign language. 6 On the other hand) individual members of the East-
ern communities earned al-I:Iarizfs praise for their moral authority)
their literary talents) or their intellectualism. However) these praises
and criticisms must be dealt with carefully) particularly if we want to
derive from al-I:Iarizfs observations any historical clarity about the
poetical standard in the Muslim East. Indeed) while some scholars
have emphasised the historical facticity of the narrative) others have
shown that Sefer ta/:lkemoni seems under no obligation to keep the real
5 The final place name is unclear, it could be Macarrah; for the Hebrew text, see
J. Yahalom and J. Blau, The Wanderings, 181-82. The English translation is derived
from V. E. Reichert, The Ta~kemoni of Judah al-lfarizi, 2:64, with minor adapta-
tions.
6 The account is present in an Arabic dedication to Sefer ta~kemonf which was
translated by R Drory, Models and Contacts: Arabic Literature and its Impact on
Medieval Jewish Culture (Leiden: Brill, 2000), 221-23.
4 INTRODUCTION
and the imaginary distinct from one another. 7 In other words) while
the narrative undoubtedly reflects certain factual circumstances of the
places al-~arizi visited) one cannot ignore how these intertwine with
imaginative elements to mould the literary character of the work.
As pointed out earlier) there is also an obvious element of cultural
nationalism in al-~arizts observations. The Spanish-Jewish sense of
superiority towards the Jews living in the rest of the Diaspora was by
no means restricted to poetry; it marked various other Jews of Span-
ish descent) including the well-known philosopher and physician Mai-
monides (1135-1204 CE). 8 In other words) al-I:Iarizts criticism of the
Eastern poets may partially reflect the personal prejudices of a West-
erner in an unfamiliar environment where his true worth went unrec-
ognised. Another factor could be his initial idealisation of the Muslim
East) the region where Maimonides had written his major works. In
contrast to this) he claimed that during his travels around the East he
encountered a Jewish public that was not as familiar with the Hebrew
language as he had expected it to be) but rather was profoundly influ-
enced by Arabic culture.9
Regretfully) the Eastern poets have also suffered from prejudice in
modern scholarly research. The achievements of the Andalusian poets
in the (Golden Age)) have tended to obscure the production of Hebrew
poetry in other lands. An unwanted side effect of this enthusiasm
for Muslim Spain) particularly shown by nineteenth- and twentieth-
century Jewish scholars of Western European origin) was the fact that
all non-Andalusian poets in the parallel or later periods were stigmatised
7 See Ross Brann)s criticism of Judith Dishon)s assertion that Al1}.arizi was one of
the Jewish travellers in the Middle Ages who wrote about his adventures and impres-
sions in a poetical but nonetheless realistic and descriptive way)~ in R Brann) Power in
the Portrayal: Representations ofJews and Muslims in Eleventh- and Twelfth-Century
Islamic Spain (Princeton: Princeton University Press) 2002) 140 n. 3.
8 He advised his son to avoid North African Jews and consort with our beloved
Spanish brethren) called Andalusians.)~ H. Z. Hirschberg) A History of the Jews in
North Africa (Leiden: Brill) 1974) 1:361.
9 J. Yahalom and J. Blau) The Wanderings) vii; J. Yeshaya) Your Poems are like
Rotten Figs: Judah al-ijarizi on Poets and Poetry in the Muslim East))~ in Egypt and
Syria in the Fatimid, Ayyubid and Mamluk Eras) ed. U. Vermeulen and K. D)Hulster)
6:143-52 (Leuven: Peeters) 2010).
INTRODUCTION 5
as epigones lO or imitators of the Golden Age poets. ll Fortunately)

contemporary scholarship is starting to reassess established criteria
for Golden Age or non-Golden Age poetry. Alternatives to label-
ing non-Andalusian poets as mere epigones have been suggested for
the poets of Christian Spain. 12 Scholars dealing with Yemenite poetry
have taken up this approach) which should be applied to other Eastern
centres of Hebrew poetry as well. Future research will show that their
poets) distinctiveness as literary heirs to Arabic poetics and poetry is
no less than to the Andalusian-Hebrew poetical tradition. 13
Not surprisingly) however) research on Hebrew poetry in the Mus-
lim East is still very much in its infancy) as Judith Dishon noted with
regard to Egypt in her book on the homonymic epigrams of Joseph
ben Tan~um ha-Yerushalmi. 14 While portions of his diwan have
been published) this major collection of poetry is still far from being
10 Epigone (Greek 1ttYOVTt) "ofI"spring/' "posterity))' or "successors)') is a term used

to describe writers who are derivative) deprived of an independent) original talent
and who work in and are influenced by the manner and tradition of distinguished
predecessors. Hence the idea of a later generation which slavishly follows on. Its use
is associated with Karl Immermann)s popular novel Die Epigonen: Familienmemorien
in neun Buchern 1832-1835 (1836; repr.) Miinchen: Winkler Verlag) 1981). See J. A.
Cuddon) The Penguin Dictionary of Literary Terms and Literary Theory) 4th ed.) rev.
C. E. Preston (London: Penguin Books) 1999) 274-75; S. Berger and I. Zwiep) eds.)
Ep igonism and The Dynamics of Jewish Culture) Studia Rosenthaliana 40 (Leuven:
Peeters) 2008).
11 A notable exception was Jacob Mann) who believed that the Geniza finds com-
pelled researchers to revise their views about the claim of Spain to be the classic
country of medieval Hebrew poetry. J. Man~ Texts and Studies in Jewish History
and Literature (1931-1935; repr.) New York: Ktav) 1972) 1:264-65; I. Davidso~ "The
Study of Medieval Hebrew Poetry in the Nineteenth Century))' Proceedings of the
American Academy for Jewish Research 1 (1930): 33-48.
12 R Brann) A. Saenz-Badillos) and J. Targarona) '(The Poetic Universe of Sam-
uel Ibn Sasson) Hebrew Poet of Fourteenth-Century Castile/' Prooftexts 16 (1996):
75-103; A. Saenz-Badillos) "Hebrew Invective Poetry: The Debate between Todros
Abulafia and Phinehas Halevi))' Prooftexts 16 (1996): 49-73; R P. Scheindlin) "Secular
Hebrew poetry in Fifteenth-Century Spain/' in Crisis and Creativity in the Sephardic
World: 1391-1648) ed. B. R. Gampet 25-37 (New York: Columbia University Press)
1997); J. P. Deeter) Iberian Jewish Literature: Between al-Andalus and Christian Europe
(Bloomington: Indiana University Press) 2007) passim (see especially pp. 13-16).
13 Cf. R. P. Scheindlin)s review on Schirmann-Fleischer (The History of Hebrew
Poetry in Muslim Spa in) 1995; The History of Hebrew Poetry in Christian Spa in) 1997)
in Zion 64 (1999): 384-400; for Yemenite poetry) see A. Tanenbaum) Credit is Due
to the One Who Completes It)" Journal ofJewish Studies 56 (2005): 101-19.
14 J. Disho~ The Book of the Perfumed Flower Beds by Joseph ben Tanchum
Hayerushalmi [in Hebrew] (Beer-Sheva: Ben-Gurion University of the Negev Press)
2005).
6 INTRODUCTION
available to scholarly research. Is The same can be said about the works
of a number of other poets active in the Muslim East) with the notable
exception of Eleazar ha-Bavli. In addition to the pioneering edition by
Brody) Wout Jac. van Bekkum published a new edition of all Eleazar)s
secular poems) based on a Firkovich manuscript) in 2007. Besides
composing secular and liturgical poetry) Eleazar wrote a Judaeo-
Arabic theoretical essay on poetics) the surviving fragments of which
were published by Joseph Yahalom. 16
As to Moses Darcrs dzwan) this book will show that Leon Wein-
berger)s edition is incomplete in its treatment of numerous unclear
elements in both the Hebrew text and variant readings. 17 Weinberger
based his edition upon nineteenth-century copies only) eliminating all
fragments in Judaeo-Arabic (including the poem headings which often
contain crucial information).
The present study of Moses Darci aims to restore these omissions
and so to provide a better understanding of this intriguing poet. It
offers a selective edition of secular poems from Darcrs dzwan) taken
from the earliest manuscript) NLR Evr. I 802) dated to the fifteenth
century. These poems are fully vocalised and published in the original
order attested in the manuscript. Curly brackets { } refer to additions
within the manuscript; other additions are indicated by square brack-
ets [ ]. Every poem comes together with a commentary section includ-
ing an English translation of its Judaeo-Arabic heading) an English
paraphrase) and Hebrew commentaries. The edition is followed by an
alphabetical list of poems) a list of biblical names appearing in these
poems) and variant readings from the works of Pinsker) Davidson) and
Weinberger.
15 H. Sheynin, '(Der Literarische Nachlass des Josef ben Tanchum Ha-Jeruschalmi:

Forschungen und Texte,)) Acta Orientalia Academiae Scientiarum Hungaricae 22
(1969): 245-71; idem, ((An Introduction to the Poetry of Joseph Ben Tanhum Ha-
Yerushalmi and to the History of its Research: A Study Based Primarily upon Manu-
scripts from the Cairo Genizah)) (PhD diss., University of Pennsylvania, 1988).
16 H. Brody, Diwan ofEleasar ben Jaakob ha-Babli [in Hebrew] (Jerusalem: Meqi~e
Nirdamim, 1935); W. J. van Bekkum, The Secular Poetry of Etazar ben Ya(aqov ha-
Bavli: Baghdad, Thirteenth Century, on the basis of manuscript Firkovich Heb. IIA,
210.1 (Leiden: Brill, 2007); idem, ((The Research History of the Baghdadi-Jewish
Poet Efazar ha- Bavli (Thirteenth Century),)) in Studies in Medieval Jewish Poetry, ed.
A. Guetta and M. Itzhak~ 157-64, Studies in Jewish History and Culture 18 (Leiden:
Brill, 2009); J. Yahalom, Judaeo-Arabic Poetics: Fragments of a Lost Treatise by Elazar
ben Jacob ofBaghdad [in Hebrew] Oerusalem: Ben-Zvi Institute, 2001).
17 L. Weinberger, Jewish Poet in Muslim Egypt, Moses Dar(i's Hebrew Collection
(Leiden: Brill, 2000).
INTRODUCTION 7
The present edition includes the Judaeo-Arabic headings and thus

responds to the call of contemporary scholars who have become
aware that the Judaeo-Arabic texts in the dzwan have been generally
neglected. While Arie Schippers has shown that it is important for
further research to deal with the Judaeo-Arabic texts) I:Iaggai Ben-
Shammai analyzed some Judaeo-Arabic headings referring to a Bar
Mi~va-like ceremony in a Karaite synagogue in twelfth-century Egypt.
Uri Melammed has announced that he is preparing a critical edi-
tion (including a translation into Hebrew) of all the Arabic texts in
Dar'rs collection: the two prose introductions) the poem headings) the
Judaeo-Arabic poems) and the poems written in a mixture of Judaeo-
Arabic and Hebrew. 18
The introduction to this edition attempts to recapitulate the current
knowledge on Moses Dar'i) with a focus on historical, biographical,
and socio-cultural considerations) in addition to providing observa-
tions on genre) motif and theme) language) and literary style. Another
important aim is to lay bare the biased nature in the history of research
on the Karaite movement in general) and on the Eastern Karaite poet
Moses Dar'i in particular. Is it right to ignore the negative assessments
by) for example) the nineteenth-century scholars Adolf Neubauer) who
described Moses Dar'rs poems as (imitations) and often very bad ones)))
and Heinrich Graetz) according to whom they are (ugly) wooden and
without any poetical charm))? And: are these poems important) inter-
esting) and rewarding enough to justify the time and effort that is
spent on them? It is these awkward questions that we will address in
the conclusion) by seeking to evaluate Moses Dar'rs dzwan in the light
of the Andalusian-Hebrew poetical tradition and within the context of
Hebrew literary activity in the Muslim East.
c
18 As made known at his lecture "The Arabic Portions of the Dzwan by Moses Dar },
the Karaite) given at the 13th Conference of the Society for Judeo-Arabic Studies, held
in Cordoba. C A. Schippers) "Some Remarks on Judaeo-Arabic Poetical Works: An
Arabic Poem by Moses DarCi,') in Studies in Medieval Jewish Poetry) ed. A. Guetta and
M. Itzhak~ 141-56) Studies in Jewish History and Culture 18 (Leiden: Brill) 2009);
ij. Ben-Shammai) ((On a Torah Case with Ornaments and a Bar Mizva (?) Ceremony
in a Karaite Synagogue in Egypt in the 12th Century) [in Hebrew] Pe(amzm 104
(2005): 5-10.
CHAPTER ONE
HISTORY OF RESEARCH
1.1 Nineteen th-Century Scholarship
Western scholarship first noted the poetical collection of Moses Darci

in a catalogue of Karaite manuscripts from the Crimea) published by
Abraham Geiger (1810-74) in 1837. 1 Geiger reported that the collec-
tion by Moses ben Abraham R6fe) from Egypt consisted of 561 poems
in two volumes) named TaJ:tkemoni ('<[the book of] Wisdom) and
Sefer zeraJ:t ('<The book of shining lighf). Soon afterward) Abraham
Firkovich (1786-1874)) the famous Karaite bibliophile) entrepreneur)
and scholar from Volhynia (present-day Ukraine)) acquired manu-
scripts of the two-part collection. 2
The Firkovich manuscripts (NLR Evr. I 802-803) have still not
received the attention they deserve) despite their status as the oldest
extant (fifteenth-century) reproductions of the original diwan com-
piled by Darci. Two factors could be responsible for this.
First) the controversy which raged over the authenticity of the entire
Firkovich collection may have resulted in a reticence to use these par-
ticular manuscripts. When Abraham Firkovich visited St. Petersburg
in 1856 to sell his first collection of manuscripts to the Imperial Pub-
lic Library) a fierce public discussion arose concerning possible falsi-
fications of colophons and postscripts. A special commission of the
Russian Academy of Sciences admitted the questionable character of
some of these colophons and postscripts. However) they deemed this
A. Geiger, "Ausgezeichnete Handschriftensammlung: Karaische Schrifte~)' Wis-

senschajtliche Zeitschrift fUr Judische 1heologie 3 (1837): 443, n. 9-10. For more infor-
mation on the scholarly study of Karaism in the West, see ij. Ben-Shammai, "The
Scholarly Study of Karaism in the Nineteenth and Twentieth Centuries," in Karaite
Judaism: a Guide to Its History and Literary Sources, ed. M. Polliack, 9-24 (Leiden:
Brill, 2003).
2 According to Tamani, the manuscripts were acquired in Cairo in 1843, on his first
visit to the city: "La Tradizione del Canzoniere di Moshe Dari," Henoch 6 (1984): 214.
On Firkovich and his activities, see the contributions by T. Harviainen and D. Sklare
in Karaite Judaism, 875-92 ("Abraham Firkovich") and 893-924 ("A Guide to Collec-
tions of Karaite Manuscripts") respectively, and the literature cited there.
10 CHAPTER ONE
insignificant in proportion to the overall authenticity and importance

of the collection. Even though Firkovich)s determination to prove the
antiquity of the Russian Karaite community may have led him to adapt
the dates in colophons or add postscripts to manuscripts) he never
forged the actual text of the manuscripts. 3 Thus) the first Firkovich col-
lection) including the poetical collection of Moses ben Abraham Dar(i)
entered the Imperial Public Library in St. Petersburg in 1862.
A second factor which may explain why the Firkovich manuscripts
(NLR Evr. I 802-803) have been generally neglected has to do with his-
torical circumstances. Access to the Firkovich collections was severely
restricted during the Soviet period) particularly to Western research-
ers. Fortunately) the fall of the Iron Curtain in 1989-90 removed this
obstacle. As a result) researchers can now consult original manuscripts
of several Hebrew and Judaeo-Arabic texts in the National Library of
Russia as well as microfilm copies kept at the Institute of Microfilmed
Hebrew Manuscripts in Jerusalem and in the library of the Jewish
Theological Seminary of America) New York. The new accessibility of
the Firkovich collections has led to a remarkable resurgence in the
scholarly study of Karaism in recent years. 4 Moreover) the controversy
surrounding the collections has been largely settled in favour of schol-
ars defending their authenticity.s
One of the first scholars to examine and describe several Firkovich
manuscripts was Sim~ah Pinsker (1801-64) whom Firkovich had
befriended on a visit to Odessa around 1850. Ten years later) in 1860)
Pinsker published his innovative work entitled Liqqute qadmoniyyot
('<Collections of antiquities)).6 The primary importance of this history
of Karaism and Karaite literature lies in the fact that Pinsker made
accessible many extracts from original) unpublished Hebrew and
3 See s. Iakerson, "Abraham Firkovich de KaraIet en zijn verzameling Hebreeuwse

en Samaritaanse manuscripten in Sint-Petersburg," in Leeser Rosen thallJuda Palache-
lezing 17 mei 2005, 5- 39 (Amsterdam: Vossiuspers, 2005).
4 See the contributions in M. Polliack, ed., Karaite Judaism: a Guide to Its History
and Literary Sources (Leiden: Brill, 2003).
5 According to Iakerson ("Abraham Firkovich de KaraIet," 23-24), all manuscripts
in the First Firkovich Collection can be used for scientific purposes. His arguments are
reminiscent of those of the nineteenth-century commission mentioned above; while
one has to be careful with some of the colophons and postscripts, Firkovich never
presented forged texts as original medieval manuscripts.
6 Liqqute qadmoniyyot [Lickute Kadmoniot: Zur Geschichte des Karaismus und der
karaischen Literatur] [in Hebrew] (Vienna: Adalbert della Torre, 1860).
HISTORY OF RESEARCH 11
Judaeo-Arabic works. Leon Nemoy (1901-98) author of the epoch-

making work entitled Karaite Anthology) states the following:
It is these original texts which lend his work its permanent value. His
own contribution is now largely antiquated) particularly his exagger-
ated idea of the role of the early Karaite scholars) whom he erroneously
regarded not only as the sole founders of the study of Hebrew grammar
and lexicography) but also as the pioneers in medieval Hebrew poetry
and the precursors of the great Rabbanite poets in Spain) such as Ibn
Gabirol and Judah Halevi. Some of Pinsker>s misconceptions were the
result of Firkovich>s tendentious advice or were based on data forged by
Firkovich in his zeal to magnify the otherwise very substantial contribu-
tion of Karaism to medieval Jewish learningJ
Nearly one hundred of Moses Darcrs poems can be found in those

original texts. 8 The presentation of these poems is mainly a transcrip-
tion of the Firkovich manuscripts with sporadic vocalisation but with-
out analysis or commentary. Between 1861 and 1862 Pinsker published
another twenty-two poems in the Viennese periodical Kokhebe yi~/:laq)
this time including vocalisation and commentary.9 The publication of
Liqqitte qadmoniyyot provoked a strong response from the scholarly
community of that time. 10
We will discuss below how Pinsker)s dating of Darci to the first half
of the ninth century led to vigorous debate. On the basis of a mistaken
interpretation of the Hebrew colophon verses of manuscript NLR Evr.
I 802 (fo1. 135b) Pinsker believed that Moses Darci finished the compi-
lation of the first part of his collection in 843 CEo However) the correct
date to be derived from these colophon verses is 1474 according to the
Seleucid calendar) or 1163 in the Western (i.e.) Gregorian) calendar. l1
7 L. Nemoy, Encyclopaedia Judaica (Jerusalem, 1972), 13:548-49; idem, Karaite

Anthology: Excerpts from the Early Literature, Yale Judaica Series 7 (New Haven: Yale
University Press, 1952).
8 S. Pinsker, Liqqute qadmoniyyot, 1:46-105, and 135-37. In part 2 (pp. 113-21)
Pinsker published in alphabetical order the first lines of the liturgical poems of Moses
Darci
9 S. Pinsker, Kokhege yi~~aq, 26 (1861): 22-25; 27 (1861): 24-27; 28 (1862):
20-24.
10 Some scholars have even called it a "turning point in modern Gaonic studies)';
see G. D. Cohen)s introduction to the reprinted edition of J. Mann)s Texts and Studies
in Jewish History and Literature (1931-1935; repr., New York: Ktav, 1972), I:XVIII.
11 1:1. Ben-Shammai, "On a Torah Case with Ornaments," 5 n 2.
12 CHAPTER ONE
Pinsker)s dating ran contrary to the prevailing views about the

beginnings of Andalusian poetry and poetics. Had Pinsker been cor-
rect) Moses Darci would have lived well before the poets of the Andalu-
sian Golden Age) who would then have been likely to have undergone
his influence rather than influencing him. Nevertheless) some scholars)
among whom was the historian Heinrich Graetz (1817-91) accepted
Pinsker)s early dating. However) Graetz did not share Pinsker)s appre-
ciation for Darcrs poetry.12 His negative judgment seems to reflect the
biased opinions that Western European Jewish scholars at that time
held of the Eastern poets. 13
The first scholar to reject Pinsker)s early dating of Darci was Geiger.
His aesthetic evaluation of the poet stands midway between Pinsker)s
and Graetz)s; Geiger criticises their judgments for being either unrich-
tig [inaccurate] or ungerecht [unfair]. Geiger characterises Darci as a
technically accomplished poet) whose imitative poems generally lack
ideas and never reach the level of those composed by the Andalusian
poets. 14
Geiger)s primary argument for rejecting Pinsker)s dating was that
Darci explicitly mentions Andalusian poems to indicate the metres of
his own poems. It is interesting to note that Geiger accepted the trust-
worthiness of the colophon verses in manuscript NLR Evr. I 802:
Also fur Dar(i selbst haben wir kein bestimmtes Datum) dennoch k6n-
nen wir seine Zeit ziemlich genau bemessen. 1163 wurde seine Doppel-
sammlung bereits abgeschrieben; aber er lebte auch nich fruher als in
der ersten Halfte des 12ten Jahrhunderts) denn er war Nachahmer der
spanischen Dichter bis auf Abraham eben Esra herab. [...] So steht mir
12 S. Pinsker) Liqqute qadmoniyyot) 1:46: O"'T,J:1 t,"OO 'JN1 'JJt, nV:J lN1'"'Tj'l j'lt
1'n'J1 1'nOY 1't:1 JJvn01 1:1n,t,1 1:J'Nt, j'ltj'l ("And this dfwan lies currently in front
of me and I walk all through this orchard and indulge myself in the splendour of its
plants and its flowers.)')
13 "Trotz des Versmasses sind Mose Darai)s [sid] Gedichte nichts desto weniger
unsch6~ h6lzern) ohne den geringsten poetischen Reiz und weiter nichts als Knit-
telverze mit Reimgeklinger' ("In spite of the metrical patterns) Moses DarCi)s poems
are ugly) wooden) and without any poetical charm; they are nothing more than dog-
gerel verses and rhyming jingles)') (Geschichte der Juden vom Abschluss des Talmuds
(500) bis zum Aufbluhen der judisch-Spanischen Kultur (1027) [Leipzig: Oskar Leiner)
1890] 5:286).
14 A. Geiger) "Hebraische Zeitschriften: Moses Dar1))' Zeitschrift der Deutschen
Morgenliindischen Gesellschajt 15 (1861): 813.
das Resultat fest: Dar(i ist urn drei ]ahrhunderte jiinger) als Pinsker und
Graetz ihn angeben. 15
In the same year) Joshua H. Schorr (1818-95) reached a similar con-
clusion) differing from Geiger only in that he accepted 1170 CE as
the year in which Dar'Cs diwan was copied. 16 Schorr found additional
evidence against the early dating of Moses Dar'i in poem no. 181 in
the diwan (manuscript NLR Evr. I 802) fols. 42a-43a).
This poem was written to mark the marriage of the physician Moses
ben ~edaqa to a daughter from the Tara)ifi family. According to Schorr)
this implied that Dar'i lived in the same period as Judah al-I:Iarizi)
who in his Sefer ta/:zkemoni praises a Damascene physician bearing
the same name. 17
Geiger pursued Schorr)s argument in an article published in 1862.
Both poets were again assumed to have praised the same physician)
although Dar'i did so when ben ~edaqa was young and newly-wed
(i.e. the middle of the twelfth century) and al-I:Iarizi did so when
ben ~edaqa had reached old age. 18 While Pinsker held his ground on
the dating of Dar'i) his untimely death in 1864 foiled his intention to
respond to Geiger and Schorr. This decided the argument in favour of
scholars arguing for a late dating.
In 1866) Adolf Neubauer (1831-1907) put forward his supposition
that Moses Dar'i lived after al-I:Iarizi) in the second half of the thir-
teenth century. Neubauer based his dating on two arguments. First)
al-I:Iarizi does not explicitly mention Dar'i; second) in many poems
Dar'i prays for the deliverance of Jerusalem from Muslims and Chris-
tians) which points to a time when the two sides were contending for
15 A. Geiger) ((Hebraische Zeitschriften/) 818-19: ((Thus for Darci we cannot give

a specific date) but nevertheless we can date him in a fairly precise way. Already in
1163) his two-volume collection was copied; but he cannot have lived earlier than the
first half of the twelfth century) since he was an imitator of the Spanish poets until
Abraham ibn Ezra. [...] The conclusion is obvious to me: Darei is about three centuries
younger than Pinsker and Graetz state.)
16 J. H. Schorr) ((S. Pinsker) Liqqftte Qadmoniyyof) [Review], He-1falu~ 6 (1861):
56-59.
17 See maqama nos. 46 and 50 in Judah al-l:Iarizl, The Book of Ta1].kemoni: Jewish
Tales from Medieval Spain) trans. D. Simha Segal (Portland: Littman Library of Jewish
Civilizatio~ 2003) 340) 394) and 412.
18 It should be noted that according to Geiger Judah al-l:Iarizi travelled in the last
quarter of the twelfth century and not after 1215 as scholars now agree (A. Geiger)
((Hebraische Zeitschriften: Moses DarC~) 287-95).
14 CHAPTER ONE
the city.19 Neubauer also pronounced harsh judgments on Moses Darci

in particular and Karaite literature more generally. 20
In contrast to Neubauer) the major bibliographer Moritz Steinsch-
neider (1816-1907) argued that Moses Darci visited Damascus before
Judah al-~arizi did. His 1871 article concludes an intense decade of
debate on the dating of Darcie Ten years after Geiger and Schorr had
put forward their arguments) Steinschneider suggested shifting ben
~edaqa)s wedding date from the middle of the twelfth century to some
time between 1180 and 1185 CEo Steinschneider based this on the
identification of Moses ben ~edaqa with cImran b. ~edaqa) a physician
believed to have been born in Damascus in 1165 or 1166 CE to a Rab-
banite father. 21
Interestingly enough) Steinschneider also ascribed a Rabbanite back-
ground to Moses Darci) whom he identified with a namesake scholar
that Maimonides mentioned in a responsa to the scholars from Lune1. 22
This scholar had immigrated from the Muslim West to Egypt and/
or Palestine) where he rejected his tefillin and) according to Steinsch-
neider) became a Karaite. The same Moses Darci supposedly had briefly
enjoyed the status of prophet in the mid-1120s when he announced
the coming of the Messiah to his followers in Fez. In his Epistle to
Yemen Maimonides relates how Darci would soon afterward be forced
to leave Morocco for Palestine) where he died. 23 While Steinschneider
19 A. Neubauer, Beitrage und Documente zur Geschichte des Karaerthums und der
karaischen Literatur (Leipzig: Oskar Leiner, 1866), 21-23, 115-17. In 1865 Neubauer
published a single poem by Darci in his work Melekhet ha-Shfr [in Hebrew] (Frankfurt
am Main, 1865), 64.
20 Neubauer, Beitrage und Documente, 21: "Der dichter Moses Dari [sid] ist etwa
der Nil der karaischen Literatur in Aegypten, denn so unbedeutend auch dessen Dich-
tergabe ist, so macht er das Feld etwas fruchtbare e) ("The poet Moses Darci could be
described as the Nile of Karaite Literature in Egypt, because, even though his poetical
ability is also insignificant, he made the field a bit more fertile)); idem, 22: "Uebrigens
wer nur irgendwie hebraische Gedichte angesehen, kann sogleich unterscheiden, dass
die Darats [sic!] Nachahmungen und oft sehr schlechte Nachahmungen sind) ("More-
over, anyone who has any experience in dealing with Hebrew poems can immediately
see that DarCi)s poems are imitations, and often very bad ones)).
21 M. Steinschneider, "Moshe b. Zedaka, Imran b. Sadaka und Moshe DarCt, Judis-
che Zeitschrift fur Wissenschaft und Leben 9 (1871): 172-83.
22 H. Brody, "Darci, Moses,) Jewish Encyclopedia, 4:440-41 (New York, 1903);
A. Freimann, Teshugot hd-Rambam [in Hebrew] Oerusalem: Meqi~e Nirdamim,
1934), 9.
23 J. L. Kraemer, "Maimonides: Epistle to Yemen (1172)/) in Maimonides' Empire
ofLight, ed. R. Lerner, 130-31 (Chicago: The University of Chicago Press, 2000). It is
likely that the famous Muslim historiographer Ibn Khaldlln referred to Moses Darci
when he attributes to a Jew from Fez a mataba ("versified prophecy) that led to his
identified this scholar/prophet with the poet Moses Darei) others have
found this identification to be unwarranted and unacceptable. 24
1.2 Twentieth-Century Scholarship
No progress was made on Darers biography during the final decades

of the nineteenth century. Heinrich (I:Iayyim) Brody (1868-1942) the
famous editor of medieval Hebrew poetry) published a survey of schol-
arly knowledge about the poet in a contribution in the 1903 edition of
the Jewish Encyclopedia. 25 One year later) David Kahana (1838-1915)
published an article which conclusively showed that Moses Darei could
not have antedated the Golden-Age Andalusian poets. 26
Close examination by Kahana of Darers collection revealed a
21-stanza baqqasha (liturgical poem of petition to God for the for-
giveness of sins) beginning with the words: C1Jl1 4t~t?1J M1J~ ('<Erase
my sin and be mercifur)). In this poem) the last line~ of e~ch stro-
phe are refrains taken from a 22-stanza baqqasha by Judah ha-Levi
beginning with the words: 4tl:ll~l) z,~ il~ 'M ('<0 LORD) all my desire
is before YoU))).27 Kahana put forward three additional arguments in
favour of a late dating for Darcie The first was the abundance of litur-
gical poems in Darers collection. A second was that Firkovich prob-
ably added the colophon verses to manuscript NLR Evr. I 802. The
third was the existence of another work attributed to Darei) which an
Egyptian Karaite leader named Abraham Kohen had brought to light
in 1898. This maqama-style work was assumed to be an imitation of
assassination; see E. Alfonso, Islamic Culture through Jewish Eyes: AI-Andalusfrom the
Tenth to Twelfth Century (New York: Routledge, 2008), 154 n. 56.
24 A. J. Heschel, Prophetic Inspiration after the Prophets: Maimonides and Other
Medieval Authorities (New York: Ktav Publishing House, 1996), 29 and 75-76; J. H.
Schorr, He-Halus 8 (1863): 127.
25 H. Brody, "Darci, Moses,) Jewish Encyclopedia, 4:440-41 (New York, 1903).
26 D. Kahana, "About the Karaite poet Moses Darci,) [in Hebrew] ha-ShUoii~ 13
(1904): 435-42. In 1896 Kahana had already published a less thought-provoking arti-
cle on Darci in O~ar ha-Sifrut 5 (1896): 90-95.
27 For DarCi)s poem, see MS NLR Evr. I 803, fols. lla-13b (poem no. 5 of the sec-
ond part of the collection). For Halevi)s poem, see D. Yarden, The Liturgical Poetry
of Rabbi Judah ha-Levi [in Hebrew] (Jerusalem, 1985), 4:78. Publishing a poem by
Samuel b. Nissim of Aleppo, a contemporary of al-l:Iarizi, with a similar practice,
Kahana observed that Darci was not the only one to adopt ha-Levi)s poetry.
16 CHAPTER ONE
Judah al-I:Iarizts Sefer ta1Jkemonz) and) therefore) a clear indication

that Moses Darci could not have lived before the thirteenth century.28
Israel Davidson (1870-1939 the compiler of the Thesaurus ofMedi-
eval Hebrew Poetry) published this maqama in 1926. He used a manu-
script of Abraham Kohen and called the work Maqama ofAlexandria
and Cairo. Four years later) Davidson treated two other manuscripts)
identified by the young Jefim (:f?:ayyim) Schirmann (1904-81 which
shed new light on the maqama. 29 Relying on one of these) Abraham
M. Habermann (1901-80) published his supplement to the Maqama
of Alexandria and Cairo. 3D In addition to this maqama) Davidson had
also intended to use a manuscript which he had acquired in 1926)
again from Abraham Kohen) to publish the poetical collection of
Moses Darci. However) only a small selection containing the first ten
poems of the dzwan) in the original order attested in the manuscript)
appeared in 1936. 31
Nemoy was the first scholar to publish translations of Moses Darcrs
poems) when he included a selection of 24 poems in English transla-
tion in his Karaite Anthology (1952).32 Nemoy)s appreciation for Darcrs
poetical talent was more positive than that of his predecessors:
Moses Dar(i is justly regarded as the greatest poet of medieval Kara-
ism. He was undoubtedly possessed of a genuine poetic talent and was
a skilful master of the rather ornate and involved style used in medieval
Hebrew poesy. It is no reflection upon his literary merit to state the
simpIe fact that with all his accomplishments he did not attain the lyric
heights and the stylistic brilliance of the best poets among his Rabbanite
predecessors in Spain.33
28 A. Kohen, Ha-~efzrii 25 (1898): 490 and 518-19. Kahana's second and third argu-
ments were repeated by S. Poznansk~ "Karaische Kopisten und Besitzer von Hand-
schriften,') Zeitschrift fur hebriiische Bibliographie 19 (1916): 82 n. 17.
29 I. Davidson, "The Maqama of Alexandria and Cairo,') [in Hebrew] Maddii(e
ha-Yahildat 2 (1926): 296-308; idem, "Note on the Maqama ofAlexandria and Cairo,')
[in Hebrew] Tarbzs 2 (1930): 118-19.
30 A. M. Habermann, "Supplement to the Maqama of Alexandria and Cairo of
Moses DarCr,') [in Hebrew] Proceedings of the American Academy for Jewish Research
33 (1965): 35-40.
31 I. Davidson, "The Dzwiin ofthe Karaite Moses DarCr,') [in Hebrew] lforeg 3 (1936):
28-42. Davidson also included several of Darcr's poems in his Thesaurus of Medieval
Hebrew Poetry [in Hebrew] (New York: Ktav Publishing House, 1970), 4:445-47.
32 L. Nemoy, Karaite Anthology, 133-46 and 354-55. One poem by Darcr was trans-
lated by T. Carmi in his Penguin Book of Hebrew Verse (New York: Penguin Books,
2006), 360.
33 L. Nemoy, Karaite Anthology, 133. About twenty years on, his judgment had
become more negative: "In Egypt, Karaite efforts to write Hebrew poetry produced
In 1981) Yosef Algamil published about ten poems by Darei) some of

which Pinsker or Davidson had already edited. Interestingly enough)
Algamil and other Karaite scholars have kept Pinsker)s early ninth-
century dating for Darei) which is now generally regarded as based on
Firkovich)s forged date. 34
Giuliano Tamani should be credited for his articles on the manu-
script tradition of Darers poetical collection. Nevertheless) his find-
ings need to be completed with additional information unavailable
to Tamani in the mid-eighties of the previous century) before the
Firkovich collections became accessible. 35 According to Tamani) the
diwan could only be evaluated correctly when published completely
and analysed thoroughly in comparison with Andalusian models.
1.3 The Edition by Leon Weinberger
In 1998 Leon Weinberger partially responded to Tamanfs call by

publishing a complete edition of Moses Darers Hebrew collection. 36
The primary merit of this edition was that it facilitated access to
Darers poems) which until then had only been available in the selec-
tions published by Pinsker and Davidson. The edition has an English
(about the middle of the twelfth century) the most eminent poet of the earlier period,
Moses Darei, who imitated, not very successfully, the great rabbinic poets of the Span-
ish school, and left an extensive Diwan of poetic pieces, both religious and seculae)
(L. Nemoy, "Karaites,) The Encyclopaedia ofIslam, 4:605 [Leiden: Brill, 1973]).
34 Y. Algamil, History of Karaite Jewry [in Hebrew] (Ramla: National Council of
Karaite Jews in Israel, 1979), 2:190-201; H. Halevi, Sefer toledot ~ayyfm [in Hebrew]
(Ashdod, 1994), 90-101; S. Szyszman, Le Karaisme: Ses Doctrines et son Histoire (Lau-
sanne: L)Age d)Homme, 1980), 51 and 63.
35 G. Tamani, "La Tradizione del Ca nzoniere di Moshe Dari, Henoch 6, no. 2
(1984): 205- 24; idem, "Questioni di Storiografia Letteraria Ebraica: II Canzoniere di
Moshe Dar~) in Atti del IV Congresso dell Associazone Italiana per 10 Studio del Giu-
daismo, ed. F. Parente, 249-60 (Rome: Carucci, 1987).
36 L. Weinberger, Jewish Poet in Fatimid Egypt: Moses Dar(f's Hebrew Collection
(Tuscaloosa: The University of Alabama, 1998). Two years later an exact copy of the
work appeared, entitled Jewish Poet in Muslim Egypt: Moses Dar(f's Hebrew Collection
(Leiden: Brill, 2000). It should also be pointed out that Weinberger is the only scholar
to have edited and analysed a substantial corpus of Karaite poetry, with a special focus
on Karaite piyyutim written in South-Eastern Europe dUring the Byzantine and Otto-
man periods, c section 5.4; L. Weinberger, Rabban ite and Karaite Liturgical Poetry
in South-Eastern Europe (Cincinnati: Hebrew Union College Press, 1991). We should
also draw attention to Weinberger)s chapter on Karaite synagogue poets in his book
Jewish Hymnography: A Literary History (London: The Littman Library of Jewish Civi-
lization, 1998), 408-31.
18 CHAPTER ONE
introduction) which recapitulates Weinberger)s 1994 article. 37 This

introduction places particular emphasis on the continuity between
Andalusian-Hebrew poetry and Darers oeuvre) as Raymond P. Schei-
ndlin noted in his review. 38
Weinberger applied a non-transparent procedure in editing and
ordering the poems. With the exception of one nineteenth-century
copy) which he describes in some detail) his description of the available
manuscripts is vague. 39 He did not identify manuscript NLR Evr. I 802 as
the first volume of the Firkovich manuscripts and erroneously described
it as a nineteenth-century vocalised manuscript. Several other findings
show that he did not consult the fifteenth-century Firkovich manu-
scripts) but relied only on nineteenth-century copies of Darers dzwan. 40
As to the ordering of the poems) Weinberger disregarded the origi-
nal order of the poems as attested in the manuscripts) and rearranged
them according to theme. However) the juxtaposition of poems is
potentially relevant for their interpretation) especially when one takes
into account that Darei compiled his own work. A section in his dzwan
containing three contiguous poems whose Judaeo-Arabic headings
reveal that they all praise old age is a fine illustration of this prin-
ciple. In Weinberger)s edition) however) those three poems are treated
separately as a philosophical poem) a complaint poem) and a poem of
self-praise. 41
The poem headings do not appear in Weinberger)s edition because
he excluded all Judaeo-Arabic text. This includes the prose introduc-
tions to both parts of the collection) the Judaeo-Arabic poems) and the
poems written in a mixture of both Arabic and Hebrew. Weinberger)s
approach to the Judaeo-Arabic headings is particularly problematic
with regard to Darers secular poems; these can be distinguished from
37 Moses Darci) Karaite Poet and Physician))) Jewish Quarterly Review 84) no. 4
(1994): 445-83.
38 R. P. Scheindlin, L. Weinberger) Jewish Poet in Muslim Egypt: Moses DarCi)s
Hebrew Collection))) [Review] Hebrew Studies 41 (2000): 343-47.
39 See) by way of illustration, his description of MS D (MS NLR Evr. I 802)
E) and F: The anonymous scribe of Ms. D) unlike the others) consistently vocalised
the Hebrew text. Little is known about Mss. E and F)) (L. Weinberger) Jewish Poet in
Muslim Egypt) 2).
40 On the basis of the reproductions of manuscripts on pp. 34-35 in his edition)
it can be concluded that Weinberger seems to have mistaken MS Evr. I 802 for the
nineteenth-century vocalised MS D82) and vice versa In his 1994 article (446) he
listed only three nineteenth-century MSS among his sources.
41 Nos. 54-56; MS NLR Evr. I 802: fols. 17b-18a (ed. L. Weinberger) 372) 420-2C
460-61).
the poems with a liturgical function by the fact that the latter generally
lack headings. Although Gamil Ovadia translated the poem headings
into Hebrew) this was done in an unsatisfactory manner) as Scheindlin
noted in his review. 42
In other words) important information about poetical form and
genre was effectively lost. For instance) one can learn that the first
poem of the diwan is definitely a qa~ida and not a muwashsha~-like
poem. Similarly) a poem heading which mentions the Arabic generic
term hija> confirms that the genre of poem no. 10 should be considered
a lampoon and not a complaint. 43 In other instances) we learn more
about the addressee of the poem or the poet)s reason for composing
it. The heading to poem no. 29 shows that it was a Hebrew translation
of an Arabic original) that to poem no. 101 that it imitates a poem by
Judah ha-Levi) and that to poem no. 207 that it was meant to praise a
prominent Jew who drowned in the Nile. 44
The present study aims to restore these omissions in a selective
edition of secular poems from Darers diwan) taken from the earliest
manuscript) NLR Evr. I 802) dated to the fifteenth century. Within
the stricture of our study) the current edition consists of a representa-
tive segment of poems) numbered 1-152) from the first section of the
diwan. 45 The Hebrew text and Judaeo-Arabic heading of each poem
are provided in full in the original order attested in the manuscript
NLR Evr. I 802. Each poem is vocalized and accompanied by a transla-
tion of the Judaeo-Arabic heading into English) an English paraphrase
of the poem) and Hebrew annotations.
42 R P. Scheindlin, Hebrew Studies 41 (2000): 346: "The Arabic poem headings are,
to be sure, provided in Hebrew translation; but they are printed in the notes after the
poems instead of at their heads, as intended, and the Hebrew translations accompany-
ing them are often so opaque that they themselves had to be provided with explana-
tory notes, as if they were a primary source.)
43 MS NLR Evr. I 802, fols. 3b and 7b (ed. L. Weinberger, 317-20 and 371-72).
44 MS NLR Evr. I 802, fols. 12b, 26b, and 53b (ed. L. Weinberger, 436, 324-26 and
273-74).
45 The edition thus excludes the special sections of riddle poetry (poems nos. 160-
174), elegies and epithalamia (poems nos. 176-189, 205-213) and Judaeo-Arabic and
bilingual poetry (poems nos. 190-204), which will be dealt with by Dr. Uri Melammed
in a forthcoming publication. Poems nos. 215-237 are not included in this edition
because of their usage in the Festival liturgies. The same can be said about the sec-
tion containing 100 liturgical poems on the readings of the Torah, since these poems
require a separate study. It should be pointed out that Weinberger included all of
Moses DarCts Hebrew poetry in his edition, both from the dfwan itself and from the
supplementary volume to his dfwan, Le., more than five-hundred poems all together,
c chapter 2 below.
CHAPTER TWO
MANUSCRIPT TRADITION
More than five-hundred of Moses Darers poems have been preserved

in two volumes that he compiled. The first is a dzwan to which he
gave the Arabic title Firdaws azhar al-qa~a'id wa-'l-ash'ar ('<The gar-
den of flowers of qa~zdas and poems) and the second a supplement
entitled Al-muliJaq li-dzwanihi 'l-asbaq ('<Supplement to the preceding
dzwan). The final compilation of the original dzwan may be dated to
1163 CEo However) it is not certain whether Aaron ibn Ezra) a mem-
ber of a Karaite family famous for transcribing Hebrew books) was
the copyist of the original or of the earliest extant (fifteenth-century)
copy.1 The Firiiz family) also renowned Karaite scholars) may have
been in the possession of both parts of the poetical collection in the
thirteenth century.2
2.1 List of Available Manuscripts
A. St. Petersburg, National Library of Russia (NLR), MSS Evr. I 802

(270 x 180 mm) and 803 (210 x 160 mm); 138 and 166 fols. respec-
tively; fifteenth century [Institute of Microfilmed Hebrew Manu-
scripts (IMHM), Jewish National and University Library, Jerusalem,
microfilm nos. F51008 and F51263]. On the basis of their Oriental
Karaite square script) these manuscripts) comprising a complete
See) for the latter view) G. Tamani) "La Tradizione del Canzoniere di Moshe Dari,>'
213-14) and S. Poznanski, "Karaische Kopisten/' 82 n. 17. Aaron ibn Ezra)s family
had as a patronymic the appellation Kdtib al-(Arab (see S. D. Goitein, A Mediter-
ranean Society) 2: 379; J. Mann) Texts and Studies in Jewish History and Literature)
278-79).
2 See the notes of possession in MS NLR Evr. I 802 (fol. 139a) and MS NLR Evr.
I 803 (fol. 2a). There is some confusion as to the correct dates mentioned in these
notes of possession, more particularly) whether one has to read respectively T":H"l
(= 1267 CE) and :l"t,;, (= 1272 CE) instead of T":Jn (= 1667 CE) and :l"t,n (= 1672
CE). About the Firuz-family see S. Poznanski) ((Die karaische Familie Firuz' Monats-
schrift des Deutschen Morgenlandischen Gesellschajt 57 (1913): 44-58) 620; and 60
(1916): 149-52.
22 CHAPTER TWO
copy of the two-part collection) are presumed to date from the fif-
teenth century. A characteristic Oriental feature) employed under
the influence of Arabic calligraphy) is the use of a ligature for alef
when followed by lamed. 3 There is) on the other hand) a clear dif-
ference in quality between the two manuscripts; while both are
written in black ink on yellowish paper) only manuscript no. 802
is bound in brown leather) with Arabic vocalisation) and the num-
bers and markings in red. It is also illuminated with illustrations
containing plant motifs in green) blue) red) white) and gold on fols.
44a and 138b.4
B. St. Petersburg, NLR, MS Evr. II A 203; 52 folios; fifteenth century
[IMHM no. F65152]. This fragment includes a selection of 77
poems) also present in MSS Evr. I 802-803 but not corresponding
to their organisation of poems. The Eastern script in this MS is
comparable to that of the two aforementioned and seems to date
from roughly the same period.
C. St. Petersburg, Institute of Oriental Studies, Russian Academy of
Sciences, MSS D 82 and 86; 92 and 95 fols.; 1843 CE [IMHM nos.
F69620 and F69687]. These are fully vocalised) nineteenth-century
copies of both parts of the collection) written in a square Karaite
hand; the poems follow the original order attested in MSS Evr. I
802-803.
D. St. Petersburg, Institute of Oriental Studies, Russian Academy of Sci-
ences, MS B 424; 324 + 352 fols.; 1891 CE [IMHM no. F35929].
In 1891 Judah Sere~ copied MSS Evr. I 802-803 twice under the
authority of Elias Kazas) founder of the Karaite theological school
of Eupatoria in the Crimea. Tamani described both copies and
rightly noted a clear difference in quality.5 The first is a rough copy
made in the Imperial Public Library and then transferred in 1934
3 For more information on Oriental scripts see M. Beit-Arie (in collaboration with
E. Engel and A. Yardeni), Specimens of Mediaeval Hebrew Scripts, vol. I, Oriental
and Yemenite Scripts Oerusalem: The Israel Academy of Sciences and Humanities,
1987). My sincere thanks to Dr. E. Engel (The Hebrew Palaeography Project, Jew-
ish National and University Library, Jerusalem) who confirmed that the manuscripts
can be dated in the fifteenth century, even if some uncertainties with regard to the
colophons remain. See also the article by 1:1. Ben-Shammai, "On a Torah Case with
Ornaments, 5 n 2, 6 n 6.
4 Thanks to the curator of the Firkovich manuscripts, Boris Zaykovsky, for allow-
ing me to work in the manuscripts department of the National Library of Russia, St.
Petersburg, and for his help in obtaining reproductions of MS NLR Evr. I 802.
S G. Tamani, "La Tradizione del Canzoniere di Moshe Dari,) 214-16.
MANUSCRIPT TRADITION 23
from Eupatoria to the library of the Institute of Oriental Studies

in Leningrad.
E. New York, Jewish Theological Seminary of America, MS 3442; 399
fols.; 1891 CE [IMHM no. F32127]. The second copy offers a more
legible version in a square Karaite hand; it came into the posses-
sion of Abraham Kohen) leader of the Karaite community of Cairo.
In 1926 it was acquired by Davidson through the offices of Joshua
Finkel.
F. RamIe, Karaite Community of Israel, MS 1; 200 fols.; 1892 CE
[IMHM no. F38806]. Solomon ben Afida Cohen copied this par-
tially vocalised manuscript in 1892) in a square Karaite hand) from
a complete copy in S1. Petersburg. It contains an introduction in
Hebrew concerning the two-part poetical collection based on Pin-
sker)s Liqqute qadmoniyyot. The manuscript originally belonged to
the Karaite community of Cairo) but with the exodus of the Jews
from Egypt in the 1950s and 1960s it passed on to the Karaite com-
munity in RamIe) Israel.
G. Other minor fragments of Darcfs poems are included in MSS Orien-
tal 10481 (London) British Library; fols. 27-28; IMHM no. F7843))
Firkovich Evr. II A 208/2 (NLR; 2 fols.; IMHM no. F64367)) Firk-
ovich Evr. II A 1486 (NLR; 1 fol.; IMHM no. F66747)) Firkovich Evr.
II A 2429 (NLR; 1 fol.; IMHM no. F67306)) Firkovich Evr. II A 2150
(NLR; 6 fols.; IMHM no. F66924; contains poems by Moses Darci
as well as by Judah ha-Levi)) Firkovich Evr. II A 1493 (NLR; 1 fol.;
IMHM no. F66745)) Firkovich Evr. II A 1846 (NLR; 1 fo1.; IMHM
no. F67038)) Firkovich Evr. II A 209/2 (NLR; 30 fols.; IMHM no.
F65159; contains poems from different Karaite authors including
DarCi)) Firkovich Evr. II A 2578 (NLR; 2 fols.; IMHM no. F67458))
Firkovich Evr. II A 196/2 (NLR; 2 fols.; IMHM no. F64334)) Firk-
ovich Evr. II A 1239 (NLR; 1 fol.; IMHM no. F66673).6
With the exception of the fragmentary manuscript NLR Evr. II A 203

(MS B)) the available manuscripts of the complete two-part collection
listed above (MSS A) C) D) E) and F) represent a particularly uniform tra-
dition as to the organisation and order of the poems. The organisation
6 M. Steinschneider signalled an additional fragment, consisting of 74 folios con-

taining 30 liturgical poems, in 1871 (see his (CKaraitische Handschriften,)) Hebrii ische
Bibliographie 11 [1871]: 14-15).
24 CHAPTER TWO
of another complete copy has confirmed this uniformity; the copy is

no longer extant) but Geiger recorded its existence in 1837 in a cata-
logue of Karaite manuscripts from the Crimea. 7 The poetical collection
in manuscripts A) C) D) E) and F) and in the manuscript listed in Gei-
ger)s catalogue) contain exactly the same number of poems (Le.) 561)
organised in two parts:
1. According to the table of contents) the first part of the collec-

tion (MS NLR Evr. I 802) consists of 337 poems. 8 Hebrew verse
introductions and a Judaeo-Arabic prose introduction preface the
dzwan. It is clearly subdivided into a first section containing 220
secular poems) of various lengths) and a second section containing
100 liturgical poems on the Torah readings. Instead of the Arabic
title Firdaws azhar al-qa$a>id wa->l-ashcar ('<The garden of flowers
of qa$zdas and poems))) Geiger names this first part TaJ:tkemonz.
2. The supplementary part of the collection (MS NLR Evr. I 803) con-
tains 224 primarily religious poems. Like the dzwan) this supple-
ment also has a preface with Hebrew verse introductions and a
Judaeo-Arabic prose introduction. Geiger refers to this part by its
Hebrew title Sefer zeraJ:t ('<The book of shining light)) instead of
using the Arabic title al-mulJ:taq li-dzwanihi >l-asbaq ('<Supplement
to the preceding dzwan)).
2.2 Manuscript NLR Evr. I 802
This study focuses on a segment of secular poems from the first sec-
tion in the dzwan of Moses Darci. I have chosen MS Evr. I 802) from
the First Firkovich collection in St. Petersburg (listed as MS A above)
as codex optimus. It is the earliest manuscript with a complete copy
of the original dzwan and generally offers the best readings. The pres-
ent diplomatic edition based on this manuscript incorporates many
7 A. Geiger) Wissenschaftliche Zeitschrift fur judische Theologie 3 (1837): 443) nos.

9-10.
8 However) only 320 poems are actually present in the first part of the collection)
because 17 poems) which the copyist may have omitted or censured) are missing.
Therefore) only 544 of the 561 poems (listed in the table of contents) are present in
the manuscripts.
amendments to Weinberger)s edition) as the following selection of

exampIes illustrates.
Weinberger MS NLR Evr. I 802

1. Poem 311: 2 (p. 362) 1. Poem 12: 5 (fo1. 8b)
, ViN/ -ri"l -ri-rJ ~:n lJ ';" O:J~ ;'lJ:l inlt? 'V?~ / -ri"l -ri-r~ ~;l~' ;r~7 ;'9;l1
": -: O'l~l b'Q~ ~:in~ ,rrl~ 0";'1 0'1.J' ~ln:;) " T : " - :
2. Poem 311: 17 (p. 362) 2. Poem 12: 20 (fo1. 8b)

OV 0~1 / iNt?D:;1 -ri"l ~.p ~j?;l~n~ 0~1 oV0 ~1 / iNt?D:;1 -ri"l ~.p ~j?;l~n? 0~1
" " " "O')=?~:p iniN tJ'J~iV " " " "O')=?~i iniN tJ'J=?iV
3. Poem 326: 1 (p. 372) 3. Poem 17: 2 (fo1. 9b)
OJ? 'lP~l / 0'J?1 nJ~Vt?7 'nN~ [oi'] '~:1N 01' 'Ji:;'/-'l 0'1" n-r~vo~ 'nN:l
" :": "" " """ - :" " T
" ~nJ=?~ '7=?~ ~nJ=?~

4. Poem 370: 15 (p. 413) 4. Poem 19: 17 (fo1. lOa)
/ O.p'tp13 01:;1i?7 0-D'~Q 0' ~~ VJJ / o.p'Q13 01:;1i?7 0.t;l'+.lQ O'~~VJ~
ntpj 1'7-9 lVli It'~ ~.p O'l'lP~ nV?~l ~.p vl11"ttDf ~.p O'l'lP~
5. Poem 310: 2 (p. 361) 5. Poem 47: 4 (fo1. 16b)
~J1)~Ol inryli?l / '~7 n~'DW 17 ;'Di? ~J1)\?l in~'li?l / '~7 n~'nw 17 ;'Di?
6. Poem 378: 28 (p. 419) 6. Poem 51: 30 (fo1. 17b)
;'lJ-r'l / l'VJDlJ:l l':JN~lJ:;) ;':;)T' '11' ;'lJ-r'l / l'VJDlJ:l i:JN~lJ:;) ;':;)T' '-rD
": :": T : - i~ li~l~ -,~.t;ll~ ~~ ": :": T : - : i:1i,~ ~~ 1"nlvf~
7. Poem 446: 2 (p. 446) 7. Poem 58: 4 (fo1. 18a)

ON7~ / O'J'1; tt~ O~'Q; ;'~i?.t;l ~~} ON7~ / O'J'J' tt~ O~'Q; ;'~i?.t;l ~~}
o.t;li n~0/ 1~~7 ~:1~~ oniV:l0 ' J:1N~ ~:1Jl
T : - "": -: : T
-riViQ / ;'~i:t:;1~ ~f ?'

8. Poem 293: 10 (p. 351)
;'~i' l'.p~ nJ'.p
n1J1' 'l~ ~'J'~ ;'~:;1
'Q /
8. Poem 59: 12 (fo1. 18b)
;'Ji' 'l~ "~f :1' ;'Ji' l'~i n~'~
n1J1' 'l~ Q'J'.p ;'~:;1 ''+'
9. Poem 447:7 (p. 447) 9. Poem 60: 9 (fo1. 19a)
N~ ~~iVi Vi'~7~ / nliVG i-r; ;'7in7~ N~ ~~iVi Vi'~7~ / nliVq ;rl; ;'7~n~n
;'-91iJ ;'-91iJ
10. Poem 473: 34 (p. 462) 10. Poem 100: 36 (fo1. 26a)
;,! ' liVJ1 / ;,7i?~ n;lJ ~~l ;,! n71;'O~ ;,! 'w-,0/1 / ;,7 i?~ n;L~ ~~1 ;,! n71;' o~
O'l~lJo/ Vi'l ~V ~~l O'l~lJo/ Vi'l ryry ~~l
Below is a succinct description of MS NLR Evr. I 802: (cf Plate Section)
Fol. Ob: Judaeo-Arabic colophon mentioning the name of the copy-

ist of either the original dzwan or the fifteenth-century copy) Aaron
26 CHAPTER TWO
ibn Ezra.9 According to Edna Engel folio Ob (including the colophon)

was not written by Aaron b. Ezra himself) but was added later. 1o
Fo!. 1a: Hebrew verse introductions mentioning) among other
things) the poefs name (Moses ben Abraham ha-R6fe)) his origins
(Darca) in (the kingdom of Fez))) and the place where he composed
his dzwan (Egypt).l1 This first folio (la + 1b) is the only loose folio
in the manuscript.
Fols. 1b-3b: prose introduction in Judaeo-Arabic. 12
Fols. 3b-35a: secular poems nos. 1-152) of various lengths and
genres) but always without a liturgical function. The poems are
not arranged according to genre or rhyme words) but deliberately
mixed.
Fols. 36b-38a: section of riddle poems nos. 160-174.
Fols. 38b-48a: elegies and epithalamia nos. 176-189.
Fols. 48b-52a: Judaeo-Arabic and bilingual poems nos. 190-204.
Fols. 52a-74a: elegies nos. 205-213) poems nos. 215-237 related to
the Sabbath and Festival liturgies) as well as some homonymic litur-
gical hymns.
Fols. 75a-135b: second section of the dzwan) prefaced with a Judaeo-
Arabic prose introduction and containing 100 liturgical poems on
the Torah)s weekly readings.
9 MS NLR Evr. I 802) fol. Ob: rl~1J [NJ:1]"1 [NJ]"O p"J:J 1:1 1,jlN "P!)~N ruN
'j'V'rl'N rlJO T10rl 'jlv) ttn~O~N N'j rl:1rl:J :1'V~N :1rlN:J tt1'VO~N N'TV N'pO 'J:1
.'~'N"'V)" "'J':1'1 'jl'V)'O ',','v)', 10'0 rl1't?V)~. Note that in this colophon the date
1163 CE is mentioned both explicitly (1474 in the Seleucid Calendar = 1163 CE) and
by way of gematria (on the basis of Exod 15:1).
10 H. Ben-Shammai, "On a Torah Case with Ornaments/' 5 n. 2. Note that it has
been often stated that this colophon was a falsification added by Firkovich. The first
scholar who put forward this argument was Kahana in his article "About the Karaite
c
Poet Moses Dar !)" [in Hebrew] ha-Shfloa/:l13 (1904): 435-42.
11 The follOWing passage is particularly revealing: ~iV n~ '\'?~ 1'~'W~ C~1Q~
nlT~ io~ :11~~~ 'lPllPl 'lijl rl9~~ C~l ClP :1lP irl l '~~ '~1 [...] :11 W11 '7~ '~V?
O~ rl1:J~~~ N~11~ CD N~l~~ ("In Egypt I made [the book]) and there I suffered
from the burden of exile and great poverty; a foreigner and resident am I there [in
Egypt] whereas in reality my parents and roots are from the West) as natives of the
land of Darca in the kingdom of Fez").
c
12 Moses Dar ! was aware that it was a literary convention to introduce dfwans with
a prose introduction) see fol. 3a: NV':1Nrl rlJ:J jl'jjl 'rlO~O~ '!)'~Nrl '!) 'JJN '~V1
10'~rlO / N'~ Cjl,VV) 10 1N1'j ~:J~ Cjl~NV'JN '!) / N'Vv)~N jljNO~N '~~j~
N':1':JO jlJV1 tt'~Nrlt,N ,r;'j ~N'~!) rl1N~rl ("Although I wrote this preface) I fol-
lowed as my guide the leading poets in the way they made for every dfwan of their
poetry an introduction, which includes a specification of the merits of that work and
informs about it").
Fo!. 135b: Hebrew colophon verses) on the basis of which one may
conclude that the final compilation of the original diwan by Darci
took place in 1163 (or 1171) CE.13
Fols. 136a-137b: index of incipits of poems nos. 1-242 from the
first section of the diwan. Poem no. 22 in the index corresponds to
poem no. 23 in the manuscript because of a mistake in the num-
bering of the manuscript (continues to poem no. 69 in the index
= poem no. 70 in the manuscript). Poems whose incipit is left blank
in the index are not included in the collection-Le.) nos. 153-59)
175) 183-84) 202-03) 211-12) 214) 218) 238-42. It is possible that
these poems could not be deciphered or were omitted or even cen-
sured by the copyist of the manuscript (because of their hedonistic
content). Poem no. 174) on the other hand) is present in the manu-
script but its incipit is left blank in the index of poems. Altogether)
220 poems are present in the first section of the diwan. It should be
noted that the missing poems cannot be found in any of the other
abovementioned manuscripts.
Fols. 137b-138a: index ofincipits of poems nos. 1-100 on the weekly
readings of the Torah) all present in the manuscript.
Fo!. 138b: illustration containing plant motifs in green) blue) red)
white) and gold.
Fo!. 139a: note of possession in Judaeo-Arabic by Abraham ben Eliyah
Firiiz) who acquired the original version of the diwan in 1267 CE.14
13 The colophon verses read: roV):l n"'v)jl jlr,N r,:J nN ':lnr, '-W:l 'O,Jjl ", ",:l
pr,njl OJ "N~ N'~'jlr, '"'TV:l ,'OJ' 1:J n"ov; fJOr, ,r,'N"'V)" "'J':l', 'jl'V)'O ',','v)', TN
n,,'jlO:l 'JV)jl ("Praise the LORD who helped me in completing the composition of all
these poems in the year '[then] Moses and the Israelites sang (Exod 15:1) according to
the Seleucid Calendar; so may He help me to also qUickly finish publishing the second
parf). One has to take into account all the letters of 'Moses and the Israelites sang,>
unlike Pinsker, who based his calculation on the assertion that the first three letters do
not bear dots in the manuscript. However, firstly my research in the National Library
of Russia confirms that Firkovich seems to have included these dots in pencil to falsify
DarCts dates. Secondly, Pinsker did not pay attention to the fact that the Judaeo-Ara-
bic colophon at the beginning of MS Evr. I 802 (fol. Ob) includes the same date 1163
CE, mentioned both explicitly and by way of gematria (on the basis of Exod 15:1). H.
Bornstein (ha-Tequfa 9: 254) suggested 1171 to include TN [then] in the gematria of
the date. I follow 1:1. Ben-Shammai in accepting the trustworthiness of the colophon
verses (see his "On a Torah Case with Ornaments,) 5 n. 2).
14 There is some confusion as to the correct date mentioned in this note of posses-
sion, more particularly, whether one has to read TlI:Jjl (= 1267 CE) instead of TlI:Jn
(= 1667 CE); see footnote 2 above. Another Firllz, Elia ben l:Iesd>el ben Moses, left a
colophon in MS NLR Evr. I 802, fol. 60a.
28 CHAPTER TWO
2.3 Criteria for Editing and Selecting Poems
The manuscript tradition of the diwan of Moses Darci) discussed above

in section 2.1) requires the present-day editor to adhere to the principle
that the integrity of the entire collection deserves the same respect as
do the individual poems. In other words) it is essential that the present
selective edition follows the highly uniform organisation and order of
poems attested in the manuscripts. This principle is particularly valid
in the case of Darcrs diwan since he compiled his own work. Inter-
estingly enough) in contrast to the majority of medieval Jewish and
Arabic compilers of diwans) Moses Darci did not choose to order his
poems thematically in chapters nor alphabetically according to rhyme
endings. Rather) in the following fragment from the Judaeo-Arabic
prose introduction to his diwan) Moses Darci explicitly argues for the
mixture of poems with themes of different inspiration: 15
~::l / ~~nNn N::lN1::lN ;'"'TV::l NnNnT IN1"'~N ON'~J~ ~V'.1N 0~1
,'~pn~N1 / "'T'.1~N::l ~T;'~N ;"!l n"~':JN1 . ~~n':Jn NV'::l' ';'T:J ;,n:J,n
;"Nn1 Nn!l~ ;"Nn :::l'N'~ ;,nN'~J O'N~ n"~1 / "'Tn~N1 ;'~N"N~N::l
NP"::l NJN'nN1 ;'j71Vln NonVl NJN'nN ;"JNvn 1~!l '!l nvr,oN1 / "'Tn
/ "'T'::l1 ;'1N'" 1~' '!l"~1 Nn1n01 N",n ;,nN~Npn ~1~!l '!l1 / "'TV"
':JVl~N::l Nnp" O'~N ~NnVl n', ;,n'N!l Nnp1 ;"~N" O'OJ nNVlJ1
"'TV::l1 / n"'Tn T'.1;'~N "'TV::l ;"!l "'T'.11 Nn ~"n:J1 ."'TJ1 ~'::lV NJ'n~N1
n"'Tp1 ;"NON 0":J!l~N1 ON':JN~N
And I did not turn the arrangement of the dfwan into a well-ordered
structure consisting of a number of chapters; on the contrary) I let it
be as variegated as springtime flowers; and I mingled therein jest and
earnest, 16 as well as brevity) elaborateness) and extension. I made the
sword of its arrangement at times flattened and at other times sharp-
ened; and in the celestial sphere of its themes I sometimes introduced a
radiant sun and sometimes lightning and thunder. In the sections of its
sayings there is heat and a hot wind) and in order to ease this-freshness
and coolness. At times I made the breeze of its gardens-in the case
of rebuke-a diffusive smell of northern wind) and at other times-in
15 MS NLR Evr. I 802: fols. 3a-3b. Thanks to Dr. U. Melammed for giving me access
to his (unpublished) critical edition of the Judaeo-Arabic introduction (including a
translation into Hebrew). For my translation of passages from this introduction) I also
consulted A. Schippers' English translation in "Some Remarks on Judeo-Arabic Poeti-
cal Works: An Arabic Poem by Moses Darei)') In Studies in Medieval Jewish Poetry) ed.
A. Guetta and M. Itzhak~ 141-56) Studies in Jewish History and Culture 18 (Leiden:
Brill) 2009).
16 See G. J. van Gelder) "Mixtures ofJest and Earnest in Classical Arabic Literature)')
Journal of Arabic Literature 23) no. 2 (1992): 83-108; and 23) no. 3 (1992): 169-90.
the case of praise and eulogy-perfume and incense. Often after satire
you will find therein praise) and after appreciation and magnification-
humiliation and defamation.
It clearly follows that the editor should strive to edit the diwan in
a form as close to the original as possible) by taking into account
metatexts and the original order of poems found in the manuscripts.
A selection of the secular parts of the diwan) which are most urgently
in need of reappraisal) is justified) first) in view of the clear difference
in function between secular and religious poetry.17 It is significant to
recall the clear division of the first volume of the collection) in which
secular poems and religious poems on the Torah readings are grouped
together under the rubric of a Judaeo-Arabic preface. Emphasising
Darers secular poems may also help to counter the distorted view that
secular poetry was composed only in Muslim Spain instead of being
part and parcel of Judaeo-Arabic culture. 18 Another justification for
focusing on the secular poems (and not on the liturgical poems) which
generally lack headings) is the need to add the Judaeo-Arabic head-
ings. While various diwans by Jewish poets in the Islamic West and
East had such headings) Darei explained why he added them to his
poems in the following passage from the Judaeo-Arabic introduction
to his diwan: 19
Tl:J'r, / TNvnr,N Tn ;"!) Nn ,r,v ;':LJn / TN1JV N'VVJ r,:Jr, nno, 'IN o'n
rur,:l TN1JVr,N nr,V'.11 / TN1"r,N N';' ;'Nln Nn r,:J / TN':lr, N:l:lO lr"
,o'nl / :l'Nr,N:l l'ru~r;N Tn TN[ n]!) lr" ,r,v ttPNlr;N Tl:J'r, / :l'Vr,N
ON;'!)Nr, ':l'Vr,N TN1JVr,N lr" Tl:J'l / :lvn ,'.1:l T"NJvnr,N O;,!) ;,r,
n3lNJl l";'Tr, '''NJ r,:J TN!) / :l:lO ;''IN':lV 'Jvn ;'-Pr,:lr,N TN;"Nr,N
.:lOJN ;'.1Nr,:lr,Nr,l / :l'PN 'l'Or,N Tn T"NJr,
17 Both medieval and modern editions of medieval Hebrew poetry distinguish

between religious and secular poetry. In practice, however, the term shfre qodesh indi-
cates poems written for incorporation into the liturgy, or piyyutfm. The term shfrat ~ol
or "secular poetry) indicates poetry composed for a non-liturgical setting, but may still
involve religious concerns. In a yet unpublished paper presented at the fifth Medieval
Hebrew Poetry Colloquium, held in Groningen in 2008, J. P. Deeter pointed towards
the need to revisit the division of shfrat qodesh and shfrat ~ol. Deeter also warned
scholars against the tendency to specialize in one of these categories only (see seetion
6.1 and T. Rosen)s article in The Oxford Handbook ofJewish Studies, ed. M. Goodman,
248-70 [Oxford: Oxford University Press, 2002]).
18 For a discussion of (secular) poetry as an inseparable part ofJudaeo-Arabic cul-
ture, see Y. Tobi, Poetry, Judeo-Arabic Literature and the Geniza [in Hebrew] (Tel
Aviv: Tel Aviv University, 2006), 9-10, 41-48.
19 MS NLR Evr. I 802, fo1. 3a.
30 CHAPTER TWO
Then I wrote down for every poem a heading that indicates which
themes are in it, so that it may be a means of making clear everything
that this dfwan contains. I made the heading in the Arabic language so
that the one who takes an interest in it may grasp the purpose [of the
poem] from both languages; this may facilitate his comprehension of the
themes of both without any difficulty. This Arabic heading will also be a
means to explain the meaning of the Hebrew to the most stupid minds)
for everyone who looks at a pair of flowers) and who listens to a pair of
flutes) is closer to pleasure and more fit to grasp the stylistics.
Due to their composite nature) it is preferable that Darers poems be

published in their original state-that is to say) including the Judaeo-
Arabic headings. However) apart from the exploratory work by Pin-
sker and Davidson in the nineteenth and early twentieth centuries)
this has so far not been done which has left a void which the present
study hopes to fil1. 20
20 c the introduction and chapter 1 (especially section 1.3).

CHAPTER THREE
HISTORY OF FA'tIMID AND AYYUBID EGYPT
3.1 Islamic Urban Civilisation
From the ninth century onwards) Egypt became increasingly impor-

tant in the Islamic world. The process of Arabisation and Islamisation
stimulated Fustafs development from a garrison town into a signif-
icant centre of Islamic learning.! Similar demographic and cultural
processes taking place in North Africa and Spain enhanced Egypfs
position) since it was a natural intermediary of economic and intellec-
tual exchange between eastern and western Islamic lands. This inter-
mediary role gained importance as Egypt moved from cAbbasid control
under the Tiiliinids (868-905 CE) to autonomy under the Ikhshidids
(935-69 CE) and then to being the central province of a new state) the
Fatimid caliphate (969-1171 CE).2
When the Fatimids conquered Egypt) they had already changed
from a Shi'i missionary group3 into an expansionist caliphate) which
challenged the political hegemony of the Sunni cAbbasid caliphate. At
first) the Fatimids controlled only parts of (modern-day) Tunisia) Alge-
ria) Libya) and Sicily. A turning point came when the fourth Fatimid
caliph) al-Mucizz ascended to the throne in 953 CEo After his prede-
cessors) three unsuccessful attempts) his generat Jawhar) conquered
See I. Lapidus, "The Conversion of Egypt to Islam, Israel Oriental Studies 2

(1972): 248-62.
2 See H. Kennedy, "Egypt as a Province in the Islamic Caliphate, 641-868,) 62-85;
and T. Bianquis, "Autonomous Egypt from Ibn TU1lln to Kafllr, 868-969, 86-119.
Both articles can be found in C. F. Petry, ed., The Cambridge History ofEgypt: Islamic
Egypt, 640-1517 (Cambridge: Cambridge University Press, 1998).
3 The Fatimids were one of several Shti groups who argued that cAli ibn Abi Talib
was the sole legitimate heir of the Prophet MtiQammad. They also claimed that the
headship of the Muslim community should rest with the descendants of cAli and his
wife Fatima, the daughter of the Prophet (as their name Fatimids indicates). The
Fatimids are often called IsmacUis, as they traced their own descent through IsmacU,
one of the early Shti religious leaders (see P. E. Walker, "The IsmacUi Dacwa and the
Fatimid Caliphate,) in The Cambridge History ofEgypt, 120-50). For a recent overview
of Fatimid political history see P. E. Walker, Exploring an Islamic Empire: Fatimid
History and its Sources (London: I. B. Tauris, 2002).
32 CHAPTER THREE
Egypt in 969 CE and founded a capital just two miles north of

Fus~at. Four years later) when al-Mucizz moved his court to Egypt)
this city became known as the City of al-MuCizz)s Victory (al-Qahira
'l-MuCizziyya) or Cairo.
Cairo remained the capital of the Fa~imids; they proved unable to
conquer Baghdad and supplant the cAbbasid caliphate. The Fatimids
never did rule a large domain. At its peak) between 975 CE and 1020
CE) their empire reached from Tunisia and Sicily in the West to I:Iims
(Syria) in the East. By the middle of the eleventh century) the Fatimids
were losing influence in North Africa) and after the loss of Jerusalem
in 1099 CE to the Crusaders) the Fatimids were forced to retreat within
Egypfs borders. In the aftermath of the Second Crusade (1147-1148
CE)) they became progressively unable to defend Egypt itself. This
being so) the Fatimids) demise in 1171 CE and the deposition of the
last Fatimid caliph al-cA~id by his own vizier ~ala~ aI-Din b. Ayyiib
did not come as a surprise.
During the eighty years of Ayyiibid rule (1171-1250 CE)) Egypt
became a frontier state in the contest between Muslims and Crusad-
ers. ~ala~ aI-Din (Saladin) is best known as the heroic figure who in
1187 CE successfully recaptured Jerusalem from the Crusaders. On
the other hand) he was a successful empire-builder who made Egypt
the centre of a rapidly expanding empire. At his death in 1193 CE) the
Ayyiibids ruled in Egypt and Syria) part of Mesopotamia) the I:Iijaz)
Yemen) and the North African coast as far as Tunisia. Saladin and
his Ayyiibid successors were determined to root out the Shi'i heresy
of the Fa~imids and turn Egypt into a major centre of Sunni learning.
This proved very successful; by the end of Ayyiibid rule Cairo had
already surpassed Damascus and Baghdad as the principal centre of
Sunni scholarship in the Islamic world. 4
Islamic civilisation in general and Fatimid and Ayyiibid culture in
particular were highly urbanised. Yaakov Lev states the following:
Cities and city-life embody Islamic medieval civilisation. The cities were
the seats of the rulers and their courts) of generals and their armies and
of administrators and administration. The civilian elite composed of the
4 See M. Chamberlain) "The Crusader Era and the Ayy11bid Dynasty)) in The Cam-
bridge History of Egypt) 211-41; M. Barber) The Two Cities: Medieval Europe 1050-
1320 (New York: Routledge) 1992) 119-40; Y. Lev) Saladin in Egypt (Leiden: Brill,
1999); R. S. Humphreys) "Ayy11bids) Mamlfiks) and the Latin East in the Thirteenth
Century)) Mamluk Studies Review 2 (1998): 1-17.
HISTORY OF FATIMID AND A YYUBID EGYPT 33
high mercantile class and people of religion and learning concentrated

in cities which were emporia of trade as well as focal points of cultural
and religious life. Islamic medieval historiography and belles-lettres are
by-products of this urban world and depict city life.s
Nevertheless) the relative absence of the rural world in the medieval
source material should not mislead us. The majority of people in medi-
eval Egypt lived in the countryside and Egypt would continue to be
primarily rural until fairly recent times. In medieval times people used
the term aI-Rtf ('<the Province)) to refer not only to the countryside
but also to many towns and villages) except for Egypfs major cities
Fusta~-Cairo and Alexandria. 6
While Fus~a~-Cairo may be described as a single entity represent-
ing the politicat administrative) financiat and commercial capital of
Egypt from Fatimid times onward) the two cities had distinctive char-
acters. Cairo played the central role in politicat military) and religious
life) housing the palaces of the caliph) the court) and many important
mosques. Fusta~ was Egypfs economic) financial) and commercial cen-
tre) and had a larger and more diverse population) including Chris-
tians and Jews. 7
The originally Greek maritime town Alexandria was an impor-
tant centre of international trade throughout Fatimid and Ayyiibid
times and was home to a large North-African population. This strong
Maghribi presence turned Alexandria into a centre of Sunni learn-
ing even before the end of the Fa~imid period) in contrast to Cairo
which had an unmistakably Ismacili character until its Sunni revival
in Ayyiibid times. 8
5 Y. Lev) "Aspects of the Egyptian Society in the Fatimid Period))) in Egypt and Syria
in the Fa timid, Ayyubid and Mamluk Eras) ed. U. Vermeulen and J. Van Steenbergen,
3: 1 (Leuven: Peeters) 2001).
6 Even large cities like Damietta) the Mediterranean Sea port on the Eastern part
of the Nile) were part of the so-called Province; see S. D. Goitein, A Mediterranean
Society) 4:9-10.
7 P. Sanders) Ritual, Politics and the City in Fatimid Cairo (New York: State Uni-
versity of New York Press) 1994); A. Udovitch) "Fatimid Cairo: Crossroads of World
Trade from Spain to India/) in L'Egyptefatimide: Son Art et son Histoire) 681-91 (Paris:
Presses de rUniversite de Paris-Sorbonne) 1999); N. MacKenzie) Ayyubid Cairo: A
Typographical Study (Cairo: The American University in Cairo Press) 1992).
8 S. D. Goitein) A Mediterranean Society) 4:1-12; A. Udovitch) "L)Enigme
d)Alexandrie: Sa position au Moyen Age d)apres les Documents de la Geniza du

Caire))) Revue de l'Occident Musulman et de la Mediterranee 46 (1987): 71-79.
34 CHAPTER THREE
The Fatimid policies towards non-Muslims were generally tolerant)

with the exception of the period of government of the caliph al- ~akim
(996-1020 CE).9 Jews and Christians served in the Fatimid admin-
istration and were well represented in the professional occupations)
particularly medicine. The Fatimid period also marked the time when
Egypfs Christian and Jewish communities became Arabophone and
began to produce a significant literary output in Arabic. This allowed
debate among the different religious communities) even at the highest
levels of the Fatimid court. However) the Fatimid regime maintained
stricter rules of social segregation when it came to the everyday life of
the masses. 10
Generally speaking) religious strictness increased under Ayyiibid
rule) even when much of the Fatimid)s tolerance still prevailed. Most
scholars) including Shlomo Dov Goitein) the great historian of medi-
eval Mediterranean society) agree that the rule of the Mamliik soldier
caste would result in many repressive measures and restrictions on the
freedom of minority groups after 1250 CE. ll
3.2 The Jewish Community
The transformation of the Egyptian Jews into a primarily urban people

was completed during the first centuries of Muslim rule. From the
ninth century onwards the Jewish community must have had some
educational facilities) given the fact that Isaac Israeli (ca. 855-ca. 955
CE) and SeCadya Gaon (882-942 CE) were born and educated in
Egypt. However) it is no coincidence that both scholars became famous
9 Al-ijakim introduced numerous repressive measures against Jews, Christians,

and Sunnis. The general tolerance of the Fatimid regime towards minority groups has
been attributed to the fact that the Fatimids represented only a small minority among
the predominantly Sunni Muslim population of Egypt and Syria; see S. D. Goitein,
A Mediterranean Society, 1:31.
10 Y. Lev, "Aspects of the Egyptian Society,) 11-12; P. Sanders, "The Fatimid State"
169-70.
11 S. D. Goitein, A Mediterra nean Society, 1:29- 38. Goitein (1900-1985) was a pre-
eminent Geniza scholar known for his six-volume A Mediterranean Society: The Jew-
ish Communities of the Arab World as Portrayed in the Documents of the Cairo Geniza
(Berkeley: University of California Press, 1967-1993). See also the recently published
India book by S. D. Goitein and M. A. Friedman, India Traders of the Middle Ages:
Documents from the Cairo Geniza, Etudes sur Ie Judalsme Medieval 31 (Leiden: Brill,
2008).
outside their homeland in more flourishing Jewish communities)12 for

the Jewish community of Egypt began to have a major impact upon
the Jewish world only after the Fatimid conquest. 13
Many Eastern and Western Jews were attracted by the generally tol-
erant Fatimid policies towards non-Muslims) their liberal economic
policies) and the opportunity for service in the Fatimid bureaucracy.
Consequently) by the turn of the millennium) Egypt had a sizable
Jewish population. This would remain the case until the beginning of
the thirteenth century) when it would be decimated by plague and
famine. Most Jews lived either in Fustat-Cairo or in Alexandria) but
could also be found in many other towns and villages in al-Rif ('<the
Province))).14
However) it would not be correct to say that the Jews formed a single)
homogeneous entity. In addition to the Palestinians and Babylonians
who comprised the Rabbanite community) there were also Karaite
and Samaritan communities. The Muslim authorities considered these
12 The first among the Jewish communities of Qayrawan (in Tunisia) and the other
in Babylonia (Iraq) (see, inter alios, M. Ben-Sasson, The Emergence of the Local Jew-
ish Community in the Muslim World: Qayrawan, 800-1057 [in Hebrew] [Jerusalem:
Magnes Press, 1997], and R. Brody, The Geonim ofBabylonia and the ShapingofMedi-
eval Jewish Culture [New Haven: Yale University Press, 1998]).
13 The documents of the Cairo Geniza offer a great deal of information about the
Jewish communities of Fatimid and Ayyl1bid Egypt (see S. Reif, ed., The Cambridge
Geniza Collections: Their Contents and Significance [Cambridge: Cambridge Univer-
sity Press, 2002]). J. Mann was among the first scholars to use Geniza sources for
historical purposes in his The Jews in Egypt and in Palestine under the Fatimid Caliphs:
A Contribution to their Political and Communal History (Oxford, 1920-1922; repr.,
Oxford University Press, 1969). Later Geniza scholars include Z. Ankori, Karaites in
Byzantium: The Formative Years 970-1100 (New York: Columbia University Press,
1959); S. D. Goitein, A Mediterranean Society; M. Gil, A History of Palestine (634-
1099) (Cambridge: Cambridge University Press, 1992); idem, Jews in Islamic Countries
in the Middle Ages (Leiden: Brill, 2004). More recent scholars who have based their
(socio-)historical studies on Geniza sources include E. Bareket, Fustat on the Nile:
The Jewish Elite in Medieval Egyp t (Leiden: Brill, 1999); M. Frenkel, The Compassion-
ate and the Benevolent" The Leading Elite in the Jewish Community of Alexandria in
the Middle Ages [in Hebrew] (Jerusalem: Ben-Zvi Institute, 2006); M. Rustow, Heresy
and the Politics of Commun ity: The Jews of the Fatimid Caliphate (Ithaca, NY: Cornell
University Press, 2008).
14 According to Goitein)s calculations, more than 4000 Jews lived in Fustat-Cairo.
Alexandria)s Jewish community was probably about half as large as the capital)s (see
his Mediterranean Society, 2:139-40, 89-293; and cf. E. Ashtor, "The Number of the
Jews in Medieval Egypt") Journal of Jewish Studies 18 [1967]: 9-42; and 19 [1968]:
1-22). As to the Province, more than ninety names of cities and villages with Jew-
ish populations are mentioned in the Cairo Geniza documents (see N. Golb, ((The
Topography ofthe Jews of Medieval Egypt,)) Journal ofNear Eastern Studies 24 [1965]:
251-70; and 33 [1974]: 116-49).
36 CHAPTER THREE
communal groups to be part of the Jewish population. However) unlike

the Karaite Jews) the Samaritans did not consider themselves Jews) nor
did other Jews consider them part of the Jewish community.ls In a
recent book based on Geniza documents) Marina Rustow redefines the
complex relations between the Rabbanite (Palestinian and Babylonian)
and Karaite communities of Fatimid Egypt. 16
Immigrants from the Muslim East (Iran) Iraq) and Syria) and the
Muslim West (North Africa and Spain) and) in Ayyiibid times) also
from Christian Europe) contributed to the heterogeneous character
of the Jewish community. The migration of Jews from the West to
Egypt is particularly noteworthy. Already in the wake of the Fa~imid
conquest) many Jewish traders were leaving North Africa or Spain for
Egypt. This process of migration would reach its climax in the eleventh
and twelfth centuries) when large numbers of middle-class Jews found
their way to Egypt) as testified by the abundance of both Andalusian
and Maghribi family names in the Geniza sources. Many of the West-
ern immigrants settled in Alexandria) and the elite among their mer-
chants and scholars were involved in community and governmental
matters. In a socio-historical study of the Alexandrian Jewish elite)
Miriam Frenkel offers both a new approach to the Cairo Geniza and a
new perspective on medieval Jewish leadership in the Islamic world. 17
15 N. Stillman, "The non-Muslim Communities: The Jewish Community,)' in The

Cambridge History ofEgypt: Islamic Egypt, 640-1517, ed. C. F. Petry, 200 (Cambridge:
Cambridge University Press, 1998).
16 See M. Rustow, Heresy and the Politics of Community: The Jews of the Fatimid
Caliphate (Ithaca, NY: Cornell University Press, 2008), in which she questions the tra-
ditional depictions of medieval Judaism as a monolithic faith centred on the authority
of the rabbinic traditio~ which found itself challenged by Karaite sectarianism; on
the inadequacy of the term "sect)' as applied to Karaism, see therein pp. xv-xvii and
xxvi-xxix. For other recent works that conceptualize Karaism as a religious movement
inherent to medieval Judaism, not a "sect/' see J. Olszowy-ScWanger, Karaite Marriage
Documents from the Cairo Geniza: Legal Tradition and Community Life in Medieval
Egypt and Palestine (Leiden: Brill, 1998), 5-8; M. Polliack, ed., Karaite Judaism: A
Guide to Its History and Literary Sources (Leiden: Brill, 2003), esp. Polliack)s preface,
xvii-xxvi; F. Astren, Karaite Judaism and Historical Understanding (Columbia: Uni-
versity of South Carolina Press, 2004), 5-10 and 17-19 (note that the latter two books
employ the term "Judaism)' when describing Karaism in their titles); and Y. Erder)s
The Karaite Mourners ofZion and the Qumran Scrolls: On the History ofan Alternative
to Rabbinic Judaism [in Hebrew] (Tel Aviv: Ha-qibbt1~ Ha-me\ll;1ad, 2004), in which
he describes Karaism as an "alternative)' Jewish stream.
17 See M. Frenkel, The Compassionate and the Benevolent" The Leading Elite in the
Jewish Community ofAlexandria in the Middle Ages [in Hebrew] (Jerusalem: Ben-Zvi
Institute, 2006). This book also describes the milieu of Maghribi merchants to which,
The eighty years of Ayyiibid rule witnessed a decline in Jewish pros-

perity) reinforced by a growing marginalisation of non-Muslims in the
economy. Yet this period also witnessed a flourishing intellectual and
cultural climate) and marked the time when another immigrant from
the Muslim West) Moses Maimonides (1138-1204 CE) lived in Egypt.
Maimonides served as a physician in the Ayyiibid court; by the 1180s
he had become the supreme Jewish leader in Egypt) known as Ra>is
al-Yahitd ('<Head of the Jews))). While in Egypt) Maimonides produced
his two greatest works) the law code Mishne Tora and his philosophi-
cal masterpiece The Guide of the Perplexed. 18
Abraham Maimonides succeeded his father as court physician and
Head of the Jews) but became famous as the founder of a Jewish pietist
circle inspired by Sufi practices. 19 The rise of the Maimonidean dynasty
coincided with a wave of Jewish emigration from Christian Europe)
which included prominent scholars like the judge Anatoli ben Joseph
(ca. 1130-ca. 1213 CE) from Provence. 20
As tolerated members of a scriptural religion) the Jews of Egypt
were required to pay tribute to the Islamic state in exchange for their
protected dhimmi status as regulated by the Pact of cUmar. 21 But apart
from this requirement) the Jews were generally left alone to practice
their faith without fear of persecution. As such) in many ways the
Jewish community constituted a semi-autonomous polity within the
Islamic state. For example) the Jews had their own pious foundations)
given the fact that charity and social service were the responsibility
among many others, Abraham ben Jacob Darci (documents dated from 1060-1103)
belonged (see pp. 86-91); however, it does not treat Moses ben Abraham Darci
18 C J. L. Kraemees recent biography entitled Maimonides: The Life and World
of One of Civilization's Greatest Minds (New York: Doubleday Religious Publishing
Group, 2008), and the literature cited therein For yet another illuminating though
different approach to Maimonides) life see S. Stroumsa, Maimonides in his World:
Portrait of a Mediterranean Thinker (Princeton: Princeton University Press, 2009).
19 P. B. Fenton, "Abraham Maimonides (1186-1237): Founding a Mystical Dynasty,"
in Jewish Mystical Leaders and Leadership in the 13th Century, ed. M. Idel, 127-54
(Northvale: Jason Aronson, 1998).
20 See M. Frenkel, "The Compassionate and the Benevolen t," 128- 33.
21 For more information on the legal position of the Jews under Islam, see N. Still-
man, "Subordinance and Dominance: Non-Muslim Minorities and the Traditional
Islamic State as Perceived from Above and Below," in A Way Prepared: Essays on
Islamic Culture in Honor of Richard Bayly Winder, ed. F. Kazemi and R McChesney,
132-41 and the literature cited therein (New York: New York University Press,
1988).
38 CHAPTER THREE
of each religious community.22 Little is known about the internal

organisation of the Egyptian Jewish community before the Fatimid
period. Fortunately) much more information may be gathered about
Jewish self-government in Fatimid and (to a lesser extent) Ayyiibid
Egypt. Nevertheless) the great deal of scholarly debate on this matter
has produced no conclusive answers. 23 A central issue in the debate
is related to the origins of the office of Ra>is al- Yahitd ('<Head of the
Jews))). Was it established at the beginning of Fatimid rule in Egypt
or did it slowly crystallise during the second half of the eleventh cen-
tury? In the early twentieth century) Mann assumed that the Fatimids
immediately set up this office to weaken the ties between the Egyp-
tian Jews and the Babylonian Exilarch) the Jewish official at the court
of the cAbbasid caliph in Baghdad. 24 Later scholars) including Goitein
and Cohen) rejected Mann)s view and argued that the office of Head
of the Jews was established about a century later. Moreover) rather
than originating in anti-CAbbasid foreign policy of the Fatimid state) its
establishment was ascribed primarily to internal Jewish factors. A cru-
cial one may have been the decline in the authority of the Palestinian
Yeshiva) whose representatives had been the highest local Jewish lead-
ers in Egypt until that time. 25 Gil endorsed Goitein)s and Cohen)s view)
stating that the appointment of Jewish leaders was an internal affair
in which the Fatimid rulers were not involved. 26 To date) the latter
view represents the most commonly accepted opinion among schol-
ars) despite the fact that Sela and Bareket have recently re-endorsed
22 For a detailed picture of the Jewish charity service see M. Cohen, Poverty and
Charity in the Jewish Community ofMedieval Egypt (Princeton: Princeton University
Press, 2005), 189-242; and see also M. Gil, Documents ofthe Jewish Pious Founda tions
from the Cairo Geniza (Leiden: Brill, 1976).
23 See M. Rustow, Heresy and the Politics of Community, 104-107.
24 J. Mann, The Jews in Egypt and in Palestine under the Fatimid Caliphs, 251-57.
25 S. D. Goitein, "The Title and the Office of the Nagid: A Re-Examination, Jewish
Quarterly Review 53 (1962): 93-119; M. Cohen, Jewish Self-Government in Medieval
Egypt: the Origins of the Office of Head of the Jews, ca. 1065-1126 (Princeton: Princ-
eton University Press, 1980), 3-49; M. Cohen, "Jewish Communal Organisation in
Medieval Egypt: Research, Results and Prospects, in Judaeo-Arabic Studies: Proceed-
ings of the Founding Conference of the Society of Judaeo-Arabic Studies, ed. N. Golb,
73-86 (Amsterdam: Harwood Academic Publishers, 1997).
26 M. Gil, A History of Palestine (634-1099) (Cambridge: Cambridge University
Press, 1992), sec. 780.
Mann)s claim that the office of Head of the Jews was established with
the inception of Fatimid rule in Egypt. 27
In any case) all scholars agree that Ra>is al- Yahitd eventually became
the principal Jewish authority within Egypt with unprecedented pow-
ers over every aspect of Jewish communal life. Moreover) the Fatimid
and Ayyiibid authorities regarded him as the sole representative of
the Jewish community (including Karaites and Samaritans). Like other
communal positions in the medieval Islamic world) this office tended
to be dominated by a single family. The most illustrious example of
such a family was the dynasty founded by Moses Maimonides.
Besides the Head of the Jews) many other Egyptian Jews were con-
nected with the government bureaucracy) particularly in Fatimid
times. Being a Shi'i minority ruling over a Sunni majority) the Fatimid
rulers in many cases preferred to recruit Christians and Jews for high
positions in the government and the court. 28 Many Jewish courtiers
were active either in medicine or in the field of finance and commerce.
However) the highest offices) such as the vizierate) were reserved for
Muslims. As such) individuals of Jewish birth who held the office) like
Jacob ibn Killis (d. 991 CE) and ~asan ibn Ibrahim al-Tustari (d. 1064
CE) had converted to Islam prior to becoming vizier. Egyptian Jews
continued to serve in the administration under the Ayyiibid rulers)
but in lesser numbers and less prominent positions than under the
Fatimids. 29
3.3 The Karaite Community
Scholarly discussions on Karaism have often adhered to the princi-

ple of an absolute Karaite scripturalism. Two explanations have been
highlighted in the research history.3o One identifies the major impetus
27 S. Sela, "The Head of the Rabbanite, Karaite and Samaritan Jews, Bulletin of the
School of Oriental and African Studies 57, no. 2 (1994): 255-67; E. Bareket, "The Head
of the Jews (ra'fs al-yahud) in Fatimid Egypt: A Re-Evaluation,) Bulletin of the School
of Oriental and African Studies 67, no. 2 (2004): 185-97.
28 On Christian courtiers, see L. Cheikho, Wuza"r al-Na~aniyya wa-kuttabuha fi
'I-islam, 622-1517 (Jounieh, Lebanon: al-Maktaba al-BUlusiyya, 1987).
29 N. Stillman, "The non-Muslim Communities: The Jewish Community,) 205-
207.
30 See M. Polliack, "Rethinking Karaism: Between Judaism and Islam, AJS Review
30, no. 1 (2006): 67-93; idem, "Medieval Karaism, in The Oxford Handbook ofJewish
Studies, ed. M. Goodman, 295-327 (Oxford: Oxford University Press, 2002). For good
40 CHAPTER THREE
underlying Karaism as intrinsic to Judaism) drawn from earlier scrip-

tural models (such as the Sadducees or Qumranites); the other identifies
it as external to Judaism) borrowed from Islamic models of scriptural-
ism (such as early Shi'ism). While the emergence and development of
Karaism cannot be analyzed without understanding its Islamic and
ancient Jewish contexts) as well as the influence by MuCtazilite kalam
and Arabic linguistics)31 it has gradually been recognized that many of
Karaism)s driving factors lie within the intellectual world and mental-
ity of medieval Judaism. As several recent works have pointed out) the
Karaites gave expression to intellectuat literary) and religious trends
and tensions which are inseparable from those of the Jews of the medi-
eval Islamic world at large. 32
While the Karaites rejected the authority of Talmudic law) this
did not mean that they regarded the Bible as the only source of legal
authority. The leading Karaite scholar in Iraq in the first half of the
tenth century) Jacob al-Qirqisani) distinguished between three sources
of legal authority: the Bible) analogy) and consensus. This system was
overviews of scholarship on Karaism, see 1:1. Ben-Shammai, "Karaites and the 0 rient-
Trends in the Study of Karaites and Karaism/) [in Hebrew] Pe(dmlm 89 (2001): 5-18;
idem, "The Scholarly Study of Karaism in the Nineteenth and Twentieth Centuries/)
in Karaite Judaism, 9-24; D. Franl<, "The Study of Medieval Karaism, 1959-1989:
A Bibliographic Essay,)) Bulletin of Judaeo-Greek Studies 6 (1990): 15-23; and idem,
"The Study of Medieval Karaism, 1989-1999,)) in Hebrew Scholarship and the Medieval
World, ed. N. de Lange, 3-21 (Cambridge: Cambridge University Press, 2001).
31 See F. Astren, "Islamic Contexts of Medieval Karaism/) in Karaite Judaism,
145-77; 1:1 Ben-Shamma~ "The attitude of some early Karaites towards Islam,)) in Stud-
ies in Medieval Jewish History and Literature 2, ed. I. Twersky, 3-40 (Cambridge, MA:
Center for Jewish Studies, 1984); Y. Erder, "Daily Prayer Times in Karaite Halakha in
Light of the Times of Islamic Prayers/) Revue des etudesjuives 153, nos. 1-2 (1994):
5-27; D. Lasker, ((Islamic Influences on Karaite Origins,)) in Studies in Islamic Origins
and Judaic Traditions, ed. W. M. Brinner and S. D. Ricks, 2:23-47 (Atlanta: Scholars
Press, 1989).
32 See 1:1. Ben-Shamma~ "Major Trends in Karaite Philosophy and Polemics in the
Tenth and Eleventh Centuries)), in Karaite Judaism, 339-62; R. Drory, Models and
Contacts: Arabic Literature and its Impact on Medieval Jewish Culture (Leiden: Brill,
2000), 126-57; Y. Erder and M. Polliack, "The Karaite Canon between the Ninth and
Eleventh centuries,)) [in Hebrew] Ttadd 23 (2009): 165-210; D. Franl<, "The Limits
of Karaite Scripturalism: Problems in Narrative Exegesis/) in A Word Fitly Spoken:
Studies in Mediaeval Exegesis of the Hebrew Bible and the Qur'an presented to Haggai
Ben-Shammai, ed. M. Ben-Asher, et al., 41-82 (Jerusalem: Ben-Zvi Institute, 2007);
M. Polliack, "Rethinking Karaism: Between Judaism and Islam,)) AJS Review 30, no. 1
(2006): 67-93; idem, "Medieval Karaism/) in The Oxford Handbook ofJewish Studies,
ed. M. Goodman, 295-327 (Oxford: Oxford University Press, 2002); idem, "Major
Trends in Karaite Biblical Exegesis in the Tenth and Eleventh Centuries,)) in Karaite
Judaism, 363-416.
likely influenced by MuCtazilite kalam theologians (mutakallimun)

whose rationalistic approach rejected tradition as a source of legal
authority.33
AI-Qirqisani was one of several Karaite scholars engaged in harsh
polemic exchanges with SeCadya Gaon (882-942 CE) one of the great
rabbinic authorities of the Middle Ages) who nevertheless shared with
the Karaites a newly-found Jewish concern with the study of the Bible)
the interest in Hebrew language and grammar) and the use of Arabic
for writing non-fiction. Their controversy is one of many) showing
that the alternative voice of medieval Karaism seriously undermined
the precepts of rabbinic Judaism in the tenth and eleventh centuries. 34
The developments in the scholarly research of Karaism are closely
related to new theories on the origins of the Karaites. The long-accepted
opinion was that the Karaite movement grew out of the cAnanite sect)
whose founder was cAnan ben David) a descendant of the family of
the Exilarchs. Relying on Geniza sources) Gil has demonstrated the
conglomerate nature of Karaism as an outgrowth of the joining of two
distinctive forces. The first was the Babylonian-Palestinian branch of
the descendants of the House of cAnan; the second was composed of
33 Kalam is the common designation of medieval Islamic, mostly rationalist, and

sometimes polemic, religious philosophy. The literal meaning of the Arabic word is
"speaking,)~ "speech," or "discussion." Kalam rejected the Aristotelian system as well
as its medieval Neo-Platonicized brand, and is commonly identified with two rival
schools in Sunnite Islam: the Mu(tazila and the Ash(ariyya. The influence of kalam,
albeit in its M u(tazil ite version 0 my, on Jewish and particularly Karaite thinkers
was considerable; see G. Vajda, "Etudes sur Qirqisani,)~ Revue des etudes juives 106
(1940-45): 87-123; idem, 107 (1946/47): 52-98); idem, 108 (1948): 63-91; idem, 120
(1961): 211-57; idem, 122 (1963): 7-74; 1:1. Ben-Shammai, "Kalam in medieval Jew-
ish philosophy,'~ in History of Jewish Philosophy, ed. D. H. Frank and o. Leaman,
115-48 (London: Routledge, 1997); D. Frank, "Karaite Exegesis," in Hebrew Bible/
Old Testament: The History of its Interpretation, ed. M. Saebo, 1:116-19 (Gottingen:
Vandenhoeck & Ruprecht, 2001); G. Khan, "Al-Qirqisani)s Opinions concerning the
text of the Bible and parallel Muslim attitudes towards the text of the Qur)an," Jew-
ish Quarterly Review 81, nos. 1-2 (1990): 59-73; W. Madelung and S. Schmidtke,
Rational Theology in Interfaith Communication: Abu-I-I:Iusayn al-Basri's Mu(tazili
Theology among the Karaites in the Fatimid Age (Leiden: Brill, 2006); and C. Adang,
S. Schmidtke, and D. Sklare, eds., A Common Rationality. Mu(tazilism in Islam and
Judaism (Wtirzburg: Ergon, 2007).
34 On the polemics between SeCadya Gaon and the Karaites, see S. Poznanski,
"The Anti-Karaite Wdtings of Saadiah Gaon,'~ Jewish Quarterly Review old series
10 (1897-98): 238-76; idem, "The Karaite Literary Opponents of Saadiah Gaon in
the tenth century,'~ Jewish Quarterly Review old series 18 (1905-06): 209-50. On the
polemics between Judah ha-Levi and the Karaites, see D. Lasker, From Judah Hadassi
to Elijah Bashyatchi: Studies in Late Medieval Karaite Philosophy, Supplements to the
Journal of Jewish Thought and Philosophy 4 (Leiden: Brill, 2008), 141-54.
42 CHAPTER THREE
adherents of various Jewish groups in the Muslim East having a com-

mon history of pronounced messianic expectation-represented by
such figures as Benjamin al-Nahawandi and Daniel al-Qiimisi (both
of Persian origin). These heterogeneous groups consolidated into what
has become known as Karaism during the second half of the ninth
century.35 Convinced that the End of Days was near) Daniel al-Qiimisi
headed a Karaite movement of return to Palestine and immigrated to
Jerusalem from his native Tabaristan (northern Iran) during the last
quarter of the ninth century. He was also the first Karaite to explicitly
advocate scripturalism and polemicise against rabbinic Judaism. His
rationalistic) philologically orientated and literal approach to the Bible
exerted a strong influence on the Karaite movement. 36
During the second half of the tenth century) Jerusalem emerged as
the Karaites) spiritual and intellectual centre. The name by which the
Jerusalem Karaites are best known) Abele $iyyon Mourners of Zion)
reflects their self-perception as a pioneering community that pursued
an ascetic life of mourning) prayer) and Bible study.37 During the
Golden Age of Karaite literary activity in Palestine) in the tenth and
eleventh centuries) the Karaites produced major Judaeo-Arabic works
on Hebrew grammar) Bible translation) exegesis) law) and philoso-
phy. This Golden Age ended abruptly with the Crusaders) conquest
of Jerusalem in 1099 CE) after which the Eastern centre of Karaism
35 M. Gil) "The Origins of the Karaites))) in Karaite Judaism) 73-118; idem, Jews in
Islamic Countries in the Middle Ages) 260-69. On the influence of Palestinian Mas-
oretic circles on the Karaite grammatical tradition see G. Khan) The Early Karaite
Tradition of Hebrew Grammatical Thought (Leiden: Brilt 2000); idem) Exegesis and
Grammar in Medieval Karaite Texts (Oxford: Oxford University Press) 2001).
36 D. Frank, ((Karaite Exegesis/) 112-14; cf M. Polliack) "Major Trends in Karaite
Biblical Exegesis in the Tenth and Eleventh Centuries))) in Karaite Judaism) 363-416.
37 Y. Erder) "The Mourners of Zion: The Karaites in Jerusalem in the Tenth and
Eleventh Centuries))) in Kara ite Judaism) 213- 35; idem, The Kara ite Mourners of
Zion and the Qumran Scrolls [in Hebrew] (Tel Aviv: Ha-qibbu~ Ha-me)u~ad) 2004);
D. Frank) "The Shosha nim of Tenth-Century Jerusalem: Karaite Exegesis) Prayer) and
Communal Identity))) in The Jews of Medieval Islam) 199-245; idem) Search Scripture
Well: Karaite Exegetes and the Origins of the Jewish Bible Commentary in the Isla mic
East) Etudes sur Ie judalsme medieval 29 (Leiden: Brill) 2004) 165-203. A towering
representative of this circle) on which much recent work has been published) is the
Jerusalem exegete Yefet ben cEI~ on whom see the recent works by M. Wechsler) The
4rabic Translation and Commentary ofYefet ben <Eli the Karaite on the book ofEsther)
Etudes sur Ie judalsme medieval 36) Karaite Texts and Studies 1 (Leiden: Brill) 2008);
and M. Polliack and E. Schlossberg) The Commentary ofYefet ben <Eli on the book of
Hosea [in Hebrew] (Ramat-Gan: Bar-Han University Press) 2009).
moved to Egypt) while its literature also dispersed to the Byzantine

Empire and Spain. 38
For the sake of completeness) we should note other periods of Kara-
ite literary creativity in the later medieval and early modern eras-in
the Ottoman Empire) the Crimea) and Eastern Europe. 39 At present)
most Karaites) who consider themselves Jews and are largely of Egyp-
tian descent) live in Israel. How they will adapt themselves to living in
a country dominated by rabbinic Judaism remains an open question. 40
Many Karaites came to Egypt from Persia and Iraq in the second half
of the tenth century) as part of the wave of immigration that accom-
panied the rise of the Fa~imids.41 By the turn of the eleventh century
Fusta~ had become the Karaite movement)s economic and political
centre. Other Karaites settled in Cairo) which would become the most
important Karaite centre from the thirteenth century onwards. Alex-
andria also had an important Karaite community; other cities in the
Nile Delta like Tinnis) Damietta) and cArish had smaller communities. 42
The Egyptian Karaites formed a distinct communal group) with
their own legal courts and places of worship.43 Their legal and reli-
gious independence was administered by the nest'tm) the Karaite
counterparts of the rabbinic religious leaders. 44 Nevertheless) from the
38 Z. Ankori) Karaites in Byzantium (New York: Columbia University Press) 1959);

D. Lasker) "Karaism in Twelfth-Century Spain/' The Journal of Jewish Thought and
Philosophy 1 (1992): 179-95.
39 T. Harviaine~ "The Karaites in Eastern Europe and the Crimea/' in Kara ite
Judaism) 633-55.
40 See E. Trevisan Semi) "From Egypt to Israel: The Birth of a Karaite <Edah in
Israel)" in Karaite Judaism) 431-50.
41 The scholarly opinion is that most of these Eastern Karaites reached Egypt via
North Africa. The name ofthe tenth-century Karaite grammarian David ben Abraham
al- Fas! (from Fez) Morocco) shows that Karaite communities existed in North Africa
at this early stage; see E. Bareket) "Karaite Communities in the Middle East During the
Tenth to Fifteenth Centuries))' in Karaite Judaism) 237-52; idem, Fustat on the Nile:
The Jewish Elite in Medieval Egypt (Leiden: Brill) 1999) 9-13.
42 See ]. Olszowy-Schlanger) Karaite Marriage Documents from the Cairo Geniza)
59-68.
43 P. B. Fenton has discovered a document relating to the ancient Karaite synagogue
in Cairo: "La Synagogue Qaralte du Caire d)apres un Fragment Historique provenant
de la Genizah/' Henoch 14) nos. 1-2 (1992): 145-51.
44 See]. Olszowy-Schlanger) Karaite Marriage Documents from the Cairo Geniza)
143-55. On the nestlm) see the relevant articles by A. Franklin) "Cultivating Roots:
The Promotion of Exilarchal Ties to David in the Middle Ages/' AJS Review 29) no. 1
(2005): 91-110; and ((Relations between Nesfim and Exilarchs: Competition or Coop-
eration?))' in Esoteric and ~xoteric Aspects in Judeo-Arabic Culture) ed. B. Haryand
Ij. Ben-Shamma~ 301-21) Etudes sur Ie judalsme medieval 33 (Leiden: Brill) 2006).
44 CHAPTER THREE
Geniza sources it may be inferred that the Karaites did not consider
themselves as separate from mainstream Judaism) nor did the Rab-
banites consider them as such. The actual differences between the two
groups focused more on theoretical issues than on matters of daily life.
While they differed in dietary customs and on calendrical issues) this
did not prevent intercommunal contact) as is evident from the inter-
marriage between Karaites and Rabbanites in eleventh- and twelfth-
century Egypt. These marriages did not necessarily entail conversion.
Marriage contracts contained special clauses showing how mixed mar-
riages should be arranged so as to guarantee respect for one another)s
religious requirements. 45
It has been noted that the Egyptian atmosphere of cooperation stood
in contrast to the generally more strained relations between Karaites
and Rabbanites elsewhere in the Muslim East. This has been ascribed
to the Egyptian Karaites being on average richer and better connected
to the authorities. 46 Indeed) several Egyptian Karaite families held a
privileged social and economic status) particularly during the Fatimid
period. This status gave them an important role in the political life of
the court and the internal affairs of the Jewish community. The most
striking example consisted of a family of international merchants and
financiers from the Persian city Tustar. 47 Some of the Karaites held
leading positions as mediators between the Jewish community and the
Fatimid court. However) the claim that Karaites served in the position
of "Head of the Jews for four decades in the early eleventh century
has been recently challenged. 48
In the Ayyiibid period) the relations between Rabbanite and Karaite
Jews became increasingly troubled. Symptomatic is that intermarriage
between Karaites and Rabbanites became less frequent. A crucial factor
45 See J. Olszowy-Schlanger, Karaite Marriage Documents from the Cairo Geniza,

252-55.
46 See S. D. Goitein, A Mediterranean Society, 2:7; E. Bareket, "Karaite Communi-
ties in the Middle East During the Tenth to Fifteenth Centuries/' in Karaite Judaism,
237-52.
47 On the Tustari family see M. Gil, The Tustaris: Family and Sect [in Hebrew]
(Tel-Aviv, 1981).
48 S. Sela, "The Headship of the Jews in the Fatimid Empire in Karaite Hands,)' in
Studies in Jewish and Islamic Culture Presented to Moshe Gil, ed. E. Fleischer, M. A.
Friedman, and J. L. Kraemer, 256-81 (Jerusalem, 1998). On Sela)s thesis see M. Rus-
tow, Karaite-Rabbanite Relations in Fatimid Egypt and Syria, 218-22; idem, Heresy
and the Politics of Community, 100-03; and M. Cohen, Poverty and Charity in the
Jewish Community ofMedieval Egypt, 22 n. 49.
might be that Maimonides) at the end of his career) ruled that the
Karaite letter of divorce (get) was invalid according to Rabbanite law.
While he never in fact outlawed mixed marriages) and Rabbanite-
Karaite marriages continued even after Maimonides) ruling) this rul-
ing nevertheless brought about a legal (halakhic) separation between
Karaites and Rabbanites from the early thirteenth century onwards. 49
49 J. Olszowy-Schlanger, "La Lettre de Divorce Caralte et sa Place dans les Rela-

tions entre Caraltes et Rabbanites au Moyen Age,) Revue des etudes juives 155 (1996):
261-85; M. Rustow, Heresy and the Politics of Community, 345. On Maimonides-
whose attacks on kalamic theological philosophy were intended to reveal its scientific
shortcomings-and his influence on Karaite thought from the twelfth to sixteenth
centuries, particularly in the Byzantine Empire, see D. Lasker, From Judah Hadassi
to Elijah Bashyatchi: Studies in La te Medieval Karaite Philosophy, Supplements to
the Journal of Jewish Thought and Philosophy 4 (Leiden: Brill, 2008). This recent
study also outlines the impact of Karaism on the major Rabbanite thinkers, especially
Maimonides.
CHAPTER FOUR
MOSES BEN ABRAHAM DAR'I
4.1 Biographical Data
The biographical data concerning Moses Dar'rs life are few and must
be extracted from his own oeuvre. As such) the available sources are
his diwan and the maqama-style work attributed to him.! According
to these sources) Moses Dar'i may be described as a productive poet
with Moroccan roots who lived in the Karaite community of Egypt
during late Fatimid (and early Ayy1ibid) times) i.e. the middle of the
twelfth century.
Opinions on the historical dating of Dar'i have varied) ranging from
the ninth century to the thirteenth century. However) the final version
of the original diwan can be dated to the year 1163 (or 1171) CE.2 It is)
accordingly) a well established fact that Dar'i cannot have lived earlier
than the first half of the twelfth century. The exact period of his life
will remain uncertain until new information is discovered or one of
the addressees of Dar'rs poems (the names of whom will be presented
below) is correctly identified.
I. Davidson, "The Maqama of Alexandria and Cairo," 296-308. According to

some scholars (such as Schirmann in his contribution on "Moses ben Abraham DarCi)'
for Encyclopedia Judaica 5:1302-1303 [1972]), the work was attributed to Darci with-
out any substantial reason. The problem is that there is a St. Petersburg manuscript
(NLR Evr. II A 384) with a variant reading of the author)s name: Solomon ben Aaron
Kohen. However, Davidson)s reading of the name, Moses ben Abraham Rofe), is con-
firmed in a manuscript (MS Or. 2538) in the British Library. See A. M. Habermann,
"Supplement to the Maqama of Alexandria and Egypt of Moses Darci," 35-40. Other
manuscripts from the second Firkovich collection include the following: A 507, A 536,
A 579 and A 1314. According to U. Melammed (personal correspondence on 27 Nov
2007), the maqama can be attributed to Moses Darci on the strength of linguistic and
stylistic factors.
2 See chapter 1 for the history of research and section 2.2 on the Hebrew colophon
verses that are a crucial source of information for dating the poet. L. Nemoy confirms
a date in the mid-twelfth century. See "Karaites," in Encyclopaedia of Islam (Leiden:
Brill, 1973), 4:605. See also my entry on Moses ben Abraham Darci in Encyclopedia of
Jews in the Islamic World, ed. N. Stillman et al., 2:29-30 (Leiden: Brill 2010).
48 CHAPTER FOUR
The places that feature in Darcrs biography are Darca) Alexandria)

Fustat-Cairo) Jerusalem and Damascus. As their name reveals) the
Darci family immigrated to Egypt from Darca. This town) situated in
the South Moroccan Darca valley) was known to have had a considera-
ble Jewish population between the eleventh and thirteenth centuries. 3
Jewish immigrants from Darca can be found in Egypt from the elev-
enth century. Among them was Abraham ben Jacob Darci (documents
dated: 1060-1103 CE) who settled in Alexandria and was involved in
communal and governmental matters. 4 Maimonides wrote an auto-
graph letter of recommendation in the second half of the twelfth century
on behalf of another scholar called Isaac Darci) who was a newcomer to
Egypt and needed help from the local Jewish community. Interestingly
enough) the letter mentions the title of the addressee) al-Shaykh al-
thiqa ('<the Reliable Elder)))) on the verso in Hebrew characters) along
with some words in Arabic characters: fi yaday Ibrahim al-Darci ('<in
the hands of Abraham DarCr)).
According to Kraemer the scenario may have been as follows: Mai-
monides gave the letter to a courier to bring it to the Fustat address of
Abraham Darci) who was a relative or a friend of Isaac. Abraham then
handed it to Isaac-who as a newly arrived immigrant to Egypt did
not yet have his own address-for delivery to al-Shaykh al-thiqa. 5 The
scribe Abraham ben Samuel Darci was another Jewish immigrant from
Darca living in Egypt in the first half of the thirteenth century.6
Moses ben Abraham Darci was born in Alexandria into a family of
such Jewish immigrants from Darca. In his diwan and in the maqama
he alludes to his Western origins. 7 It appears as though Moses Darci
3 The well-known Arabic geographer Yaqllt (1179-1229) reported that most mer-
chants in the Darca valley were Jews. H. Z. Hirschberg, A History of the Jews in North
Africa (Leiden: Brill, 1974), 1:138.
4 M. Frenkel, "The Compassionate and the Benevolent,) 86-91.
5 This letter is catalogued in the Cambridge University Library as MS T-S 12.192,
see J. L. Kraemer, "Two Letters of Maimonides from the Cairo Genizah,) Maimoni-
dean Studies 1 (1990): 87-98. According to Goitein (A Mediterranean Society, 4:437),
the title al-Thiqa starts to appear in the twelfth century and is frequent in documents
of the thirteenth century.
6 S. D. Goitein, A Mediterranean Society, 2:429.
7 It is possible that before settling in Darca and going to Egypt, Moses DarCi)s fam-
ily originally came from Andalusia In the maqama, the poet states: '~1-ry; Tio~ NiJ~
"'Tl~9 ":P9 :l1~7;) 1'1~~ 'Wlv?1 ("I was born in Alexandria while my roots lie in a
land in the West, from a city in Spain)). See I. Davidson, "The Maqama of Alexandria
and Egypt, 302. Moreover, verse 21 from the bilingual poem no. 190 in the first part
of the collection (MS NLR Evr. I 802: fo1. 48b) reads (in Judaeo-Arabic): ':l,JO '~~N
MOSES BEN ABRAHAM DAR C! 49
considered himself more of a Westerner than an Egyptian. A passage

in the Hebrew verses introducing his diwan is particularly revealing.
While he notes that he composed his collection in Egypt) where he
allegedly suffered from great poverty) he calls himself a foreigner in
his homeland) since his parents came from '<Darca in the kingdom
of Fez)).8
Darci grew up in Alexandria. In his maqama) which is presumed to
be his first literary endeavour) he praises the beauty of his hometown
by describing it as a radiant garden. 9 Like his father Abraham and his
grandfather SeCadya) he trained to be a physician. Darci spent much of
his professional life as a poet and physician in Fustat-Cairo. He was
married and had several children) three of whom apparently prede-
ceased him. 10
Darci also visited Damascus and undertook a pilgrimage to Jeru-
salem. However) given his dating to the mid-twelfth century) it is
improbable that he was '<the Egyptian)) who was so harshly criticised
by al-I:farizi during the latter)s visit to Damascus. 11
Three poems in his diwan point to the fact that Darcrs stay in Syria
was marred by illness and a lack of hospitality from its inhabitants.
In poem no. 70) he compares the Damascenes) aversion to strangers
to that of dogs. 12 Poem no. 204 contains an interesting Judaeo-Arabic
invective on Damascus) in which the poet plays word-games with the
two Arabic names for the city) aI-Sham and Dimashq.13 During his
':l'-rJt,N np, 'O-rpt,N -rNt,:l 10 n,t,'JN 'OJ'Jt,N "':J 'Ot,-rJN ("My origin is Moroccan I
Andalusian, from the best lineage; I was driven away from the Holy Land in the time
ofwrath.)). This final remark might be a reference to Moses DarCts attempted pilgrim-
age to Jerusalem, which will be dealt with below.
8 For the Hebrew original, see section 2.2.
l) I. Davidson, "The Maqama of Alexandria and Egypt, 300-301. For similar
descriptions by other heirs of Andalusian culture, see J. P. Decter, "A Myrtle in the
Forest: Landscape and Nostalgia in Andalusian-Hebrew poetry,) Prooftexts 24, no. 2
(2004): 135-66.
10 Two of his sons were lamented in poem no. 152, MS NLR Evr. I 803: fols. 146b-
148a. One ofhis daughters was the object of elegies nos. 138-141, MS NLR Evr. I 803:
fols. 135a-138a.
11 J. Yahalom and J. Blau, The Wanderings, 183; for more information, see the
introduction
12 No. 70; MS NLR Evr. I 802: fo1. 21a; ed. L. Weinberger, 369, no. 322. See also
section 6.3.
13 MS NLR Evr. 1802: fo1. 52a. This poem is dealt with by A. Schippers in his article
"Some Remarks on Judaeo-Arabic Poetical Works: An Arabic Poem by Moses Darci,)
in Studies in Medieval Jewish Poetry, ed. A. Guetta and M. Itzhaki, 141-56, Studies in
Jewish History and Culture 18 (Leiden: Brill, 2009).
50 CHAPTER FOUR
visit Moses Dar'i apparently suffered from diarrhea and nosebleed) as

poem no. 144 reveals: 14
'In,'nVN T'n ONWr,N ;':1 n'IJ'"1 NIJ N'"l;'l
ttN~r,N1 r,N;'ONr,N ttNV'~N N;':1
. Pi?!91 "~ / 'nNf oi~ N~ / 'nQ~~ ~~ / 'W~~ r,~D

P"P '17~ r,.p / 'nl;l~ 00/ / 'D~J nf 01' / 'Dt:';lo/ :110
PWV n~i.:V -':1 '7 ;,:~ / ':;1~7~ :11 / ':;1~~ Ti.1'1
PQ~ r,~~N / Nr, '7~1:;1~ / ir,DO :ii'9 / ir, ,~ '~t~
pwn "liV hf / 19.1:'r 1V~ O'Vl / 19~~+'D7~ / 190/7 r,~~
Herewith I criticised Damascus, at the time when I was afflicted
therein with weakness due to diarrhea and nosebleed.
The pain of my sorrow) with my lament)
came on the day I reached the city of Damascus;
I forgot welfare on the day I dwelled in it)
there I sewed sack-cloth upon my skin (Job 16:15);
The grief of my pain was great and my heart
was distressed by it;
My body was emaciated because of grave illness)
I could not lift my leg;
a God) for the sake of Your Name and Your strength)
cause the fire of Your anger to be kindled against it!
Moses Dar'rs attempt to reach Jerusalem on the back of a camel was

clearly motivated by a religious desire to visit the spiritual centre of
Karaism: 15
:11:J' nNONpIJ TIJ 'Jr,NJ NIJ '!) N'~'N ;,nr,p NIJIJ1
r,NIJ'.1r,N1 Tonr,N 1'"1 tt"Wr,N O"lpr,N iTlN'T :1r,or, ~NIJ'.1r,N
;"01 ;,r,TN nNT:;l 'nNOn1 / 'n'JDJ O'~IJl :1.1 ':;l:J,:;l
;i,~:;):i: lV~J:;l -1:;l;; nlrJ-l / 'n~i) -r,:;) Or1,r,li 'n,b;:l
~!P~ h!~~1 n~J~1- / O';j~~ ,,~ -:N~T '0~ 01:' T~ ~~i
;'19~ ;'~J;77 r,7:;l 1V;l1~ tt~~~ / ':;lD7 tt'7DV 'W~ ,~~ 1l:t~
~'D~ .n';.L O'l'D; :1'Vli;; OJ1 / bj 1TiN oip ;r~ tt~+' fj~1
;'1+'9 nr~ iIJ? '~D~~1 / ':;l11. n7
'J;7~~7 ,~~ 'i?;
;'1~:1~ o~ 121'T 1~ '~ T1V~ / 'D1:1flO 0'i?1~~ .1V~?1
14 No. 144, MS NLR Evr. I 802: fols. 33b-34a; ed. L. Weinberger, 370, no. 323. The
poem was also translated by L. Nemoy, Karaite Anthology, 134; and by L. Weinberger,
introduction, 16.
15 No. 148, MS NLR Evr. I 802: fo1. 34b; ed. L. Weinberger, 370, no. 324. It is
unclear if Darer's pilgrimage to Jerusalem was successful or not.
MOSES BEN ABRAHAM DAR C! 51
What I also said about the sufferings I endured from riding

camels in an attempt to visit Jerusalem, the Exalted, endowed with excel-
lence and beauty.
While riding camelback I was afflicted)
but thereby my sin flowed away and turned aside;
I imagined) while on them) as if all my bones
were like grain shaken in a sieve (Amos 9:9);
Therefore) the day I would reach God>s city)
and dwell there and see the Temple court
I would praise the Rock) who in my palate transferred
into nectar and honey) all bitterness and gall)
And to the weary then gave power and strength)
and also seated the solitary in the Chosen House (Ps 68:7);
May the Rock shorten my way to reach it
and may He guide me like a stormy wind;
May He lead my chariots forth like flashes of lightning)
with strength) for He has a mighty arm (Ps 89:14).
Moses Darci has attained great fame in medieval as well as in mod-

ern Karaism) given the fact that as recently as 1934 CE a new Karaite
synagogue) located in Sabil al-Khizindar in Cairo)s cAbbasiyya quarter)
was named after him. 16 However) on the basis of evidence from his
maqama-style work) Davidson suggested that Darci was probably not
born a Karaite but joined the movement in his youth after travelling
from Alexandria to Fustat-Cairo) the foremost centre of Karaism of
that time. 17
16 It was the Karaite leader Tuviah Simcha Levi Babovich, born in the Crimea in
present-day Ukraine and ~akham akbar (Grand Rabbi) of the Karaite community of
Egypt for more than 20 years, who gave the synagogue its present name. The syna-
gogue was built by the Karaite community in the 1920)s under Babovich)s predeces-
sor as Grand Rabbi, Ibrahim Kohen, who was born in Istanbul. It was built for the
Karaites who in the beginning of the twentieth century had acquired some wealth
and education and who had moved out of the Harat al- Yahlld to the middle-class
neighbourhoods of cAbbasiyya, al- Dahir, and Ghamra, see J. Beinin, "The Karaites
in Modern Egypt,) in Karaite Judaism: A Guide to Its History and Literary Sources,
ed. M. Polliack, 421-22 (Leiden: Brill 2003). The synagogue has a plan reminiscent
of Ottoman mosques with its dome supported on pillars covering the entire central
prayer space. There is also a courtyard and a library (which used to be a Bet Din or
communal court), with a collection of about 4000 books and manuscripts. The syna-
gogue is described in some more detail in Y. Meital, Jewish sites in Egypt [in Hebrew]
(Jerusalem: Ben-Zvi Institute, 1995), 81-86.
17 C I. Davidson, "The Maqama of Alexandria and Cairo,) 298-99. Davidson
based this suggestion on the followipg passage from the maqama: '01t,:J] jl:l '''V:l1
CV1 '1jlO '1J ... C"~O:l ':J ,:lnJ ,~ jl'jl VJ'NO ,:l-r roVJ 'JTN jlnpr, [110N NJ:l
C'N':lJjl 'NVJ:l1 1-r:lV jlVJO:l1... -rnN N1jl ':J 'jl:l rONOjl N'PO 'J:l CV N'pJ ... jlt,JO
jlT 'VOVJ:J1 ... jlJVJO Nt,1 -r10t,n Nt, jlnt,n fN1 ... C"VJV1 jlV:l'N:l C":JTJ jl C',n:lJ jl
52 CHAPTER FOUR
The maqama relates how his poetical talent gained him effortless
entry into the Karaite community) to which Darci became a sort of
house poet. Interestingly enough) some of the leading contemporary
Karaite figures in Fustat-Cairo are mentioned by name in the maqama.
Unfortunately) their identities are uncertain since most of the names
are very common:
Samuel ha-Rofe physician and head of the local Torah academy.

He wrote a commentary on the Torah) a Sefer mi~vot) medical trea-
tises and liturgical poems;
Moses ha-Levi) reader of the Torah on Sabbaths) scribe and govern-
ment official. There may be a reference to him outside the maqama)
in a memorial list of Karaite families from Cairo and Damascus. 18
Samuel ha-Kohen ha-Rofe physician) Bible expert) scribe and
liturgical poet;
Isaac ha-Rofe court physician
Eliyah ben Samuet grammarian and poet;
Samuel ben Eliyah ben Sinni) young poet and cantor; the Karaite
family name Sinni is also found in fifteenth-century sources. 19
As his diwan testifies) there is no doubt that Darci was a committed

Karaite; he regularly professes his Karaite identity in the name-acros-
tics of his liturgical poems-for example: (Moses) Karaite physician))
(4t~1i? N~;' M~b).
'njlOjlonjl Nt" 'nwn 'nvow 'WN "wt" 'now jlV'OJt, ':1t" 'nop 'o,p00 ,:1jjl
0'0:1 UN'N' jl:Jt,N ... jltjl t"jJjl jltnOjl nN jlN'N 'n:Jt,:1 ,t,'N 'WJJt, 'n'ON ':J
n'ON "While still there [Le., in Alexandria] my ear caught a whisper of a matter from
one of my friends, that in Egypt [le., in Fustat-Cairo] ... there is a pure nation and a
treasured people ... a people called the Karaites who believe in the LORD because He
is one ... and in Moses His servant and in the rest of the chosen prophets that are
mentioned in the 24 [books, Le., the Scriptures] ... besides these, there is nothing, no
Talmud or Mishna ... and when I heard this matter, I stood up from my place and
made my heart ready for the travel and hurried to see what I had heard-without
delay- because I said to myself: Maybe on my travel I will see this great phenomenon,
so let me go and see it before I die.) It is unknown whether other members of Moses
DarCi)s family showed sympathy for the Karaites. In any case, the Egyptian atmosphere
of cooperation between Rabbanite and Karaite Jews guaranteed ease of movement
between the communities, see E. Bareket, "Karaite Communities in the Middle East
during the Tenth to Fifteenth Centuries,) in Karaite Judaism, 241.
18 J. Mann, Texts and Studies in Jewish History and Literature, 2:283.
19 A certain Samuel ben Moses Sinni lived in fifteenth-century Cairo, see L. Nemoy,
Karaite An thology, 196; L. Weinberger, "Moses Darci: Karaite Poet and Physician,) 455.
MOSES BEN ABRAHAM DARe! 53
4.2 Social and Professional Life
Moses Darei may be described as house or family poet to the Karaite

community of Fustat-Cairo. Many of his compositions were intended
for that community) primarily for liturgical purposes. It is not incon-
ceivable that Darers recognition of the poetical void he could fill in the
community also influenced his decision to join Karaism. Darei com-
posed poems for the Torah readings on each Sabbath as well as the
holidays. He also has a remarkable series of poems about a boy) David
ben al-Shaykh Moses al-Iskandari) who read the haftara in public for
the first time. These poems provide rare evidence of the existence of
a Bar mi~va-like rite de passage for Karaite adolescents in medieval
Egypt. 20 Moreover) the following passage (lines 24-27) from poem no.
176 includes detailed references to the ritual objects to be found in a
Karaite synagogue of the time: 21
iJ'~1 "~ ow o~ 'W~ / 0'1~O~ 0'1i?7 OD 0'1~~

iJi'N:l jl:JNt,O jlJ1t jl01 / 'Ji-rN n,ir-t nON i:!l ,JO,
i3~r '1~io ";D7 t;ip n~N~~ / c'~1i? Vi1!? ,~~ i:!l 199~
iJ9~~ ~ '?~ "1ijl 'W~ / ni-noqD r,~ ni'~1 'w~n
The coverings [of the Torah scrolls] are precious and elegant
and (embroidered with) the name of the master and his son;
The book which contains the true Law of God-
How beautifully crafted is its case!
The curtain [of the Holy Ark] is (embroidered with) the holy vessels-
A work of art by a master who is unique amidst the scribes of his time;
And (embroidered with) God>s delightful Ten Commandments
which he brought down in the hands of His trustee [Moses].
In another poem Darei praises a certain Moses who apparently con-
structed the community)s catacombs: 22
'NJO NJn:lN l":JVJ 'J N'~'N nt,p -rp,

'NJ~' 'N:l:J NnN'ON 1J-rt,
'1~D o~ jlWO 'W/-D 17 11Jil ':;i!? :li~ jl~
0'7;)%;\
O'~~D t,~ n1~: Nt, / -rp7 :lit? ow17 11;liiv~~
20 Poems nos. 176-179., 186 (first part of the dzwan): MS NLR Evr. I 802: fo1s.
38b-41a; 46a-46b. According to Scheindlin., this occasion was not yet a bar mi~va
ceremony., see his review in Hebrew Studies 41 (2000): 345. Compare to the findings
of H. Ben-Shammai., "On a Torah Case with Ornaments., 5-10.
2i Poem no. 176: MS NLR Evr. I 802: fo1. 38b; H. Ben-Shammai., "On a Torah Case
with Ornaments.,) 9-10. .
22 No. 50., MS NLR Evr. I 802: fo1. 16b; ed. L. Weinberger., 482., no. 513.
54 CHAPTER FOUR
C'~7~~ c'n~ n~in 'i~-i?? l;l'~~~ j11~9~

c'~7iV n'~ l;l'~~ T;l~ / '9 n:;1 it, "\' vr~ t,:p ci'
(What) I also said about a person who built a cavern
to bury the dead, both adults and children.
How good is the reward in store for you)
o master Moses) with the Rock-who is perfect (Deut 32:4);
By making a good name for yourself: forever)
which will never be cut off (Isa 56:5)!
Because of the cavern which you built in order to
bury therein dead people) struck dumb;
The day everyone plastered for himself a moveable house)
you built an everlasting house!
Other poems were written on the occasion of a wedding or death.
Some of the Judaeo-Arabic headings to Dar'fs epithalamia and elegies
provide the names of the persons for whom the poems were written.
While it is difficult to identify everyone mentioned from only these
brief headings) it is clear that Dar'i was a professional poet who was
involved in promoting the Jewish elite of Fustat-Cairo. Most address-
ees appear to have been prominent figures in the Karaite community;
they may have been the poet)s patrons or friends. However) that he also
eulogised a Rabbanite personality points to the general atmosphere
of cooperation between the two groups in Egypt. Several addressees
have Arabic epithets such as al-Najzb C(the Noble)))) al-Shaykh ((the
Elder)))) or al-Thiqa ((the Reliable))). A notable honorary title is Ra'zs
al-rabbanzn C(Head of the Rabbanites))). In some instances) he explic-
itlymentions public professions like rote' (physician) and iJazzan (can-
tor). As to the epithalamia or wedding songs) Dar'i immortalised the
weddings of the following grooms plus their brides:
Abraham ha-Rofe> + a daughter of Abraham ben David ha-Kohen

(poem no. 180: MS NLR Evr. I 802: fols. 41a-42a)
Moses ben ~edaqa ha-Rofe> + a daughter of al-Shaykh al-Tara>ifi23
(poem no. 181: MS NLR Evr. I 802: fols. 42a-43a)
Samuel ben al-Shaykh al-Tara>ifi + a daughter of al-Shaykh Moses
al-Iskandari (poems nos. 182 and 187: MS NLR Evr. I 802: fols.
43a-44a) 46b-47b)
23 The family name al- Tarifij seems to reflect the profession of a local Karaite fam-
ily of merchants) specialised in rare) exquisite objects) in Arabic: tarifa) pI. tara'ij.
MOSES BEN ABRAHAM DAR'! 55
Moses ben aI-Shaykh al-As'ad ben Firiiz + a daughter of his uncle

aI-Shaykh aI-Shams 'Abd aI-Karim (poem no. 185: MS NLR Evr. I
802: fols. 45a-45b)
There may be references to these people outside Dar'rs diwan) espe-

cially for Moses ben ~edaqa. Several nineteenth-century scholars like
Schorr) Geiger) and Steinschneider identified him with a physician
whom al-~arizi praised during his visit to Damascus. 24 According to
Poznanski) another bridegroom) Moses ben al-Shaykh al-As'ad ben
Firiiz) may be the earliest known member of the well-known Karaite
Firiiz-family) originating from Persia but active mostly in Damascus. 25
As to the elegies) Moses Dar'i eulogised the following personalities:
Al-Thiqa b. aI-Shaykh (poem no. 207: MS NLR Evr. I 802:

fo1. 53b)
Al-Najib Joseph b. Saydham26 (poem no. 208: MS NLR Evr. I 802:
fols. 54a-b)
Al-Najib b. aI-Shaykh al-Sadid (poem no. 209: MS NLR Evr. I 802:
fols. 54b-55a)
Is~aq aI-Maghribi Ra>is aI-Rabbanin (poem no. 210: MS NLR Evr.
I 802: fols. 55a-b)
Samuel lJazzan Melammed (poem no. 128: MS NLR Evr. I 803:
fols. 127a-b)
Samuel ha-Rofe> (poem no. 129: MS NLR Evr. I 803: fols. 128a-b)
AI-Najib b. al-Shaykh al-Sadid may be identified with the Karaite phy-

sician Abu I-Bayan al-Sadid b. al-Mudawwar) who served under the last
Fatimid rulers. 27 An interesting personality is Is1).aq al-Maghribi '<Head
24 See maqama nos. 46 and 50 in Judah al-ijariz1, The Book of Ta~kemoni: Jewish
Tales from Medieval Spain, trans. D. Simha Segal (Portland: Littman Library of Jewish
Civilization, 2003), 340, 394 and 412. According to M. Meyerhot Moses ['Imran] ben
~edaqa was the most prominent Jewish physician after Maimonides, see M. Meyerhot
"Medieval Jewish Physicians in the Near East," Isis 28 (1938): 452-53.
25 S. Poznanski, "Die kar~iische Familie Firu~" 44-58. It should be reminded that
the Firkovich manuscripts no. 802 and 803 were in the possession of the Firllz-family
(Abraham ben Eliyah Firllz) for a long time, see chapter 2.
26 In Hebrew letters: cn"o, which is an unusual family name, see M. Steinschnei-
der, "Mose b. Zedaka, Imran b. Sadaka, und Mose DarC~) Judische Zeitschrift fUr Wis-
senschajt und Leben 9 (1871): 177 n 2. Possibly, one has to read sayyidihim ('(their
master").
27 M. Meyerhot "Medieval Jewish Physicians in the Near East," 445.
56 CHAPTER FOUR
of the Rabbanites) whom Weinberger identified with a contemporary

of Maimonides) Isaac ben Sason of Fustat. 28 With the observation that
many medical practitioners can be found among the addressees of his
poems) we now turn to Moses Darcrs other professional occupation)
medicine.
Like poetry) medicine was a major constituent of Islamic civilisation.
Physicians had access to a whole range of ancient Greek medical works
in Arabic translation as well as to original Arabic medical works. 29 The
medical profession transcended barriers of religion; minorities like
Christians and Jews worked in hospitals alongside Muslim physicians.
Moreover) the output of these religious minorities in writing medical
works was out of all proportion to their actual numbers. 30 Practice as
a physician opened the door to high administrative positions in the
Muslim government and to leading roles in the Jewish community.
It is not surprising) therefore) that the medical profession was often
passed on from father to son. Among such Egyptian Jewish families of
doctors were the Maimonides and the al-cAmmani family and appar-
ently also the Darci family.31
Daniel Lasker has refuted the caricature of the Karaites as opponents
of medicine that is found even in recent works on Jews and medi-
cine. 32 As a matter of fact) considerable numbers of physicians figure
in memorial lists of Karaite families from Cairo and Damascus. 33
The famous physician Ibn Jumayc (d. 1198 CE) offered an interest-
ing insight into the state of medicine at the time of Maimonides in his
Treatise for Saladin on the Revival of the Art of Medicine. 34 Accord-
28 L. Weinberger, Jewish Poet in Muslim Egypt, 7-10.

29 F. Rosenthal, The Classical Heritage in Islam (London: Routledge and Kegan
Paul, 1975). For an insight in a typical library of a medieval Jewish physician, see D.
H. Baneth, ((A Doctor's Library in Egypt at the time of Maimonides,)) [in Hebrew]
Tarb~ 30 (1960-1961): 171-85.
30 S. D. Goitein, ((The Medical Profession in the Light of the Cairo Geniza Docu-
ments,') Hebrew Union College Annual 34 (1963): 177-94; J. Schatzmiller, Jews, Medi-
cine, and Medieval Society (California: University of California Press, 1994).
31 S. D. Goitein, A Mediterranean Society, 2:244-45. The fact that families tended
to stick to certain types of professions, has been noted with regard to Andalusia by
D. Wasserstein, ((Jewish Elites in al-Andalus,') in The Jews of Medieval Islam, ed. D.
Frank, 101-10 (Leiden: Brill, 1995).
32 D. Lasker, Karaism and Jewish Studies [in Hebrew] (Tel Aviv: Tel Aviv Univer-
sity, 2000).
33 J. Mann, Texts and Studies in Jewish History and Literature, 2:256-83.
34 P. B. Fenton, ((The State ofArabic Medicine at the Time ofMaimonides According
to Ibn GumayC)s Treatise on the Revival ofthe Art of Medicine,') in Moses Maimonides:
MOSES BEN ABRAHAM DAR'! 57
ing to this author) the study of medicine requires knowledge of sci-

ences immediately related to the profession) such as pharmaceutics)
as well as of disciplines outside strictly medical science) such as math-
ematical astronomy. Ibn Jumay' and Maimonides vigorously opposed
horoscopic and medical astrology) which they deemed unscientific. 35
Nevertheless) the medieval public generally accepted the idea that the
heavenly bodies and their movements influenced life on earth. There
was also a widespread trust in the capacity of astrologers to foretell
their effects. 36
The name-acrostics to Dar'rs liturgical poems leave no doubt that
he was a physician. Dar'i stressed the importance of good health (and
property) in the following poem: 37
Tn f~nnNt;,N '!l N'3l'N ;,nt;,p Nnnl
t;,Nnt;,Nl ;,n3lt;,N '!l t;,NnVNt;,N "NO
:11 t;,~DQ 17 o'1TivQ / 1D7~n~ 1~i;' t;,.p o~n
:11i?7 :11tl 1~'Q':;1 riNT / OJ nin~ 1~lvi7:;1 ;,! ':;l
:110/ n.p t;,t!~~ ,ip oin:;n / ;,~~o/ :1-\'1~~ r;,~ TiN~~
:11i?' f~D ?f of i7~ / PDlD oryf 1~~1 OJ
:11~D 09~ O'?D nio/~ / o.Q~~ oryf o'Q~ 11N
:1'DJ ;'T 01' "lDt;, "li:1:J / "l'nnn nNT ;"~:Ll~ nj
:11 Tl~iN" t;,iiJ~~Q :1~iN / t;,f "-riV 1f ,~ti~~: O;)f
:11J;'QQ n1V~ pinl~ 19/-Q PDl? i~:;1 0~~7~~
What I also said about being wary of
all actions concern ing health and property.
Take care of your wealth and your healing)
which save you from a mighty force;
Because the former makes your language eloquent)
while the latter is a battle sword in your right-hand;
Sorrow turns into delight, hunger into satiation)
heat into coolness) like dew during a heat wave;
Physician, Scientist, and Philosopher) ed. F. Rosner and S. Kottek 215-29 (New Jersey:
Jason Aronson) 1993).
35 G. Freudenthal) "Maimonides' Stance on Astrology in Context: Cosmology)
Physics) Medicine) and Providence/' in Moses Maimonides: Physician, Scientist, and
Philosopher) 77-96.
36 Horoscopes and astrological almanacs were unearthed in the Geniza) see
B. Goldstein and D. Pingree) "Horoscopes from the Cairo Geniza)" Journal of Near
Eastern Studies 36 (1977): 113-44; idem) "Astrological Almanacs from the Cairo
Genua)" Journal ofNear Eastern Studies 38 (1979): 153-75) 231-56. Poets often pre-
sented planets and stars as symbols of eternity and divine power.
37 No. 14) MS NLR Evr. I 802: fol. 9a; ed. L. Weinberger) 434-35) no. 418.
58 CHAPTER FOUR
Your trouble is kept at distance by them)

while everything that you desire comes near;
The length of days) in their company) becomes pleasant)
and the years of life) with them) become agreeable;
[Healing] makes power and strength endure)
while glory is forever guaranteed by [wealth].
Because of them) every enemy will become your friend)
though yesterday he quarrelled with you;
But when gone) your son will keep a distance from you
as far as the East is from the West (Ps 103:12).
It is noteworthy that Darci was not the only poet in the Islamic West
and East to combine poetry with medicine. For example) Judah ha-
Levi)s poems show that he practiced medicine in his native Spain.
Aaron ibn al-cAmmani was another Jewish poet-physician; illness and
healing are frequent themes in his work. 38 Judah al-I:Iarizi also showed
signs of interest in medical matters) although it is not certain whether
he was a trained and practising physician. 39
38 See S. Cohen) The Poetry of Aaron AI-(Ammanz: A Critical Edition [in Hebrew]
(Jerusalem: Meq~e Nirdamim) 2008); S. D. Goitein) A Mediterranean Society, 2:258-60;
A. Scheiber) ((Unbekannte Gedichte von Aron ibn al-Ammani) dem Freunde Jehuda
Hallevis))' in Geniza Studies) 273-87 (Hildesheim: G. Olms) 1981).
39 See S. Kottek, ((Medicine in Hebrew Poetry: Judah al-Harizi," [in Hebrew] Karat
8 (1983): 299-304.
CHAPTER FIVE
POETICS AND POETRY
5.1 The Arabic Poetical Tradition
In the Judaeo-Arabic heading to poem no. 100) Moses Darci expresses

his preference for poetry in the badt style.! This Arabic term was used
in cAbbasid times to describe the innovative style of certain poets
living in the late eighth through early ninth centuries like Bashshar
ibn Burd) Abu Nuwas) and Abu Tammam. These poets) called '<Mod-
erns)) (al-MuiJdathun) sought to reinterpret the poetical tradition of
the pre-Islamic desert and adapt it to the new setting of the urban
cAbbasid court. The fundamental change in their poetry was reflected
in an increased awareness of the stylistic devices at their disposal. The
result was that Modern poets employed more elaborate and sophisti-
cated rhetorical figuration than did Arabic poets in pre-Islamic and
Umayyad times. 2 Arabic literary history records mixed feelings about
the Modern poets) inventiveness and their break with tradition. Con-
servative literary critics attacked the badt style as contrived and arti-
ficial) in contrast to the orally transmitted) natural poetry from the
MS NLR Evr. I 802; fo1. 25b: V'"'T:lr,N 'VWr,N r,"~Jn 'J N'~N j'lnr,p NOO'
j'l:lNn~N' 1':J,r,N 'JOOr,N V'POr,N r"pr,N ,r,V j'l:lN:l'N' ("What I also said about
the preference of badf-style poetry and its masters over the cold, ugly and weak style
and its adherents)). The Arabic word badf initially meant something novel, original,
but came to stand for a style of poetry. The word is related to the fourth form verb
abda<a (to originate, to bring something new into creation) and is one of the Islamic
epithets of God.
2 W. Heinrich)s definition of badf ("rhetorical embellishment which is consciously
sought after by the poets and thus gradually evolves as a principle of art rather than a
mere instrument of it)) underlines the conscious striving ofthe Modern poets to accu-
mulate stylistic means. W. Heinrichs, "Literary Theory: The Problem of its Efficiency,
in Arabic Poetry: Theory and Development, ed. G.E. von Grunebaum, 25 (Wiesbaden:
Harrassowit~ 1973). See also his articles on badf and rhetorical figures in J. Scott
Meisami and P. Starkey (eds.), Encyclopedia of Arabic Literature, 122-23 and 656-62
(London: Routledge, 1998). S. Sperl applied the term "mannerism) to mu~dath poetry
in his book Mannerism in Arabic Poetry (Cambridge: Cambridge University Press,
1989).
60 CHAPTER FIVE
period before the establishment of Islam.3 Between the late fifth and
early seventh centuries-the classical period of early Arabic poetry-
Bedouin poets of the Arabian Peninsula developed what until recent
times had been the preeminent form of Arabic poetry) the qa~ida. This
term designates a lengthy polythematic poem written in monorhyme
with a single quantitative metre. 4
The qa~ida is usually divided thematically into three overall parts
(with many variable subdivisions): the nasib or erotic prelude (which
often includes a "weeping over the abandoned campsite) or atlal)
the raiJil or journey across the desert (with extensive description of
the landscape)s flora and fauna) and the final part of the poem) which
often includes the praise of other tribe members (madiiJ) self-praise
(fakhr) or the inverse of praise: invective (hija') directed at the rival
tribes. The contents of the pre-Islamic qa~ida clearly reflect tribal life
in the Arabian Desert. s With the advent of Islam) the mainly tribal and
oral character of Arabic society gradually moved towards the urban
and literate. Nevertheless) in Umayyad times (661-750 CE) the ancient
traditions of pre-Islamic poetry continued to inspire most poets. 6
The Modern poets of the early (Abbasid age) by contrast) defied
these traditions more vigorously; they started writing on subjects more
relevant to the courtly urban environments of the (Abbasid caliphate.
For example) the qa~ida gradually lost its central section (the raJ:zil)
3 The dialectic of natural versus artificial poetry was one of the most persistent
issues in medieval Arabic literary criticism) and was studied by M. Ajami) The Neck-
veins ofWinter: The Controversy over Natural and Artificial Poetry in Medieval Arabic
Literary Criticism (Leiden: BrUt 1984). On the oral character ofpre-Islamic poetry) see
M. Zwettler) The Oral Tradition of Classical Arabic Poetry: Its Character and Implica-
tions (Columbus) Ohio: Ohio State University Press) 1978).
4 In contrast) short monothematic poems in quantitative metrics are correctly called
qira. Arabic literary theoreticians disagreed on the minimum number of verses in a
qa$zda; the form is studied exhaustively in S. Sperl and C. Shackle (eds.) Qa$zda Poetry
in Islamic Asia and Africa (Leiden: Brill) 1996); see also the article on the qa$zda by
R Jacobi in J. Scott Meisami and P. Starkey (eds.) Encyclopedia of Arabic Literature)
630- 33 (London: Routledge) 1998).
5 See J. Montgomery) The Vagaries ofthe Qa$zda: the Tradition and Practice ofEarly
Arabic Poetry (Oxford: E.J.W. Gibb Memorial Trust) 1997).
6 M. Badawi argued that the major changes in post-Islamic poetry took place in the
Umayyad and not in the CAbbasid period: M. Badawi) CAbbasid Poetry and its Ante-
cedents/) in (Abbasid Belles-Lettres (The Cambridge History of Arabic Literature) ed.
J. Ashtiany et al.) 146-66 (Cambridge: Cambridge University Press) 1990). According
to S. Jayyusi) the poetic experiments of the Umayyad period laid the foundation for
the innovations of the cAbbasid period. See ((Umayyad Poetry/) in Arabic Literature
to the End of the Umayyad Period (The Cambridge History of Arabic Literature) ed.
A. Beeston et al.) 387-432 (Cambridge: Cambridge University Press) 1983).
POETICS AND POETRY 61
and took on a bipartite form. Poems of praise and invective changed

into effective propaganda instruments at the courts of the caliph and
the ruling elite. 7 Lighter topics such as wine) (hetero- and homoerotic)
love and hunting were increasingly employed in independent) generally
monothematic poems) called ghazaliyyat) khamriyyat) and tardiyyat.
In addition to libertine poems (mujuniyyat) the (Abbasid period
also witnessed the composition of poems stressing the transience of
human existence) urging the individual to renounce worldly tempta-
tions and dedicating oneself to fulfilling God)s will. The zuhdiyyat genre
(sermon-like poems preaching ascetism) and Sufi mystical poetry are
examples. 8
The poetical innovations of the (Abbasid period have sometimes been
explained in the light of the shu(ubiyya controversy between Arabs and
non-Arabs) a cultural and societal crisis in the early (Abbasid period
that involved the place of non-Arabs and the relevance of their cul-
ture in the Arabic-Islamic Empire. 9 Several innovations were ascribed
to Arabised poets of non-Arabic origin like Bashshar ibn Burd. This
poet of Persian descent had taken part in the attack on the Arabs)
sense of superiority of their linguistic) literary) and cultural heritage)
designated by the term Carabiyya.l0 For example) al-Jal;1i~ (d. 868 CE)
observed that the badt style grew out of an intrinsic feature of the Ara-
bic language that made that language superior to all other languages. ll
Ibn al-Mu(tazz (d. 908 CE) took this argument a step further in his
Kitab al-badz\ the first systematic work about the (new style of poetry.
Ibn al-Mu(tazz tried to demonstrate that despite its name) badt was
not at all new or innovative. To do this) Kitab al-badt documented the
rhetorical figures that the Modern poets used so frequently) showing
7 B. Gruendler) Medieval Arabic Praise Poetry: Ibn al-Rumf and the Patron's
Redemption (London: Routledge) 2003).

8 On generic inventions in early cAbbasid poetry) see J. Scott Meisami) Structure
and Meaning in Medieval Arabic and Persian Poetry: Orient Pearls (London: Routledge)
2003). On hunting) love) wine) mystical and ascetic poetry) see their respective articles
in (Abbasid Belles-Lettres) 167-274.
9 S. Bonebakker) "Aspects of the History of Literary Rhetoric and Poetics in Arabic
Literature/) Viator 1 (1970): 75-95. On "Shu(ubiyya in Arabic literature/) see H. Norris)
in (Abbasid Belles-Lettres) 31-47.
10 G. Schoeler) "Bashshar b. Burd) Abu 1-CAtahiyah) Abu Nuwas))) in (Abbasid Belles-
Lettres) 276-86.
11 W. Ouyang) Literary Criticism in Medieval Arabic-Islamic Culture: The Making of
a Tradition (Edinburgh: Edinburgh University Press) 1997)) 102-05 and 110-11.
62 CHAPTER FIVE
that all of them could be found in classical Arabic sources: the Koran)
J:Iadtth) and pre-Islamic poetry.12
As mentioned at the beginning of this section) Moses Darci expressed
his preference for poetry in the Arabic badt style in the Judaeo-Arabic
heading to poem no. 100. In the following fragment (24-32) from this
poem) he acknowledged some Carabiyya arguments in favour of Arabic
intellectual) linguistic) and poetical superiority:13
o"l,.il :J ~ 'vi JN1 niJ':1 01'1 / ni,.uJ n 'iJ 0'JUJ N 'i.1 NJ.'l
o'il:J~""l'~" ~i7?f 06 1.p1j7 / O~JV! -';1 Vl1)~ lni?7 'o/~
O"l,.il l'W" On!)VJ:Jl / Oil'!):1 ,niN :J'nJ nN l3!)l
O"l:J~ '1,.1T-'i"~ -6 il';!JO:i / inl1Jl" tih N": ni,.ln n ~:J": lnu,l
" o""1' i:1 ci'~:J"lil"" ~nnl'l / O':J',.J ":J~ il:tnn: o:i'J 'ri~
0"1"~-: O:J il'l"~i: ln9,rn :/ il~~n" ~~,~" ~:i~ O:1,Tn "'l31
o'llO: l~~i!)~T,,'P vi~~~ / ri9~n o~~ iw~ i17~? oi'i
O'lQ1)l i:1 00\' '11io "i?1;:17 / l4noi':;l o.p;::t Ti n~lJ 01:1
7
O'linl 0':;1i, Ol N~ 1'D IN't~iD/:'' '7~ f? ~f :J;L n1~1p ~.pi
Then comes a nation of faithful ones (emunfm)) and of good qualities
(~amudot)) an insightful people and glorious men of understanding;
Who acquired a double portion of knowledge (Deut 21:17))
because they are first-born among the children of insight;
They paved the way of speech with their mouths)
and with their lips) they removed obstacles (Isa 45:2);
They set down all good qualities (~amudot) of men along with the bad
in their books) piled up for every generation to come;
The balm of their speech revives the heart of benefactors)
whereas wicked people will be killed by it childless (Lev 20:20);
The rock of their sword destroys every miser)
and his disgrace will be apparent to them forever;
When the smoke of their anger and fury ascends (Ps 18:9))
with the hammer of poetry they break mountains to pieces (Jer 23:29);
Their hand holds the pen as tightly as a spear
to pierce with it stubborn and rebellious people.
Within a haies breadth of the hearth of every babbler) without
missing) they fire and shoot the arrow of speech (Judg 20:16).
12 S. Stetkevych, Abu Tammam and the Poetics of the (Abbasid Age (Leiden: Brill,
1991), 5-37.
13 No. 100 (lines 24-32), MS NLR Evr. I 802: fols. 25b-26b; ed. L. Weinberger,
461-63, no. 473.
14 See G. J. van Gelder, ((The Conceit of Pen and Sword: On an Arabic Literary
Debate/~ Journal of Semitic Studies 32 (1978): 329-60.
The Hebrew roots in the words '<C4t~~O~)) ('<faithful ones))) and '<n;"T~01J))
('<good qualities))) in the above lines s~em to be chosen deliberately by
the poet as echoes of central Islamic concepts like mu>min ('<believer)))
and MuiJammad. The second line (line 25 in the edition) apparently
alludes to the fact that Ishmael) the ancestor of the Arabs) was born
before Isaac) the ancestor of the Jews. An issue not mentioned-namely)
that Ishmael was born to the slave woman Hagar-was a major topic
of dispute; the shuCubiyya movement used it in its attempts to deni-
grate the Arabs. 1s
These lines are reminiscent of similar statements by the Andalusian-
Hebrew poet and literary critic Moses ibn Ezra (1055-1138 CE) who
devoted the third chapter of his Kitab al-muiJa4ara to answering the
question: '<How did poetry become natural to the Arabic people) while
being foreign to other nations?))16
The following Judaeo-Arabic passage from Kitab al-muiJa4ara in
praise of the Arabs confirms that Jewish poets like Moses ibn Ezra in
the West and Moses Darci in the East were very well aware of their
debt to the Arabic literary and cultural heritage:
,:lNO':Jr,N '!) N;'VN:l ;'V01 ;,r,Npnr,N ,r,V ;,r,':lpr,N ;''"l;' 'N"lnpN vn1
'1;''O:l N;,nr,nnJN1 N;,n:l'V1 nN.1r,r,N Tn ,"n:J ,r,v ;"N.1tjN nJO
,r,V1 ,TNO~:J:l O'N!) lr,n ,r,v N;,n:lr,.11 ,JNOr,Or,N 0'OV1 ;,nr,:Jr,N
nW!)l N;,pNOJ VOnN!) .'3ln:l O:lpr,N lr,n ,r,V1 ,0NWr,N:l 01,r,N lr,n
;,n'"lpr,N 01r,Vr,N v'n'.1 nn'.1,n1 N;'PN!)N1 N;nNopN '!) tt'Nvnr,N
'!) 0'.1,n1 ttr,l Nn!) ,NJN':ll Nn,w N;,n"lNT1 N;,nr,nnJN1 l;,'n'"lnr,N1
;,Vo Tn n:l;'l Nn:l ;,r,nr,N ;''"l;' '!) 0'.1,n1 ttr,N Nn 01r,V'N Tn ;,r,n
l7.:lNO':Jr,N r,'"l!) Tn npT'l ,;'.1r,r,N
With the ability of this tribe in eloquence and their mastery of speech)
they attacked many other languages) which they Arabised and adopted
for the splendor of the word and the grandeur of dominion. They con-
quered the kingdom of Persia in Khorasan) the kingdom of Byzantium
in Syria) and the kingdom of the Copts in Egypt. Their borders grew
wider and knowledge was spread throughout its regions and provinces.
They translated all ancient and modern sciences and) having mastered
them) they added explanations and commentaries. In no other commu-
nity have so many works of learning been written and translated as in
15 See H. Norris, "Shu<ubiyya in Arabic literature, in <Abbasid Belles-Lettres, 42-43.

16 A. S. Halkin (ed.), Kitab al-mu~a4ara wal-mudhakara, 28-29; N. Allony, "The
Reaction of Moses ibn Ezra to CArabiyya, Bulletin of the Institute of Jewish Studies
3 (1975): 19-40; N. Roth, "Jewish Reactions to the <Arabiyya and the Renaissance of
Hebrew in Spain,) Journal of Semitic Studies 28, no. 1 (1983): 63-84.
17 A. S. Halkin (ed.), Kitab al-mu~a4ara, 38-39 (fol. 21a).
64 CHAPTER FIVE
this community) due to the rich language and the superiority in elo-
quence with which they were endowed.
It is interesting to note that Moses ibn Ezra did not allude to the
Islamic conquest of Andalusia) the distant Western province in which
he was born. In the first centuries that Spain was under Islamic rule)
Andalusian culture was still very dependent on its Eastern heritage.
Starting in the tenth century) Andalusian centres of patronage began
to attract Eastern and Western poets who generally continued to write
in classical Eastern monorhyme forms. However) Andalusian Arabic
poetry began to show greater independence from Eastern poetry from
the eleventh century onwards (the period of the Party Kings/muluk
al-tawa>if).18 This is evident in the emergence of strophic forms of
poetry like the muwashshaiJ and zajal. Around the twelfth century)
these two strophic forms of poetry spread to North Africa and the
Muslim East) where they have enjoyed great popularity ever since. 19
5.2 Hebrew Poetry in Muslim Spain
In Medieval Hebrew poetry) the '<mannerisf) badt style made its

entrance among Andalusian Jewish poets under the influence of Ara-
bic poetry and poetics (particularly (Abbasid courtly poetry). Accord-
ing to Moses ibn Ezra) Solomon ibn Gabirol (I021-53? CE) was the
first poet to introduce this style into Hebrew poetry) starting a trend
noticeable in the works of his contemporaries and later Andalusian
poets. 20
Arabic badt theory clearly influenced Moses ibn Ezra) who devoted
almost half his Kitab al-muiJa4ara to a discussion of twenty rhetorical
18 On the eventful Taifa period, see D. Wasserstein, The Rise and Fall of the Party-
Kings: Politics and Society in Islamic Spain 1002-1086 (Princeton: Princeton Univer-
sity Press, 1985).
19 On strophic forms, see F. Corriente and A. Saenz-Badillos, PoeSla Estr6fica:
Aetas del Primer Congreso Internacional sobre Poesla Estr6fica Arabe y Hebrea y sus
Paralelos Romances (Madrid: Facultad de Filogla, Universidad Complutense, 1991);
S. Stern, Hispano-Arabic Strophic Poetry: Studies by Samuel Miklos Stern, ed. L. P.
Harvey (Oxford: Clarendon Press, 1974); on the so-called kharja in dialectal Arabic or
Romance, see O. Zwartjes, Love Songs from al-Andalus: History, Structure and Mean-
ing of the Kharja (Leiden: Brill, 1997).
20 A. S. Halkin (ed.), Kitdb al-mu~d4ara, 70-71 (fol. 37b).
figures adopted from Arabic poetics. 21 Because he adhered strictly to

the Arabic conception of poetry) Moses did not consider the poeti-
cal parts of the Bible or classical and post-classical liturgical poetry
to be poetry in the sense that the Arabic critic Qudama ibn Ja'far (d.
948 CE) formally defined it: Innahu qawlun mawzunun muqaffan
yadullu (ala ma(nan)) C<[Poetry] is metrical, rhymed speech) expressing
a meaning))).22 This opinion is confirmation that Andalusian-Hebrew
poetry was a major break with the earlier traditions of Hebrew poetry.
Alongside traditional liturgical poetry) Andalusian poets now fre-
quently composed secular poems that were intended neither for study
nor for use in the synagogue. Another change apparently also took
place in Muslim Spain; some poets (like Isaac ibn Khalfun) earned
their livelihood from their poetry for the first time in Jewish history.23
It should be noted) however) that secular poetry in Hebrew did not
emerge ex nihilo in Muslim Spain. Instead) the first steps towards such
poetry took place in the East from the tenth century onwards) again
under the evident impact of Arabic poetry. The poems Se'adya Gaon
composed in Iraq illustrate the continuity and change of Hebrew litur-
gical poetry in the Muslim East that had a great impact upon Andalu-
sia and North Africa in the M uslim West.24
21 On these Arabic sources, see A. Schippers, "Symmetry and Repetition as a Sty-

listic Ideal in Andalusian Poetry: Moses ibn Ezra and Figures of Speech in the Arabic
Tradition,)' in Amsterdam Middle Eastern Studies, ed. M. Woidich, 160-73 (Wies-
baden: LudWig Reichert Verlag, 1990). Nevertheless, Ibn Ezra)s book is problematic as
a standard Arabic style book of poetics, see R. P. Scheindlin, "Rabbi Moshe Ibn Ezra
on the Legitimacy of Poetry," Medievalia et Humanistica 7 (1976): 101-15.
22 A. S. Halkin (ed.), Kitab al-muIJa4ara, 46-47 (fol. 24b).
23 J. Schumann, "The Function of the Hebrew Poet in Medieval Spain," Jewish
Social Studies 16 (1954), 235-52. On the life and times of Isaac ibn Khalfun, see A.
Brener, Isaac ibn Khalfun: a Wandering Hebrew Poet of the Eleventh Century (Leiden:
Brill, 2003), 13-26. On the different stages in the lengthy tradition of liturgical poetry,
see L. Weinberger, Jewish Hymnography: A Literary History (London: The Littman
Library of Jewish Civilization, 1998). Scholars traditionally ascribe the poetical inno-
vations of the period to the Arabised nature of Jewish culture in Muslim Spain and
imitation of Muslim courtly culture at the courts of Jewish notables like ijasdai ibn
Shaprut (c. 910-975 CE) or Samuel ha-Nagid (993-1056 CE). See J. Weiss, ~(Courtly
Culture and Courtly Poetry," [in Hebrew] in Proceedings of the First Congress on Jew-
ish Studies, 369-408 (Jerusalem, 1952). On Islamic courtly culture in the Taifa period,
see C. Robinson, In Praise of Song: The Making of Courtly Culture in al-Andalus and
Provence (1005-1134 AD) (Leiden: Brill, 2002).
24 Y. Tob~ "Sacadia Gaon, Poet-Paytan: The Connecting Link between the Ancient
Piyyutand Hebrew Arabicised Poetry in Spain," in Israel and Ishmael: Studies in Mus-
lim-Jewish Relations, ed. T. Parfitt, 59-77 (New York: St. Martin)s Press, 2000); idem,
Proximity and Distance: Medieval Hebrew and Arabic Poetry (Leiden: Brill, 2004),
66 CHAPTER FIVE
SeCadya)s student Dunash ben Labrat (920-990 CE) born in Bagh-

dad) is credited with having introduced Arabic meters and motifs
into Hebrew poetry and bringing them to Spain. The new poetic style
peaked in the eleventh and twelfth centuries) known as the '<Golden
Age of Andalusian-Hebrew poetry) with the major poets Samuel ha-
Nagid) Solomon ibn Gabirol) Moses ibn Ezra) and Judah ha-Levi. 25
Yet why did Jewish poets) unlike writers of non-fictional texts) often
choose to write in Hebrew? There is no convincing reason why Ara-
bised Jews could not have written poetry in classical Arabic. Members
of the Jewish elite were quite familiar with Arabic poetry) and some are
known to have written poetry in Arabic. 26 They seem to have chosen
Hebrew for its ideological) cultural-nationalistic character. Self-aware
Jewish poets in Muslim Spain wished to demonstrate that the bibli-
cal register of Hebrew could compete quite successfully with classical
Arabic when it came to writing poetry. In choosing biblical Hebrew as
their own classical language) Andalusian poets disregarded the Hebrew
used in rabbinic literature and liturgical poetry. Nevertheless) the ideal
of a purely biblical language could never truly be accomplished in their
poetry.27
In the follow fragment from Kitab al-mulJa4ara) Moses ibn Ezra
seems to formulate similar ideological objectives by affirming that
31-116. Tenth-century Iraq represents a long tradition of Hebrew liturgical poetry:

T. Beeri, The ((Great Cantor" of Baghdad: The Liturgical Poems ofJoseph ben lfayyim
al-Baradani [in Hebrew] (Jerusalem: Ben-Zvi Institute, 2002); N. Katsumata, The
Liturgical Poetry ofNehemiah Ben Shelomoh Ben Heiman Ha-Nasi: A Critical Edition
(Leiden: Brill, 2002). A recent contribution to research on Eastern Hebrew liturgi-
cal poetry in tenth-century Palestine is N. Katsumata, Hebrew Style in the Liturgical
Poetry of Shmuel Hashlishi (Leiden: Brill, 2003).
25 Their poems, whether in Eastern monorhyme patterns or Andalusian strophic
forms, are among the most distinctive products of Andalusian Jewish culture, and,
according to S. D. Goitein, the great historian of medieval Mediterranean society, "the
acme ofJewish-Arab symbiosis)'. For translations and analyses of several ((Golden Age)'
Andalusian poems, see R P. Scheindlin, Wine, Women and Death: Medieval Hebrew
Poems on the Good Life (Philadelphia: The Jewish Publication Society, 1986); idem, The
Gazelle: Medieval Hebrew Poems on God, Israel and the Soul (Philadelphia: The Jewish
Publication Society, 1991).
26 S. Stern, "Arabic Poems by Spanish-Hebrew Poets/' in Romanica et Occidentalia:
Etudes dediees ala Memoire de Hiram Peri, ed. M. Lazar, 254-63 0 erusalem: Magnes
Press, 1963); Y. Ratzaby, "Arabic Poetry Written by Andalusian Jews,)' [in Hebrew] in
Israel Levin Jubilee Volume, ed. R Tsur and T. Rosen, 329-50 (Tel Aviv, 1994).
27 C. L6pez-Morillas, "Language/' in The Literature of al-Andalus (The Cambridge
History of Arabic Literature), ed. M. Menocal et al., 41-46 (Cambridge: Cambridge
University Press, 2000); Y. Tobi, Poetry, Judeo-Arabic Literature and the Geniza [in
Hebrew] (Tel Aviv: Tel Aviv University, 2006), 41-44.
almost all rhetorical figures used in Arabic poetry also occur in the
Hebrew Bible:
'VV;r,N nN':1N 1n N"lnN1 Nr,N'nn 0;,r,1j? r,1~!l 1n r,~!l r,:J '!l :1r,'.1N1
1'0'1 -r,v;n Nr"r, ;,n':Jnr,N r1~Jr,N '!l ;,-r'.1N Nn ;"r,V l'-rnN1 ,':1'Vr,N
;',;':1 n-r'!lJN :1'Vr,N ;'.1r, 1N1 ,"~j?nr,N r,:J O;'JV N'~'N 11'~j?n NJN
.N;'Jn ;"r,':J NJrnr, 1N1 ,Nr,:Jr,N '!lNJn1 nr,nr,N
In each chapter devoted to the ornaments of Arabic style> I will cite one
example from Arabic verse and juxtapose it with what I find from the
noble Hebrew Scriptures> lest such ornaments be considered extraordi-
nary> and it be said that Hebrew is completely inadequate and inferior
by comparison and that the Arabic language is without parallel in these
embellishments of style> totally without peer> and that our language is
devoid of them. 28
Yet Ibn Ezra>s method of legitimizing the Arabic badt style in secu-
lar Hebrew poetry is very similar to the Arabic critic Ibn al-Mu'tazz>s
defensive method in his Kitab al-badt. In illustrating each of the
twenty rhetorical badt figures adopted from Arabic books of poetics
with examples drawn from the Bible) Ibn Ezra tried to prove that the
Arabic-style Hebrew poetry was not the foreign and radical renewal
that some traditionalists and conservatives liked to believe. 29 As to the
reason Moses ibn Ezra felt the need to legitimise Andalusian-Hebrew
poetical style: It is well known that Kitab al-muJ:za4ara was produced
while its author lived in exile in Christian Spain) which was a differ-
ent cultural and linguistic environment from Muslim Spain. Because
of this) Ibn Ezra felt he had to articulate the essence of the Andalusian
tradition while at the same time trying to express Andalusian Jewish
culture>s deep debt to Arabic culture.3o
28 A. S. Halkin (ed.), Kitab al-mu/:laqara, 220-21 (fol. 116b); trans. R Brann, The
Compunctious Poet: Cultural Ambiguity and Hebrew Poetry in Muslim Spain (Balti-
more and London: The John Hopkins University Press, 1991), 82.
29 R P. Scheindlin, "Rabbi Moshe Ibn Ezra on the Legitimacy of Poetry)~, 101-15;
Y. Tobi, "Kitab al-Muhadarah wal-Mudhakara by Moshe ibn Ezra Compared with
Kitab al-Badf by Ibn al-MuCtazz/~ in Studies in Medieval Jewish Poetry, ed. A. Guetta
and M. Itzhaki, 17-37, Studies in Jewish History and Culture 18 (Leiden: Brill, 2009).
30 Y. T. Assis, "The Judeo-Arabic Tradition in Christian Spain," in The Jews of
Medieval Islam, ed. D. Fra~ 111-24 (Leiden: Brill, 1995). He was also the author
of the Maqalat al-J:l.adzqa ("The Garden of the Metaphoe~), a study of the biblical
metaphors dealing with man, and a resume of all that a Judaeo-Arabic individual
should know about philosophy. See P. B. Fenton, Philosophie et Exegese dans Ie Jardin
de la metaphore de Moise Ibn <Ezra, Philosophe et Poete du XIIe Siecle, Etudes sur Ie
judalsme medieval 19 (Leiden: Brill, 1996). Mordechai Cohen (Three Approaches to
Biblical Metaphor: From Abraham Ibn Ezra and Maimonides to David Kimhi, Etudes
68 CHAPTER FIVE
In many ways) Moses ibn Ezra prefigures a transitional figure

like Abraham ibn Ezra (1092-1167 CE) a prolific propagandist for
Andalusian culture in Christian Europe. 31 Unlike him) several twelfth-
and thirteenth-century poets left Andalusia and Christian Spain for
Arabic-speaking countries in the Muslim East) as the next section
will show.
5.3 Hebrew Poetry in the Muslim East
There is no doubt that the Andalusian poetical tradition exerted a

powerful influence on the Eastern Jewish communities in the twelfth
and thirteenth centuries. 32 Judah ha-Levi and Judah al-I:Iarizi were
particularly instrumental in bringing the Andalusian model of Hebrew
poetry to the East. 33
Judah ha-Levi (1075-1141 CE) joined the Jews of Egypt at the end
of his life and apex of his fame when on pilgrimage to Palestine in
sur Ie judalsme medieval 26 [Leiden: Brill, 2003]) explores how the poetic technique of
biblical metaphor was analyzed within the Jewish exegetical tradition that developed
in Muslim Spain (Abraham Ibn Ezra, Maimonides) and was then transplanted to a
Christian milieu (David Kim~i).
31 Y. Tobi, "Abraham ibn Ezra)s Poetry as a Link in the Transition of Hebrew Poetry
in Spain from its Islamic to its Christian Period,)' in Abraham Ibn Ezra y su tiempo,
ed. F. Dfaz Esteba~ 353-62 (Madrid: Spanish Association of Orientalists, 1990); J. P.
Decter (Iberian Jewish Literature: Between al-Andalus and Christian Europe, 15) rightly
called upon scholars "not to pigeonhole authors into singularly Islamic or Christian
contexts whe~ in one way or another, they exist both in al-Andalus and outside of
it. For authors such as Moses Ibn Ezra, Judah Halevi, and Abraham Ibn Ezra, who
leave al-Andalus themselves, Islamic Iberia is a subject in need of pondering; they
reflect upon the meaning of the Jewish experience in al-Andalus and the significance
of life outside it. For authors born in the kingdoms of the Christian north, such as
Judah al-ijarizi and Jacob ben El'azar, al-Andalus stands out in their writings as a
place of origin, a font of intellectual life approached with a mixture of nostalgia and
ambivalence.),
32 Andalusian poetry was known in the East at an earlier stage, see T. Beeri,
"Between Spain and the East: The Poetic Works of David ben ha- Nass~)' in Jewish
Studies at the Turn of the Twentieth Century, ed. J. Targarona Borras and A. Saenz-
Badillos, 379-83 (Leiden: Brill, 1999); idem, "cEli ha-J:Iaver ben cAmram: Hebrew Poet
in Eleventh-Century Egypt,)' [in Hebrew] Sefunot 8 (2003): 279-345.
33 w. J. van Bekkum, "Medieval Hebrew Poetry in the Muslim East (12th-13th
centuries),>' European Association for Jewish Studies Newsletter 17 (2005): 54-60; J.
Yeshaya, ((Your Poems are like Rotten Figs: Judah al-ijarizi on Poets and Poetry in
the Muslim East,)' in Egypt and Syria in the Fatimid, Ayyubid and Mamluk Eras, ed.
U. Vermeulen and K. D)Hulster, 6:143-52 (Leuven: Peeters, 2010).
the company of Abraham ibn Ezra)s son Isaac. 34 The most distinc-
tive feature of ha-Levfs work was the series of poems connected with
his decision to abandon Spain) apparently as a result of estrangement
from courtly culture. Peculiar as well is ha-Levfs ambivalent attitude
towards the composition of Arabic-style Hebrew poetry in general and
specifically toward the application of Arabic quantitative metres. 35 In
some secular strophic poems he blurs the formal delineations between
liturgical and secular poetry by experimenting with syllabic meters.
Nevertheless) Judah ha-Levi) who is known to have written a Judaeo-
Arabic treatise on Hebrew metrics) continued to use quantitative
prosody in many secular poems written during his nine-month stay
in Egypt between 1140 and 1141. In Alexandria and Cairo (which he
called a '<Garden of Eden along the Nile)))) he found many admirers
who circulated his poetry.36
Aaron ibn al-cAmmani and Eleazar ben I:Ialfon are among the poets
known to have composed formal imitations (mu(ara4at) of ha-Levi)s
poems (primarily muwashshahat) in this period. 37 The former was a
judge and physician in whose house in Alexandria Judah ha-Levi had
spent his first days in Egypt. The latter was one of ha-Levi)s most pro-
lific imitators. He even composed a panegyrical muwashshaiJ in honor
of Maimonides. 38 Yet their indebtedness to Andalusian-Hebrew poetry
does not make their poetryepigonic. Imitating famous poetical models
was a challenge for gifted medieval poets) and was considered a sign
of skill) not plagiarism.
34 Like his father, Isaac ben Abraham ibn Ezra was a poet. He spent most of his life
in the Muslim East, where he presumably converted to Islam, see M. H. Schmelzer,
Isaac ben Abraham ibn Ezra: Poems [in Hebrew] (New York: The Jewish Theological
Seminary of America, 1979).
35 R Brann, The Compunctious Poet, 84-118.
36 E. Fleischer and M. Gil published the Geniza documents pertaining to ha-Levi)s
Egyptian period in Judah Halevi and his Circle [in Hebrew] (Jerusalem: World Union
of Jewish Studies, 2001). See J. Yahalom, "Judah Halevi: Records of a Visitor from
Spain,) in The Cambridge Genizah Collections: Their Contents and Significance, ed. S.
Reu, 123-35 (Cambridge: Cambridge University Press, 2002); R P. Scheindlin, The
Song ofthe Distan t Dove: Judah Halevi $ Pilgrimage (Oxford: Oxford University Press,
2008).
37 J. Yahalom, "The Context of Hebrew Imitations of Muwashshahat in Egypt, in
PoeSla Estr6fica, ed. F. Corriente and A. Saenz-Badillos, 357-66 (Madrid, 1991).
38 On Aaron and Eleazar, see S. Cohen, The Poetry ofAaron AI-<Ammanf: A Critical
Edition [in Hebrew] (Jerusalem: Meqi~e Nirdamim 2008); E. Fleischer, "Additional
Data Concerning the Poetry of R Efazar ben Chalfon,) in Occiden t and Orient: A
Tribute to the Memory ofAlexander Scheiber, ed. R. Dan, 137-53 (Budapest: Akademiai
Kiado, 1988).
70 CHAPTER FIVE
Interestingly enough) Moses Darci also authored a formal imita-

C
tion (mu ara4a) of one of ha-Levfs poems. For poem no. 5 in the
second part of his collection) he took the last lines of each strophe
from refrains in ha-Levfs 22-stanza baqqasha (liturgical poem of peti-
tion for the forgiveness of sins) beginning with the words: z,~ il~~ 'M
4tl:ll~~ ('<0 LORD) all my desire is before You). According to Scheind-
lin) the technique Darci used (expanding ha-Levfs classical two-stich
verses into non-classical five-stich strophes) was widespread among
Arabic poets of his day.39
In a recent article) Scheindlin noted that ha-Levfs poem was itself
a formal imitation of a widely imitated poem by the eleventh century
Spanish poet Isaac ben Mar Saul. Both poems repeat the words of
the opening hemistich in the last hemistich of the poem) a technique
known as inclusio or return.40 While this device was not unknown
to Andalusian poets) it was largely confined to liturgical poems using
Arabic prosody. It has rarely been noted that in the Muslim East) nota-
bly Egypt) poets also used the device of return Schirmann noted
that the Proven~l native and Alexandrian judge Anatoli ben Joseph
(ca. 1130-ca. 1213 CE) was crucially important as a transitional figure)
because he was the first poet to use the device of return regularly in
his secular poems. 41
The diwan of Moses Darci demonstrates his intimate knowledge of
contemporary and older Hebrew and Arabic poetry. Arabic poetical
sources inspired Darcrs language and imagery) as the following gno-
mic poem shows: 42
39 See section 1.2; D. Yarden, The Liturgical Poetry of Rabbi Judah ha-Levi [in
Hebrew] (Jerusalem, 1985), 4:78; R P. Scheindlin, Hebrew Studies 41 (2000): 345.
40 R. P. Scheindlin, "On the Poem '0 Lord, all my Desire is before You' by Judah
Halev~') [in Hebrew] in Studies in Hebrew Poetry and Jewish Heritage in Memory of
Aharon Mirsky, ed. E. Hazan and J. Yahalom, 227-37 (Ramat-Gan: University of Bar-
Han Publishing, 2006). Scheindlin first used the term "return') in "The Hebrew Qasida
in Spain,') in Qasida Poetry in Islamic Asia and Africa, ed. S. Sperl and C. Shackle,
1:121-35.
41 J. Schirmann, History of Hebrew Poetry in Christian Spain and Southern France
[in Hebrew], ed. E. Fleischer, 446 (Jerusalem: Magnes Press, 1997). E. Hakohen wrote
an unpublished PhD dissertation on The Poems of R. Anatoli bar Joseph [in Hebrew]
(Hebrew University of Jerusalem, 1996).
42 No. 29; MS NLR Evr. 1802: fols. 12b-13a; ed. L. Weinberger, 436, no. 421. Unfortu-
nately, Moses Darcr did not include the original Arabic verses in this poem, in contrast
to two other translations of Arabic poems into Hebrew found in the supplementary
volume of Darcr's dzwan: MS NLR Evr. I 803, fols. 161b-162a: no. 213 (Hebrew),
no. 214 (Arabic original), no. 215 (Arabic poem), no. 216 (Hebrew translation).
l'n':1 ~pJ '!l N'3l'N ;,n~p N1J1Jl

;"J~:1V~N ;'.1~~N '~N ;":1'V
NWJn1J ';" N~ 'O'~'lN '~.1' / '1J~ '0:;) n' n1JN:l 'O'1J:Jn ;'1'i,
NQ-=fJ: ~.Q 011 PlP~j ;1~f vJ~~i / ~{ti~ 'O'l~tp7 i;~i~ ,ivQ
What I also said by translating
two Arabic verses into the Hebrew language.
He who keeps company with wise men will surely be wise (Prov 13:20)
but he who dwells with fools will not be exalted;
[Like] leather which) when being lodged in books) after having been
odious [because of its stench] will be kissed by a mouth and high on
a throne.
Not only did Darei translate some Arabic poems into Hebrew)43 he also
composed Judaeo-Arabic poems and bilingual Hebrew and Judaeo-
Arabic poems. 44 One Judaeo-Arabic poem is particularly interesting
because it ends with what could be termed a '<Hebrew kharja taken
from one of ha-Levfs poems. 45 Poem no. 3 from the first part of the
collection also shows that Darei was very familiar with ha-Levfs oeu-
vre. Even though it has no liturgical function) a clearly religious world-
view inspired this poem addressed to the soul. Darers use of '<return
serves to thematically and structurally blur the distinction between
liturgical and secular poetry:46
43 Judah ha-Levi was one of the few Andalusian poets to translate / adapt Arabic
poetry into Hebrew) including a poem by the renowned Muslim poet al-Mutanabbi
The Eastern poet Eleazar ha-Bavli also translated al-Mutanabbfs Arabic poetry. See
W. J. van Bekkum) The Secular Poetry ofEI<azar ben Ya <aqov ha-Bavli) 17-22.
44 Relatively little attention has been paid to what remains of Judaeo-Arabic poet-
ry-most of it of a rather popular sort-whether it consists of piyyutfm for various
festivals) or of secular poetry for weddings) circumcisions and the like. There are sev-
eral fragments of Judaeo-Arabic poetry in the Cairo Geniza and Russian Firkovich
collections) often anonymous) and additional research could make clear whether the
Karaites composed and/or preserved such poems more than the Rabbanites.
45 MS NLR Evr. I 802) fols. 50b-51a (no. 198). This poem ends with: 'J1Y'Jjl 'V"71"
the first words of one of ha-Levi)s poems: H. Brody) Dfwan des Abu-l-l:Iasa n Jehuda
ha-Levi [in Hebrew] (BerliIt Meqi~e Nirdamim) 1930)) 3:20.
46 No.3) MS NLR Evr. I 802) fol. 6a; ed. L. Weinberger) 412) no. 368. Moses Darei
uses the "return)) in several poems in his dfwan: see poems nos. 2) 5) 24) 78 in our
selection See also nos. 178-82) 215 and 220 in the first part and nos. 1 and 174 in
the second part of the dfwan. The opening verse) taken from Ps 116:7) is reminiscent
of a liturgical poem by Judah ha-Levi evoking the sours return; see D. Yarden) The
Liturgical Poetry of Rabbi Judah ha-Levi [in Hebrew], 2:372-73; A. Tanenbaum) The
Contemplative Soul: Hebrew Poetry and Philosophical Theory in Medieval Spain (Lei-
den: Brill) 2002)) 174-94.
72 CHAPTER FIVE
':J'r,v r,nl '1' ':;) / ':J'n~Jnr, 'vi!)J ':1~vi

':Jr,ri :;iiN ';,T!)tl / 'nN:1' rlT n :,N'Vi!)J 'un
':JOJ l'nvn-:T TOl ';i.,in / '":1T ;n:1T" ,~~~~- 'W!JJ
':;l;'1;I~i1?7" 'lP~J '~~vi T/ tt~l ~j"~r~ 01"1?~iP 'QN~
Return) a my Soul) to your resting-places)
For the LORD has rewarded you (Ps 116:7);
And know) a my Soul) whence you corne-
a my body) where you will go;
a my Soul) offer sacrifices of thanksgiving
to the Rock) and pour out your tears;
The day you leave the body) may your intellect say:
((Return) a my Soul) to your resting-places."
These and other examples show that Darci was apparently already
composing poetry close to the time of ha-Levfs visit to Egypt. 47 As
such) he was one of the first Eastern Hebrew poets to integrate Anda-
lusian-Hebrew standards of poetry and poetics in his compositions.
Several poets writing in the Muslim East) like Judah al-I:farizi) Eleazar
ha-Bavli) and Joseph ben Tanl,1um ha-Yerushalmi) may be the best
known among those who come closest to Moses Darci and his work.48
AI-~arizi was born in 1165 CE in Toledo) a famous centre of Arabic
learning in Christian Spain. He spent much time in Provenal Jewish
communities for which he translated several Judaeo-Arabic works. 49 In
1215 CE al-I:farizi travelled to the East) where he found patronage as
an author of Hebrew maqamat and Arabic poetry.50
47 L. Weinberger ("Moses Darl~ Karaite Poet and Physician), 446-50) discussed

several titles of poems in which Darci stated that they were modelled on ha-Levi)s
poems. Weinberger)s comments on poems nos. 227, 230 and 237 are reliable. How-
ever, there was no substantial evidence for claiming one of ha-Levi)s poems stood
model for poem no. 101.
48 The Geniza fragments provide the names of other poets active in Egypt in the
twelfth and thirteenth centuries, such as ~edaqa ben Judah, Solomon ben Judah,
Moses ben Levi, Nathan ben Samuel ha-Haver, Isaac ha-Levi, and Gamliel ben Moses.
J. Schirmann, History of Hebrew Poetry 'in Christian Spain and Southern France [in
Hebrew], 444-45; cf. S. Cohen, The Poetry ofAaron AI-<Ammanf [in Hebrew], 145-57.
Another poet of Moroccan descent who resided temporarily in Egypt was Joseph ben
Judah ibn Simeon, to whom Maimonides dedicated his Guide of the Perplexed. See J.
Yahalom, "Spanish Poets between Alexandria and Cairo, [in Hebrew] Shevo 1 (1998):
46-48.
49 His translations include one of Maimonides) Guide of the Perplexed, as well as
one of the Arabic poet al-l:Iariri)s maqama-collection. See R. Drory, Models and Con-
tacts, 216.
50 "A tall, grey-haired man without a beard but with a strange, Western accent
is how al-Mubarak ibn al-Shacar al-Maw~ili (1197-1256) described al-l:Iarizi in his
Arabic biographical work on the poets active in his period. Sadan)s publication of this
He visited more than fifty Jewish communities where he met many

prominent individuals: communal and religious leaders) politicians
and merchants) and poets. Being part of a culture in which riiJalat
((travel accounts))) were a well-known genre) he described his journey
in detail in both Hebrew and Arabic and incorporated some of his
descriptions into Sefer taiJkemonz. He died in Aleppo in 1225 CE) at
the age of sixty without having returned to his homeland in Christian
Spain.
Inspired by his notion of Spanish-Jewish superiority) Judah al-I:Iarizi
was very explicit about the quality of the poets he met in the East:
;rF~ r,:tf / ni~;:JJ;l;:J oi'1?~ 0'7iV / ni~;:Ji? 'D'~l TTJTQ ni3l1~7 'l~:;n
/ 1'~1? l;.l Nr, VQW~! ' D:;1Wi?;:J / l'~ D? ''71 ~ "V!V r;:;L~ / nir,lr,:;l ;,:tio
'~lQ~ O'?~o/ n~ rjl'~l j ,~ '7f l~Df iN j ,~O/~ Wiry~ 0l'v! r,:t ':;l
niJl:lDQ 0'i?1 / ni-r~iN IN3l7 UJ17 0VQ 0'~11 / ';lD7 Nr,1 ni'T7 Nr, /
1N!l;:J h~17 Dl / 0'"1J;7 -r~~:l o'Q1N9 / 0'17; O;1'l'Wf lV'lT?1 / ni-rlV ~l
0'"11.:;n O'li?~ O'li?.\?
And when I travelled on to the lands of the East, I saw communities that
ascended to the heights of praise. They embraced every good quality;
but (as to) the poetry they compose-I have listened (to it) and I have
noted that they do not speak in conformity with (these qualities) for all
of their poetry is like a broken potsherd) or like straw without wheat) or
like a dry wind making bare the wilderness) not to fan and not to clean.
Many of them seem to be lost sheep) devoid of senses and talents. Their
poems are products as despicable as filthy rags. They produce sheep-
ringstaked) speckled) and spotted. 51
The fir st poet that Judah al- ~arizi encountered during the initial stages
of his journey to the East may have been the Baghdadi poet Eleazar
ben Jacob ha-Bavli (1195-1250 CE). The meeting between al-I:Iarizi
and the young Eleazar ha-Bavli apparently took place in Alexandria
around the year 1215 CE. 52 As a poet) Eleazar excelled at composing
the Hebrew equivalent of Arabic epigrams; he was also known as a
Arabic biography in 1996 shed new light on this Spanish poefs life and travels. See
J. Sadan) "Rabbi Judah al-Barizi at the Cross-roads of Cultures/' [in Hebrew] Pe(amim
68 (1996): 16-67; J. Yeshaya) "Your Poems are like Rotten Figs: Judah al-Bartzi on
Poets and Poetry in the Muslim East/' in Egypt and Syria in the Fatimid, Ayyubid
and Mamluk Eras) ed. U. Vermeulen and K. D'Hulster) 6: 143-52 (Leuven: Peeters)
2010).
51 The Hebrew text is taken from J. Yahalom and J. Blau) The Wanderings) 180. The
English translation is derived from V. E. Reichert) The TaJ:rkemoni ofJudah al-l:Iarizi)
62) with minor adaptations.
52 w. J. van Bekkum) The Secular Poetry ofEtazar ben Ya(aqov ha-Bavli) 27-28.
74 CHAPTER FIVE
composer of Judaeo-Arabic poems and bilingual poems. As a critic)

he knew of Moses ibn Ezra and cited his poetry) but used a differ-
ent poetic tradition which relied heavily on Arabic poetic resources.
According to Yahalom) this reliance is indicative of the Eastern poets)
closeness to Arabic culture and their immersion in the Arabo-Islamic
environment. 53
From Alexandria Judah al-I:Iarizi proceeded overland via Cairo to
Jerusalem and other Middle-Eastern cities such as Damascus) Aleppo)
Baghdad) and Ba~ra. In the eighteenth maqama of Sefer ta1Jkemonz) he
mentions in a list of other poets the name of another propagator of
Andalusian poetical standards then active in Baghdad) a certain Moses
bar Sheshet al-Andaliisi) who was apparently Eleazar ha-Bavlfs teach-
er. 54 Although al-I:Iarizi did not travel as far as Yemen) this survey of
Hebrew poetry from the Muslim East in the twelfth and thirteenth
centuries would not be complete without mentioning the Yemenite
poet Abraham ben I:Ialfon. 55
Finally) there is Joseph ben TanQum ha-Yerushalmi (1262-1330 CE))
the most representative poet of the Egyptian school of Hebrew poetry.
He worked in the latter half of the thirteenth and the first half of
the fourteenth centuries. He also used the (return)) in several secular
poems. 56
The reason that I have mentioned these Eastern poets is that Dar'rs
oeuvre and his place in medieval Hebrew poetry will only fully be
appreciated when analysed thoroughly not only in comparison with
Andalusian models) but also in comparison with other Eastern poets)
53 J. Yahalom, ((Andalusian Poetics and the Work of Erazar ben YaCaqov of Bagh-
dad/) Hispania Judaica Bulletin 4 (2004): 5-21.
54 W. J. van Bekkum, The Secular Poetry of Etazar ben YaCaqov ha-Bavli, 28; V. E.
Reichert, The Ta~kemoni ofJudah al-I:Iarizi, 69-70; J. Yahalom and J. Blau, The Wan-
derings, 187.
55 Y. Tobi showed that Abraham ben ijalfon's secular and liturgical poems were
written in the middle of the twelfth century to satisfy Yemenite Jewrys specific social
needs and customs even though under Andalusian literary influence. Y. Tobi, ((Poetry
and Society in the Works of Abraham ben Halfon,)) Hebrew Annual Review 9 (1985):
363-72; idem, Abraham ben Halfon: Poems [in Hebrew] (Tel Aviv: Afikim, 1991).
56 H. Sheynin, An Introduction to the Poetry ofJoseph Ben Tanhum Ha-Yerushalmi,
246-47. Joseph)s father, Tan1}.um ben Joseph ha- Yerushalmi (d. 1291 CE) was one of
the last known exegetes of the rationalistic school who wrote in Judaeo-Arabic; see
the recent book by M. Wechsler, Stra ngers in the Land: The Judaeo-Arabic Exegesis
of Tanhum ha- Yerushalmi on the books of Ruth and Esther Oerusalem: Magnes Press,
2010).
both Jewish and Arab) in order to uncover thematic) formal) and pro-
sodic parallels in their works. 57
5.4 Is Karaite Poetry Distinct from Rabbanite Poetry?
Moses Darci is unique among Karaite poets in the Middle Ages for
having written secular verse and liturgical poetry. Yet all Karaite poets
carry the burden of modern scholarship)s generally negative assess-
ment discernable from the times of Wissenschaft des ]udentums. The
following quotation by Harkavy (1835-1919 CE) illustrates this: 58
Although the Oriental Karaite authors since [Binyamin] Nahawendi
[ninth century eE] wrote in Hebrew with more or less fluency) there
were no noteworthy poets among them. The orthodox and ascetic views
of the earlier Karaites did not encourage secular poetry) which was held
to profane the holy language; nor did they produce anything noteworthy
in liturgical poetry) for according to Anan) with the exception of short
benedictions) prayers could be taken only from the Psalter. Even in later
times they generally either borrowed Rabbanite poems or resorted to
imitations of them. The only Karaite poet, who left secular poems) Moses
Dar(i) either imitated or simply borrowed from the Judaeo-Spanish
poets.
Indeed) in its original form Karaite worship rejected the perceived
innovations of Rabbanite prayer and consciously attempted to restore
Jewish prayer to its biblical origins. In the first half of the tenth cen-
tury) Jacob al-Qirqisani developed the principle that statutory prayer
should be drawn solely from the Psalms and other biblical texts. 59 Nev-
ertheless) some early religious poems by Karaite authors survive in
57 This area of research is yet to be explored; compare to R. P. Scheindlin)s view on

further research: ((It would be very desirable to have a systematic study of thematic)
format rhetorical) and metrical innovations vis-a-vis the Golden Age) especially to see
to what extent his innovations can be explained by parallel trends in Arabic poetry
[.. .].)'Hebrew Studies 41 (2000): 345. Therefore) it is to be hoped that the poetry of
Eleazar ben J:Ialfo~ Judah al-J:Iarizi) Joseph ben Tan1)um ha- Yerushalmi and several
other Hebrew poets writing in the Muslim East will soon be available to scholarly
research.
58 A. Harkavy) ((Karaites/' in Jewish Encyclopedia (New York 1906)) 7:440. C
J. Yeshaya) ((Is Karaite Poetry distinct from Rabbanite poetry? Some observations on
the oeuvre of Moses Darci/' Zutot: Perspectives on Jewish Culture 6 (2009): 91-97.
59 L. Nemoy) ((Studies in the History of the Early Karaite Liturgy: The Liturgy of
al-Qirqisani/' in Studies in Jewish Bibliography, History and Literature in Honour of

1. Edward Kiev) ed. C. Berli~ 305-32 (New York: Ktav 1971).
76 CHAPTER FIVE
the form of the simple dirges composed by the (Mourners of Zion in

tenth-century Jerusalem. 60
Only later) in the twelfth and thirteenth centuries) did liturgical
poetry gain in popularity among Karaite Jews. This seems to have
come about under the influence of Rabbanite custom. Some of this
poetry subsequently entered the Karaite prayer book compiled by the
Crimean scholar Aaron ben Joseph "the Elder (ca. 1250-1320 CE). In
addition to including some of his own Andalusian-style piyyuttm into
the Karaite siddur) Aaron also inserted poems by Rabbanite authors)
among them the Andalusians Solomon ibn Gabirol) Moses ibn Ezra)
and Judah ha-Levi. 61
Weinberger drew attention to the scholarly neglect of Karaite litur-
gical poetry when compared to its Rabbanite counterpart. 62 Wein-
berger is the only scholar to have edited and analysed a substantial
corpus of Karaite poetry) with a special focus on Karaite piyyuftm
written in South-Eastern Europe during the Byzantine and Ottoman
periods. The best known Karaite poets in this region before Aaron ben
Joseph include Tobias ben Moses) Aaron ben Judah) and Mena1).em
ben Michaet all active in Constantinople in the eleventh and twelfth
centuries. Typical for their work are occasional references to polemi-
cal issues directed against rabbinic Judaism. Another characteristic is
their preference for Arabic quantitative meters) which they seem to
have adopted earlier than their Rabbanite colleagues in South-Eastern
Europe. According to Weinberger) this was due to the influence of
Tobias ben Moses) who travelled widely in Arabic-speaking countries
(including Egypt) and was familiar with the local poetical traditions.
60 l:I. Ben-Shammai, "Poetic Works and Lamentations of Qaraite 'Mourners of

Zion)-Structure and Contents," [in Hebrew] in Knesset Ezra: Literature and Life in
the Synagogue, Studies Presented to Ezra Fleischer, ed. S. Elizur et al., 191-234 (Jerusa-
lem, 1994). l:I. Ben-Shammai also dealt with a more artful, eleventh-century poem in
"A Unique Lamentation on Jerusalem by the Karaite Author Yeshuca ben Judah," [in
Hebrew] in Mas'at Moshe. Studies in Jewish and Islamic Culture Presented to Moshe
Gil, ed. E. Fleischer et al., 93-102 0 erusalem, 1998). For more on the liturgy of the
Jerusalem Karaites, see D. Frank, "The Shoshanim of Tenth-Century Jerusalem,' in
The Jews ofMedieval Isla m, 199-245.
61 For Aaron)s poems, see L. Weinberger, Rabbanite and Karaite Liturgical Poetry
in South-Eastern Europe, 512-61 (Cincinnati: Hebrew Union College Press, 1991).
P. S. Goldberg)s Karaite Liturgy and its Relation to Synagogue Worship (Manchester:
Manchester University Press, 1957) is a brief comparative study of the Karaite prayer
book and the Rabbanite liturgy. For more information about Karaite prayer and lit-
urgy, see D. Frank, "Karaite Prayer and Liturgy,) in Karaite Judaism, 559-89.
62 L. Weinberger, Ra bban ite and Karaite Liturgical Poetry, 36.
According to Adena Tanenbaum) the linguistic purism of the Anda-

lusian school of Hebrew poetry and the preference of its members for
a biblical style appealed to the Karaites) scripturalist tendencies. Fol-
lowing Aaron ben Joseph)s lead) they adapted the language and genres
of Andalusian verse to suit their own needs. 63 Tanenbaum)s statement
also applies to Darei) who was a Karaite working amid a Rabbanite
majority in the East. But is there any sign of a Karaite mentality or
literary tradition that would distinguish his poetry from that of Rab-
banite poets in the East? Generally speaking) one could answer that
Darers compositions differ little from those of the Rabbanite poets)
since all Eastern poets in the twelfth and thirteenth centuries were lit-
erary heirs to the Andalusian-Hebrew poetical tradition and to Arabic
poetics and poetry.
Nevertheless) some evidence of a Karaite mentality is present in
Moses Darers dzwan. Some poems reflect conventional arguments put
forward by earlier Karaite polemicists) like al-Qirqi sani or al-Qiimisi)
against Rabbinism: 64
N'~'N ;,nr,p Nnnl
;'J'N:lnr,Nl -rN'!)JNr,N '!)
;'J'N:l N;'l'n-rnN ;''In n~NO!) Olp Tn
ir,lr,on li,-rr, Vv.h 01' / r,N ':lnnN ,r, ;,r"r,n
ir,ri;in r,N: iN :iT:;];' j l'DlnDrl" ~N ""nii!)r,o IN
ir,:;1;::1T ~~ iN: 'i?w;jTtir.l/-'lT~t? :.lV, S~ niO:~7 iN
ir,~Nn u';'N ;,-r"1J"lr,n;,"/ oriJv.Jn ni~n -rin~r, iN
: ": ",r,Qi?7 ;'l~ '1~ -'J,t?/_TQ~do ;'?~i? 01:9~71
ir,:;1D op r,~ r,~ r,'D~0 T'Q/-~~ :l~:;l~ ;'lin:;11 :l'r:;l~
ir," ;iJV!~ N~ -r~~ O~V!Q / ;i:t ~'t?i"N Nr, nD~ ;'lin
What I also said
about separating oneself and parting
from a people whose interpretations on the Torah were clearly invented
by themselves.
Far be it from me to associate with
a wicked people) to walk on their path;
63 A. Tanenbaum, The Contemplative Soul, 228.

64 MS NLR Evr. I 803: fol. 163a, poem no. 221; ed. L. Weinberger, 456, no. 466.
L. Nemoy translated this poem in Karaite Anthology, 135. Other polemical poems
targeted Muslims and "swine-eating)) Christians (poem nos. 1:50; 1:47-50, 19:39, lIS,
138 and 139:7-9). L. Weinberger, "Moses Darei, Karaite Poet and Physician)), 451,
discussed some other Karaite practices (such as ((shouting)) on the Jewish New Year)
that may be detected in Darei)s dlwan.
78 CHAPTER FIVE
Or to pay attention to their deceptions)

their lies or mockeries;
Or to be inclined to the nonsense)
the falsehood) or the vanity of their books;
Or to study the commandments of their Mishna)
learned by rote from each other;
I deny their saying that it is an oral tradition and a secret
commanded by the Rock to his congregation on Mount Sinai;
In the written Law I confide)
given by God to the people of His portion;
One Torah) to which I add nothing-
one Law) which I shall not revise.
Ideological considerations may also explain the near absence of quota-

tions from rabbinic sources in our selection of secular poems. 65 One
rare example of a paraphrased saying appears in poem no. 95:5: t4t~1
"~iOft:'J:1 lU'~ o,~:p niOii''ftl t,;~ 1J,h~ ,~~'? Oii'Q ('<It is not a plac~
that honors a man) but rather the places that are honored by a wise
man)). The source is the Babylonian Talmud) Ta'dnzt 2Ib: iOii'~ Nt,
iOii''? n~ '~~1.? 01tt N7~ ,i'~~,? O,~ t,~ ('<It is not his place" that
honors a man) but rather a man who honors his place)). Of course)
one may wonder whether Darci really took notice of the talmudic ori-
gin of this seemingly very common expression. 66 It will become clear
below that) despite his preference for biblical language and style) Darci
could not avoid echoes of rabbinic Hebrew in his poetical language.
65 On the usage of rabbinic sources by Karaite writers in general) see o. Tirosh-

Becker) "The Use of Rabbinic Sources in Karaite Writings, in Karaite Judaism)
319-38.
66 Another example of a talmudic source (Nedarim 64b: 'JV ,no:J r:nVJn ilV:J.'N
C'J:J. ,r, fNVJ '0' NO'O' V"~O' "Four are accounted as dead: A poor ma~ a leper) a
blind person) and one who is childless))) might be detected in poem no. 26:4: ;in~1
C'~1JD f~ C'~~~ 1:J./-V?1;l~ tt9~ 'W~~ ("amidst wealthy people they [= poor people]
will be considered as dead between those who are alive))).
CHAPTER SIX
SECULAR GENRES
6.1 Religiosity and Secularity
The term shzrat iJol) or secular poetry) refers to poetry composed for
a non-liturgical setting) whether or not it contains religious themes.
Several of Moses Darers poems lie between the well-defined realms of
liturgical and secular (or non-liturgical) poetry.!
Moses Darers personal prayers are a good example. In poem no. 32
he implores God to heal his son Samuel who had been in a coma for
some time: 2
TN1'Nr,N t)'Nn ,r,V TNil"l:l N'~'N iln1JO' N1J N'"lill
ilr~l) JJ'-P / O'Q?.l;'~ r,f / o'Ql r,,p 01 / 0'Q7iV ,~~
il!?V 1V'~ / N'i?~ :l~ o~ / il''P o~ 0;;J/-'~~ n~:Jr:;1
il!t:'Q o'~~~ / O?~ viN-l r,R / 07iV 179 / 071;1 o~ o~
il!~~;:1 il?/-i?~;:1 il'7?1J / T'~ r,~~n1JV?7 / l':;l~ O'?D
il!in OJ:) N':;1/-J r,f n~:Jr:;1 / ilJ1? ir, Ttl / ilJ':;1;:1 o~
il!D n.p r,f / 11t?D 'q'q / 11;:1 l':;1N / 11~,p r,,p o~
ilT' i!)t~ / iVvi91J '::l / iVv.T1 n~o~ / iV.lJ N!)'~
il!;:I OiP9/-~ oir,o/ :O~ / i1;Ll~ :l~O oj :/ il;L~? .~~ Tr,~
See poems nos. 1-5, 7, 10, 13, 24, 26, 30, 32-33, 35, 39, 42-45, 48, 50-51, 58-59,
61, 69, 74, 77-78, 80, 82-84, 86-88, 90, 98, 100-101, 103-104, 107, 112-115, 119,
128, 131, 138-139, 144, 148. Andalusian-Hebrew poetry also contains a significant
body of devotional verse that lies between liturgical and secular poetry. Such works
are often thematically and stylistically indistinguishable from liturgical compositions.
According to Scheindlin, it is important to limit the use ofthe word "secular" for non-
liturgical poetry: "Merchants and Intellectuals, Rabbis and Poets: Judeo-Arabic Culture
in the Golden Age of Islam,) in Cultures of the Jews: A New History, ed. D. Biale, 384
(New York: Schocken Books, 2002). R Loewe preferred to speak of "social) poetry,
see Ibn Gabirol (New York: Grove Weidenfeld, 1989), 54-56. E. Bazan discussed the
difficulties in determining the exact boundary between liturgical poems and poems
with religious content but no liturgical function in The Poetics of the Sephardi Piyut
According to the Liturgical Poetry of Yehuda Halevi [in Hebrew] (Jerusalem: Magnes
Press, 1986), 15-23.
2 No. 32, MS NLR Evr. I 802: fol. 13a; ed. L. Weinberger, 322-23, no. 265.
80 CHAPTER SIX
A nd this is what I also wrote with paint on the wall of the portico.
Everlasting Rock [= God]) exalted above exalted ones (Isa 26:4))
all hidden things Your eyes perceive;
By the grace of Abraham and Sarah)
and the father called: ((that man" [= Isaac] (Gen 24:65))
And the mild man who dreamt about the everlasting King [= God] (Jer 10:10)
on top ofa ladder in a pleasant vision [= Jacob] (Gen 25:27; 28:12-13);
Restore life to Samuel) the son of
the despised and scorned Moses;
Also give him a share of wisdom)
by the grace of every prophet and seer;
And as to Your servant his oppressed father)
always sprinkle the water of Your mercy on him;
Heal his sickness) and pardon his wrongdoing)
for because of his sin his body is lean;
May He put out all anger) and multiply welfare
and health in this place (Gen 28:16).
In the following poem) Moses Darci opens with an expression of scorn

(hija) but quickly moves on to liturgical-like praise of God: 3
1N1':JNr,Nr, ;'N1:JVJ O'1n 1N:J N3l':JVJ n".1;' "lj?1
;':1, ,r,N ;'N1:JVJ 1V ;':1r,j? Nnv ;'N;,r,N "lj?1
o'~~vi1?;:J l'{liNin i~17 / "l'~?1 'P~j?~ ''?? ~ vi~ ~7 ,i!J ~
0'~Q1;:JQ 1~1?: ''??~ / Nl~~7 "l'~D n.pf VJ1:1D Nr,Q
0' ~o/l O'Q~ '~i? T~i' V;lip / j?'l OJ1 r,~Q N~;'1 '!)-9 N~;'1
o'~i' 1] :1'V;~ l' ~1 N'2in N~;'l / 0'1 D~ 'iT~? ~T'~1 ;'~7J N~;'l
. 0'~io~7 ibi01 ,.p~ vJ'~7 / r,~. V~o/Q "l'~;:Jf i?'~i'Q
O'~1?tt~ 0':7.0 N~i' ~~3l7 / 1-\'~~11f7 :1~i "lJ;:J r,:t~
0'~"l~;;J 'J"l~ r,~n l"l1?-9f / 0'1~ "l~-iJ 1n:p 1~D~01
0'Jin1 O'DoiJ 1,!)r, vi'N niN3lin~ / i"l':;l ,:1.1 '"lD3l r,:;) ,viN
. : ri'~i;'1-ri:1f lW; i'D~71 / 11~i?1 Wl ril~7 1Dii;j\ T
O'J"lD ;'l,n;'l N'n3ln;'l / :1'D,n~ i"1:1D r,':JNn;, N~;'l

0'~iN1 r19~ -l~i; tt.:~: ~~1: / ;,o/~~Q O'll~~f ~;lin N~;,i
T
o'~i:1~ in~':;1f l':;1Q OJ1 / O'Q:tO in9~~f O':;l~Q N~;'1

o'~i'1J~ r,f tti07 1i, D~ N~;'l / 0' ~~':;1 r,j 01'?:;1 1ivi Nl N~;'l
. 0;~~7 h~ ;'1t?~ i"l~1 / r,J7J1 j?tiw ;'1;1~ iJ'Q~
O'~W~;:J 'P'PQ:;l o'pi'l / 0D'QQ OJ l' N~':;1 r;:t ;'~DQ
o'~i:J~ iil1?~1;If tJV 1.QQ7 / 1i'91:'1" tt9~n '7f l'o/~Q r,~1
0'!inQl ni~:tl ,~V?~;:J1 / l' ~7~ ni?Q 0..Q1? ;,! r,f 1V1
O'~lVrp;:J ';L~1:J1 0~;:1 r, ln f / n 1:11? Z;~ ow '0; VJl r,:tf
O'JiNl ;,n;, ,viN o':JNr,n:;) / 0:;lm1 O:;)'N :1i,:;) O,t:,lr,.1:;)
;it?
.0' ~i?r ~~ ttWQ7 01~: i'~f / V~ o~: ;i~Df ;1~1~- ~1~
3 No. 10, MS NLR Evr. I 802: fo1. 7b-8a; ed. L. Weinberger, 371-72, no. 325.
SECULAR GENRES 81
O'JiVlT '90n~ o'nn~:n / o'nvJJ::l nin"l N;' VJn'::l

O'3!),v;, ~V~O::l: -11' '"h~"} ';'J1" 0': '.1"l:J1 ~fVT '90ri":b
O'~tl'? "Vii~i?;:J1 rii~~ ~:tf""/ ~~i'1?T ,~~ TOW \~; r,j ,~t?Q~
Herewith I scorned a person who was always lamenting to his brethren,
and the blindness of his heart diverted his attention from lamenting to
his LORD.
Tell the man who repulsively recounts
to his friend his unlikely befallings:
((Are you not ashamed when you tell to somebody
all things that constantly happen to youf)
He is dust, and he is vanity and also emptiness)
full of trouble) short of days and years (Job 14:1);
He is weary-so how will he help others?-
and he is sinful-so how will he avert anger?
Will you consider it profitable to expound divine institutions (Ps 19:10)
to a foolish person whose destiny will be calamitous?
Instead) recount the pain and sufferance of your heart
to the Rock who heals chronic diseases (Deut 28:59);
Beg for mercy like the slave of slaves (Gen 9:25)
when standing opposite the Lord of lords (Deut 10:17);
All steps of man are in His power)
and all that happens to man moves and stops by His command
(Num 9:18);
(He is) the One who gives the one man poverty and shame (Prov 13:18)
whereas to the other he establishes honor and wealth;
He is the One who feeds His servant and causes him to go hungry)
and who makes (him) thirsty and brings (him) drink in abundance;
He causes the mighty to decline into weakness)
and offers strength and force to the tired;
He makes wise men wise by His wisdom)
and by His insight offers insight to the insightful;
He is the first before all creatures)
and He is the last after all the last ones (Isa 41:4);
His right hand stretched out heaven and the celestial sphere)
and His hand has founded the earth in the beginning (Isa 48:13);
He gives life to all creatures and brings them death as well (1 Sam 2:6)
then He wakes them up like the awakening of those who sleep;
All His deeds are without increase or decrease)
because they are justly fit in His wisdom (Prov 3:19);
Behold) all this is just a part of His miracles)
when ten thousands and many more remain;
May the name of God be blessed at all times (Ps 113:2)
like the sand of the sea and the stars of the heavenly mansions
(Gen 22:17);
Like the celestial spheres in their great length and width)
like the angels who are the most exalted;
82 CHAPTER SIX
like the locusts) wild animals) and beasts (]udg 6:5

like the offspring of men) young as well as old (Esth 3:13);
Like the reptiles of the earth; like the rains;
and like the plants and the abundance of vegetables;
Like the multitude of birds and like the fish of seas and rivers;
like the everlasting mountains; like the conies) rocks (Ps 104:18)-
May the name of the Rock be sanctified by all)
by every mouth) praising the Holy One.
Peculiar for Moses Dar'rs poetical collection is the presence of sev-

eral distinctly secular poems (beyond the definition of secular poetry
as non-liturgical poetry) into which he introduces religious motifs.
For example) in poem no. 42) a love poem) Dar'i imagines killing his
beloved so that he will be united with her at the Last Judgment) if only
at the trial when she will be summoned to accuse him: 4
;"1' ONJrnN ':3 N'~'N ;,n~p NrJrJ1
:JNon~N 01' 1~1 ' nn :IN:J nN~N
;'9~ 11);:1 tt'~~ '7~ / ';Ji:,V nl~-\, ;,~~ oi'
;'9t! ;,~: l~J~Q / 1190 'l'QQ n? 'D1?J
;'rJ~nN 1~ "90 n'n~ / ;'TnN1 ;'10rJ "On1
.;'~lT o~ ~~.l ~~ OO.! / ,~t./.~? T'i?o/D o.~lv1j
;'90/ VJ'~ ~f n1'~~ 1'1 01' / '~9 .,tI:
;,t?~o/~ .,,p
;'97,p ;'~QQ V~O/~ .,,p / 1i'~ ~J'Ji~o/ry ';:1'1
What I also said about taking advantage of the sight
of beloved ones, even on the Day ofReckoning.
One day) a beautiful gazelle came to me)
her attractiveness cloaked in a veil;
1 begged her: ((Remove your veil
from your face) 0 perfect beauty" (Cant 4:7; 5:2);
And when she did) 1 stared at
her cheeks) a mix of lapis lazuli and amethyst;
Moved by my strong desire for her) my heart
imagined a plot to kill her;
So that tomorrow) at the Day of ]udgment-
which awaits everyone-we would be judged together;
And may the length of our trial be long)
until (I have) been sated with the sight of the young woman.
This poem does not allow us to conclude that Dar'i was a less conserva-
tive poet or more at ease as a Karaite poet. Rather) this poem seems to
4 No. 42) MS NLR Evr. I 802: fol. 15b-16a; ed. L. Weinberger) 350) no. 292. R. P.
Scheindlin discusses some other examples in Hebrew Studies 41 (2000): 343-47.
SECULAR GENRES 83
illustrate a characteristic trend in the oeuvre of several poets embrac-

ing the Andalusian tradition in the twelfth and following centuries)
like Todros Abulafia in Christian Spain and Abraham ben I:Ialfon and
Eleazar ha-Bavli in the East. These poets increasingly blurred the for-
mal and thematic delineations between liturgical and secular poetry.5
6.2 Praise Poetry
The secular genre of praise poetry (madziJ) is not as predominant in

Moses Darers dzwan as it is in the collections of many Andalusian and
Eastern poets. 6 Moreover) the style of his panegyric poems is generally
characterised by a traditional pattern of recurrent and conventional
motifs. 7
The following praise poem observes the rules of the polythematic
Arabic qa~zda in many aspects of its structure and imagery:8
"1'l' NVl'V lNOTr,N ,r,V 'JOnr,N '!l N'3.!'N ilnr,p NOOl
iltj'lNr,N NJ:lN 'fV:l nN"lnONl ilr,':JNr,N Vo
0'11"1J lP'Dl?1 o':;nil~71 / O""'P1~;:1 '~D: lQT; 'io~
O'1lD O'i?V!? ;1~ tt~ .r,~ ;?tt / l'D~l n'~:1. 01:;);:1 r,~1
0'11~ O~ O'l~:P l'~l' 1'-P7 / l'~o/~F~ N'l'l 'flQ71
5 This blurring was already present in the works ofthe last generations ofAndalusian
poets as represented by Judah ha-Levi (section 5.3) or Abraham ibn Ezra) see Y. Tob~
"Abraham ibn Ezra)s Poetry as a Link in the Transition of Hebrew Poetry in Spain
from its Islamic to its Christian Period/) in Abraham Ibn Ezra y su tiempo) ed. F. Dfaz
Esteba~ 353-62 (Madrid: Spanish Association of Orientalists) 1990). On Christian
Spain) see A. Doron) "New Trends in the Conception of Hebrew Poetry in Thirteenth
and Fourteenth-Century Spain in Relation to Spanish Literature) in Encuentros and
Desencuentros: Spanish Jewish Cultural Interaction throughout History) ed. C. Par-
rondo et aI.) 213-39 (Tel Aviv) 2000); on the East) see Y. Tobi) "Poetry and Society in
the Works of Abraham ben Halfon) Hebrew Annual Review 9 (1985): 363-72; W. J.
van Bekkum) The Secular Poetry ofEtazar ben Ya(aqov ha-Bavli) 10-12.
6 A. Schippers has pointed out that Western definitions of genre) which involve
both form and content) do not fit the case of Arabic or Hebrew poetry (where typol-
ogy depends almost entirely on content) independent of form). Schippers)s work is
an important survey shOWing how Hebrew-Andalusian poetry adopted Arabic poetic
themes and motifs. For definitions of genre) theme and motif: see A. Schippers) Span-
ish Hebrew Poetry and the Arab Literary Tradition: Arabic Themes in Hebrew Anda-
lusian Poetry (Leiden: Brill 1994) 9-11.
7 See poems nos. 23) 33) 54-56) 86-87) 127. See also Pagis)s work on genre-study)
Secular Poetry and Poetic Theory: Moses ibn Ezra and his Contemporaries [in Hebrew]
(Jerusalem: The Bialik Institute) 1970) 151-96.
8 No. 23) MS NLR Evr. I 802: fol. lOb-lIb; ed. L. Weinberger) 347-48) no. 287.
84 CHAPTER SIX
0'1~1? 'J'Q ';l' r,~ l'D9 / ';J~9 ~~N;P,n11J0 r,~1

0'111 Q'1)1~Q il7~u;J / o'Qo/~ ';:1 l 1n ''?? ~ il~l'.l;'71
O'"'T'O!lil 0:1 'WN onil'i'T / ,'w ,r,::J r,1' il~.1n nior,1'r,l
O'~;i'l- o,tiil' i'r,~ ,riJ ,r,1': / 0'0'01' 0'J1' r,Nl o',in T~Nl
,O'1l0 Q0 l'l~e Ti~ ~lO~~1 i n:~;1 '?Dl~' ~'1;;J il1~7i
O'"'T.1:1il 'OlVJ9 0'.13ll'O / O':lilN VJ'1' ,r,1' OJ'::JVJ'l
0'1'6~7 l~~11D nWQ~: / 0'i?~1T:0'i?~'~nQ-:0'i~n'Q
0'1lP~ 0'1;;J7:;l Ol' ";L:;li:J1 / i79~ i~J7J~ ';:IQ;:11
0'1l:l~ 07 il'Ql o'DQ lW~ / N~P1? 'oi 1'~il'i ;i~i3l r,~i
0'1'QJ;1 'l~~ 101;:1 07il'7 / OD'1J?~ il?~~1 il!~, ~~1
O'1no n1' ~:J l'il' ':l:lr, / l'3"'T1'O '.1lJ1'n nl:ll0l
0'19Dl nl:lio1 -;V?i~TniiV~ i ~'! :livJn-~- NS 1Qf5 07il'7
0'1'~~;:I r,f "'T'~~ '1"10 "'T'D~ / nl~ry~ 1?'~~1 :lli?~ '1~
0'"1'1'0 inO:Jnl it;:JVJ :li':1 / ilO:Jnl tj:JVJ ,r,1':1 r,::J 'WN
0'110:l 0'1ry:rio/Ql :vJN' '~l!l~ / f'PQ~,' {n~i:i~ n~lr,~71
0'11?ir,1lil~9 O~Di?ir, ,nP?1 / 0'7D1? 1'~~ ~10 r,i~9 'J~
0'1 :t~;l nll' l3l1 In!lT1? / r,,p 1'11 0 ~o/Q ',p-p' ,JT ~1
O'"'TOil'l o".1in Til':1 "'Til' oni'il / nN' inl"'T:l1'r, OJ in,wt;
O~-hil~;:I :l1i?~ :lio oW r,~~ /: il+,rT~: oJ ilil-:l:~ inD;lVlQl
0'1'1?~ 0 ti '1' O.p nil'171' / 0':;l79 ni'~7 l no/1?~ 'l'17 i'1
O'"1'n1' "'Til' il:Jlr,nr, Oil'J:1 / Oil',nN onnnl Oil 0':J~0 T
o,,;,'-onil ilr-i ill O-"1.1J','Niivl / a:ron~- 0'1': ;J~ ~~ '"10 rll
o'-rl;n -o,ltJh~i O'W'N' :S~r, / l';W1'ilToniJno Tni:l~j:l
O'"1'n' ':l'wio ri~9iv' 0'0"'1T/ niJ'Jri 'OW!lJTr,Vl -O!ll.1 ,~j,
, '0'10'1]0 i~1~1: ';li' S'7~: / Nlil 'W~ T 1D-'~-Jl nii9 i~l
0'1 ~Ol i'l' iln1 il~~" ';:11;1 / Wl;' '1~ ~lO~ Nr,1 lil'~D~
What I also said about requesting from Time a life ofplen ty and opulence
in the company offriends, and about praising one of the honorable men.
Tell Time to unite friends)
and beloveds to keep far from wandering;
And (tell) the cup to send forth its spices
to every nose) to calm down fears;
(Tell) the desert to produce vegetation
for the eyes of those who see it: camphor and nard (Cant 4:13);
And (tell) the garden to order the branches of the trees
to carryall kinds of beautiful fruits;
(Tell) the flowerbed) upon a mountain of perfumes (Cant 8:14)
to disclose amongst its flowers roses;
And (tell) the girls playing instruments to uncover
their arms) adorned with bracelets;
(Tell) turtledoves) pigeons) and swifts
to ascend and descend over the river (Gen 28:12);
And (tell) the friend)s house to become wide and long)
so as to gather therein its desirable gazelles;
Let it make them dwell in a bed of love)
delighted) their clothes stripped off;
SECULAR GENRES 85
United) embracing) cleaving)

on a precious bed they become one (Ezek 37:17);
While the moon moves like a king in its cycle)
and the heavenly stars like burning torches;
And all who watch) observe) and envy)
will be put to death and be lost from the world;
But even if Time would put such and such (pleasures)
permanently and always before me;
And even if the nicest pleasures and delights
would make my heart continually happy;
I would never give credit for it to Time
for being righteous) good) or generous;
Until I would draw near and be in the company of
(a person) unique in his generation) the prince of all princes;
Of whose great insight and wisdom
all intellectuals and wise men bear witness;
To the sheaf of his intelligence) while awake (Gen 37:6-7
they bow their heads and prostrate themselves in praise;
The sons of Ma~ol revere the splendor of his face (1 Kgs 5:11
and take insight and learning from him;
The ears of lawyers and jurists
are pierced on his doorpost) like slaves (Exod 21:6);
They desire to serve him and work for him)
in order to stand and be girded with strength;
His family is honored and known
to have a good name amongst the Jews;
His parents were anointed to be kings)
and appointed to tend the Lord>s people;
Kings they are and afterwards) as their successors)
their sons will be ready to rise to kingship;
The benefactions of all their contemporaries are disgraceful
and worthless compared to those who are the devotees;
With their voluntary gifts they have made rich
all the needy and the poor) who are homeless (Isa 58:7);
Pity and compassion are poured out over their body and soul
by the One who gives the solitary (a home) to dwell in (Ps 68:7);
A fruitful bough and a gracious branch (Gen 49:22
he is perfect in beauty and altogether lovely (Ezek 28:12; Cant 5:16);
May He [= God] let him live and not die until the Great Bear
will come to an end along with the planets Jupiter and Mars.
Consistent with the bipartite form of the qa~zda) this panegyric is
divided thematically into two parts: a naszb/erotic prelude (lines 3-14)
and a madz/:l/praise part (lines 19-31). Darci artfully links the erotic
prelude to the praise part with a lengthy takhallu~ ((extrication -Le.)
transition; lines 15-18). While the naszb contains conventional motifs
86 CHAPTER SIX
such as the description of nature (w~f) or the envy of love rivals) lines
11-12 refer to sexual intercourse more explicitly than Andalusian-
Hebrew poetry would. 9 In the madiiJ) we find interesting references
praising wisdom and scholarship) a familiar theme. The person praised
is likened to Joseph (line 20) see Gen 37:7) or even to Solomon (line
21) see 1 Kgs 5: 11) in matters of wisdom. A conventional motif is the
generosity of the person praised and of his family (line 28); this could
reflect Darers expectation that he would be rewarded for his poem.
Finally) planets and stars are presented as symbols of eternity and
divine power both in the nasib and madih. This contrasts with the
ephemeral nature of life on earth. The references (in lines 13 and 31) to
the moon (sahar) moving in a cycle (galgal) the stars) the Zodiac sign
Great Bear (Cash) and the planets Jupiter (~edeq) and Mars (ma>dim)
reflect Darers conventional knowledge of classical astronomy.l0
The following fragment (lines 19-23) from poem no. 33 compli-
ments the person praised for his linguistic and poetical abilities: ll
;'~i:Jf '~1 ;'VT~ N~ n~ip / i:1 ;'1i?1? noi'f 1'~ P~1i?11

;'~1 ~ Diof i~i?o/Q~ / l:JVlf i? 00/ T~' Q;:1 '."1:'9
;'J"11' 'n N~;' ,VJN1 no ,VJN/ "lVJO ,'VJ ~:J '~1' 0' l"VJ1
T.: -r,~;~~. l'~ib~- ~f ~~ :~-~1 ~ ii~iJ:~ .;'~.;;J 1,T:tQ1N ~T'D li~i
;'f~~l 1:1 ;'{l;Q 1J1VJ7 / ,'V! 'IN; VJ'~ ~:t '~f :11 ~9 01'1
His precise language) like a lance) pierces
a lip which does not know how to speak correctly;
He has put on the robes of rhyme as armor)
and his meter as a shield and buckler (Ps 91:4);
His poetry is greater than that of any other poet)
dead or still alive (Eccl 4:2);
It is like honey in the palate of his admirers)
but like a thorny bush for all his critics;
When the Nile of poetry dried up in everyone>s mouth)
in his language there was freshness.
Being a poet) Darei was aware of his own poetic abilities and sensitive
to criticism of his work. In the following examples he employs the
See R. P. Scheindlin, Hebrew Studies 41 (2000): 344.

9
10 P. Kunitzsch and M. lTIlmann, Die Plejaden in den Vergleichen der arabischen
Dichtung (Miinchen: Verlag der Bayerischen Akademie der Wissenschaften, 1992).
There is a direct parallel to DarCi)s usage of motifs and themes related to wisdom and
scholarship, generosity and planets and stars, in the work of Eleazar ha-Bavli, see
W. J. van Bekkum, The Secular Poetry ofEtazar ben Ya(aqov ha-Bavli, 48-53 and 56.
11 No. 33, MS NLR Evr. I 802: fo1. 13a-14b; ed. L. Weinberger, 394-96, no. 356.
SECULAR GENRES 87
converse of praise) scorn) to show disapproval of his critics) and self-

praise (fakhr) in defense of his own verse: 12
fNpJN "'T3lp T1J '!l N'3l'N ;,nr,p N1J1J1
""'T' Nr, ~N1Jn 1;'1 "'VVJ
niT:;17 :l1P~ 1 'DiN oiV~7 1 'D'ip-\,W 1 'Dl'V! f?
nit\, lJJ?? 1 O'l'V! :no r,.p 1 o'"li:'i:l;:l l' ~ 1 'O'lQiN 0'J!1
nNT .n~ T':;1~ 1 Nr, r,'Q~l V1/~' Nr, '1);L 1 vi' ~ ;'19iN l
What I also said about someone who aimed to diminish
my poetry and who is an ignorant donkey.
A critic intended to degrade the poetry
that I composed) in order to anger me;
Friends ask: ((How can ignorant people
treat the best of poems arrogantlyf' (Prov 18:23)
To which I reply: ((A stupid man does not know)
nor can a fool understand this" (Ps 92:7).
;,r,Nr,'.lN1 "VVJ ON':JN '!l ;,nr,p N1J1J1
;,r,N;".l ""'TNp1J:l 'NpnnN1
l"'Ti1J~~ 1~'"l r,~ O'? 1 r,i n~ O~ "'TD~n r,~ '"l'V!
l"'Ti:l.t;'~ "'TiV 0;::1 171 r,i"'T/-~;:l 1?Q;:l J;l~ ':;) V1
l"'Tif'? 1f~"l OlO 'Q.l:'~ 1 r,~ "'T.p '1~7 O~lf ~1):;n
l"'T~N' ;r'~;iN ;'~0 1 "'TiV ;,~ryD '~ niN ;,! l 17
What I said about bestowing honor and praise upon my poetry,
and about scorning the fate of the ignorant.
o My poem) do not fear it (numerous) as sand)
critics confront and attack you;
Know that you are the great king)
And that they will still serve you;
Reluctantly) they will forever bow
to the hoofs of your riding horse;
And this will be a sign to you: you will stay alive (Exod 3:12; Ps 49:10)
whereas your enemies will perish (Ps 92:10).
These examples notwithstanding) boasting was generally less pro-

nounced in Darci and other Jewish poets than it was in medieval Ara-
bic poetry.
12 No.8) MS NLR Evr. I 802: fol. 7b; ed. L. Weinberger) 45C no. 455; No.9) MS
NLR Evr. I 802: fol. 7b; ed. L. Weinberger) 459) no. 470.
88 CHAPTER SIX
6.3 Poetry of Complaint
The contours of this genre are not well-defined. In fact) poems of com-
plaint combine elements and strategies of a number of genres) like
scorn (hija) rebuke Citab) boasting (fakhr) wisdom) and so forth. 13
In the Judaeo-Arabic headings to some poems) Dar(i mentions another
generic term: dhamm ((blame).14
Generally speaking) poetry of complaint is cast in the first person)
but it is not always clear whether it represents a mere literary play on
conventions or a genuine reflection of the poet)s experiences. Poems
of complaint constitute a considerable percentage of our selection of
Moses Dar(fs poems) and variously refer to a disappointing friend or
family member) an entire community) or even Fate or Time. 1s Argu-
ably the most (individuar) complaints in Dar(fs dzwan belong to the
series of poems related to his ill-fated visit to Damascus. For exam-
ple) in poem no. 70 he compares the Damascenes) in their aversion to
stranger s) to dogs:16
;'J'"'T1J r,;'N 0' '!) N'~'N ;,nr,p N1J1J1
;'J1V.)':)1 ;"1'1J tt"~r,r, O;,nJor,N:l
17'n:lr,N ';'1 NJ'p' Npn r,'TJr,N 11'~.1:l'1
,,~~ ,r, ;";" ;,'vJJ/-NJ. ':;) 'vJ!)J:l~ "1' 'nNJ.
'l'~ :l; o~:;~ T OryQ 'n/-'ii? :ii\jQ V1N~~!
'1~1 '-P~ :l~T7 O~l+' I n~vii?:;1 ~1J17 ~'9~ '-Pl
'1:J3;' O'NJiiV "'TiV 0;' ':;) I O':lr,:Jr, 0'n'1J"l ' JN1
: T - : T : : -
What I also said about blaming the inhabitants of a certain city,

on whose tongues there is bitterness and rudeness towards the visitor,
and who, it is absolutely clear, despise the stranger; and this city is
Damascus.
1 came to the city, and in my soul (I thought) that
1 would find a refuge among its inhabitants;
13 D. Pagis) "Poems of Complaint and Elements of Rebuke) Scorn and Boast))' [in
Hebrew] in Secular Poetry and Poetic Theory) 281-309; I. Levin) The Embroidered
Coat: The Genres of Hebrew Secular Poetry in Spain [in Hebrew] (Tel-Aviv) 1995)
1:209-67.
14 See poems nos. 36) 57) 70) 89.
15 See sections 7.2) 7.3) 7.4 and 7.5.
16 No. 70; MS NLR Evr. I 802: fol. 21a; ed. L. Weinberger) 369) no. 322. Besides
poem no. 70) the Damascus-series also includes poems nos. 144 and 204.
17 The term 'rl:l~N) by way of a play on the letters of the Hebrew alphabet called
atbash (by which N is equal to rl) :l to 'J) etc ....) is equal to CN'J)~N) which in Arabic
means "Damascus)'.
SECULAR GENRES 89
But I found evil instead of the good I had hoped

from them) since they caused me much pain;
My friends said: ((They resemble in the stiffness
of their necks the forest wolf and the lion));
And I compared them with dogs)
for they also hate the stranger.
It is more difficult to determine whether the following poem) again

cast in the first person) represents a mere literary play on conventions
or a reflection of Darers experiences. It blames Time (or the World)
for bringing poverty as well as sickness) old age as well as grief: 18
;":JJr,N ;"J-rr,N o'-r '!l N'3l'N ;,nr,p NIJIJ1
;,-rWr,N:l N'IJr,N N':J' N;,r,-r:lr,
;,-\"~: r,~ 'D1J1 'lVl-9 vi17 / '7 11!lQq '~QT r,~ '1 Nr,Q
. . ;'1)1T 'J~'vi;, 'v, ~N1 / 'Nl'r, 'iJni 1)lJ "'TV
;'-91f n.p r,f n1TOQ '~-:t7 / '~r1"o/;j1: 'VlN' '1)0/ ~~ -i':;17~1
;'-\,1J1 ;,7 ryo ;, Qi?7 0J;l ryU1 / 'Q1;' J1 ;'91;'J ;'o/l~ '1p ~J1
What I also said about criticizing the vicious World
for replacing a person's welfare with distress.
Is it not enough for my Time to change
into poverty my richness) and my rest into labor;
That it makes me wander among my acquaintances)
and that in front of my friends) it makes me tremble;
It makes the hair on my head white) whereas it blackens
my heart from continually looking at trouble;
My soul has banished Nacamah [= pleasantness] and Nacomi [= pleasure]
and instead of them has taken Ma~lah [= sickness] and Nocah
[= trembling]. 19
It is conspicuous that the Judaeo-Arabic heading addresses the World
(dunya) whereas the Hebrew poem mentions only Time (zeman).20
6.4 Wisdom Poetry
Just as the book of Proverbs was used for instruction) many of Darers
philosophical poems may have been intended for didactic or moralistic
18 No. 57; MS NLR Evr. I 802: fol. 18a; ed. L. Weinberger, 372-73, no. 328.
19 In this final verse, the poet knows that his readers will understand the general
meaning of the names of four biblical women, mentioned respectively in Gen 4:22
(Nacamah), Ruth 1:2 (NaComi), Numbers 26:33 (Ma4lah and Nocah). On this device,
see also section 8.5.
20 We will discuss the closely linked motifs of Time and World more extensively
in section 7.2.
90 CHAPTER SIX
purposes) as instructional material for cultivating practical wisdom

and personal morality.21 The following poem is characterised by the
imperative form and regular phrases from the book of Proverbs: 22
1NonNr,N r,V!) ONnn:JnON '!) N'3l'N ;,nr,p Nnnl
1NOJN r,:J 1V
;,71P1 n l3l 1'-P:;1 "lQn ';:1~ / 1;1 Vi'~7 ,i:;)TD r,~1 "lQn ;,ip.p
;i7~~~ in?;:1l;1 C"}'7t:'O 'n9~ / i'~iT1 "l9tl Vi'~~ ,;iipiV~1
;'~l"l.l ir, Ol iv~l 'N9n;,r, / 1'''::In "l.lJ l'ivvn ':JiTl
;'7~1!)~ inN\?Df ~~ ";1~;i~:/ '~Q~ IJ;lO.. .,;11 -h-!i::l':';:1~
;,?:;n Vi;l? OJ1 r,;l ~ '1??~ / ;'9 "t?~ ni'~7 Vi' ~7 11i3l l' ~1
;'7':;l~ iN 1i;, OPQ 1tliJ 1'~1 / ;',?:;lry~ r,rpVD;:17 V1 O~ V11
';,7i?t "liV O':;1'1~ 1'~ in?~/-o 1'~~ ;,ip-\, 'in~ ;'~~1;1Ql
;,7iNlP O'~D l"ll: i:;l 'W~ / 1JiVi7 ,inlPl ;'lQo/tl nNT7
;'?9:;l7 ::llViJ;l r,;l7 ,';1 t;~1 / '! n~o/ ,7~VJ;1 :liO '~ V1'1
;,r,9~ 1?'~V;;:17 nj N~1 / n7i:J~ O"l~ "l?~ l'~ '~ l':;n
;,?,~' O~ o'9 i;f 1i"lNi?7 / ~~1 17D l'-P:P iJ'-P ~:t~
;,7lr,t?V i:;)11:;1 "l'QJ;ll;1 / ~~ i?1 '9ln ni n:;lin 1~ VOlP
;,r,vnr, ;,r,iV ';,n'i:i ':;) ;,wv (nv ~:Jil "lon niivb r,:Jln ONl
T ;179 tli ;'~'D: ;'~:Po/ D ~~ "liV1" / i1;17 "~~iN ,~~ ~~ llj~l
:
;,r,niv:;l oniO:Jl oV':;liv;,r, / o','Viv tjv o'v.hr, ::lin ':;) V"ll

T: ': /
T ;'?~::lr T,i :l-J~QV!Q ~7: iljD~ ~~:t7 V1~: r,~i
;'7ln~ ir, o;W~ "l,Q ;'~~D / 'D r,:t:;11'Vr,~ l'-P '~ 'lVi1
;'?lV~ 1D~ ti'V;~O r,~ 'r,P1 / O~o/Q~ r,:i '1l3l~ o~ Ni::l:i
What I also said about concealing the performance ofgood deeds
from everybody.
Perform charity but do not mention it to anybody) lest
it be considered disgrace and wickedness in the eyes of your Rock
[= God];
The person who is charitable towards someone and alludes to it,
will surely exchange his praise for disgrace)
and the one who mentions his deeds to his friends)
in order to boast and seek greatness)
despises the saying: A gift in secret
soothes anger)) (Prov 21:14)) and his sin is double (Isa 40:2).
21 This reflects the general character of Hebrew philosophical poetry, which was
based to a large extent on the biblical wisdom literature, most notably the book of
Proverbs. On Hebrew philosophical poetry in Andalusia, see S. Elizur, Hebrew Poetry
in Spain in the Middle Ages [in Hebrew] (Tel Aviv: The Open University of Israel,
2004), 2: 188-210; I. Levi~ The Embroidered Coat, 3:7-215; D. Pagis, Secular Poetry
and Poetic Theory, 225- 52. For philosophical themes and motifs in DarCi)s poetry, see
sections 7.6 and 7.7.
22 No.7; MS NLR Evr. I 802: fol. 7a-7b; ed. L. Weinberger, 434, no. 417.
SECULAR GENRES 91
It is not necessary for a person to be prisoner of

what he has eaten) what he wears or has worn out;
Know that if it is wrong to praise oneself for wisdom (Jer 9:22
how about someone who gives a little money or food?
As for someone who takes pride in what he has done in words-
his merit will be lightly esteemed amidst benefactors.
Beware of this and guard your tongue)
on account of which one may descend alive into SheJol (Num 16:33).
Know that it is better to let another lip praise you (Prov 27:2
not your own mouth) in order not to turn to folly (Ps 85:9).
Understand that man does not have the ability
nor the power to satiate ants;
Instead) he looks like a poor servant
in the control of a master) during daytime and also at night;
Listen) son) to the admonitions of instruction and accept them (Prov 1:8;
6:23 and walk forever in (God>s) paved road;
And if you are capable of performing charity) then always
do so) for as a result you will climb upwards.
Do not eat your bread alone)
and never forget love and compassion.
Know that it is an obligation for the rich to satiate the poor)
and cover them with garments;
Your heart will not be grieved when you give to the poor (Deut 15:10)
from the favour with which the One dwelling in heaven has endowed
you.
Watch how the eyes of your God observe every living being)
in order to reward them as they deserve;
He will render judgment on all created beings)
and all their deeds He will recompense.
Other wisdom and morality sayings in Darers dzwan are present as

gnomic or aphoristic epigrams characterised by brevity and wit) and
ending with a pointe or (punch-line. The following poem clearly
reflects the Arabic literary debate between the pen and the sword: 23
;,n1.J:Jnl Or,pr,N ;,r,"3l!l '!l N'3l'N ;,nr,p N1.J1.Jl
;,nlOOl r,'POr,N O'N3lr,N ,r,V
r,Jl ~7~ ;'J;llf 'i:l~/-Q :11D n;lT) vi'~ '0/ Nr,
r,~1 ~?~ '~';lo/tl ';lio / ~~Q o.p :1D~Q ;'~l~ 1~
What I also said about the advantage of the pen and its wisdom
over the polished sword and its power.
23 No. 94; MS NLR Evr. I 802: foL 25a; ed. L. Weinberger, 423, no. 387. See G. J.
van Gelder, The Conceit of Pen and Sword: On an Arabic Literary Debate,)) Journal
of Semitic Studies 32 (1978): 329-60.
92 CHAPTER SIX
Nobody ever saw a stroke of a warrior)s sword

root out one thousand infantrymen;
However) it has been observed how a letter from a pen in the hand
of a writer humiliated one thousand army units!
The following three examples also illustrate gnomic epigrams ending

with a witty punch-line: 24
o Nn:JnON ~N~ J N~N O''JJ TrJ TN N'3l'N ;,n~p NrJrJl
l"NpJ~N:l TN~VN~Nl l"N3l':J~N '':IN!)rJ
;,7
iJi~p n~ J; "oP i"~ D / ni.,lrJ Q n~ i:l r~f '~~;:11
iJ'DV! ~~ r,i9?1 ttt~;:J oint? / ~~ :liT~? n,p :l1:l1;l in1rJ1
What I also said (about the fact) that one of the characteristics of mean
people is (their) concealing good qualities and revealing shortcomings.
The foot when he overlooks the virtues
of his friend) in order to uncover his disgrace)
is like a fly that abandons all
the healthy parts of the body and lands on an abscess!
"':J:l ONJ~N ~N~n~N '!) N'3l'N ;,n~p NrJrJl
;,n:l:JJ .,JV O'N~~N ~NrJ ONJnJNl ;,nrJVJ TNrJT O"':J~N
':liV 01 :lvJ ~D i"1on ~Y1/-J.' i~ :lit) '13l ni:l':l :l"lJ
. - T,~~.;,.,~ -~;.l~~ N~ / ;'91~ TiJ.~? ~~~;:11~
What I also said (about the fact) that people take delight in the charity of
the benefactor when he is prosperous, whereas they take advantage of the
wealth of the miser when he is unfortunate.
The benefactor) when the Rock multiplies his welfare)
will extend his charity to every passer-by)
whereas the miser resembles a walnut:
there will be no meal until broken!
:lNn:J 'JrJ ,'vno' "~N TrJ~ :lNl'J.~N N''';' n'~VN "pl
O',!)O;, n~' NvJ '~ ni!),n / '::J ~iNU;rJ O',!)O ~NivJ ~.,n
ci;l:D~7 lpiViQ 'vJ'~ t;'~V!?ti / 'pl:0Q Nl';i :'~QfQ 'l~t?1
With this answer I apologised to someone who wished to borrow a book
from me.
Stop asking) borrower of books) for
it is a disgrace to me to be asked for books;
24 No. 124; MS NLR Evr. I 802: fo1. 30b; ed. L. Weinberger, 367, no. 317 (trans.
L. Nemoy, Karaite Anthology, 141); no. 151; MS NLR Evr. I 802: fo1. 35a; ed. L. Wein-
berger, 453, no. 461; no. 97; MS NLR Evr. I 802: fo1. 25a; ed. L. Weinberger, 440,
no. 430 (trans. L. Nemoy, Karaite Anthology, 139).
SECULAR GENRES 93
My book has for a long time been my beloved)

now would a man lend his beloved to others?
6.5 Wine and Love Poetry
Besides their occurrence in the nasib of praise poems) wine and love are
the main themes of other poems as well; they are known as khamriyyat
and ghazaliyyat in Arabic) and shire yayin and shire lJesheq in Hebrew.
Generally speaking) Hebrew poems reflecting the notion Carpe diem
('<Seize the day))) adopted the conventions ofcAbbasid Arabic wine and
love poetry) while also relying on the Song of Songs.25
The favourite drinking place in the medieval Arabic and Hebrew
poetical tradition was undoubtedly outdoors) either on the patio of a
palace with gardens) fountains) and canals) or in a garden by the banks
c
of a river) as in the following poem by Dar i: 26
,,'.1, N1V')' ON1Jn~N '!l
N'3l'N iln~p N1J1J'
il~N1J'.1,.,,., ~:J:l ,.,,1J IN1JT'
"')'0 1NJ'.1:l "'T1J N'ilJ:l ""'!l
11J OJ:) O'l~~l
oipi:;l nf / il~~ lin oi:J nino/7 '~ry
"li1J ':;1 il:Q ~i1J~~ 'tll-~ '~l !,iiv:l:'7 vi1;11QTl
"lD 'i?~;:1 t;f ~.Q '~'Q'l / ilJo/ 00/ :lW~ ~~ 1'.\?:;11
"1i' il~i?:;1 ~~ ';:1 viN'Q / .i'lf;l '~J 'J~71
"l~7 0l\? 11-PQ / N~'~;:I 'Q~;:I nl1Jl:;l
What I also said about seeking a comfortable life
and extended time in company with every good friend ofsurpassing beauty,
against (the backdrop of) a streaming river and radiant gardens.
My wish is to drink a cup (of wine) in a garden
full of perfume) camphor) and nard (Cant 4:13);
May Time hurry to satisfy my need
after yesterday having revolted against me;
25 On Hebrew wine and love poetry in Andalusia) see I. Levin) The Embroidered
Coat) 2:147-434; D. Pagis) Secular Poetry) 253-80. Translations and analyses of several
Andalusian wine and love poems are included in R P. Scheindli~ Wine, Women and
Death) 19-134. For the Arabic background of wine and love themes) see A. Schippers)
Spanish Hebrew Poetry) 105-80. On the ambiguous attitude of the Andalusian Jews
towards earthly pleasures) see J. Yeshaya) Over de Ontluikende Lente en Toastende
Rabbijnen: Aardse Geneugten in de middeleeuwse Hebreeuwse Poezie van Spanje))
Ale!Beet 17) no. 1 (2007): 29-42.
26 No. 67; MS NLR Evr. I 802: fol. 20b; ed. L. Weinberger) 352) no. 294.
94 CHAPTER SIX
And God willing) I will stay there for a year)

my right hand touching all the preciousness;
In front of me a river which-like lightning-
comes down from a mountaintop into a valley)
Like the river which goes out
of Eden before it is divided (Gen 2:10).
Nevertheless) wine banquets did occasionally take place indoors) as in

c
the following poem by Dar i: 27
N"ll Nr,:l ~n':J:l ,r, N"l:l "p Np,,.3l '!) N'3l'N ilnr,p Nnn1
~n':JJ ,r,:lN OD 'Jil/-'l O'D' n,.~vor, 'nN:l
~ni:lTVi; l;riil~n ~::l0 i:l/-~n 1~-ri1 n':l: N:l;; ,~
~no/ ~:t~1) '7~~ '1~J i or? n,p ory7 ill~iN!
~nvilt1 ~r,:JNlt1 ilnvin 1 Oilr, VJD lt1 :l~n::l:l
: - : - 0:: 0: T - -- T -
What I also said about a friend who served me wine without lunch.
When I arrived at my friends> banquet
my sadness and sorrow were removed)
For when entering the house of one> s beloveds)
all troubles disappear from one>s heart;
Yet I said to them with only wine
in front of me: "do you drink without foodr'
It is written in the Bible: "And he made for them
a banquet and they ate and drank" (Gen 26:30).
One of the themes often employed in wine poetry is the description of

the wine)s colour) fragrance) age) effect) and provenance. A remarkable
example in the form of a riddle is: 28
'lTnr,N ilr,NnN '!) N:l'lvnn N'3l'N ilnr,p Nnn1
'~!)3lNr,r, il,nnr,N Tn 'NPVr,N
"1 '0; n-p n:tinf Q':;1~1 1 n.t;liNl p~vi~ l'-Pf il'?7.Q il9~
"1~~1 ,. ~ '~V?~1 ,.~"~ '7r 1 i!)~~ PWin 1'-P7 il9i,. '01;1
What I also said about being amazed over the transformation caused by
the mixing of wine, from red to yellowish.
What is (like) a young woman who) when her beloved>s eyes see her
while her father [= water] is inside her) and when (her beloved) will
depart
will resemble the appearance of a lover who is struck with
(love- )sickness due to separation and being left wandering and
alone.
27 No. 17; MS NLR Evr. I 802: fol. 9a-9b; ed. L. Weinberger, 372, no. 326.
28 No. 34; MS NLR Evr. I 802: fol. 14b; ed. L. Weinberger, 348-49, no. 289.
SECULAR GENRES 95
The poem)s heading refers to the medieval practice of mixing wine

with water and the resulting change of colour. Here) however) the mix-
ing of wine with water is surprisingly described as illicit sexual inter-
course between a father and his daughter. 29
Love poetry is sometimes considered a category of wine poetry)
since the object of love was often the so-called saqz or cupbearer) a
young boy or girl who poured wine or one of the musicians) singers)
or dancers at the drinking party. It should be noted that considerable
controversy has surrounded the explicit homoerotic atmosphere of
several medieval Hebrew love poems. 30 The description of love) wine)
and nature in the following strophic poem uses erotic imagery from
the Song of Songs: 3 !
'lJ'.1)' 1T1:J N'3l'N ;,nr,p NlJlJ1
-r N9 '7 ;r~~q~ ;,:tl~ / -ri-r~Q tJ'J?~ / -ri-r N~ :J~vJ
'~'-p -rQ~Q / '~'i?o/;:l
niyi~J ~ ni::lQ tJ~i?~l ! '7 '""1 'li-: tJ~~l it
'T!) n1Vl'11?~f '~~:J1pQ / n1N~!)1 '7 1~Vli?;LJ;1 tJ~
tJ'lJ'l nir"r, ;':JvJN / 'llJilJ 'nr,NvJ
00 T r,1'- 00,::l l O'J!)l
oT: "-;;i:
'T!) tJ'lJVJ:J 0T: 6~bO - 0 ;'V:iWN
T:: 0:
tJ'~~'u 1~~0~~W / 'V?~J1 ';nl ;'~1 -ri"1
'T!) tJ'.1~J1'ri:1
o -: - - f1:i;'N
T-: - / ;r,00;'lJ1'J
T-: T ':J0 ;r,nN
00 -: -
tJ'i?~vJlJ;:1 r,f '~;J N~;' / 1~vJi?;Ln 'li"1 n~lJl tJ~
'T!) O'iPD90 t:lDl :J7/ r,~ 0'l pi' l' ~~o/ 1'~
tJ'-r,n ':1 'Ji'1" / 'n':J:1 "!)1' niTnr,
'T!) tJ'lOoijb '~1~1 -,::1 / 10/111 ,iON \~i'11:D
'1 '0~ 1~~ -ri-r:;n / l??~ tJi' '7 :J1P~
'T!) '199 ~J;Ql~ '~ / 0iJ'Q7 'P' r,f niTlj7
tJ'~o/l .1?vJ .T'-p:p -ri"1 / nl~ryt fi~~~ l'~tp~
'T!) tJ'JVl'
OTT TN '0'01'1
- 0-: - / tJ'Vl-rn
0 T-: 1:1 '-r.1lJ
-T: '::l0
29 See G.]. van Gelder) Close Relationships: Incest and Inbreeding in Classical Arabic
Litera ture (London: LB. Tauris) 2005).
30 See]. Schirman~ "The Ephebe in Medieval Hebrew Poetry/' Sefarad 15 (1955):
55-68; N. Roth) "Deal Gently with the Young Man: Love of Boys in Medieval Hebrew
Poetry)" Speculum 57 (1982): 20-51.
31 No. 62; MS NLR Evr. I 802: fol. 19b-20a; ed. L. Weinberger) 363-64) no. 312.
Its strophic form with use of a refrain and a non-quantitative metre points to the fact
that this poem was probably written on the occasion of a wedding. Poem no. 149
(translated and discussed in section 8.5) is another strophic poem in DarCts collection;
see section 8.4 about the prosodic features of both poems.
96 CHAPTER SIX
0'7Q~1 o'n~ 1'+.1 I 'ltlQ 0'V;~ oin~l

'T!) O,r,tj!l;1 10Jl tJi~/-;' :1i'l; "'T1' nl';'J t;1'
T : - T: - -: - T : -
. ;'JJ~ 01~1 o~ I 1Ji:J~ '7 f:i?;n

'T!) ;'Jl:17V n.p~~1 'l1JI- V'Vf "'Tl! '~~ l 1n
v;'V;~1 n1)o/~ OJ1 r,,~ I OJ tt'lQ~ ttlin~n
'T!) 0'0 "OT O'1'J:1 :1'V' I 'JTN:1 nir,t~ "OT ':l
: : - - : T : .:
What I also said in a non-Arabic metre.

Please return) pleasant beloved-your love is much more agreeable to me
than wandering; give me to drink) 0 desire of my eyes! (Ezek 24:21)
Your nearness) my beloved) is (like) balm to me)
your farness (like) incurable wounds (Jer 15:18);
If you seek to find me a cure)
sustain me with raisin-cakes (Cant 2:5).
My request from Time is
to sit night and day
drinking a cup from the blood of vines [= wine]
upon mountains of perfumes (Cant 8:14).
Beloved) watch how my body and my soul
are weary unto death from loving you;
o might it be pleasant to me)
o love) for delights (Cant 7:7).
If you seek my beloved)s appearance)
he is the most beautiful of all beloveds;
The saliva between his lips is balm for every
heart; his mouth is most sweet (Cant 5:16).
To observe my gazelle at home:
my thoughts alone make me tremble;
Grace and beauty) light and darkness
are his) and he is altogether lovely (Cant 5:16).
It would be agreeable to dwell one day with wine
and a beloved in a garden)
and to observe all kinds of flowers)
for our vineyards blossom (Cant 2:15).
During winter) I desire the company
of a beloved who resembles snow and scarlet;
For then my fruits are new)
while my wines are old.
During spring) I put my dwellings
between cedars and aloes;
Near rivers) from evening-time until
the moment when the shadows flee away (Cant 2:17).
SECULAR GENRES 97
During summer) I set up

a throne and a luxurious bed (Cant 1:16)
amidst rose trees on the mountain
of myrrh and the hill of frankincense (Cant 4:6).
During faIt I plant the banner
of joy) and I will be happy and cheerful;
Because the sound of fountains in my ears
is mixed with the pleasant song of a swift.
6.6 Homonymic Poetry
Like other Eastern poets, Moses Darci imitated the pattern of Arabic
paranomasia (tajnts) when writing homonymic poetry. Moses ibn Ezra
was the first Hebrew poet to turn homonymy into a full-blown poetic
genre in his Sefer ha- (dnaq.32 In the wake of this Andalusian poet, sev-
eral twelfth- and thirteenth-century poets like Judah al-I:Iarizi, Eleazar
ha-Bavli, and Joseph ben TanQum ha-Yerushalmi started their own
collections of homonymic poems. 33
While Moses Darci is not known to have composed anything com-
parable to Sefer ha- (dnaq, our selection of secular poems does include
some typical examples of homonymic poetry. In poem no. 79 the
Hebrew verbal form ni~(ar assumes the role of a rhyme-word, albeit
with three markedly different meanings: 34
~1;".lrJ INOJN~N ~T' 'O~ iN '!) N'~'N ;,n~i' NrJrJl
;'~i'V -rn ,~V ;'~1i' r,-r ~Ni' N'"'TN!) ~1i" 'nn
32 H. Brody, Moses ibn Ezra: The Secular Poems [in Hebrew] (Berlin: Schocken
Verlag, 1935), 1:297-404. Moses ibn Ezra was followed by an AndaIusian poet named
aI-Bassan ben Eleazar: see E. Fleischer, A Collection of Homonyms by aI-Bassan
(Meir) ben Erazar/' [in Hebrew] Tarbl$ 68 (1999): 211-71.
33 E. Fleischer, A Collection of Homonyms by ]udah Al1}.arizi,)' [in Hebrew] Qoqe$
(al Yad 14, no. 24 (1998): 177-273; idem, Additions to the Collection of Homonyms
by ]udah Al1}.arizi in Honour of the Honourable Members of the Karaite Community
in Damascus,)' [in Hebrew] Qoqe$ (al Yad 18, no. 28 (2005): 199-222; ]. YahaIom,
Judaeo-Arabic Poetics, 168-77; ]. Dishon, The Book of the Perfumed Flower Beds by
Joseph ben Tan~um ha- Yerushalmi [in Hebrew] (Beer-Sheva: Ben-Gurion University
of the Negev Press, 2005).
34 No. 79; MS NLR Evr. I 802: fol. 22b; ed. L. Weinberger, 421-22, no. 383. The
homonymic expression niq(ar could not be found in any of the collections of homo-
nymic poetry mentioned above. See aIso the translation in L. Nemoy, Karaite Anthol-
ogy, 138. Other examples of homonymic poems, but without full homonymy, include
poems nos. 40 and 76.
98 CHAPTER SIX
'1':lJ N~;' iN o:Jn N~;' 0N / Vl~' Nr, vi"no o:Jn

T: " '-\'~~ vi~~ ~.p PoP i:iViin /T"iNi, r,fV/ iio~b~
'-\'~~ l':;1Q iN T':;1P 0 ~ / i":;lO vi' ~ ';Ll~ VliJ
What I also said (about the fact) that a person remains anonymous until
he speaks, and when he speaks his words indicate the extent of his
in telligenc e.
As to a wise man) who keeps silent-it cannot be known
whether he is wise or foolish;
It is as with cinnamon: all who see it
take it for (ordinary) wood until it is burned in fire;
A man)s speech reveals him and shows
whether he is a person of understanding) or one bereft of it.
In one noteworthy instance) Darci (poem no. 130) and al-I:Iarizi employ
the same homonymic expressions: 35
r,P? '7~ :l'l~ viN-l1 '7':;l 0~'1 / ir, :li01 VO/l TOT '~7;lQ~
r,1'~r,.J
- - : w,T""
--": ,.,- nnn1 :lr, ~,,.":J / vi' N
" :l~ vi.J: ;,~i TTvi'1
T n ,.NO: ";,1'-; "":
Amongst the peculiar deeds of Time is that the wicked man enjoys welfare
and the miser is exalted) whereas the head of the benefactor is not
lifted up;
There is a very grievous evil in that a person (Eccl 5:12)
with a generous heart becomes a beggar in the possession of a villain.
r,.p~7f If N~i?1? TlP / r,f VlJl ~o/Q "~ ;'1?~'
r,P? '7f "l~ r,iNVi N~;' 1~ / r,PO ;'?~D oi' r,:tf t;1~ ':;l
Be exalted) powerful master) and cut off
the horn of every envious villain (P s 75:11);
for every day you rise upwards)
whereas he descends into She)ol without (ever) going up (again)!
In other instances it is more challenging to find the different mean-

ings of the homonyms. One instance is poem no. 6 and its noteworthy
Judaeo-Arabic heading: (What I also said by paronomasia) by which I
put people to the test.)36 This sophisticated poem is a mannerist play
on the biblical (homonymic) terms kar (dry or liquid measure) kar
(ram/pasture) kikkar (loaf of bread/valley) makkar (acquaintance)
ikkar (peasant) kirkar (to dance) and eshkar (tribute/to become
drunk). Moses ibn Ezra uses a few of these homonymic terms in his
35 No. 130; MS NLR Evr. I 802: fol. 32a; ed. L. Weinberger, 375, no. 333; E. Fleischer,
(A Collection of Homonyms by Judah Al4arizi,", 241, poem no. 135.
36 No.6; MS NLR Evr. I 802: fol. 7a; ed. L. Weinberger, 482, no. 514.
SECULAR GENRES 99
Sefer ha- (dnaq. 37 Finally) the following innovative poem deserves par-
ticular attention since it belongs to two different genres-homonymic
poetry and bilingual lyrics. The final words of the Hebrew part) ending
in the middle of a line) correspond to similar-sounding words at the
end of the Judaeo-Arabic part: 38
l'rn~~N iO ONJ'.l 1;'1 ~T.ln~N '!) n~j? "1j?l
':l,vn l~~l:l N01' ,~ lNOV!) / '~lJ?D lJ'~~ '7 ;,~~~ lin

':l":JN ".l;'~N:l ["1 ]Non~N iON10l / '~11~ ;,i~D~ 111"1 :l;L7 nD,?v;'
':l'1VN TTl :lnO ~~l 'Nj?Vl / '~l Vi~ li?Dl~ l:~~i?Q :l;L7~
':lv,n iN :l'j?'~N "1':J i O IN'Nl / '~ln NJ ~~1'7:;l~ "1'1: '1~Q
':lj?JnN V'"1:l~N iont;N :lNj?J:ll / '~~J D~ "1'1; 1110 ,~ip
r,i'
':l~JN l:l'j? ',J ;'"1V:l ON~'O~l / '~ i~ '7~1P1 j?win iiYl 'V!11
':In,nN Nl;'~N 'N"1 ~"~ :l~j?:ll / '~m n~ l~LliN n~W7 ~ViN
':lvnN "1'~~Nl :ln~N :l~j?~ "n'Nl / '~ J;l~ olo/~ j11iD niJ~ ~f O~
And I said about love, by paronomasia of the two languages [Hebrew and
Arabic}.
Your saliva) gazelle) and your wine are sweet to me;
might it be that one day during (our) reunion you will fall in love
with me.
Multiply the joy of your beloved)s heart by your company)
but destroy the dwellings of the envious people by leaving them.
Increase fire in the heart of those who envy you) by your farness)
and make me drink from the wine of a lover)s reunion with your
love.
Eat from a beloved)s fruit and do not feel hungry)
and beware of the conspiracy of the guardian) yet be not afraid.
Specify to your beloved how much you want for your splendor)
and cover your face with the veil of unprecedented beauty.
Look for the lover)s desire and ask me: ((Where is the gazelle?"-
replace the darkness of his farness with the light of your nearness.
Enlarge the tent in which your lover dwells)
and bid welcome to the heart of a guest in love)s residence.
While all other beautiful girls have a lean body) you are fat-
take pity for love) s heart and distress (his) rivals!
37 H. Brody, Moses ibn Ezra: The Secular Poems, 314 (poem no. 66), 329 (poem no.
2), 333 (poem no. 29).
38 MS NLR Evr. I 802, fo1. 51a (poem no. 199). See U. Melammed)s Hebrew transla-
tion in the hand-out of his lecture on The Arabic Portions of the Diwan by Moses
Dar'}, the Karaite)~ during the 13th Conference of the Society for Judeo-Arabic Studies,
held in Cordoba.
CHAPTER SEVEN
MOTIFS AND THEMES
7.1 Praise afOld Age
One of the themes in the medieval Arabic q~zda is al-shayb wa-'l-

shabab ('<gray hair/old age and youth). This theme usually laments
old age or depicts nostalgia for) or boast of) lost youth.! Medieval
Hebrew poets also spoke of old age and youth) notably Moses ibn Ezra
who devoted an entire chapter of his Sefer ha-(anaq to these themes. 2
We should note here a remarkable series of three contiguous poems
(nos. 54-56) in Darers dzwan whose Judaeo-Arabic headings reveal
that they praise gray-headedness or old age: 3
'VV;r,N 'fN':l n"'Tn '!l 'VV; Nnl' nn"J "'Tj?l
:l'~~7 "!"''P r,f 'l.l:'~ 'J)/-? l~r, N~ n.p .1~1~ ol'~
:llO '::l 'IN;' nN0: O,;,r,N;'
T 0: T
/ N'~l ,nNJ0: r,N00 n'ln:l~
:-- -: - :
One day I composed a poem about praising white hair.

Why should I worry when white enters the forest
of my hair in order to hew down all the black;
In God>s Law it is said:
((And God saw the light) that it was good (Gen 1:4).
:l'V;r,N mn '!l N'~'N ;,nr,j? Nnnl
:l'V Nr,l NJ':J ;':l n~' Or, N'"lN
li?tl ;'1?~ l'lV?~ ;'l1?'Nl / r,~ ':;l11~ :lip '~'?~ ~''?~
li?! 'J~ ~11Ql O~j?~ / ;,:t''P 'J~Q ;'lln~ ;'~0
What I also said about praising old age
when it is not accompanied by indecent behavior or shortcoming.
They said: ((Someone has become old in God>s (right) ways.
I replied: ((Blessed be he with what he has mended.
Behold) in the Torah (it is said): ((Before the hoary head
you will rise up) and honor the face of the elder (Lev 19:32).
1 See B. Gruendler, Medieval Arabic Praise Poetry, xvii.

2 See H. Brody, Moses ibn Ezra: The Secular Poems, 353-60.
3 No. 54-56; MS NLR Evr. I 802: fol. 17b-18a; ed. L. Weinberger, 420-21, no. 380;
372, no. 327; 460-61, no. 472.

102 CHAPTER SEVEN
'JVIJr,N '!) N'~'N ilnr,p NIJIJ1

1l??~ llP~ If TpiT wry~ / 1'~ ~'1?~ 'D:tW '~i'
10/1?~ .il~i:';:J n1~l)7~ / :L1iV Ptl'l n.l;'W 1'~ .iN
lo/~Q '9 1~.l;'1 '~ ~/-7~90 '~J;l1?7 :L'1P~!
ll??hV TQ ,iNQ Ti'~~/-~ ,ino/ t;.p Ttl T:t77
What I also said about the (aforementioned) theme.
Those who beheld my gray hair asked:
((How did a snake bite you with a bite of old ager>
Or: ((Why did your hair send away the raven)
and why was it attracted to the company of the dover>
I replied to my reproachers: ((You have acted foolishly)
and you have lost your head!
White has an advantage over black)
like the advantage of light over darknessr> (EccI2:13)
The rather optimistic view about old age in these three poems is
repeated by Darei in the following Judaeo-Arabic riddle: 4
'VJVr,N "lV:L il:L NnN' 'VJ nON '!) N'~'N nr,p "lp1
1,'~nn VJIJVN :Lr,p '!) iln'"lNJ / ':L':Ln nON C"(VJ:J TV ,r,'NOr,l
l'~:Ln n'N"'T :Lr,pr,N T1'V n'N~ / N;n1J 'fpNJn N'"'TN T1'Vr,N TN
I also said about the name of something which one is given after becom-
ing dim-Sighted.
To the one who asks me to reveal the name of my beloved)
I cry out: ((You suffer from a blind heart!
For when the light in one>s eyes grows dim)
the eyes of the heart will always begin to see.
In other words) wisdom and insight come with old age. Note that this
optimistic view contrasts markedly with Darers generally pessimistic
view in his poems of complaint and with the uniformly negative view
about old age in medieval Arabic poetry.5
4 MS NLR Evr. I 802) fol. 49a (poem no. 191).

5 See poem no. 57) discussed in section 6.3; R P. Scheindlin) Old Age in Hebrew
and Arabic Zuhd Poetry/) in Judios y musulmanes en al-Andalus y el Magreb, Contactos
intelectuales) ed. M. Fierro) 85-104 (Madrid: Casa de Velasquez) 2002); S. Enderwitz)
(Die Grauen Haare: Zu Alter) Zeit und Schiksal in der arabischen LiebesdichtuDg)))
Die Welt des Islams 28 (1988): 126-40.
MOTIFS AND THEMES 103
7.2 Time and World
Arguably the most prominent motifs in Darcrs diwan are personified

Time and World. They are encountered not only in his poems of com-
plaint but also in the framework of other poems written in various
genres including panegyric) love) and wisdom poetry.6 The Hebrew
words zeman and te~el may be regarded as parallels to the Arabic
terms zaman and dunya. 7
The following lines illustrate Darcrs emphasis on the unfair treat-
ment of scholars and men of letters like himself when compared with
the supposed privileges granted to fools: 8
'1'-r INnTr,N f'~':tn '!) N'~'N ;,nr,p Nnn1
;'PN!)r,N:l1 PT,r,N ,"npn:J ;,pN,nr,N1 ;'IN:t'-rr,N
lTt~11i:J~ lO~9~ 1'?1 / l'91D Vi':;1i' 1017 '1 Nr,q
lT1 n~r O~'i?~ 11.1; n;lf / 01' ,J~ 01;' 0' ~l~ n~~71
li.p1 i:tin 0' ~,?i!1l'~~1 / O'Q'QJ;1 Viir,ry? lOT 07 iV701
lTir,~? 0'1;'0/1 'nIt -r-P1 / r,~~~ P'1~ '0~ ' D9 -r-P1
What I also said (about the fact) that Time singles out persons endowed with
intelligence and cleverness for living in straitened circumstances and poverty.
Is it not enough for Time that it puts wise men to shame (Jer 8:9))
and that fools despise and scorn sages;
That forever fearful persons and infants
are taken by the heel in sorrow>s trap (Job 18:9);
But will Time forever weaken blameless people)
and sinners become mighty and strong?
How long will the righteous mourn (1 Sam 16:1))
and how long will the wicked rejoice (Ps 94:3)?
In the following epigram) the World is cleverly compared to a pair of

scales: 9
;,r,;'N:J INnTr,N ,:tn '!) nr,p -rP1
;,r" J Tvn1 ;,r"r".1 r"n ;'J1:t1
6 See poems nos. 19-20) 23-26) 33) 39-40) 51) 57-59) 61) 67) 73) 75) 82) 87-89) 100)
106) 128- 30) 136) 140.

7 On the notions of zeman and tevel in Andalusian poetry) see I. Levi~ "Zeman
and Tevel in Secular Hebrew Poetry in Spain (in the Twelfth Century)/) [in Hebrew]
O~ar yehude sefarad 5 (1962): 68-79. See also the bibliography in W. ]. van Bekkum)
The Secular Poetry ofEtazar ben Ya(aqov ha-Bavli) 55-56.
8 No. 20; MS NLR Evr. I 802: fo1. lOb; ed. L. Weinberger) 415) no. 371.
9 No. 129; MS NLR Evr. I 802: fo1. 32a; ed. Weinberger) 425) no. 390.
104 CHAPTER SEVEN
N3l1JJ r,!)vi -r~:JJ vi'N 03 / O,~;, r,:1J n'N' ON

;,l~ -inl' -r'iin '9D i O'l~ r,i?o/Q~T r,";.LD TV
And (what) I said about the way in which Time deceives its people,
how it humiliates those who are exalted and strengthens those who are
debased.
Have you noticed that a villain was elevated)
whereas an honorable person was humiliated?
Behold) the World is like a pair of scales: it lifts the
((lesser)) [= villain] and brings the ((greater)) [= honorable one] down
to earth!
7.3 Wealth and Poverty
Moses Dar'i refers often to the themes wealth and poverty. In all like-
lihood these references are merely literary conventions rather than a
reflection of his own circumstances. In Dar'rs world) as everywhere)
money was power. He notes: 10
;,nN3l!) r,N'.1'r,r, r,N1Jr,N TN'!) N'3l'N ;,nr,p N1J1J1
0;,r,N1;'N '!) ;,nNr,Ol 0;"N1PNr,
N1i1J~ -ri:1i 'i?? vi'~7Q nG~ / vi'~ r,~7 oip9 r,~~ ~Q;.lV1
;'1~ nin~ r,~7 n7'P N~;if / 0'l:t1 fi9~~ 'Q7 TiVJ7N~;,i
What I also said (about the fact) that money makes the speech of men
eloquent,
while being a weapon in times of distress.
Everywhere and for everybody) it is a fact that money
clothes (one) in splendor) honor) and reverence;
It is a tongue to those who are looking for words)
and it is a weapon in all times of distress (Ps 9:10).
The following two poems combine impoverishment with personified

Time: ll
;'1J'P N1J TN N'3l'N ;,nr,p N1J1J1
'10:J1Jr,N NJNr,N:1 Nr,N '10V1Jr,N TNOJ Nr,N
i:1~;'N1 i-ri"1 n':1n nN / i:1T1' r,1' vi'N oi' 'nn:Ji;,
:i~~r~ i9t?~ h7~":Vl / lor~ -vi1 ;~o/~ '7 'Q~
i~ f~D l'~ '7~~ ;,;~~ / vi1 vi'~ r,i ;,! ~J1i-r~n
10 No. 38; MS NLR Evr. I 802: fol. 15a; ed. L. Weinberger, 446, no. 445. See also
poems nos. 26, 36, 38, 58, 61, 74-76, 84, 89, 122, 134, 140, 152.
11 Nos. 75 and 140; MS NLR Evr. I 802: fols. 21b-22a and 33a-b; ed. L. Weinberger,
373, no. 329, and 375-76, no. 335.
What I also said (about the fact) that the value

of an impoverished person is comparable to that ofa broken vessel.
One day I rebuked a person for leaving
the company of his beloved friend;
He said to me: ((He is left impoverished)
and evil Time has consumed his silver and his gold;
In these times of ours) every poor person
resembles an unwanted vessel." (Jer 48:38)
r,NIJ:l Nr,N 'N-rpIJ Nr, TN '!) N'3l'N ;,nr,p NIJIJ1
r,NIJ ;':IN;,'-r 01' TNOJNr,N N1nON TNr,
O'~? ~'Q '~ lin 'l:t/--P '1i;, OD '~i;, tt9 oi'
O'J:)~nJ:)D ''PJ:)O 0;::1 l'~ 'lp/-J:)O ,~vi ,~: '7 V1Tor~
0;J:)11'r?~ OJ 01~ r,f / tJ~ O~1?~ :lo/ ':;1 ,~V ,~
o'~1?o/~ o~'~ l'l:tl~ / T~t?Q nO~1;I ':;1 ;'~~T~~
What I also said (about thefact) that there is no (real) power except in wealth,
because man is undone on the day his wealth departs.
The day my wealth was spent) so did my glory come to an end)
and my words were swallowed up in my mouth (Job 6:3);
Evil Time rebuked me: ((Look at my deeds)
how they are deceitful acts (Jer 10:15);
For poverty has turned me into an object of dislike even
by everybody whose own Fate is bad;
And a poor man)s wisdom is despised by me)
and his words are not heard" (Eccl 9: 16).
His descriptions of the rich people of his day are critical and scornful.
Particularly interesting is the following poem) in which he portrays the
wealthy as thieves or pickpockets)):12
r,NIJ:l ~nnN TIJ '!) N'3l'N nr,p -rp1

r;NIJ NIJ NJ':Jr,N r,:lO TV 1;'1
O~iPQ O{li? O':;1fil OJ1 / 0'7:t~ ~:lo/ T010 '1'V;~
o{liVft? 'J.~~7 ~:lf~ ON7il / 0'1'1; tt~ o~'Q; ;'-\'i?~ ~r,1
O~lVf~ t;f ~r,7'P ~T~11 / ;,:tJ~ 1'1Q ~-rQ~ ,?~r,1
o{l'lQ~ n'1~;:17 0'V; ~:l~~1 / TiIJ9~ ~:J! ''??~ tjf ';:ir,~
And (what) I also said about one who was endowed with money,
yet who did not keep away from the paths of indecency.
The rich people of Time have turned into villains)
and they steal from each other as well;
12 No. 58; MS NLR Heb. I 802: fo1. 18a; ed. L. Weinberger, pp. 446-47, no. 446.
Cf. poems nos. 61, 76, 89.
106 CHAPTER SEVEN
When their right hand shakes hands with friends)

they secretly steal the gems of their signet rings;
And had it not been that they fear the punishment for stealing)
they would excitedly plunder all their fingers!
My God) let all the money that they have earned
and stolen cut off their posterity (Ps 109:13)!
7.4 Hypocrisy of Friends
The hypocrisy of friends is a theme closely related to wealth and pov-

erty. In this poem Darei considers '<fair-weather)) friends who stop
being friends in times of trouble: 13
:L'Nj?Nr,N 1N '!] N'3l'N ;,nr,j? N1:J1:J1
;'j?N!]r,N1 , j?!]r,N "11'.11:L 11:L;''"1' Nj?"13l Nr,N1
l;'ln:JVi l'1'"1i' ViiJN r,.1, m1'/-1:Jn n1'1 ,'Vi1' ':L;,iN 0':1'1
Nl;1 ~D 6~1 n~;l''': '0?' lJi;' r11~~N; '0 N1
T 61
~ '~ip 1i1:J9;ji
l;"~1:Jr, ',,':1J r,:Lr; l'1:JN / ;90:;) ni~j oi' ':LlflN '"l1':i
l;1lN-Jo/ Vii- 'D~l Vii l',?/~~ ~1'1; Ol1:J ':;1- Vi~6 'n9J
What I also said (about the fact) that relatives
and friends will take leave when discovering poverty and neediness.
Many are the friends that a rich man has (Prov 14:20)) but when
his foot stumbles his acquaintances forget him;
Money is the ornament of a person) but if he loses
his wealth he will resemble a dead person) even though he is alive;
About me) on the day my money was spent) my beloveds
said: ((We do not want to look at his countenancer) (1 Sam 16:7)
I asked: ((Is there a defect in me) my friendsf)-to which they said:
((Poverty) and (that) the brethren of the poor hate himr) (Prov 19:7)
He suggests various ways in which an injured person may respond to

disloyal friends. In the following poem) justification for the friends)
actions follows rebuke) but in the end the impoverished person tries
to regain his gold in a rather amusing fashion: 14
r,N'"1JNr,N n:Ln3l 1N '!] N'3l'N ;,nr,j? N1:J1:J1
:LN3lJn Nr, 0;,r,N11:JN n1:JN"1 N1:J :LNn3lNr,N:L
13 No. 122; MS NLR Evr. I 802: foL 30a-30b; ed. L. Weinberger) 449) no. 452. See
also poems nos. 27) 51) 66) 81) 96) 122 and 134.
14 No. 27; MS NLR Evr. I 802: fol. 12b; ed. L. Weinberger) 435-36) no. 420.
o ~P~l 'Dl~ryq 'D/-~ ':;1QT~ ';It?~ '9 ~i'

~Po/~ 1'1;1~ V), ~ :lVT:;1 / ~''? N 0l~l r,.p o'Dry;n;,
~Pi?o/ o{livi~J inl/-~ry S~ ~r, ioli;'o nl~ry7~
~PD~? ~~ 0lN!~/-Q l'-D1't?lIJ 1nrT~7~
~Pl Nr, ~Q'ip~o o~ / ~''?~ P1 ':;l O'Dj!1
~f'~? V)'~ '1~;J :llT~t1 / o~ V)~~~ :l~1V ':;l
~P3l" 01 'l~ '~f'/-Q 'J'.p 'Do/~ ;'19iN l
~Pl~~0 :lQ! 'Q7 / V)'~Q :lVT:;1 o~lQ~Q O~
What I also said (about the fact) that the friendship of mean people
lasts only as long as their friends' wealth does not suffer loss.
On the day my silver and my gold were spent,
my friends drew far away from my company;
When I rebuked them for their wandering) they replied:
((After a person)s gold do his friends lust)
And it is the company of his wealth) not his
company) which their souls desire;
And in their slavery (to gold)) his bonds
will not be broken from their neck.
I justified them) as they had spoken the truth)
even though their actions were not righteous;
For gold resembles the soul:
if gone) a man)s corpse will rot;
However) I added) while both of my eyes-
out of helplessness-were pouring out blood:
If your attachment is to a person)s gold)
whoever has any gold-let them break it off (and give it!y) (Exod 32:24)
In the following poem) on the other hand) he banishes unfaithful

friends from the memory forever: 15
;,p-r~Nr,N 1,n '!l N'~'N ;,nr,p NIJIJ1
;,p-rN~ ".1 o;,n:lnIJ "-rr,N
'niNn oniw1' ~'T 3'1 / o,r,~~ N '3IJ ~;" '-ri"1 n1':l
'{li~~ib -'~1:;1~ '19~Q:~o / o~lQ~ i':;1po:'0~: n~ 01~~:~
'ni:lvinIJ r,:JIJ~ ':lr;IJ~ / OIJ'WN -riV '!l ,r;1'IJ o'n~:Jvi
'r1!lW: r,V- oniiJvi oriN0: NWN;
T T: - T : 0: :
i 'Ji'1" O:":JT:lrtJ;'''
T -:0: : 0:
-
r,:l~
-:
T: :
What I also said about abandoning friends

whose love is un true.
When my friends become separated from me)
and they refrain from satisfying my desire-
15 No. 81; MS NLR Evr. I 802: fol. 22b-23a; ed. L. Weinberger) 438-39) no. 426.
108 CHAPTER SEVEN
Then will I understand their treachery and their disobedience

to my orders and to my advices.
I will make them be forgotten from my mouth)
from my heart, and from all my thoughts)
So that my mind will no longer contemplate their remembrance)
that I should take up their names on my lips (Ps 16:4).
7.5 Women and Marriage
In some cases) Moses Darci links the themes of women and marriage
in relation to those of wealth and poverty:16
NOJr,N "1n'.1 '!] N'3l'N ;,nr,p NlJlJl
NOr,!]N N'"lN r" .1'~ N r,'3l!]
ir,'D 'i;J'1 inVl~ oJ? / 'W:;l~ o~ Pl!:l~ v-;'~Q lr,
ir, ;'~1;l1n Nr, flo/+, / 'V?~ i'~Pl!:l r,~ ;'~7' n.p
What I also said about women repudiating
the merit of their husbands when they become bankrupt.
Even if the husband is righteous and finds favour
with his wife) freely showering his wealth (upon her)-
From the moment that he is unable (to support her)) all his good deeds
that he has done will not be remembered in his favour (Ezek 18:24).
Such cynical statements about women and marriage should obviously

not be regarded as a reflection on Darcrs own experiences with mar-
ried life. Rather) they represent a conventional literary play on the con-
flict between the sexes. 17 There is also a rhetorical element in Darcrs
poems on this subject) as the following example shows: 18
N;,nONplJl ;'T".1r,N '!] N'3l'N ;,nr,p NlJlJl
N;,n"1NVN TlJ ;,r,r,N:l '"11Vr,Nl
16 No. 15; MS NLR Evr. I 802: fol. 9a; ed. L. Weinberger, 390, no. 348.
17 See also poems nos. 71 and 88. On this topic more generally, see J. Dishon,
"Images of Woman in Medieval Hebrew Literature/' in Women of the Word, ed. J. R.
Baskin, 35-49 (Detroit: Wayne State University Press, 1994); T. Rosen, "On Tongues
Being Bound and Let Loose: Woman in Medieval Hebrew Literature," Prooftexts 8
(1988): 67-87; idem, Unveiling Eve: Reading Gender in Medieval Hebrew Literature
(Philadelphia: University of Pennsylvania Press, 2003); J. P. Deeter, "Andalusi Poet-
ics and Representations of Women in the Andalusi Hebrew Lament/' in Transform-
ing Loss into Beauty: Essays in Honor of Magda al-Nowaihi, ed. M. Hammond and
D. Sajd~ 115-41 (Cairo: American University in Cairo Press, 2008).
18 No. 65; MS NLR Evr. Heb. I 802: fol. 20a-20b; ed. L. Weinberger, 391, no. 350.
;"n ;'JDr,n n:l ,n"N/-l ;'WN nNWJ ~,nN

;'l o:o~~ Tci~-p~ N~ / -Nlji~! h~7~ rip ~,~~
What I also said about marriage and its sufferings,
and about taking refuge with God instead of remarrying.
They asked: ((Did you take a wifet'-to which I replied:
((A girl more bitter than wormwoodr'
They said: ((Take another [wifeL" but I cried out:
((Affliction shall not rise up twice!" (Nah 1:9)
7.6 Body and Soul
The many philosophical themes and motifs in Dar'fs poems show that
he was well aware of contemporary philosophical concerns. Particu-
larly noteworthy are Dar'rs poems on the neoplatonic polarity between
the material world of the body and the spiritual world of the soul. A
good example is this fascinating poem in his collection: 19
1V O!)J~N VN"l'N '!) N'~'N ;,n~p Nnnl
'~N~P~N 01' N;"N:J'"lNl '~Nvn~N
;'l:t~J ;':1~;:J OJ:) ;,.p;Q 1'~ / ;:11~J '~' "li:J~:;1 'l??~ vipJ
~:ti?~ 0'Q7~;:J 'l~~~ ~i 11rl / '01;1 'IN ~i 'lN~ ;'{l;Q 'lQ~ IN
~~t?;:J ,ip9Q n1iO~ ;'97-P / '01;1 .ni:J'r. 01~ ;,7~i.19 1'~ ~N
;'lo/i?~ O'1P~lQ no/Q p;L 01' / ;,o/t? J nr'D1 0'7~ ,~~ l' ~ IN
;'lft:'J ;'9~f ~l~ nlo/7 ;,i, ( ';:11;1 n~:J70 O?~ n~~V! 'lQ~ ~N
;'19~J O'i?r~ n~nJ 'Q~O 11rl / ;'{l;~ PDW~ n'1J!~Q 'lQ~ IN
;'11~ nJiV9Q. ;'91 ~ ~~ vii"l/-i?1 oi'9 1iV9 n~~o/ 'lQ~ ~N
;'lQf nl:~~ nll'~ ;'1~:t / N';:11 "l1:Lt:'7 ;'~l:;1J n~ll:J7 1'~ IN
;'l~! Nt; n?~O n:t~vi1 0:tT-\' / n~n ;,-\,?in1 ;'lp1 piviQD1
~JiN 0:tin~ ;'{l;Q 'l??~ Nt?D ~i / '?~ 1i:lo/D n~n 1'1 oi' ;'Qfo/D1
19 No.2; MS NLR Evr. I 802: foL 5b-6a; ed. L. Weinberger) 410-12) no. 367. Note
the usage by Dare! of the device of the "return)~) see section 5.3. Other poems deal-
ing with this polarity include no. 3 and 5. On the topic more generally) see R P.
Scheindlin) The Gazelle: Medieval Hebrew Poems on God, Israel and the Soul) 139-229;
A. Tanenbaum) The Contemplative Soul: Hebrew Poetry and Philosophical Theory in
Medieval Spain (Leiden: Brilt 2002). For a gender analysis of soul poems) see T. Rose~
Unveiling Eve: Reading Gender in Medieval Hebrew Literature (Philadelphia: Univer-
sity of Pennsylvania Press 2003) 83-102 (chapter 4: "Poor Soul) Pure Soul: The Soul
as Woman)~). For more information on Karaite poets writing about the nature of the
sout see L. Weinberger) Jewish Hymnography) 415-21. On a 'soul) poem by Eleazar
ha-Bavli) see W. J. van Bekkum) "Pietism and Poetry in Thirteenth-Century Baghdad:
A 'Soul) Poem by Eleazar ben Jacob ha-Bavlt) Zutot: Perspectives on Jewish Culture
5 (2008): 43-50.
110 CHAPTER SEVEN
il190/ Nr, ''??~ Q'Qr,~ niQ / ?-P1 n:tin '?~ il~pir, '01;1 wJ~V
il'l':1 1n3l1':1 ':J ,r,1' 09VJIJ / nl':l '13l "l.1J' il3:1'" r,:JVJ
;n:JiT N'ilT'WN f,~:Jll' nvJf:h / T:11,r, ir, :i~Wilr, ilJD1J riN3lnn N~
T il,;11il:N~1 T;1"r,~o ;~1 'OlIJ / nin:JinT~:1TD~ -or,rll: u.;i:1n
il'l'~ 1~ ,vJN SN TnnwJ:l f],ivJ / ;1'il' n!J~i1: il1N;:i,: iln!ln
il':1iz) ~'i'N1~ri: ,,vN ;i~lV: / r,b, ilIJ:Jn ni3lvin h',ri~ il~:Jn
;119!;:1 TN~1: -ri~7ry O~19?9;:l / t,7:P T~l'V nwp ,.piJ: ~8; il! :'Q
il19.p~;:1 N1o/1 j?'l n'1J; N1f nD'l/-~~1 il! n't1'~ ,~'t il1~11J;:1
il11~ J "liV ';:11;1 Vl r,fQ1in ry~/ -in7 nJ! ~1)1 il:to/ij? ,01;1 '71N
illi? .Nr, nli' ni!l17 T'Q~1 / niiv~7 ~:t1w1;1 .;:1; r,~7 w~ '~
il1.p10 "llV ';:11;1 r,~ l'l'QQ n1VJ~J / 1'~1 13l~ry n1VJ~ il~~!; tj~~
il"ivnIJ 1W' i"l:1l' r,N1 v' r,:J / niivl'IJ ilIJ1"l' il'iln l'IJn':11
Tiil~i~ N~ w'~~ ri~ 1J7 ;i~~D / ilt?71)~Q 1Q1;j :ri~~6G ~.p
illo/tt1?l il7~iIJ ili?~WQ. '~i' / 1D7 ~9i"l ';:1.1;1 ~o/ .niIJ.?.\? lin~n
illl~J '1' "l1:1~~ ''??~ VJ~J / '0; lit1J n't'P r,:J n1j?lVJQ 1'~ "l.p
What I also said about restraining the soul from
sins and reminding it of the Day of Reckoning.
A sout splendid by the glory of the LORD)
How was she associated with the body?
Or how is it that she) being enlightened by all light)
will be buried amidst all those who are preserved in their bodies?
Or how will she be defiled by menstrual blood)
a girl whose foundation is from the source of purity?
Or how did she leave divine sons and living angels)
to be tied up with the five senses?
Or after having been seated on the royal throne (Esth 1:2))
will she be ready to serve the body like a loyal maidservant?
Or after having been free in heaven)
now being tied up in a body) bound by chains?
Or after liVing in a high and holy dwelling)
will she be detached from it by being on earth?
Or being created for the worship of her Creator)
she betrayed her Maker and chose for her inclination?
She loved the maggot and the worm) and the moment of leaving)
and returning upwards) she did not remember)
whereas she forgot the Day of Judgment and the Time of Reckoning)
with regard to every sin that she gathered inside (the body);
She will receive punishment for her debt)
because she did not keep the prescripts of her LORD;
Intellect will contest her in front of the Rock)
at the time that I will be judged) since she ignored his advice;
She will not find any answer to reply him (Job 32:3)) out of great
shame for her sins) when she recollects them;
She will be ashamed and abashed for she has left the admonitions
of instruction) she was foolish and did not accept (his) warnings;
They will take her to hell and her body will be burnt
by the inflated breath of God (Isa 30:33);
She will weep because she denied the suggestions of wisdom)
breaking (its) yoke from her neck (Jer 30:8);
Who is the one who reproaches the stubborn (soul)
tiring all rebukers (and) not receiving any instruction?
She sold tomorrow by this day) and her destiny was
replaced by a void and vain beginning;
Maybe she will take heed and listen to his admonition;
that is how she will be saved from all evil;
God has the power to evoke repentance for her)
the right hand of her Maker will not shorten any appeasement;
God will grant her to do His wilt and amidst
the souls of His adherents she will no longer rage;
And in His mercy she will be left unaware from doing
any evit while she awakens to worship Him;
Until the destruction of Time she will escape
to the Garden of Eden) like the man who came to ~o(ar [= Lot] (Gen 19:
23-29);
And there) amidst young women) she will be like a gracious
beauty) beloved and happy;
Until amidst the beloved ones her name will be known:
"A soul made splendid by the glory of the LORD."
Here) Moses Darci employs several neoplatonic terms) like kavod
((Divine Glory) which is the luminous substance of the celestial
sekhel ((Intellecf)) the source of angels and souls. Not surprisingly)
Solomon ibn Gabirol, a pioneer of neoplatonism in Muslim Spain)
uses both of these terms and the conventional theme of the divine
soul as a servant of the body in canto no. 29 of his Keter malkhitt
((Kingdom)s Crown):
;'lr~~ '~!l;:J '~!lQ / ;'ll;'\? ;'-9~? 11l:lf l'1Q 1~l:;L~ ,1 ~9-9 r,':;l~ 'Q
;'9Vif .n9V? J;lNli?1 /. ;'l??J:I ry~' Q'?-9 J;l7~~} ?;'l i?~ ~l:l n~~~Q.~ /
n~~~'P1 ,n:;L ;-rwl:l VJ~f ln9V?~1 / ;':;L~~Q r,;np;:J VJ~ nl:l0~Q nJ;l''P'\?
Vi ~q ':;l ,~;'~1i1; D Nr,1 l:Jln~ Vi~:;l N'D1 / ~;'lQo/7~ l"1:;1-97 ~~J;:J r,~
Vi~f ';' i;?-9 "11: '0/ ~ ,J~Q i ,Vi~7i~~9 N~1 ~~J;:J N1~~ ;'l?o/~;j
Who could grasp Your intensity in forming the radiance of purity from
the glow of Your glory) from a rock the Rock has hewn) from the hollow
of a clearness withdrawn? You sent the spirit of wisdom along it and
gave it the name of Soul) and formed it out of the fire of intellecfs ardor
whose spirit burned on inside i1; and You sent it out through the body
to serve it and guard it-and You watch as it acts like a flame within it)
though the body is not consumed which was formed from the spark of
112 CHAPTER SEVEN
Soul and was brought into being from nothing when the LORD came
across it in fire. 20
7.7 Memento MOTi
Dar'i composed some of his poems to remind people of their mortal-

ity) much like the classical Memento mOTi ('<Remember your death))).
The following poem emphasizes the transience of earthly achievements
and the certainty of death: 21
0' '!] N'3l'N ;,nr,p Nnnl

:13lJr,Nl -r:Jr,Nr, :13lvnr,N
;,O 01:' :1'1 Ii;, r,.p ;'~lD I 17 '1 r,~D 1;,1 r,~ l'Q~
;,i, r,7D;L lo/~j ':p I 0Po/;:1 o~ ;'17W' ~t?~9
;'i? Nr, oi' ~01:';L 1Q1' I 1f7 :1;lo/ Nr, ;'?~7~
;,.p~ ~:ti~ N~ ,Ti;';L I lo/~J ;'1~n .t;l1}: o~
;'1n;:l lnlN N~l~1 I 1.t;lJ!1 r, ~ -r~ n71V 1~'? 1)
N9 17~V; J7:Jt;' l!lJ I ':p -r.p -r'~~ ~7~t?~ OJ
ni? o'~o/ ~7~ ,~-\' I nDD "11!-\' n~n.1 ;'9~
;'1'~1 ';:l'Q n!9 I 1~70 '0/ 01:' 171? r,;?71
;'3l'N n:Jr,~ 1N3l~1 I ;,t;nJ l:1T1' ;,r,nn :11,n
T : - ',' ',' T : .. - T : - : T T: - ..
What I also said about criticizing

the enthusiasm for hard work and exertion.
Say the son of the World: Is it not enough for you
to increase wealth) conflict and quarrel?
You have rejected calmness and tranquility)
because your soul longed for wealth;
At night your heart took no rest (EccI2:23)
while your soul was endlessly laboring during the day.
If you would take counsel to redeem your soul
with wealth: not good is the counsel;
Your sin has stretched out its hand against your reason)
and has brought it outside (Gen 15:5).
All the time you have been acting foolishly until
the axe of your foolishness intercepted your intellect;
20 The Hebrew text is taken from the recent edition by I. Levi~ The Crown ofKing-
ship (CKeter Malkhut'? of Solomon Ibn Gabirol [in Hebrew] (Tel Aviv: Tel Aviv Uni-
versity, 2005), 276. The English translation is taken from P. Cole, Selected Poems of
Solomon Ibn Gabirol (Princeton: Princeton University Press, 2001), 172.
21 No. 89; MS NLR Evr. I 802: fo1. 24a-24b; ed. L. Weinberger, 448-49, no. 451. See
also poems nos. 13, 49, 51, 89, 102 and 106.
Has it not always been that the body of a rich man will
find its end under the dust of a thousand years?
And does not to every king and prince the angel
of death hurry and rush?
Due to severe illness) they have left their property)
and they went forth to go into the earth (Gen 12:5).
Islamic pietistic writings such as the genre of zuhdiyyat (sermon-like

poems preaching ascetism) or Sufi mystical poetry contain a similar
emphasis on the transience of human life. 22 In addition to the fear
of death) some of Darers poems display a fear of the punishment in
the world to come olam ha-ha) similar to that found in rabbinic
eschatology:23
Ni:1'l nn!)' r,iNvi n':;l i!)io~ / ;'1IJ"1NIJ i"1io' ':;) ,n1Trr,
l:l':;lt? :;'2iV ~0; V7inV1 / iIJf~T l'~i? l in:i r,?i.i~?1
i:1in1 iVV;~ '?-P 1'1;:1 oi'l / o~npQ:;1 "1QiV '0: ;'1! 'lD~l
i:i'17 i1~~ fll:'J;l~: o'i~t? / h~~iJ~! Plfo oi; p'D,Qi
i:;lQQ lin l?Q:;l 00/ :1W~l / N:t ';:1: l! inN:;1 11-P IJ7
i:;l ''??~ n~V7Wf tt1o/:1" / ;'1l)~J;l7 N:1~ ';:1; vo/i o~)
i:;l77 i'~3l ';11 oip Nr, r,~IJ~ / ;'1!:tl Nl~ viiJ~ o~o/Q ;'1!1
In my opinion) (man>s) framework is from the dust)
and in the end he will open and enter the house of SheJol;
In his grave he will wallow in his own blood)
encircled by worms;
Afterwards) he will stand in judgment
at the Day of Reckoning for his sin and guilt;
The Ancient of Days [= God] will justly and honestly
open books against him in order to take issue with him (Dan 7:9-10);
Into the Garden of Eden) if innocent) he will enter)
and there he will sit like a king at his banquet;
Yet if guilty) he will enter into the Inferno)
where he will be immolated by flames;
This is the judgment of a (God- )fearing man) and as such is
the punishment of someone who did not pay heed to the word of
his Rock.
22 On the zuhdiyyatgenre., see R P. Scheindlin., Wine, Women and Death: Medieval

Hebrew Poems on the Good Life., 135-41; idem., "Ibn Gabirors Religious Poetry and
Arabic Zuhd Poetry.,>' Edebiyat 4 (1993): 229-42. On Sufi poetry: idem., "Ibn Gabirors
Religious Poetry and Sufi Poetry.,>' Sefarad 54 (1994): 109-41; P. B. Fenton., "Juda-
ism and Sufism.,>' in History of Islamic Philosophy., ed. S. H. Nasr and o. Leaman.,
755-68., Routledge History of World Philosophies 1 (London: Routledge., 1996); idem.,
"Karaism and Sufism.,)' in Karaite Juda ism., 199-212.
23 No. 51 (lines 22-28); MS NLR Evr. I 802: fo1. 16b-17b; ed. L. Weinberger.,
418- 20., no. 378.
114 CHAPTER SEVEN
The following admonitory poem is quite peculiar) because the Judaeo-

Arabic heading reveals that it was written on a bowl: 24
;""1' ;,r,NV!JN lOr, ;',:1V 11:J'r, ;""1:1T ,r,V ;,noo, NO N'"1;'l
;'?1;'Jl 01 01~1 'Dryw '~~ I 1"110; 01~ 1:;11 ,~-\' '~~
;,r,lVl
T : -:
;,vvi1 'J:1 ~J':l' nNTr,: I
T:'" :
NOn ,r,:lO ;'r\!Jnr, 'J~N':1;'
:.., :' ': : T:' , '::
This is what I wrote on a bowl as a warning to those whose deeds are

malicious.
I am dust and so is the framework of every man (Gen 3:19))
yet I am degraded while others are high and exalted;
They have brought me into the Inferno without sin.
Consider this) 0 sinners and evil-doers!
7.8 Love and Rivalry
Following a common practice in Arabic and Hebrew poetry) Moses

Darci occasionally uses an animal epithet) such as cofra (fawn)) to refer
to the beloved: 25
r,T.1nr,N '!J nr,p "1Pl
l'Q~~:;1 V-h~~ Vl1J "~ o~ ;'~/-~O~ ;,.t;l;D n;L7 ;'91J:l ''7?~ ;'l~-\'
l'Q~;:1 P1vil1?1'r~1 'D7 I '~~ '7 l~Q~ Ivj 'Vl.\? 'D1N
And I said about love.
o fawn) who looks like the daughter [= Esther] who was brought up
by the master who was known to be a Benjamite [= Mordecai] (Esth 2:7);
Make me your priest and give me
your cheek) arm) and right thigh.
The final verse in this poem is reminiscent of a well-known love poem

by Moses ibn Ezra. Like his Andalusian predecessor) Darci makes clever
use of the laws governing the portions given to priests at the sacrificial
offerings in the Temple. 26
24 No. 49; MS NLR Evr. I 802: fol. 16b; ed. L. Weinberger, 426, no. 393. The prac-
tice of decorating bowls with lines of verse was taken over from the Arabic tradition.
P. Cole included two such inscriptions attributed to Judah ha-Levi in The Dream of
the Poem, ISO.
25 No. 92; MS NLR Evr. I 802: fol. 24b; ed. L. Weinberger, 354, no. 299.
26 See Ex 29, Lev 8. The following fragment from Scheindlins translation is relevant
here: "You too deserve a portion ofthe Ram of Consecration, like your people's chiefs.
Their shining appearance is also a recurring motif in Darers descrip-

tion of the beloved: 27
l'VNr,N n;'TJ :l1:lnor,N TNl r,T.1nr,N '!) N'3l'N ;,nr,p NOOl
:llr,oOr,N tt'N':Jr,N "lJV TONr,N TO ,r,N ;,r,N3l1 TNl :llr,pr,N '1'01
lD" r,~~ :l;L7~ ;'!DD I ;';;J~ T?,Q '1i"1 ,iNQ
"lD~~ VW~;:JQ U;'~ i .r,~ r,~ :ll.l;'D inl~ry OJ
What I also said about love and about a beloved who is an attraction for
the eyes and a delight for the heart, and whose company is more pleasant
than the security sought by one who is afraid.
Due to the brightness of my beloved) a faint eye
will see and a mourner) s heart will rejoice;
Also) his company will be more pleasant to all
than is security to one who is afraid.
In another poem describing a beloved) Darei uses hyperbole to stress
beauty.28 The poem is exceptional since part of its imagery reflects a
passage from the Babylonian Talmud: 29
ON'!)Nr,N p',o ,r,V ;,nr,p NO N';'l
;"N;'J ;'Jonr, NO :l':ln tt3l1 '!) ;"N.1nr,Nl
niN3l0J nioir,vi~ niN!)/-,:;l nr,vi~no:J ;,'nN ~r,
niNi~:~ n~ 'tI~ Of1 :ltn~7 o't?~ '7 i'~? OJ
niNipiJ n~iN n~ nDtl I O?Q:;n O'Q~;l i'l~
niN7~~;j PDW 'Qo/~. I 0ft:Jl OJ tJfl~ ni~~r?~
. niNli3~ r,J7J. ni!)~ pi ~~:;l ~i'~t?:;1. ";:19 '~~~
nlN~;:J l'{ll"1Q ttl0~? I IN '11"1 Ttl ' 1997 "lj?lVJ
niNr,OJ ~ ';" ;':l'n:J:;l I ' ni~.10~ ':,n ~ r,:J'
niN~ r,fQ 'ln~Q oj i o;~~Q -ninlN o~Qv1~
niNQ viQ~9 nn~ "l1;l~ I "li"1TDQ of ,~tp? N~
This is what I said by means of exaggeration
and hyperbole in describing a beloved whose beauty is endless.
To suck the juice of lips do not be shy, but take whafs rightly yours-the breast and
thigh!) R. P. Scheindlin, Wine, Women and Death, 90-95.
27 No. 142; MS NLR Evr. I 802: fo1. 33b; ed. L. Weinberger, 481, no. 511. See also
poem no. 137.
28 No. 108; MS NLR Evr. I 802: fo1. 28b; ed. L. Weinberger, 355, no. 300. The most
common Arabic term to denote this device is mubalagha (although Darei does not use
it in the poem heading).
29 Babylonian Talmud, Shabbat 11 a: O'OV;1 O'010r,1i' O'OJN1 1'"'T O'O'j'l r,:J 1'j'l' ON
n1V;, r,V; j'lr,r,j'l :nn:Jr, O'i"JOO fN r,r,:lr, O"'TN 'J:l r,:J1 n1l"" ("If all seas were
ink, reeds pens, the heavens parchment, and all men writers, they would not suffice
to write down the intricacies of governmenf).
116 CHAPTER SEVEN
Even if I would live (as long) as Metushelal,1 (Gen 5:27)

due to cures which procure good health;
Even if I would possess writing instruments
(as plentiful) as the created plants on earth,
And ink like the seas and like the waters (Shabbat lla)
underneath the earth which is carried by them;
And scrolls which are as long and as wide
as the marvellous heavens (ibid.);
Even if I could write as skillfully
as the fearful cycles of the wheel,
always standing by in order to report my beloved)s charm or
in order to gather his beautiful traits,
And my life then come to an end
and (only) my scrolls with (their) writing remain,
embroidered with letters frontward
and backward, on all margins,
there would (still) not be reported of my beloved)s charm (ibid.)
one part out of five-hundred! (Num 31:28-30)
A markedly different kind of motif in Moses Darcrs love poetry is
didactic rather than descriptive. It advises the lover first to test the
beloved's loyalty and patience before confiding in him: 30
T1'.1n Nr, TN'!] N'3l'N ;,nr,p N1J1J1
;':J".1n -rV:J Nr,N ;':Jn3lr,N
l;'O'1):J;' ;'':In 0''0 I -ri"1 r,N ':1nnn :J;'Nn ON
l;'i?~Dlb -W'D :~{~ ry o:r,.p I P;l~t;l000 N~17
f1?~~ 0 ~
What I also said (about the fact) that
love is only possible after trial.
If you wish to be united with (your) beloved,
then make him angry beforehand;
If it becomes apparent to you that he cannot restrain himself
because of your sin, hurry and reject him!
Patience) on the other hand) is also an important virtue for lovers) as

Darci instructs in another poem: 3!
T1J T1!]' Nr, :Jn1Jr,N TN'!] N'3l'N ;,nr,p N1J1J1
:J'PV TN!] ;,r,N1JnnN:J Nr,N ;,r,N3l1:J ;':J':Jn
':J'.11 N'3l1V ,:J3l r,:J
wi'l ;'~.l;'7 ;'Vo/D i P1!11 -~ lr, 11i"1 r,,Q p~~~~
wi"D ll~Q V~0/' iJI -~~ '9i:1 r,.p P;l~t;lQ '~
30 No. 41; MS NLR Evr. I 802: fol. 15b; ed. L. Weinberger) 349-50) no. 291.
31 No. 120; MS NLR Evr. I 802: fol. 30a; ed. L. Weinberger) 355-56) no. 301.
What I also said (about the fact) that the lover will only succeed
in being together with his beloved by tolerating him and as a result of
patience, sacrifice, and perseverance.
Be patient with your beloved) even if) because of
his farness) you drink bitterness and poison;
For the one who is patient with the vine>s unripe fruits)
will quench his thirst with wine!
Finally) while most love poems focus on the relationship between the
lover and his beloved) in some cases Darci introduces other conven-
tional characters: the love rivals and "rebukers)) who call upon the pair
to end their relationship:32
r,T.1nr,N '!) N'3l'N ;,nr,p Nnnl
r,N'"lVr,N r,lP r,l:1P TV r,N"lVNr,Nl
0:1" nN 0.11 onn:Jinr, 0':1TiV / ~;" O':1',nr,l o'n':Jinr, ~,nN
T ri~'~ -~inVfQ- ni~1\? o'Jr~ / OJ1 oit~"i :11 vJjpQ vJl b~ '~7
0
Ofli? ,~:;) l in:;1 PWD '?1JJQ / ~!)lip~ 'Q~.pl 'Di'7:;l1 'D~'

of7 1?i'i? ~"l1?~ '!~ "l~ '/-~3li? r,~ o~;'~Tti; ~~ ''??~ ;Q r,.p
What I also said about love
and about refraining from accepting the words of rebukers.
Tell the rebukers and the rivals to
abandon their rebuke and their rivalry;
My heart is as if deaf to hear their words) and
my ears unfit for hearing their utterances;
My soul) my organs) and my bones are enflamed
by desire>s coals in the furnace of their body)
for the sake of someone) for whom all people with amputed hands)
when seeing him) would be willing to tear out their hearts.
The reference to amputees in the final line may refer to a passage in

sitrat Yitsuf (Joseph) in the Koran: "And women in the city said) 'The
wife of the prince desires her young man for his person; he has infatu-
ated her with love: verily) we see her in obvious error.) And when she
heard of their craftiness) she sent to them) and prepared for them a
banquet) and gave each of them a knife; and she said) 'Come forth to
themr And when they saw him they said) 'Great Godr and cut their
hands and said) 'God forbid! This is no mortal; this is nothing but an
honorable angelr))33
32 No. 123; MS NLR Evr. I 802: fo1. 30b; ed. L. Weinberger, 356, no. 302.
33 Sura no. 12: 30- 31. It should be noted that the Koranic story of Joseph has often
been compared with the Joseph narrative in Genesis, see e.g. M. A. S. Abdel Haleem,
"The Story Of Joseph In The Qur)an And The Old Testament, Islam & Christian
118 CHAPTER SEVEN
The exegetical stories that elaborate on the Joseph narrative in

Genesis) which appear in such diverse sources as the Koran) rabbinic
Midrash) Christian writings) and liturgical poetry) often contain details
or whole incidents not found in the Bible itself. 34
Muslim Relations 1 (1990): 171-91; H. Schweizer, "Koranische Fortschreibung eines

hebraischen Textes: hermeneutische Dberlegungen anhand der Gestalt Josefs,)' Bib-
lische Notizen 143 (2009): 69-79.
34 These exegetical stories were discussed by J. Kugel, In Potiphar's House: The
Interpretive Life of Biblical Texts (Cambridge, MA: Harvard University Press, 1994)
[see 66-93 in particular for the stories about Joseph)s beauty]. The story about Egyp-
tian women who cut their hands because of Joseph)s beauty is also found in mid-
rashic or haggadic works dealing withparashat va-yesheq (Gen 37:1-40:23) like Sefer
ha- Yashar (ed. Venice, 1625, repro Paris, 1986, ed. J. Da~ Jerusalem, 1986) and Pirqe
de Rabbi Eliezer (PRE, ed. Constantinople, 1514, Venice, 1544, Warsaw, 1852, repro
Jerusalem, 1963).
CHAPTER EIGHT
LANGUAGE AND STYLE
8.1 Hebrew Lexicon
Moses Darers compositions show a preference for biblical language.

Andalusian poets such as Solomon ibn Gabirol) Moses ibn Ezra) and
Judah ha-Levi strove to attain the ideal of pure) biblical language.!
Darei may have found the return to the biblical layer of language plus
a purist approach that disqualified post-biblical Hebrew attractive for
ideological reasons. Aharon Maman has noted that in poetry and
prose Karaite style tends towards the biblica1. 2 However) given that
the Bible set the poetical standard for most Jews) the Karaites) poeti-
cal language differed but little from that of the Rabbanites.
Three examples of biblical Hebrew vocabulary may suffice to illus-
trate Darers preference for biblical words. First) his repertoire includes
rare biblical words like M.\'lt ('<horror) trembling)); poem no. 57:4)
which is a hapax legomenon (Isa 28:19).
Second) he uses another biblical hapax) ,4t~t? (Cant 2:11) in its orig-
inal biblical meaning: '<winter)) (poem no. 62:17).3 Finally) there
is Darers peculiar use of the biblical expression i9~O n;nt;~
('the) admonitions of instruction)); poems nos. 2:16 and 7:14;
Prov 6:23). The ideal of biblical purism notwithstanding) Andalusian
and Eastern poets could generally not avoid expanding forms found
in the Bible. For example) by way of analogical innovation) Darei uses
new) medieval forms of biblical roots) such as i 4t i?107 (from iP17)
'<to pierce)); poem no. 100:31) or lUti?07 (from W~i'7) '<to set snare~));
poem no. 85:6).
The extent to which rabbinic Hebrew was accepted by Darei may
have had an ideological basis. Generally speaking) Karaites and
On the language of the Hebrew poetry of Spain, see A. Saenz- Badillos, A History
of the Hebrew Language (Cambridge: Cambridge University Press, 1993), 219-45.
2 A. Maman, "Karaite Hebrew,) in Karaite Juda ism, 485- 503.
3 This may also be ascribed to influence from the Arabic word ~w ("wintee). See
below for some examples of changes in meaning due to Arabic influence.
120 CHAPTER EIGHT
Rabbanites differed on the legitimacy of accepting the language of

rabbinic literature as '<pure)) or '<correct.))4 Nevertheless) the following
examples from Darers diwan show that the Karaites could not avoid
using rabbinic Hebrew. Rabbinic verbs in his repertoire include ;1~~
('<to need)); 119:4) and C~ ('<to speak)); 88: 13). Darei also uses typic~l
rabbinic terms like r''1tl ci4t ('<Day of Judgement)); 51:24) ;,!tl c7ivry
('<This World)); 83:5) ci4t 4tJ~ ('<infants)); 20:4) or ;'J4t~W ('<Divine Pres-
: T :
ence)); 33:44). He frequently uses the rabbinic nominal pattern qeti1a)

like ;,~4tQ~ ('<travelling)); 82: 11) or ;'74t~' ('<borrowing)); 97:2). Other
examples of rabbinic nouns include) among others) ti0t? ('<money));
122:4) tt~.a ('<body)); 2:7) '11 ('<rose)); 23:7) and C4t'1~G~ i'1~ ('<Jupiter
and Mars)); 23:31). Howev~~) one may wonder whether Darei really
took notice of the rabbinic origin of some of these commonly used
Hebrew words.
Even though Darei was well-versed in Judaeo-Arabic prose) his
Hebrew poems show relatively few signs of changes in meaning
attributable to Arabic influence. Of these few examples) moreover)
most are rather conventional and known from Andalusian-Hebrew
poetry.5 Very common references include 4t~ and i;JV in Hebrew)
which are equivalent to Arabic ~) ~\~) or J\.}-) whi~h is: '<gazelle))
employed as a metaphor for the beloved. Other examples of this kind
include t9t and z,~~ in Hebrew) which have taken on the same mean-
ing as their Arabic parallels 0~ j and ~,)-that is) respectively: '<Fate))
and 'the) World)) (as enemies of mankind).6 Also attested is i~~
('<already)); 4: 14) used with a following perfect verb) parallel to Arabi~
..19) which with a following perfect indicates the termination of an
action. The nouns iiJ~ ('<lute)); 33:25) and '~i4t.J ('<separation)); 34:4)
are further evidence of Classical Arabic and Andalusian Hebrew
influence. More peculiar examples include: ,~ ii~ ('<powerlessness));
40:3) which recalls Arabic ~\ ~; C4t~~nf0 4t1~'~ (100:14) which
may reflect Arabic ~ which like Hebrew ,~,~ means '<battalion));
c~ 4t~tii (102:9) where the use of the verb ~,,~.,. recalls Arabic ~?
4 A. Maman, "Karaite Hebrew, in Karaite Judaism, 496-501; J. Yeshaya, "Is Kara-

ite Poetry distinct from Rabbanite poetry? Some observations on the oeuvre of Moses
Darei, Zutot: Perspectives on Jewish Culture 6 (2009): 91-97.
5 A. Saenz-Badillos has shown that Arabic was responsible for many new mean-
ings of biblical words in Andalusian-Hebrew poetry. See A History of the Hebrew
Language, 219-64.
6 See sections 7.2; 7.8; R P. Scheindlin, The Gazelle: Medieval Hebrew Poems on
God, Israel and the Soul, 37.
LANGUAGE AND STYLE 121
('<ship))); and i1~ n~ (12:4) which seems to reflect Arabic O)J3.. refer-
ring to a girl kept in seclusion from the outside world.
Several other notably medieval features in Darers poetical voca-
bulary include terms derived from poetics (t~in: '<rhyme)); z,i?'~:
'<metre)); 33:20) philosophy (C4t;;~,ry n~Gn: '<the five senses)); 2:6)
and piyyut (1'1~: '<heaven)); 1:65).
8.2 Grammar and Syntax
Grammar and syntax in Darers diwan provide a picture very similar

to that of lexicography. Again) biblical Hebrew grammar and syntax
are generally preferred. For example) he uses the biblical Hebrew
tense system: the prefix-conjugation (yiqtol) for the present and
future and the suffix-conjugation (qatal) for the past. He uses typical
biblical constructions) such as the vav-consecutive or lengthened
(cohortative) and shortened Qussive) verbal forms. Other biblical fea-
tures include the paranomastic use of the infinitive absolute (69:2) and
the infinitive construct with prepositions and pronominal suffixes-
as) for example) in C1l?~G (48:7) or C~t?~tJt (150:3).7 Even more
archaic features include the nun-paragogicum in forms like l~Wi?~l:1
(62:5) or l~Y~i~ (100:22) and the use of pronominal suffixes like ;0':-
for the third-p~rson plural CtJ- (51:7).
Despite the prevalence of biblical grammatical features) there are
also typical rabbinic and medieval features. For instance) he frequently
employs the syntactical potential of the verb ;,~O in the pre- or suffix-
conjugation combined with an active or passive participle) thereby
expressing repeated action. Some examples include ;,1;';v ;,~ry~ (77:5)
'li;O ;,4t;, (67:5) ;,t~J
T T e: : .
;,4t;,n
e::.
(83:4) and C4ti~tD
-:
~4t;,4t
:
(100:14): Darei also
frequently employs derived conjugations uncommon in biblical
Hebrew. We find the regular occurrence of Nifcal participles (poem
no. 12: lines 6) 16) 21 and 23) alongside passive Pucal and Hofcal par-
ticiples) both attributable to Arabic influence. The following verses
from poem no. 23:11-12 illustrate this:
7 According to A. Maman, these features are clear examples of the Karaites) ten-
dency towards biblical style, see "Karaite Hebrew), 495-96.
122 CHAPTER EIGHT
iv,v ,r,v OJ':;)vi'

O'1.1:;l;'l 'O~ vi9 O'.13~Vi.) / O':l;'lN
0'1~T~7 ~';j11D nQQf I O'i?~i rb'i?~~:nl?" -b'l~irili
Let it make them dwell in a bed of love)
delighted) their clothes stripped off;
United) embracing) cleaving)
on a precious bed they become one (Ezek 37:17).
Like other medieval poets) Moses Darei occasionally changes the gen-
der of nouns. In the following example) he treats C~~4t~ ('<pair of eyes)))
as though it were masculine: C4t~~Y~ C~~4t~l (51:15).8 He frequently
uses the third-person plural masculiile pro~ominal suffix to refer to
feminine nouns-for example in poem no. 149:8: CV4t~~ i0Q~ nio7~1
[c4t~i]V tti~ z,~ ('<and girls with moon-like faces who are playing drums))).
In the last example) the participle [c4t~i]V is also masculine) for rea-
sons of rhyme.
8.3 Style and Rhetoric
Darers compositions show a preference for the Arabic badt style.

Homonymy based on the pattern of Arabic paranomasia (tajnts) is
one of the most conspicuous rhetorical devices in his dtwan. There
are also examples outside of Darers homonymic poetry-for instance
poem no. 1:51: l~i~W~ i~Y 'li~~ l~i~~ z,~ C~l ('<God)s people)
Yeshurun) will see the "honor of the Rock))); and p~em no. 7:3: ;,W~
;'71~1 ;1~Y 14t~t 'l~t:J 4try~ l~ ~~7 ii~!J:1 Z,~1 'l~~ ('<Show faithful:
ness but do not mention it to anyone) lest your Rock consider it as a
shameful and wicked thing))). Unlike homonymy) repetition occurs
when at least two words) phrases) or roots with the same meaning are
employed in proximity. Poem no. 27:7 uses repetition so as to empha-
size the Hebrew root i''lY-i.e.: C~4tW~G C~ ~i,?~ i'1 4t~ C4tl:1i?1~
~i'1 NZ, ('<I declared them to be right because rightly they spoke)
while their deeds were not righteous))). Repetition is most often
employed as a unifying element in parallel structures-for example in
poem no. 38:4: ni~~ Z,~7 n;~ N~;'l C4t1:tl l'i!Jt:1~ 4t~7 liW7 N~;'l
;,,~ ('<It [i.e.) money] is expression for those who are looking for
8 On the same device occurring in Moses ibn Ezra)s poetry, see A. Saenz-Badillos,
A History of the Hebrew Language, 242.
words) and a weapon in all times of distress). Poem no. 87:6 uses
repetitive elements as a framework into which opposite terms (derived
from Gen 41:22-23) are slotted to create a parallelism of opposites:
ni1J~J i~7~ -r4t1~ z,~ 4t1J'?~1 niN~,? '4tJ:li-r4t'~ 4t1J,?~ i~~ ('<The sprouts
of all his friends are full) whereas the sprouts of all who are not his
friends are withered). Here internal rhyme enhances the parallelism.
Parallelism is one of the most common stylistic devices in Darers
dzwan. It may appear as:
adjacent phrases with similar structure and meaning that balance

one another) as in poem no. 82: 12: ;,~t?O Nt?1J i~Y ~7 n;t?~ t~
;,\'~~ VW~ ~7 i.J~4t1 ('<Then the Rock will forgive her the sin with
which she [i.e.) the World] sinned) and pardon her the rebellion
with which she rebelled);
adjacent phrases with similar structure but opposite meanings) as in
poem no. 100:36: urr-,t:'':' ~Z,1 ;,t 4tW1~1 ;'~i?t n~~ ~Z,1 ;,t n;3;'Q~
C4t-'~1JW ('<The merit of the former [i.e.) a dog]) even if he would
bark) is insignificant) whereas the roots of the latter [i.e.) a lion],
even if he would keep silent) are protected);
successive phrases with a chiastic structure) as in poem no. 52:4: V11
C4t
-,:t1 t'~'?~ 4t0~ :L4t-, CiVl W~ 4tryJ;1 nii'4t! i4tl?Q 4t~ ('<Know that
from the smallest of sparks a fire will be produced) and a severe
conflict will be produced by a few words).
Moses Darei has a particular preference for synonymous word-pairs)

linked by copulative vav or conjunctions like iN ('<or) and C~ ('<as
well as). He employs this device for emphasis and from metrical
considerations-see) for example) poem nos. 33:4 (;'~~~1 :L\' 4t7~)) 26:6
(C 4t 1P iN c4t~in) and 66:6 (n1~~ C~ 1'4t~). A noteworthy example is
poem no. 1:24 (;'11~1 ;'O,?Wl)) in which ;'11':' is the Aramaic transla-
tion of the Hebrew ;'O,?W ('<joy). True enjambment) in which a
syntactically incomplete verse runs on into the next verse) is quite
rare in Darers poems. However) the copulative vav (poem no. 23:3-10))
the relative pronoun iW~ (poem no. 35:14-15)) or the conditional
particle C~ (poem no. 48:3-5) may connect two or more consecutive
verses. The rhetorical question was another of his syntactical devices.
We find one such question posed for effect in poem no. 97:3: 4t-,!;)t?1
C4t-'1J~; ii'~W1J W4t~ z,4t~W~tJ 4ti?~W1J N~;' 4t~Q"!Q ('<My book has fo"r ~
long time beeri my belov~d; "now) ~ould a peison lend his beloved to
others?) .
124 CHAPTER EIGHT
The use of direct speech) at times from unexpected speakers) like a

flower) also belongs to Darers repertoire) as the following love poem
illustrates: 9
O'.1,J ;"IT".1 1NOr, ,r,l' Or,'.11Jr,N:l :l':lnr,N:l -r~!)JNr,N:l nr,pl
'Q'~+'D O~ 1~'.p 'l~t? / 'D1?J 1i,0/ n7;L ~7
'Q'7J?D Nr, ,~QQ 1~/-'.p ':p -ri"1 piu; ~7 'DQ7:;l~
'Q~Jl! Nr, ~~ 1~ 1~;'~/-] '1~~ VJi :lW;' -ri"1
'QJ?t? :l~ 0 Q 0 '7Q o,piJ / PWin ;"I-\,Q V! ' ~~l:' tll
'QJ? 1~!) o'po/in -rio ':P / 1~l) 11i"1 piu; ~~ P~D
'QV?:t P~? 'D'l u; ~~? / -ril' ;"I:t~~ -rio ' n'~~ o~
'Q~J :l'r~Q u;'~ o~ ,~~~ / 1'~il' n7~l'~~ ;"I?~ nNT
And (what) I said about sitting in private with (my) beloved, from the
mouth of a bunch of narcissus-flowers.
To the rose of Sharon) I said: (Cant 2:1)
((Can you not close and shut your eyes?
I am ashamed to kiss my beloved because
you never take your eyes off me!
My beloved sat for a while in my presence
and fell asleep) but you never slumberr)
To which she replied: ((Listen) lover)
to my pleasant words of good judgment:
You may hug and kiss your beloved as you like)
for lovers) secret is safe with me!
If I would reveal the secret of love) my fragrance
would stink and my perfume would be consumed.
This is an oath linked with a curse in case
someone would prove the falsehood of my words.))
Another innovative example of Darers use of direct speech is the fol-

lowing poem addressing a water wheel: 10
9 No. 145; MS NLR Evr. I 802: foL 34a; ed. L. Weinberger) 359-60) no. 307.
T. Carmi translated a fragmentary version of this poem in The Penguin Book of
Hebrew Verse) 360. There) the expression from the Song of Songs li,'P n?~;q is
translated as "the spying lady". I believe) however) that one should not interpret the
rose metaphorically but as a real flower. That the Arabic flower is a different kind of
flower is not of particular concern; the shape of a narcissus fits the image of spying
eyes well. Moreover) the identity of the Hebrew flower n?~;1] in the Bible is uncertain;
explanations include species of the rose) lily) tulip or narcissus. See also W. Heinrichs)
((Rose versus Narcissus: Observations on an Arabic literary debate/' in Dispute
Poems and Dialogues in the Ancient and Mediaeval Near East) ed. G. J. Reinink and
H. L. J. Vanstiphout) 179-98 (Leuven: Peeters) 1991).
10 No. 121; MS NLR Evr. I 802: fol. 30a; ed. L. Weinberger) 374-75) no. 332.
il'l3l il:1 nopNl ilnr,p NOOl

il'lVNJ r,Nn TNOr, TV
"~9Q~1 :11 ':;l~:;11? ilQ 1 'D7~o/ o:Q n~t171
.,~~~ o'po/il!V r,f :1? 1 i~,?o/Q 1~~:;1 'tlrt71
.,~V 'tliNllP 1~ 'Dry~/-lnQ 17 :11 '~~~Dl
"Qin l'~i' :1? r,f i'~; I il!lTJ lin f,p 'D':~
"1D , D~ ,i VJQ '7-\, 1 ~'~0 n'DVlO '7~ Nf "oP
.,,pio '7-\, Nli? '~i'l -~ Vl71"il~l ry ,~Q'ip~l
.,pitJi r,rt.v:;n , i?~ '.pI-~~ '' .,iil ~ir,n~l
"~f r,~~ l~ n1N; '131 -J? "il13J? 1;l~~ 'Q ~f
What I said on the basis of the silent language of a water-wheel,
by which I created a picture.
I asked the water wheel:
Why are you weeping so much) and in mourning?
And when will your weeping finally be heard
by the heart of all lovers r)
To which it replied: Stop rebuking me)
but rather narrate my experiences:
I was a tree in a watered garden) whose beauty
was desired by the heart of all who saw it)
Until a lumberjack came to me)
swinging at me a sharpened saw;
He brought disgrace on me) and in order to destroy me)
he invoked an assembly against me (Lam 1:15);
He changed the beauty of my blossoms into
cattle dung and industrious work.
Everyone whose pleasantness has changed into suffering
is entitled to a grievous mourning)) (Gen 50:11).
As may be expected) figurative language) traditionally the most defin-

itive aspect of poetry) plays a central role in Moses Darers writings.
Simile is an explicit comparison (as opposed to metaphor) where it
is implicit) recognisable by the use of particles like )n~01 )~ )iO~
)~t,~~ )n~01~ or 7"Gii. The following fragment) describirig th~
belo~ed)s b~auty) shows different ways of using simile: ll
ni30P ~Q1 nir,ryJ ilry'1~ nitJi~J 1 inO/i?Q1 il'T , pj ,iN:p nQQ
niJitJi'~1 "1"~ r,,? lV!h:p ,ho/ 1 nJ;1~'70 'oPip1 n~i?l~ :11i?oP
"niJi' 'l~ "Q~~',p il::;1 ~o/ 'Q 1 il~i' 'l~ r,f :17 ilJi' T'.pf nJ'.p
nlJl1V,? 0J;111])~J Ory'PV?lJ r,f 1 ~13l OJ? 'l o:;nn nfD OJ1 Q'~
ni3witJi iN il~~: il!t?Q '7~Q n.p 1 V7in ' ~o/ 101: Q'l)~ip 'Jo/1
11 No. 59 Gines 10-14); MS NLR Evr. I 802: fol. 18a-19a; ed L. Weinberger) 350-52)
no. 293.
126 CHAPTER EIGHT
Her forehead-like the morning light is its brightness and from its bow
her beloveds) souls are exhausted and tormented.
A scorpion is in the temple of her head and the hair of her garment
is black like the darkness of a night of separation) and (like) pupils.
Her eyes are like the eyes of a dove and oppress every lion (Cant 1:15).
Who has ever seen a gazelle whose eyes can oppress a lion?
Her mouth and also her palate are filled with balm and honey;
all who kiss them) their souls are delighted.
Her lips are like crimson)
but without spun yarn) or (like) roses.
Darci sometimes explicitly mentions how the compared objects are
alike ('<her forehead, like the morning light is its brightness))), while in
other instances the shared characteristic is concealed ('<her lips are
like crimson ... or like roses))-Le., their red color is not mentioned).
One simile is a conventional figure adopted from biblical literature,
the Song of Songs in particular: "Behold you are beautiful, my love;
behold, you are beautiful, your eyes are (like) doves (1:15). Finally, a
very interesting feature in this fragment is Darcrs use of the simile
'<Her lips are like crimson, but without spun yarn, in which he refers
to a characteristic of crimson that the beloved)s lips do not share.
Crimson is also used to dye threads and garments.
In the following fragment, Darci employs a series of conventional
similes to express multitude. The similes come mainly from the seman-
tic fields of astrology and nature: 12
nini'Q '1'J7J:;l 0; '1'J:;l / nin'J?~ 01:' ni::lio1 ~~ nini~1P

niniJ~ ;J'Q ~:ti l)~f l)iV:p / 0'D9 ~f ';Jt?Q~ ~iniJ ::li'~
nino/~ ~f ';JQQ:;l O':;1:ti:J:;l / i1QD~ ini3D:;l ~~ 'QD1:;l
nin1~ t;,p in~n1 Ni?~ Nt;1 /. in:tD~ t;~ li'~.l'~ .,;-1 .,?~
Peace-offerings of God) and good and agreeable things)

like the waves of the sea) like the domes of heaven;
Like the abundance of the sand and the quantity of all plants)
like the winged birds and all kinds of animals;
Like the mercy of God) like His compassion) like His grace)
like the stars) like the quantity of all souls)
Upon a beloved whose love is incomparable-
like him no one can be found on earth!
12 No. 87 (lines 2-5); MS NLR Evr. I 802: fol. 18a-19a; ed. L. Weinberger) 350-52)
no. 293.
Darers metaphorical expressions are also largely conventionalised. For

example) poem no. 62:7 uses the metaphorical construct state (n~~4t~Q
n4t';!)~G) to describe wine as 04t~~~ 0'1 ('<the blood of grape vines))).
In the following fragment) he uses a series of metaphors in the con-
struct state) again taken from astrology and nature. He chooses the verbs
to match the metaphors) which enhances the figurative language: 13
;-U~:ll~ r,3,r,3, r,1'1 ;-1111 .1~ n:;l / ;-un1 ;,r,1' 'WN,iv n':lnr,
T : ;,i~~l j~ '7~n~ PDVlf TI :n~ N,TV;~ ii ;liN1? D~lr"bl
;'~:l~~ O~VlQ~ 1'1 wQW:;1 / ;'Q~ :l'1 r,,? r,~~Q "~Vl
;'~7~ 00/ l'l'P oi' ii7W1 / 0'11Q r,,Q 1':;1 '?Til tt'l~vi
;'JW1 V.1, ~:J:;l r,:Jiv ,;':;l / ni-nvn;, ,r,~:l' n'1J3l;,r;
;,iW1: ;,jVJ r,~~ Vlb '-19 / ni:lwnb-;, ;3l1'b -N~,!ir,l
;'Ji:lr, 015 n~nvJ 00 ,3l nV:;l J nini:JJ ni~D wl'~i~1J r,~T;il
T
-
;'~~1 :o:rl~ ii~nl '9~1J f'~: / O:;L'VlV: n~r,~Q '1flQ ni~i
To the company of a leader who ascended and encamped
on a vault of knowledge and on a dome of insight;
Who caused the lights of leadership to shine
in a clear sky without any clouds;
He brightened the darkness of a night of conflict and strife
with the sun of law) and justice like the moon;
He showers liquids of understanding upon deserts)
his snow brings coolness in the time of harvests (Prov 25:13);
In order to make the fruits of the laws grow)
on a mountain of intellect) in every period and year;
In order to bring forth from the trees of ideas
the fruit of knowledge) every year again;
He makes flow from a cypress of truthful wisdom
perfume) spice and frankincense) in times of distress;
And He turns the dry desert lands of foolishness
into the blossom of instruction like orchards and gardens.
Another example (poem no. 59:9) offers a noteworthy set of three

metaphors) all related to the description of the beloved: "T~~ ;'~1J
n;J~'~:t ;,~~ i1~ ii?~; N4t;:1 i13:'~ 4t7t itlQ i1~ ('<A sun which
does not set in the room of the moon) she is the beauty of splen-
dour-she is a fawn in dwelling-places))). In the first metaphor) splen-
dour is the characteristic that the beloved and the sun share. Darei
used another characteristic of the sun: that it sets in the room of the
moon [= the nightL to show how the beloved surpasses the sun. There
13 No. 33 (lines 3-10); MS NLR Evr. I 802: fo1. 13a-14b; ed. L. Weinberger, 394-96,
no. 356.
128 CHAPTER EIGHT
is a clear element of exaggeration in this image) intended to surprise

the reader. 14 The second metaphor is a play on a biblical term taken
from Zechariah 11: 13: ii?~;:J i1~ ('<splendid/beautiful price))). Finally)
the conventional metaphor of the fawn (Heb. "1~t') may be a trans-
lation of the Arabic metaphorical concept J\j:- ('<gazelle))) as a meta-
phor for the beloved).15 In other instances Dar(i uses metaphorical
personification: 16
'Nv):1nON~N '!) N'3l'N ;,n~p Nnn,

'N"l~N INO~ ,~V 'NT In:1
f?-9 OJ Of noo/ i:l o'~/-fv n?~v Vl~ l~
fl'~l ';:J'Q O?.l:'J 11/-1Q piVi~7 "loP 'W~~~l
flQ~ liVi71 o'~~ ;'~Q 1 ,iJN; "l,?DJ "V! 'liVi?l
n~ ;~~Vi 0'10/ 0';J? 1 ORo/V n17W 01:' :11 oi~o/
What I also said about welcoming
a visitor, in the words of the house.
If the house would know who are its visitors)
it would rejoice in them and be cheerful;
Upon receiving the good news) it would hurry and rush
in order to kiss their shoes> prints;
And it would sing a beautiful song)
with a pleasant voice and forceful language:
((Great peace and carefreeness (Ps 119:165; Ezek 16:49)
be with you) 0 princes) judges of the earth (Ps 148:11).
8.4 Poetical Form and Prosody
Dar(i wrote most of his secular poems in monorhyme forms) some of

which have their verses regularly divided by internal rhyme) as is the
case in poems nos. 1) 5-6) 8) 32) 72) 80) 104) 114) 139) 144) and 149
in our selection. In some poems he comments on his rhyming
14 See the corresponding Judaeo-Arabic heading: CNJn.lN '!J N'~N ilnt,p NOO'
'NilJt,N OOW nt,'.l':JN iln,t;o N'~VN 9~" 'NroN' lNJ'.l:l NW'V ("What I also said
about taking advantage of a life in gardens with rivers) and about the description of
the parts of the body of a pretty girl which put the daytime sun to shame)); No. 59;
MS NLR Evr. I 802: fol. 18a-19a; ed. L. Weinberger) 350-52) no. 293.
15 The image was not strange to Jewish poets) taking into account the biblical sim-
iles for the beloved in the Song of Songs 2:9: C'~~i;1 '~V7 iN '';!7 ',;-r il9i~ ("My
beloved is like a gazelle or a young dee!'). See also sections 7.8 and 8.1.
16 No. 31; MS NLR Evr. I 802: fol. 13a; ed. L. Weinberger) 481) no. 512.
method in the Judaeo-Arabic heading. Poems nos. 1 and 5 have three

and four subdivisions with internal rhyme. In poem no. 80 the inter-
nal rhyme is inserted into the middle of words-an innovative
method according to the poet. Darci mentions the Arabic term qaftya
(rhyme) in the heading of poem no. 104) a poem of tautologies
apparently written as part of a literary duel on this theme. 17 Several
poems contain tif>eret ha-petiiJa) in which internal rhyme adorns the
opening line. Poem no. 139 is a particularly noteworthy example
from a prosodic perspective: while the metre follows the rules of the
Hebrew vowel metre) Darci refers in the Judaeo-Arabic heading to an
Arabic dancing metre)) (raqi~).18 Rhymed prose introduces poem no.
35) whereas in poem no. 144 Darci adheres to the Babylonian tradi-
tion of vocalisation) rhyming words ending with segol and pataiJ) like
i'1~1 and i'W.
19
Most of Moses Darcrs secular poems adhere to classical Arabic and

Hebrew quantitative metrics. The most common metre in his poetical
collection) however) is the vowel metre) or mishqal ha-tenu(ot) which
is peculiar for medieval Hebrew poetry (since it has no equivalent in
Arabic poetry). It should be noted that with this preference for the
vowel metre) Darci differs from the Andalusian poets who generally
preferred metres based on equivalents in Arabic poetry.
Like his Andalusian colleagues) Darci also often used the metre
ha-merubbeh based on the Arabic al-waftr metre. Besides these two
much-used metres) only ha-shalem (based on the Arabic al-kamil
metre) occurs in more than five of the selected poems. Other metres)
such as ha-marnin/al-hazaj, ha-mahir/al-sart, ha-mitpashshet/al-basit,
ha-arokh/al-tawil) and ha-mitqare~/al-mutaqarib) are less frequent.
Finally) Darci does not use ha-qal/al-khafif, ha-qatuit/al-mujtath, ha-
qaluit/al-ramal) or other metres. 20
17 R P. Scheindli~ Hebrew Studies 41 (2000): 344.

18 Another poem in this metre is the bilingual poem 190: MS NLR Evr. I 802: fo1.
48b-49a.
19 See I. Yeivin, The Hebrew Language Tradition as Reflected in the Babylonian
Vocalisation [in Hebrew] Oerusalem, 1985); J. Yahalom, Palestinian Vocalised Piyyut
Manuscripts in the Cambridge Genizah Collections (Cambridge: Cambridge Univer-
sity Press, 1997).
20 For a good list of these metres, see D. Pagis, Change and Tradition in the Secu-
lar Poetry: Spain and Italy [in Hebrew] Oerusalem: Keter Publishing House, 1976),
118-24.
130 CHAPTER EIGHT
Unlike monorhyme poetry) strophic poetry is relatively rare in

Darers secular poems. Our selection contains only two cases. Poem
no. 62 is a strophic poem with a refrain (pizmon) and two lines per
strophe. The metre of this poem is exceptional) and in the Judaeo-
Arabic heading Darei explicitly calls it a foreign) non-Arabic metre
(wazn Cajami; possibly a Persian metre). The hybrid metre in this
c
poem may represent an attempt at mixing the quantitive ha-qalua /
aI-ramal metre with the syllabic metre known from Andalusian litur-
gical poetry.21
Poem no. 149 is a regular paytanic strophic poem including four
strophes with different rhyme endings but no refrain. This poem does
not adhere to Arabic quantitative metrics) despite the information
in the Judaeo-Arabic heading that it is written in an Arabic metre.
Their strophic form) their non-quantitative metre) the use of a refrain
in poem no. 62) the erotic imagery) and the frequent quotations from
the Song of Songs all point to the fact that these poems should prob-
ably be regarded as epithalamia written on the occasion of a wedding.
The effects of rhyme and metre on Darers poetical language are
considerable and find expression in a number of typical linguistic and
stylistic features. Various (unnecessary) pronominal suffixes are
inserted simply to maintain rhyme or metre. For the same reasons)
Darei is willing to change the word order in sentences and the gender
of nouns. In some cases nouns are shortened-e.g.) ~~t:'G ('<thoughf);
33:30) or t.,~ ('<insighf); 33:6). Darei also occasionally uses nouns
in the absolute rather than the construct state (56:2) and even
employs construct forms at the end of a verse/syntactic unit (87: 13;
nio "1.t}~ niW~~t1 ~.,t:'~1 '<and the souls will live after death)))F2 Metric
convenience also determines his choice of relative particles (iW~
or ~) the first-person singular pronoun (.,~~ or "~i~) the secorid~
person singular masculine pronoun (M~~ or J;1~) or prepositions
(~~ or .,~~ and ~~ or .,~~). Finally) he frequently uses particles like
21 On the syllabic metre in Spanish liturgical poetry) see E. Fleischer) Hebrew

Liturgical Poetry in the Middle Ages [in Hebrew] (Jerusalem: Keter Publishing House)
1975) 349-56. We have noted above in section 5.3 that Judah ha-Levi also blurred
the formal delineations between liturgical and secular poetry by experimenting with
syllabic meters in some of his secular strophic poems.
22 Compare to W. J. van Bekkum) The Secular Poetry of Etazar ben Ya(aqov ha-
Bavli) 25-27 (poem no. 22).
ttl and C~ which are mere (fillers whose presence can often be justi-
fied by metre. 23
8.5 Quotations
In sections 8.1 and 8.2 we showed that the most characteristic lin-
guistic component of Darers poems comes from biblical Hebrew.
Another important factor is that he intersperses his poems with frag-
mentary or whole phrases taken from the Bible) some verbatim and
others with slight modifications. These insertions of biblical phrases
into the poem are called shibbu~im (C4t~~~1l;;).24 Because of the restric-
tions imposed by metre) most shibbu~im in Darers diwan are frag-
mentary) although he sometimes inserts entire biblical verses (8:5).
In rare cases one verse of the poem is identical to one biblical
verse (25:7). Most shibbu~im are kept within the boundaries of a sin-
gle verse; however) there is one instance of enjambment (51:5-6) in
which a biblical phrase is spread over two verses. For rhetorical effect
Dare} sometimes contrasts the original meaning of a biblical phrase
and a new meaning in the secular context of his poem. In poem
no. 65:4) for example) he quotes a passage from Nahum 1:9 (C~i'l;l Nt,
;'1 C~G~;J) "affliction shall not rise up twice) which in the Bible
describes the relationship between God and his enemies) yet Dare}
uses it in the rather different context of marital relations. 25 And in
poem no. 89: 11 the word "earth from the phrase in Genesis 12:5
(;'1~ n~77 ~N~1) "and they went forth to go into the earth) does
not refer to the land of Canaan) but rather to the grave that awaits. 26
Poem no. 106 is an interesting example of Darers literary play with
shibbu~im. In the final verse he knows that his readers will under-
stand the general meaning of the biblical place names Shefer and
23 See A. Saenz-Badillos) A History of the Hebrew Language) 227-29.

24 See S. Elitsur) Hebrew Poetry in Spain in the Middle Ages [in Hebrew]) 3:347-443;
J. Schirmann) Hebrew Poetry in Spain and the Provence [in HebrewL 1:31-34. The
use of biblical quotations as a rhetorical device does not have an equivalent in Ara-
bic poetry) see C. L6pez-Morillas) "Language/) in The Literature of al-Andalus (The
Cambridge History of Arabic Literature) ed. M. Menocal et al.) 44-45 (Cambridge:
Cambridge University Press) 2000).
25 See section 7.5.
26 See section 7.7.
132 CHAPTER EIGHT
Haradah) taken from Numbers 33:24 (M"Tin~ ~Jn-, i!)W iMO ~VO-')
':And they traveled from mount Shefer) anTdT~~ca~p~d i~ TI:Iar~dah)))::2i
N;'JV 0,r,1 ;'IJ'J.1 ;'N'nr,N TN '!) N'~'N ;,nr,p NIJIJ1
;':1":)1 ON' VOp1 ;':1'~IJ nNIJIJr,N1 ;'IJ'P
;'ll~ O~~~J ,~+' 1in/-7~ r,~D o,piJ r,f o':;qiv
;,-r,n:l ~J n:'l ,!)v.) / ,;'IJ ~VOJ O'1'oiJ ~IJ-r'
T T: - : -- ',"'," - .. : T ': :'
What I also said (about the fact) that life is a worthless prey
and death is a calamity which cuts off desperation and frustration.
Those who leave behind all the good things of the World)
and whose body goes down into the dust;
Are like travelers who have travelled from mount
Shefer [= loveliness] and encamped in tIaradah [= anxiety] (Num 33:24).
The following poem illustrates Darers much-used technique of ending

his poems with shibbu~tm. In this wedding poem the end of each
strophe contains a quotation from the Song of Songs: 28
':1'V Ttl ,r,V N'~'N ;,nr,p NIJIJ1
T? ~ 11~~ O'i?~v.)D;:1 r,f TDOJ / T?i? 'n~ 1:?~ r,~IJ7 '~i' r,f 'li"1
T?:Q 1'1i"1 o':;1io '~ :11i? I T~+' r,f nl1?l) J;l~ 'li"1
o'~i' o~ o'lin r,iP7 01+.1 n~ ninV;7 / 0' ~J.p1 ni.1~'P7 ' n~ ;,:t7 'li"1
o'~Wiv.) 6iP771 o'~J~ niV17 / o'~in 1:':'7 '011~ 1in~ '0~~
~ ;'10/ ~ oJ 1i?o/D~ nq 11i"1 'n9J / ~;,ql~ ';:197 l' J~ -ri;, 'li"1
~;";J niP'V; ~Q '~i?o/' / ~;'~lQ~ ~ ;,.p':;1 o/~!
o'~iV ~in r,.p O;::1'J;l ';:1Q~ niIJ7pl / O'~lPO 'J'Q r,:t 'D~ v.)~ 'li"1
o'~ibl~ O't?~Q ni?lQ T:~Q / ti'~~J~~ ni~:~ '~iV 'Do/
What I also said in an Arabic metre.
My love) all beauty compared to your beauty is (like) the brother of Cain
[= Abel ~ vanity];
in your presence) the charm of all other beloveds is naught;
My love) you are the desire of every eye;
come near) for your love is better than wine (Cant 1:2).
My love) accompany me into blossoming gardens) to drink the
daughter of the vineyard [= wine] with a concert of turtle-doves and
pigeons;
27 No. 106; MS NLR Evr. I 802: fo1. 28a; ed. L. Weinberger, 424, no. 389. For other
examples of poems dealing with Memento Mori, see section 7.7.
28 No. 149; MS NLR Evr. I 802: fol. 34b; ed. L. Weinberger, 360, no. 308. See sec-
tions 6.5 and 8.4.
Let us dwell in the orchard of your cheeks)

to feed in the gardens) and to gather lilies (Cant 6:2).
My love) whose beautiful face I liken to the moon) I said:
((Your lovees desire is deadly)" to which he answered: ((Blessed be her'
I made him swear by his looks)
((Let him kiss me with the kisses of his mouth" (Cant 1:2).
My love) I have with me all kinds of delights)
and girls with moon-like faces who are playing drums;
Drink) young gazelle) with music
of spiced wine) of the juice of pomegranates (Cant 8:2).
The way Darci employs the biblical allusion to (the brother of Cain))
in the first line of the poem is interesting. Unlike shibbu~im) biblical
allusions are not couched in biblical language) but rather reflect bibli-
cal content. In other words) he inserted an allusion to a biblical char-
acter) event or subject) without using specifically biblical phrases from
the source context. Here Darci expects his reader to replace (the
brother of Cain)) by (Aber) and then read the general meaning of the
Hebrew word t,~O ((vanity))).
The following fragment from poem no. 128 contains similar allu-
sive references: 29
i~lV ~'1;;J71 yin77 / 1'7-9 "1'i?~0 VlQ TOT1

ir,n.t?l i'~-9 ~f':;1~0 o':;l / in1' itj ~ WQ TD: N~
is:;1D "11)7 n;;J T;,L Ttl/-~l Tiv.JQV! :l~ vi1~:1
ir,liJ I1-P nOli? 000/ 0/ ;'l~ry ni~~ ir,'D~;:i~l
Evil Time has been appointed
to oppress him and worsen his yoke;
He does not allow him to take his breath (Job 9:18)
but has made heavy his affliction and his trouble;
He has banished the father of Samson [= Manoal,1 ~ resting-place]
(Judg 13:2) and has given the son of Pelet (= On ~ mourning) forever
as his snare (Num 16:1);
And while apportioning their inheritance to befriended nations)
he set the East of Eden (= Nad ~ homelessness) as his portion
(Gen 4:16).
29 No. 128 (lines 25-28); MS NLR Evr. I 802: fol. 31a-32a; ed. L. Weinberger)
356-58) no. 303.
134 CHAPTER EIGHT
The following fragment contains a remarkable series of allusions to

biblical judges mixed with echoes only perceivable in the Hebrew
original: 30
nW'PiV r,iNo/:;11 ,~-\'~ ;'?;LJ;l / o'""1i:l~;:1 ~tl1 o',?~W;:1 nin.Q1

n'P~1"7 ::L'""11 '9 i-ri;, -rl;'~1 / -riv ,~ 00/ ~1?W1 n:;Li?l Nf Pl:t1
The bones of the judges and the body of the warriors
waste away in the dust and in SheJol they dissolve;
Baraq becomes worm-eaten and Shamgar still lives there) (Judg 4:8; 3:31)
Ehud) his glory leaves him and in conflict is Yerubbeshet (Judg 3:15;
2 Sam 11:21).
Besides shibb~im and allusions) Darci also uses biblical citations. Whereas
biblical insertions become part of the poem) citations are clearly
meant to be understood as having been taken from the Bible and as
having an independent status in the poem. However) like shibbu~im)
biblical citations are often inserted at the end of poems: 31
, P'::L o-rN::L l'n'::L 0 Nn':JN '!) 1'::Ln NP"~ ,r,N ::L.1, -rp'
;,n ~n ;u,r,::Ln, ;,nNr,:J r,,::Lpr, nV'NO!) 1'::L' N"
1'~ 7;:1 n.p r,f 1'1~~1 / "i?~ -r?~ ;'9~~ ;,0/11
1':;1: Nr,l 'i?'~ 01~ / nin0~~ oip ::Llnf0 ':;l
A learned friend challenged me to conclude two verses with (the citation)
c~ man who is in honor and does not understand" [Ps 49:21], where-
upon I set about at once to take up his challenge and fulfill his wish.
Seek wisdom) dear boy)
and let your garments always be white (EccI9:8);
For Scripture has it: ((like the beasts
is a man who is in honor and does not understand (Ps 49:21).
Finally) Darci was apparently also acquainted with the ancient paytanic
practice of using circumlocutions (kinnuyim) from the Hebrew Bible
30 No. 19 (lines 21-22); MS NLR Evr. I 802: fol. 9b-10b; ed. L. Weinberger)
413-15) no. 370. Poem no. 101 (MS NLR Evr. I 802: foL 26b-27a) is devoted to
similar echoes. Its Judaeo-Arabic heading states that it is based on the poem Yedfday
day. D. Kahana discussed it in O~ar ha-Sifrut 5 (1896) 90-94) and gave poems by
Judah ha-Levi and Moses ibn Ezra as Darci>s models. According to D. Bregman (per-
sonal correspondence 5 Oct. 2006)) however) Kahana>s argument is far from sound.
Bregman believes that Darcrs poem is one of the first Hebrew echo poems) and
Yedfday day was probably written by one of his contemporaries. According to Breg-
man) the genre of echo poetry has Arabic origins. It is interesting to note that the
Judaeo-Arabic preface to Darcrs dfwan contains echoes: il:J 'V1 il:J'V1 il:J 'V;1 :J'lV1
il:J 't?1 Nil:J't?1 il:J 0:)1 Nil:J0:J1 ... il:J Vr,1 il:JVr,,. See MS NLR Evr. I 802: foL 2a.
31 No. 53; MS NLR Evr. I 802: fol. 17b; ed. L. Weinberger) 420) no. 379.
to refer to God) nations) or biblical characters. Some examples are

i~Y ('<Rock = God; 1:43) C;"T~ (Edom = Christians; 19:39) i1i?
(Kedar = Muslims; 1:35) MiV;Y N~ lUtN (2:25; the man who arrived
in ~oCar = Lot [Gen 19:23]) ~~d l~TZ,~ ~~ ~~ ~~~G (26:26; the one
who turns the heart of the fathers to the children = Eliyah [Mal 3:24]).
8.6 Judaeo-Arabic Language and Style
Jews living in Arab lands during the Middle Ages used both Judaeo-
Arabic and Hebrew as their literary languages. Judaeo-Arabic texts
are primarily prose texts) written in Hebrew characters and in Middle
Arabic) which contains classical and later features. The latter do not
appear in standard dictionaries of Classical Arabic. Blau)s recent dic-
tionary is devoted to these post-classicat neo-Arabic) and pseudo-
correct features. 32 While the Jews wrote most of their non-fiction in
Judaeo-Arabic) they often preferred to compose their poetry in Hebrew. 33
Drory argued that Jews used Judaeo-Arabic for genres of writing
designed to convey information (communicative function)) while they
reserved Hebrew for those genres-most notably poetry and artistic
prose-designed to be appreciated for their literary beauty (festive
function)).34
32 J. Blau) A Dictionary ofMediaeval judaeo-Arabic Texts (Jerusalem: The Academy

of the Hebrew Language and the Israel Academy of Sciences and Humanities) 2006).
33 Nevertheless) it should be noted that in spite of all that has been written about
the reluctance of the Jews to compose poetry in Judaeo-Arabic) there are several
fragments of Judaeo-Arabic poetry to be found in the Cairo Geniza and Russian
Firkovich collections. Judaeo-Arabic liturgical poetry has been ascribed to SeCadya
Gaon (see J. Dana) ((The piyyut on the Ten Commandments ascribed to Saadiah
Gaon) jewish Quarterly Review 86 [1996]: 323-75) and his prayer-book (Siddur
R. Saadia Gaon) ed. I. Davidson, S. Assaf: and B. I. Joel [Jerusalem: Meqi~e Nirdamim)
1941]) contains Judaeo-Arabic headings (as does the twelfth-century Siddur of
R. Solomon b. Nathan of Sijilmassa) ed. S. Haggai) 1995). See also the recent articles
by J. Sadan and N. Basal) ((Some fragments of Judaeo-Arabic poetry) jerusalem Studies
in Arabic and Islam 32 (2006): 213-46; J. Yahalom) ((From the Material to the Spiri-
tual: Scriptural Allusions and their Development in Judeo-Arabic Liturgical Poetry,
in Prayers That Cite Scripture) ed. J. Kugel) 101-19 (Cambridge) MA: Harvard Uni-
versity Press) 2006).
34 R Drory) Models and Contacts) 170-77. See also the first chapter on ((Attitudes
towards language: Hebrew vis-a-vis Arabic)) in E. Alfonso) Islamic Culture through
jewish Eyes: AI-Andalus from the Tenth to Twelfth Century (New York: Routledge)
2008 9-33.
136 CHAPTER EIGHT
c
A similar linguistic divide also characterises the dzwan of Dar })
who generally chose Judaeo-Arabic when writing his prose introduc-
tions while he composed the bulk of his poetry in Hebrew (except
for the small but interesting section of Judaeo-Arabic and bilingual
poems). Moreover) the poem headings included in the present edi-
c
tion allow us to conclude that Dar } was able to write '<high register))
Arabic) and therefore seems to have had a good education in Arabic
as well as in Hebrew. However) three arguments show that the poem
headings should be regarded as Judaeo-Arabic texts: first) their Ara-
bic is written in Hebrew characters;35 second) some Hebrew words are
included in the Arabic text (poems nos. 53) 69) and 101); and third)
the headings were obviously written by a Jewish writer and addressed
to Jewish readers.
Some more detailed Judaeo-Arabic linguistic usages in the poem
headings include:
The sporadic use of TN (-in) to mark tanwzn; see the heading of poem
no. 128) MS NLR Evr. I 802) fol. 31a: 36 4t!] N'~N ;,n~i' NOO'
~,4tV tV ~!].1n ;,~vn4t ;'~J'-r, ;'Nt"~ tV ;,~no~ ~,~no iN"lnVN
n~Nt' n~~i'N tN n~Nn ttY, o'n i'4tN~ 't'!]~~ i'4tN~'~~N ('<What I
also said about the apology of a beloved to his lover concerning his
sin and his wrongdoing) followed by a rebuke of human weaknesses
in a poetical fashion) followed by a description of his condition
which comes and goes))).
Deviations in orthography; for example) writing the Arabic ~a (= .b)
with ~adz instead of ret [Blau) Grammar) 23]; see the headings to
poems nos. 1) 83) and 132.
Medieval Karaite writers often used the word ;,tNnN (Ojb.\) '<posses-
sion)))) found in the heading to poem no. 138 (MS NLR Evr. I 802)
fol. 33a).37
35 It should be noted that the opposite phenomeno~ employing Arabic characters

in Hebrew compositions) was also a wide-spread custom among Karaite writers in
the Islamic world. See J. Blau) The Emergence and Linguistic Background of Judaeo-
Arabic (Oxford: Oxford University Press) 1965) 38-44; I. Zwiep) Aristotle, Galen,
God: A Short History of Medieval Jewish Linguistic Thought (PhD diss. Universiteit
van Amsterdam) 1995) 51- 53 (published as Mother of Reason and Revelation: A
Short History ofMedieval Jewish Linguistic Thought [Amsterdam: J. c. Giebe~ 1997]).
36 On vestiges of tanwin in Judaeo-Arabic texts) see J. Blau) The Emergence and
Linguistic Background ofJudaeo-Arabic) appendix 3) 167-87.
37 See J. Blau) A Dictionary ofMediaeval Judaeo-Arabic Texts) 152.
Moses Darei was well-versed in Judaeo-Arabic: he uses rhymed prose)

figurative language) and rhetorical devices such as tajnts in several
headings. A good example of the latter device is in the heading to
poem no. 140) where he employs the homonymic expression mal)
first as a noun and then as a verb: iN"Ti'O NZ, tN 4t!) N'~N ;,nz,i' N001
Z,NO ;'~N;""T C14t tNOJNZ,N N1nON tNZ, / Z,NO~ NZ,N ('<What I also
said about the fact that there is no value except for money) for man is
undone on the day his gold departs))).38
The following examples (respectively the Judaeo-Arabic headings
to poems nos. 60 and 80) illustrate Darers expert use of rhymed prose
and figurative language: ttini'N / iNiWNZ,N to NY'~W 4t!) nz,i' "Ti'1
V').i / ;,4tNi1 ;,ni1WO "TN1'). i'NO NO z,~ iNY 4tnn / iNt1NZ,N to i4t'n~
;,4tNi1 4tZ,N ('<And (what) I already said about a wicked person who
committed many crimes-so much that every time he drove the horse
of his opinion and his reflection) it [i.e.) the '<horse))] turned back-
wards))); ;,IN;,NZ,N 4tZ,V / ;,Z,OZ,N ;'i'0n ;,~ i~YNZ, N'~N ;,nz,i' N001
ttYJ~ N;,JN NZ,N / ;'i4t'~NZ,N~ ;,t'Y1Z,N ;,4t!)Ni'Z,N nZ,V').1 / ;,Z,'''TZ,N1
N"T;'~ ;,04tV N"Tn t'i' / NiVNW "T').N cz, 4tJJN!) / ;,i1ynO ;,'t'!)z,
N"T4t~Z,N ('<What I also said about admonishing foolish people to
endure abuse and submissiveness. I made the mid-verse rhymes the
same as the end-rhymes) except that I entered them in the middle of
each word. I never found a poet who by singing urged his breeding
camels forward in this deserf)).
38 No. 140; MS NLR Evr. I 802: fo1. 33a-33b. For the verb r,NO, see J. Blau, A Dic-
tionary of Mediaeval Judaeo-Arabic Texts, 677. For the verb N1nON, see J. Blau, A
Dictionary ofMediaeval Judaeo-Arabic Texts, 317-18.
CHAPTER NINE
THE SIGNIFICANCE OF MOSES DAR'I
How does one evaluate Dar'rs dzwan in the light of the Andalusian
poetic tradition and within the context of Hebrew literary activity in
the Muslim East?! We may consider the aesthetic judgment that the
great scholar of Spanish-Hebrew poetry) Jefim (I:Iayyim) Schirmann)
gave in his contribution to Encyclopedia fudaica as representative of
the traditional answer to this question:
In generat Dar<ts technical dexterity surpassed his poetical gifts. While
the language and structure of his poems are in the best tradition of the
Spanish schoot the contents often betray a lack of individuality?
1 Most scholars agree that the concept of "literary value') does not possess quanti-
tative value so that it may be measured. Moreover, the exact nature of this value is a
primary subject of debate among philosophers discussing the nature of aesthetics.
See Sibley, F. Approach to Aesthetics: Collected Papers on Philosophical Aesthetics, ed.
J. Benson et al. (Oxford: Oxford University Press, 2001). Nevertheless, according to
the absolutist there are immutable standards by which a work of art may be judged,
such as originality. The relativist would rather contend that due to the subjective
nature of the critic's opinion and tastes (also depending on his or her cultural and
sociological background) it is logically possible for two contradictory aesthetic judg-
ments to be true. Moreover, sensibility changes from age to age, and what was
regarded as a good poem in the Middle Ages may be thought much otherwise in
modern aesthetics (and vice versa). See the lemmata on "absolutism" and "relativ-
ism" in J. A. Cuddon, The Penguin Dictionary of Literary Terms, 2 and 739.
2 Encyclopedia fudaica (1972): 5:1302-1303; (2006): 5434. Cf U. Melammed (per-
sonal correspondence 27.11.2007): ,N'1Pt, T"Yr, '1N' jl'jl ,n'n'ON n,t,t,:J jl:J'Vjl:l
jlWO r,v; 1n,'w ,O"J':ljl '0' n1"Y' t,w n'n1'tJOjl1 n't'N1tJ jl n'1p':ljl nJ'n:lOW
1N t'1W'P ttN t,V ,n110 Nt, N1jl1 ,'"'T,tJ 0 jl or,"JN0 jl t,:J:l "'T1 N0 ru11J0 'V'"'T
n1"1po 1t,YN n1N't, jlWP ,nNt OV "'Tn' ,Ot,1N ;T1tJO n"W:l '1YOW 't'N1tJ 'VYON
jlt1'W 'tJ t,V Nt,1 'jlwt,:J n'N'p jlt1'W 'tJ t,V Nt, ,jltjl 01nn:l nUW"'Tn 1N nt't,1:l
n,tOjl "'1WO t,w jlW"'Tn.-"By way of a genuine general evaluation, it would be
proper to point out to the reader that from the viewpoint of the poetical and literary
criticism of medieval compositions, Moses Darci's poetry is highly variegated in mat-
ters of Spanish mannerism, and he does not forget about any poetical ornament or
device that can be found in Spanish poetry. However, on the other hand, it is diffi-
cult to perceive with him a striking originality or innovation in this field, not in
accordance with any kind of Karaite method nor on the basis of a new approach by
the Eastern poets."
140 CHAPTER NINE
One of Schirmann)s foremost disciples) Dan Pagis (1930-1986) offered

a markedly different and) in my view) more satisfactory approach. He
opposed using the Andalusian tradition as the norm for evaluating
other poetical schools. His book Change and Tradition in the Secular
Poetry presented the Hebrew literature of Christian Spain as an inde-
pendent school with its own characteristics. In other words) Pagis did
not portray the poetry of Christian Spain as an inferior) epigonic
sequel to the poetry of Muslim Spain) but as a departure to a new
style of poetry. 3
Similarly) as discussed in the introduction) modern scholarship has
often stigmatised the twelfth- and thirteenth-century Eastern poets as
second-rate epigones and imitators of the (Golden-Age Andalusian
poets. Yet) despite this) future research should focus rather on their
distinctiveness as literary heirs to Arabic poetics and poetry no less
than to the Andalusian poetical tradition.
We should note here a recent volume) edited by Shlomo Berger
and Irene Zwiep) which approaches the phenomenon of epigonism
from a more neutral and more positive perspective.4 By introducing
epigonism as a dynamic force rather than dismissing it as an inevita-
ble) secondary stage in cultural development) the editors hope the
study of the (epigonic will finally rid itself of its apolegetic tenden-
cies. Rather than rehabilitating the quality of the epigones) output)
the included essays attempt to redefine their role within the cultural
process per set This rich perspective deserves greater exploration in
future research on medieval Hebrew poetry in general) and on the
Eastern poets and Moses Darci in particular.
3 D. Pagis, Change and Tradition in the Secular Poetry: Spain and Italy [in
Hebrew] (Jerusalem: Keter Publishing House, 1976), 171-244. See T. Rosen, "The
Study of Hebrew Literature of the Middle Ages: Major Trends and Goals,)) in The
Oxford Handbook ofJewish Studies, ed. M. Goodma~ 259-62 (Oxford: Oxford Uni-
versity Press, 2002). In the introduction to his 1970 book, D. Pagis discusses the rel-
ativist and absolutist ("supertemporal))) approach to aesthetic judgment, but pleads
for a combination of both in the so-called perspective approach. He also calls upon
scholars to separate analysis from judgment, in other words, to distinguish between
tools for description and analysis and between criteria for appreciation and judg-
ment. See D. Pagis, Secular Poetry and Poetic Theory: Moses ibn Ezra and his Con-
temporaries [in Hebrew] (Jerusalem: The Bialik Institute, 1970), 25-34.
4 S. Berger and I. Zwiep (eds.), Epigonism and The Dynamics of Jewish Culture,
Studia Rosenthaliana 40 (Leuven: Peeters, 2008). The volume includes a contribution
by A. Schippers on "Medieval Opinions on the Spanish School of Hebrew Poetry and
Its Epigones)) (127-38).
THE SIGNIFICANCE OF MOSES DAR C! 141
Unfortunately) as the present book shows) scholars of medieval

Hebrew poetry from the Muslim East still face the need to rehabili-
tate their epigonic)) authors) and to reassess and redefine established
criteria for Golden-Age)) and non-Golden-Age)) poetry. The objec-
tive of this book) accordingly) was to show that Moses Darci was a
unique and highly significant representative of the Eastern centre of
Hebrew poetry who worked to advance the Egyptian Karaite elite of
his time.
Several poets writing in the Muslim East-like Judah al-J:Iarizi)
Eleazar ha-Bavli) and Joseph ben TanQum ha-Yerushalmi-may be
the best known among those who come closest to Moses Darci and
his work. Yet it would appear that Darci had been writing poetry near
the time of Judah ha-LevCs visit to Egypt) which would make him
one of the first Eastern poets to integrate Andalusian standards of
poetry into his compositions) alongside Rabbanite poets such as Aaron
ibn al-cAmmani and Eleazar ben J:Ialfon. 5
While Darci was certainly familiar with and influenced by the
Andalusian-Hebrew poetical tradition) his work should not be con-
sidered exclusively derivative or epigonic. Rather) Moses Darci may be
said to possess an independent) original talent in that he was capable
of reworking traditional themes and of inventing some new and
unexploited ones. 6
Thus) we have discussed the presence of distinctly secular poems
into which he introduces religious motifs (section 6.1). In the naszb to
one of his praise poems) Darci refers to sexual intercourse more explic-
itly than would Andalusian-Hebrew poetry (6.2). Also innovative are
c
5 See my entry on Moses ben Abraham Dar }, in Encyclopedia ofJews in the Islamic
World, ed. N. Stillman et al., 2:29-30 (Leiden: Brill, 2010). A recent edition of the
poetry of Aaron ibn al-cAmmani includes a chapter on Hebrew poetry in Egypt, but
unfortunately this overview does not treat Moses Darcr. S. Cohen, The Poetry of
Aaron AI-cAmmanf: A Critical Edition [in Hebrew] Oerusalem: Meqi~e Nirdamim,
2008), 132-57.
6 See the definition of "originality' in]. A. Cuddon, The Penguin Dictionary ofLit-
erary Terms, 623: "A work may be said to possess this quality if, as a result of the
author's invention, he innovates a new form or mode; or, perhaps, uses hitherto
undiscovered or unexploited themes and subjects." Note that "originality' is a prob-
lematic criterion since it involves applying modern (Romantic) ideas about poetry to
medieval authors whose understanding of originality may have been quite different.
In a series of lectures published as Hebrew Poetry of the Middle Ages and the Renais-
sance (Berkeley: University of California Press, 1991, 5-23: "Individuality and the
Poetic Tradition"), D. Pagis expertly balanced principles of genre and convention on
the one hand with individual experience and "originality' on the other.
142 CHAPTER NINE
his series of poems about his ill-fated visit to Damascus (4.1) 6.3) his
poem addressing a water-wheel (8.3) and his poem of tautologies (8.4).
Darcrs diwan also contains formal and rhetorical innovations) some
of which may be ascribed to Arabic influence. For example) his echo
poem (8.5) is one of the first examples in Hebrew devoted to this
genre. We have also dealt with a remarkable poem which turned out
to belong to two genres: homonymic poetry and bilingual lyrics (6.6).
Darci clearly strove for originality in poem no. 80) in which internal
rhyme is inserted into the middle of words-an innovative method
according to the poet (8.4).
Darci excelled at composing secular and religious poetical works in
both Hebrew and Judaeo-Arabic. His diwan demonstrates his inti-
mate knowledge of contemporary and older Hebrew and Arabic
poetry. This book has stressed his striking adherence to Arabic badt
style (5.1) 8.3) and his thorough mastery of (high register)) Arabic
and Judaeo-Arabic rhymed prose (8.6).
We also examined the issue of his Karaite identity (4.1)-which
makes Moses Darci stand out from the majority of Rabbanite poets in
the Muslim East-and noted some signs of a Karaite mentality in his
diwan (5.4). Darci is unique among the Eastern poets in the Middle
Ages for his occasional references to polemical issues directed against
rabbinic Judaism) and for the near absence of quotations from rab-
binic sources in his secular poetry. He is also unique among Karaite
poets in the Middle Ages for having written both secular verse and
liturgical poetry. That a Karaite synagogue) located in Sabil al-Khizindar
in Cairo)s cAbbasiyya quarter) was named after Moses Darci in 1934 CE
attests to his status as the most important poet of medieval Karaism. 7
Regretfully) not only the Eastern poets but also the Karaite poets
have suffered from prejudice in modern scholarly research. However)
as the present book has tried to demonstrate with regard to Moses
Darci) it is now time to set aside the generally negative assessment of
these worthwhile groups of poets.
7 The Moussa Darci synagogue was recently renovated along with the synagogue of
Moses Maimonides; this event was marked with a celebration including lectures)
songs) exhibitions and dinners) organized by the Jewish Community Council of
Cairo from March 7-9 2010. My sincere thanks go to Peter Verkindere~ Assistant
Director at the Netherlands-Flemish Institute (NVIC) in Cairo) and to Carmen
Weinstein) the President of the Jewish Community Council aCC) of Cairo) for
enabling me to visit Cairo on this occasio~ in order to present a lecture on Moses
ben Abraham Darci.
THE SIGNIFICANCE OF MOSES DARe! 143
To conclude) my reliance on manuscript NLR Evr. I 802 and the

inclusion of Judaeo-Arabic poem headings in the selective edition
contained herein have proven very rewarding by facilitating a clearer
understanding of Darers secular poetry. I hope that the new manu-
scripts discovered in the Cairo Geniza and in the Russian Firkovich
(NLR Arab.) Evr.) and Evr.-Arab.) collections will entice other schol-
ars to study the Hebrew and Judaeo-Arabic poetry written by Jewish
poets in the Muslim East) all of whom should be judged on their own
merits and their individual achievements rather than on those of the
Andalusian poets.
CHAPTER TEN
EDITION: POEMS NOS. 1-152) ON THE BASIS OF

MS NLR EVR. I 802) WITH COMMENTARY
.~5-N4 NLR Evr. I 802 4t"~ :i1i'0 .~
1N14t'lZ,N N''lrl nNnn!)N nz,v,.1 4tJJN c'n

Z,NZ,r 11~ 4t!)N1i'Z,N n'nZ,'noZ,N rl'l4tYi'Z,N rl''lrl~
rlZ,Z,N Z,NV!)N 'l'V~ i~''l nJO'Y 'li'1 4t!)NY NrlON'YJ
10 t'}it'~ n4t1Z,n1 rlno~n rln'yni'N NO 4tZ,V
,z,''l Z"N rlnON Nrl~ 'lV1N 1N nNiNlV~ 5
C4ti~'i lUtN z,~z, / nini~J rliioZ, / ninow CD z,4t.1~ / nin~w 1V1nN

C~~nN C4t;i~N / i'i.1J~ Z,N Z,:~1 / i'l~DZ, ~rlOO: / i'in~~ 4tn "~~i
i: ;4tNJ1voT~~n1 / 14t NZ,!i ~ciYD1 / :,~N~Y- ~~~;
. C~~4tY1 .c~y,4tn~
tJ"~1Ui? i~~i~ I "'~b~ nii7'11 Nl~ iO~ ;~lpiil i "~~~9 ~!]t?1 T T
C4ti 4t WD w4tiio~ / lZM i 4t WDO N~rl1 / wZ,nJ1 N~'lZ, / lZM'lJ1 NYOJ1 10

i
C~i~1J ~it9~~ / C~~G~-:C4t;J~~ C4t ~~~ C~4t~:/ C4t ~~1: C4t~~iri1
C4t1~09 W~ c~n7 / C~4t1b~ t'}iOl / CJ:liN~ ~4t1t:1~1 / CJ:liO, 'l4t~~~i
C4t1Q' oi~ t'}~~ / 14t~~i?9 rli?,G~ / 14t~1~ CJ? t'}~Y~ / 14t~G rl~19
C4t1~~1Wi?f / C94t~ C4t~~l / CGirl~ C4t1r.1 / CGii~ C4tt:1W1
C4t14t~1 rl~1~ / C4tt:1G1 C~4t~ / C4tt:1~i'7 n197 / C4tt:1~Jt C4t~11 15
C4t1ii1 i'it?t1~ / it?~~7 N1i?1 / it? ii~7 i! n~l / i~ WiJ~ rl~~1
C4t1in1 C4t~79 / C4tiPT~ 1l}~1 / C4ti?TQG rp~ / C4ti?~W~ Z,4t~01
C4t14t09 nin~~ / rl~ 4tG1~ C1l / rl~t?~1 i~4tW~ / rl~1~7 i'!01
C4ti4t~.1 Nti)~Z, / C4t'l~D C4tirl1 / C4t'l~'l.1 4tiW1 / C4t~4t'lJ Z,4t!1Wrl1
tJ"1P. 'i~ n~'l' / M~i?Q~' -'liM i~~ / M~~Vl;i tJ~ Tri~~/-~. ~~7 ;'~~1 20
C4ti~J[1] C04t~ / C4t 'lJ1 WWii 4t / C4t'iono z,~~ / C4t'l~~ Crl 4t0~
i: i
C i'lri Tin~oT~ C4tJ~!)yT :C~4tU;4t c4tJi6~ ~y 'l;~ / C4t J~V6 c4tiwi,
4t
T -, tJ~~l' nU'1i? ":L1~~ bt~~ / :L1.i?; ti1m / ~1ij,~ ~iii1
C4t11Q 1~'t[1] / rll~~:t iPl~7~ / rll1tJ1 rl09W1 / rl17W~ t't? iW1
C4t1G~~ riV~ / C4t~,~ ';Win1 / C4t~,~ ni!)4t 7Q / C4t~~~ W4t~7G~ 25
C4tiO~ c4tDlZM / C4t!)Z,N 4tiW1 / C4t!)~Y~ C4tNi4t / C4t!)4tD rl1irl1
C4ti 4tiDTcn4to~ / C4t'lr1 c~Nt'in; :/ C4t'lOn :rlWiV~: / C4t'l~~: rli';6~
C4tin~-OW*,~: / niJtnVrl nON i ni'l~~~ -Orl eN1:/ ni'l~oTri T'1VDO~
T: T: -: T ... ..: : . . . : -: T:-
146 CHAPTER TEN
C4t!i?~ niY~l / niN~::lt ''JQ~ / niN7~ ;,WiV1 / niN; 4t:::i~~

c4t!'Jt 4tG4tGf / ni:J1=t ;,~"~ / ni:J~'l ~~,~ / ni:J~Ot tNY ~~1 30
C4t!i?~; n9~ / C4tW1t! ' 4t19t! / C4t~1Jt r~ ~~~ / C4tW~t't C'J C~1
C4t'~Vj n::l;,N' / in4t,:a 'i~r4t' / in~-r!J ,;,o4t / in,j n 4t :a '4tDt;
. tJ~~i?Q -,:,V~ I OQ'V; ;~~G~ I tJQ'M~ ;"'11 TCG'';~ ,a~i
C4t!,?~ C4tl:'t~1 / t~l~ -riV H;~ / t~i?~ H~inl / t~i:J~ iY1~1
c4t!'!t! -riV 4tryJ;1 / '1121 c7iv7 / '1~~1 C1 n4t~~ / '1 4t0~ -r~71 35
C4t!11 H~in~ / C4t~~ C4tt?i?iW1 / C4t~~~1 C~1 / C4t~Wl t;~ 4t~~
c4t!~r~ f~i?7 / iN7~~ i"r~v~ / iN4t:;l~ iO~~f / iN4t:;lt 4t=il'J:l1
C4t!1n 'tl:t~~ / in~j,? ;,~:t~1 / in~~ CGii'~ / in4tW,? n~~o1
C4t!~N1 C4t~t'~ / i~~07 t'J~1 / i~ ,~ C4t~1Jl / i~4t1J~ Ci~~1
C4t!4t~l C4tTin7 / i''?tt~ i:Jin~ / i'1n t4t:P~l / i,4t:;ll t4t~~1 40
C4t!~' i':t~7 / n1i?~~ cGii'~ / n, ~~~ ' ,~~ / n'~j,? -r7:1
C4t,4t, ,4t n::lW / ,4t~O:a ::l4t t'4t4t, / ,4t~J' wi~w~ / ,4t~4tJ::l ;'~D4t'
tJ~!i? 11 ''iV~ IT ,;t'7 ,~~ l~Q~ i i~ ~i:I~ Trib~ ),Tti I ':L{'J~' ~,~ .:~~;
c4t,i;,t' C4tO:a / C4tNt'n nNO~t':a / C4tNOt' O:a:J 4t / C4tN4t::lj ,::l-r:J,
"c 4t,lzj4t: ~4t;,4t, i C;::l~ -ri~'D' / C~in; i'~"04t: / C::lU;nD Ntini 45
tJ~!~; O~~~~ 'I 'O~; tTiM'~ 'I 'O~~f ',~~ ',~ I i~~~- tJ~~,i;
C4t!'? 1;1 C4t!,? 1;1 / iY1 ~~ ,4tnG ~ / i~i?1 ''JQ~ / iYt:1Q ~ Ji~ -r4t ~1
tJ~!~~tJ "n~ I '~lJ~ tJ'~~11 ,~~ n'i?11 '~"f-1 ' ';f~1
C4t!'?f Cl:' ~4tQ.;J / i!Ji?:t ;,t:J'?~1 / i!Jl:'!1 -r~~~ / i!J~~ ' 4t l:'W1
C4t!4tTtJ 4t~:;>N1 / C4t71~ ni':;>~1 / C4t74t Q.;J n4t=il~1 / C4ttr7~ ~i~t:1~1 50
C4t!iO~" C4t~4t:;l~ / t~,~-r~ i:Jin1 i t~,~~ ;~Y -ri:i:p" / t~,~~""~~ c"~i
C4t!~1 C4t~7'? / i~" nit1~,ry7 / i~1~~ '~Y ",~ / i~~W7 ~71Ji
C4t'~::lW i::l ~w:a/-nj Ci4t ::l ;,~n~ / ;,jiVO ,'; 'W4t / ;'j::l~;' ,iN'
tJ'!~~11 V~W7 l'tJ~~~~ tJ~~Tii i O~~~U>p'~ tJ,~~ i 'tJ~~rn' ~-w9wi
C4t!;~O ~~~ / ijiY1 W~ , iN1 / ijiV,? ti!r~~ / ij~~ ti~~1 55
C4t!ii'l ::l1"in~ / ;,~~O ;'~':1lJ N~l / ;'~11 ;'~~j~ / ;'~~O~ ::l~W.t;11
C4t!4t l:',? tiiO~1 / ni,4tQ,? ::l~ tiJ~ / ni,i;,\? iW1i?~ / ni'Ot N4ti4t1
c4t,i:J:a cw-rn~ / C4t-rJO C;'::l~ / c4t-r~on C4tYD' / C4t-r,j C;,4t~D
C4t;J,: c4t,r~ /:;,~no~T~4tn ~;~ / ;,~D~-:ni~i;i:/ ;'~~N~ c~,io
'-O~!'J~~ ~~ /' ti~~~'1 n,;~~ I O;:;L~ftJ ,in~ j O~~~r ~'i1 60
c4t!iw~ t~lJ=il / C4t!4t~:p '4t=ilW~1 / C4t!G~ '~1J~ / C4t!4tl:'~0 Cl:'1
c4t!~n~ t~~~ i "C 4t Wryt i'~WJ;1 i C4tW4t~ ,~ 4tryJ;1" / C4tW~i?" ~~::l~:;l~
C4t,!)O 4t::ln:J:a / nio~w,;, io~ / ni0 4t Dj niN~::lj / nioit;n ;,rnj,
"T : c~ino ~~~J4t / C~'~;'!r~: 'WN / C~-r::lD;' ~N' / C4t-rS!r;' "~:Ni
O~~1;;~ ~iQt} I nry:1 ,;,V~ I fi~1 U;1~~ I f1~Y PlJW; 65
C4t!~!)t? C~4t~l / ni'i?O~ 4t7~ / ni'i?~ ~~~f / ni,iiO:t ;'~~1
c4t!~n~ ni-r4tlJ~ / ni04t~t ::lli?~ / niO~~~J:1 C~l / niO~nt? ;,~~,?
EDITION: POEMS NOS. 1-152) ON THE BASIS OF MS NLR EVR. I 802 147
c 4t iiN4t iNt9nZ, I iJiYi 4t0 t 4t1 I iJiD i!1~4t I iJDOZ, ;,WiV1

C''''!~n O~~Q':P f ~~~"p. "'T;l~~lf "~Q~N~-'l,'~i1' f ~Q'~07 M~'''i
C4tiOY~ 1U,h I iJiD vZ,in1 I iJiD i 4t 0 4t 1 I iJiWW U;'in4t 70
C""'l~1 C""r ~"} h~9i~ "~l}~' f li'~~1 .,~ r,'V~ Ti l"~tt1 ~ ~~1
C4t19~ nt14t~' I C-ti? n~ '1:;7 I c"t!:; Nt;l I c,4t~:t iZ, 14t~1
C4t1Ql;1 '1~~7 I C4t~V?1 i'14t~[1] I c4t~~1 4t~4t~t I c4t~~1~ i4tW1
c4tiin~ ;,w t;-rt; I n'1 ;,!)~n nNtC, I ;'i~U;Pl z,~ 4t;,Pl I m~~.a~ Z,~N
C4t~ONO nDi:1 14tn~w T~'i. iiYJ :1 14t n1JU; :z,~ TZ,NZ,: I 14t n1Z,Nlv ~-ri 75
i
. T-: - C4t:i01 c4t;~no iJi~N'i Z,;, / iJiV C;U,4t1 I 1Ji~ :N~O~
C""'ll"T7;6 ,~ f"V1n 'i(1'~; j "VP1 ~~~:J~ I' ,vVh1"~~1
1. Title: (Thereupon [i.e.) after the Judaeo-Arabic prose introduction-
fols. Ib-3b] I made as an introduction to this diwan the following
triple-rhymed qa~ida) the purity of its structure being faultless) and
I included the mention of some of God)s deeds) as predestined by His
wisdom) as well as an allusion to a few good tidings that He prom-
ised to His people. This is the first (poem).)) Monorhyme poem in the
metre ha-mitqare~ based on the Arabic al-mutaqarib metre; this poem
containing three subdivisions with internal rhyme has conventional
religious content and polemical references to the Christians ((pig-eat-
ers)); line 50) and the Muslims.
:C4t"~" ~"M~ 6 .N;'ON't'J :C1i'0~ :~;'Q~'~~ 3 .~ii'nO;' :t,P~Q;'

;,Ni )t'}1i4t YZ, :n'MQ~ CV t,4t~~ .';'z, c 4t lU'Tn n~w 4ti~'1 ;,now~ NWN
.l )1t' ~"W ;,Ni )C4tJ1~J C4ti~'1 ;,i10;, )';'z, :n'M'~~ ;'."Qt, .4t )tt' 'W4t
c 4t wn;, ;,Ni4t ii1VO N1;,1 :C4t"M~ t,~, 7 .4t )'1 'OW 4t!) Z,V :C4t"~" ~4t~
1Z, ;,4t;,4t NZ, :t );' '~'1 ;,Ni )C1Z,~ NZ,~ ~wnJ 1'1~Z,0 Z,N Z,~1 ,Z, '11l0Z,
1~i~ :N~ )li' ';,n ;,Ni )';' Z,W 14tn1N~Y :'4t~~~ 8 .4tJ!) Z,V c 4tinN C4t ;,Z,N
C4tZ,N~ ;,~o~ 4t0 :N4t )1t' 'OW ;,Ni )';' Z,W 14t OJ :'4t~t,~ .14tN~Y z,~ ';'
)'1 4t 'O~ ;,Ni )1n10 4t 1 i01Z,~ )1Z,~4t1 :,Qn, .NZ,!) ;,WV nz';,n Ni1J ';'
';,n ;,Ni )n'1Z,,4t ;, ;,W4tN;, 4t~N~~ :C4t"4t~' C4tt,4tM~ .';' 4t~4t1N :'4t~~~Q .;,z,
C4tV~WJ;' Z,~1 1n1;,1Z,N 4t~n~o z,~ :C4t"'~p '~O' 9 .l)N~ 'W4t1 t )MQ
'Q~ 4t~~'~' .C~z,~ 1~ C4t i1Wi' 14t Ni4t 1Z,4tN1 )1n10 4t 10W~ ii'W nV1~W
10 .N1WZ, 1 4t ;,Z,N ';' CW nN Nwn NZ, :t )~ 'OW ;,Ni :~,~
N1;,1 )C 4t wZ,n;'1 C4t!)'1iJ;, Z,W CJ4t 04tz, '101V N1;,1 :C4t"4t~V ~~Q~'
:C4t "OM C4t~~'M' 11 .t )~ N"W 4t!) Z,V )C 4ti 4t WV WW1i01 C4t4tJV i 4t WVO
:C~~Q~ C~~~V .~1t' NZ,~ Ci4t n14t1 ~n4t1 04t~4t C4tNWJnO;, C4tNt'1n;, nN1
';' 4tWi'11 :N4t )'1z, ';,n ;,11W;, :C4t"OM ~'~Q' .t'~ )f4t ~"W ;,Ni )t'}1i4t YZ,
~4tin4t1 C;, 4t n10W nN n0 4t4t N1;,1 :C4t.,'OQ j4t~~4t' 12 .~1t' z,~ 1ion4t NZ,
~~00~r:~rl1n~M0I10.l1r~~r:~~0~l1rr :~~~I1~I:~nrr:~~
~ ~ 0 \ fJ LJ' ~ ~ 0 fJ E ~ is J: ~ ~ ~ n.
rn. 11r: M I: ~
r \ 9 Q F 0 ~ ~ J' ::" 0 ~
~J'J'~r:~OPrnMr~r:r:a::QO ~~~Q~I1OQ
r
r M ~ r ~ J'
PE::-r:nr:~~~
........... _l""""I,,~
~O~ -:2~
.~.-~
~Ob\r:~r: ..- _~ _..-.. \~0 fJo"..r~r-~r r~ ..-~p 11 01:,.[] or:..-~ ~n
~ ~('f")J'''~ P' "Sa "-"-..-~~~ n.~ " ~~,. ~ 0 r:1::\ .. J'~J'~
r: l""""Ir"-9r ..-r~ n.i1o~ol1~::J"-r:or~~I1- ..... []rJ'~ r..-,. l1~r n.
011 ..- .. ~or:r .. ~,........, OJ'. o~r: -1::\~1::\ pn. ..... I1rn~Q ~11~'"
Q ~r J' ?' II P ~ ~ r:." . J' Q ~ ~ r: r ~ ~"~ 11 f-" & ~ E n h J1 ~ r: \ n
..-o R Or ~r:"--\0 a::[]~ r: ~ .- ~J' ~ ...... o 11 .... ..-.-..-fJ [] ort ~. ~ .. ~~ r:'"
..-CEI1~~.11 fJr~ ~r:..- r:.~ r: .. J: .. n O J'~o..-o:=! ~r;~-n
Q~ -: r:r[1f..t .. ~o\O~~J:oa::~ ~..-J;~ J'..-l1rrt~ r~ ~r
0 " .J1-~ Lf)"-r: 11~ ~O\N .. :fI1r: ~r~11J'\I1~ J'~9r~\J:
\ ~ ;;l \ \ f:i ~" ::
c..~o onr
a .- 11
1) ~ ~ ~ r: r:r- ~ n 11 c ~ r ~ ~ ~ n 9 pEn ~ ~
~~I1~ ~ ..-OO~ E 0 "-~~J'~.r
r~ ~ r ; ~ ~r: P
.--~
F:::rr~rtJ'J'J:On.eJ'~J'ogr ~-.~na::~ J:0:>tO'" ~\o
r:r:~ ~O""',.fJ\Ooo,-~~.,,- -:J:,..11J'I1P ,,-rl: "ar~ L rt J'J'o~o~
-~J;! \9.0!= .: ~ 110: .J: "-nta::~~ ~rn. rl1~~ . . a::,. \
~..-..-\ ~,. .J: .~ .110r"- r:..-o..-ro .. a:: s=~ C~~ \ "[] ~J:;
z ~ ~ ~ ..- r o o ~ r: & r I: ~a:: C r: :>t ~ 1::\r \ . C ~ 0 n 11J' r ~ r: 0 0 ~ 0 0 n .. ~ 9 [] :f
...... .~ r- ..... E) ~ [] ~ ..- M J'..- r- 11 r ::: l""""I 11 N :>t ~ 11" 11 ~. \ .r. r:."': r . . ""
~
E-i oJ'......
..- ~ ~ ~ .. 9
~ ~ Q r- r . J'
~ J'....
~ ~r . ~....
~..- ~
r:- N 11 r a:: ~ ~ I: ~
r 11 r .~ ..- ~ 0 a:: ~ r: ~ n
[],. 1::\
r r~
~ 110r:"-J'J'rror~ fJoor:~~I1J;!~~~on \~~O\.~o~l1pr:~~"~
~ ~J':>tr:Q~ ~[]~rl""""l1::\ .. l""""I~ J:~ ...... fa:: ,,~ n t1 9 J:r: ~.-rr
E-i \119:;'00r: J:;~~I:~r:~a::~~rf"'~: H r..-rE\CrrE~nr:\Nrno
~
r~~"-~"- -n~ o~n "-.Mrl1~ 011 . . ~ rtrO [] ..
<
::c: . . 0 0 ~ ~ E J' ~ ~ ~- ~ is J' E ~ ~ ~ ..c r" n. r: 11 J: 0 Lf): ....." ~... 0 .. ~ Q
u g~~~n~~~~r-~9.E~~9Fr~nrQ 9.F~R~~~~n~~~cr119~
FI1!:~r:-or:~"o[]~ ~o :r:~":l1r~nPJ1rO~ol1~ rrBooo~"-o"", . . nl:~r~r:
~..
[] --- r - ..-.~ ~~J'
~ p \ .. ..- ~ ~ r: I: 0 0 \~[]
~.. 11
~r-"""''''
.........~
~ r\.r~
~ ~ ~ ..... ~ ,.
r:Q
~ - ~ n
- ~ ~ N00
.. 11 ..- 11 \ I: .- ~ r a:: :::... ~- : ~ rt ~ 0 11 fJ r J' 11 n [] J' ~ r ~ ~ ~ . . ..-
o ~ ..- ~ J' 0 . ~F 0 F r: n. r r ...; ..... != J:; E n. 0 .. r 11 ~ ..- ~ \ b .. ~ ~ C ~ r r: ~ 0
pn~6Q9.B~ QDrg9.E~n~~~Q~!10nq~~.F :~bO""Qab~o::.
'r o ..-~
~~
~~
~~
QI1
~
..... " P ~
r l1 "
.~-1::\0
or:.r: ~ ~
0..- .~~ 11 0
r:1::\"-. r r:r
- .. ..-n9
..-\,.
~ 2 ~ !! ~ i: :;; 0 Q f; g H ~ ~ ~ 9. b ;; r!= ~ Q ~~ ~ ~ J: prE ~ F b ,: b ~ r- r- -::
~ :=! ~ 0 0 ~ \
..- r: 0~ rt~r:~
. . Ii "J' r: r: . 0 r~ ~ 0 no n 11 r: ~ C != ,,:: ~ J: ~ Ie ""11"-J'~ 0 0 0
or"""-'~~r:
.. 0 ~ ~ J' r 11 .. 0 - ~... -~ ~
9 r: J;! \ ~ "-~-'r-~[]\n
~. c- ~ 0 ~ ~n Q . . . J: ..... 0 n. ~ ,. r: ~ J: ~ ~
~ 11 o~r:" ~ nJ' ..- J::::orn ~ ~ _..-n..- ~ r..-[]O . . \~
~~ ~rorl~o.~?'r:riSr:~~ ..-~~,.:~ql1nfJl1~o!=~o::,,~ ol1rt..-~
..- ~ r " "J' :>t 0 ~- ~ r J' r- ~ ~ ~..- " 0 ~ ~ r'" n r:
o!J~qoo~~~ r: ..... ~J'ob~p~Q ...... a::r::>t~ S~nr:o~:>t .!=~\ . . ~ ~ . . -:
~ ~ ..- r r: ~ 0 ~ fi rt ..- n O
. . J' r~ ~ ~ 11 r 11 ~ r: 11 r\. ~J' \ ~ ..- ~ ..- 0 ~ ~ P ~ 11 r
00 rrtr:..-~J'0~~
~ r: 11"- r n. \O..-~ ..- J' rt ~ r: J' ~ ~ r- 11 ~ ~ .::" .....,...: ~ n 0 \ ..... r
~. ~~... ::"
l~
""""I o C ~ r: ~ r: ,,0 l""""I r: 0 J' 0 ~ ,,~ .. ~... ~ .. N .. N J: .~ "~ "r o~~\Or:
:=r:"-I1~[]""rJ'[]No('f")PI:~J:;\~
r 0 ..- N .... .....
0 ~. J' no~
. . r:
,t:J ',:l:l ':Jt OWt, 'Wi'M:l OJ ~'YO ,O~:l't' :n",~n .n~:l'VM n,n':J:l
~WVO ON ~N :n",~~ e~ eN' .n,onM t,'JM M):l 'WV ~'J:l nN :,t'
M"WM :e~.,n~ e~N"t, .Mt, ,:It, ':l, MN' ,M"Yt, :n,,~n3i~ .o~,no) 'M
~~'3i' .'Mt, ~')~:J :n'N~~ ~~t,N 29 .MWN':l n':Jt,o ,n:J OW~, :~ ,:l 'ON
nN O~~i't, 'MO~ :n'N'~~ .,~~~ .,t' ,tV 'Mn ~!) t,v ,'Mt, ~')~:J :n'Nt,Ej
OW, .MN') 1VO t, 'MWVO Mw~n~ 'MO~ :t'~ ,M 'W~ MN' , ,~ n,nt':lM
M'i'~ [MO:Jn] :,t' ,J '1210 MN' :e~.,p~ n'~3i' .:l,~nt, t"~!):l' Mt,~t,Wt,
O~i'tnM ~,~ t,v O~OO')M O~t,!)W O~W)N :n,~,." ... 1N~ 30 .O~)~)!)O N~M
.M:J':lM nN 'M M'Y OW ~:J :J ,Jt,i' 'Mn M"WM :n,~.,~ ~,~~ .OMO
,OMW ~!) t,v ~N :e~~,~~ e~ eN' 31 .V!)'W 'M) ~O 'O:J :e~.,~~ ~~~~~
'OV:J t,t,J:l :r'JN~ .tt' ,t, N"W M"WM ,n,t,J:l O~,t'!)O ,t,N'W~ ~):l ,0,t,:J
~,~O ,~,on MW'V N'M :e~.,p~t, ... '~'on .t:J ,t':J ':l, M"WM ,'M t,w
"~3it, 32 .O~'i':lt, O~12irn ... 'M ~,on :J:J-:l:J ,J ':J~N ~!) t,v ,'O'~:l O,~
M~:lWO n,,!)t, 'MO~ (W'i'OM 0'1'0) o~t,w,,~ '~VM nN :e~"'3i~ ...
nN ~)N ~n':Jt' :0 ,tt' 'n~ ~!) t,v )'OV t,N'~ OV ,n~':l nN ":Jt~,
,t, ~n':Jt ::l ,:l ',~ ~!) t,v :e~"'3i~ n~~N' .,~"V) ~O~:l ,n'N ~n~':l
O"J~ :e~,~~ ,~.,~, .t,N'W~ OV :'~3i' 33 .,~nt"t,:J n:lMN ,~"V) ,on
.0~nOM n~~nn:l o~nOM nN O~i'~ :e~.,~p~ ... ,~n~, .'~:l~'Nt, MO'MO 'M
.f'N n))':J :Y ,t'~i' 'Mn MN' ,t,N'W~ f'N nN 'M i'tn~ =1~'~~ '~"N' 34
,n'O~V):l 'M 'Ot~ :e~"~N e~3i~~' 1~"~ 1':JW~ t,N'W~ l'iN:l' =1~P~ ~~,n,
:e., n~~~ 35 .Mt,!)n, M)' O'V:l Nwn t,N' :tt' ,t "~:l "ONt, "J~):l
~o :N~ "t' 'OW M"WM :"'N~' .NW)' 0' NO:J t,v :lW~ :N " '~ MN'
~')~:J N'M' ,OM':lN 1:l t,NVOW~ ~):l0 ,nN :"'p' .W'i':l "N) M:JO:J
36 ."1' :lwn o~,Yn :N~ ,:lO '~ ~!) t,v :e~.,~n ... "'p'
e~, e~~~, .t,N'~ l'iN:l M"t,W:l O~)W~ t,N'W~ ~):l :e~.", ... ~~~
.o~ot,o,ot,
MN' :e~~p'~' .1~M~ O~))V" O~)W, :,t' ,:lY 'Mn MN' ,~,,~yt, :e~~~3i"
:'~N~~ .N ,t~ N"O ~!) t,v ,N~:l)M 'M~t,Nt, ~')~:J :~~~n, 37 .N~ ,nt, 'n~
N~:l)M 'M~t,N nN 0:Jt, nt,w ~:J)N M)M :J:J ,J 'Nt,O ~!) t,v ,'ONW 'O:J
t,N'~ OV nN f:li't, :e~"'TEj r~pt, .N")M' t,"JM 'M O,~ N':l ~ )!)t,
:,n~~ ... n~,o, 38 .t,N'~ M"t!) MW :t~ ,) ',~ ~!) t,v "n,t,J:l O~,t'!)OM
,'~" 1:l n~wo :,n~~~ .nt,!))M ,~" n:Jo nN O~i'N :N~ ,t' 'ov M"WM
M):l~ :,n,~~ ~~~~, .'V,tt" ",t, ,n~wot, ,on MWV' :N) ,:l:J :l"W MN'
:e~.,.,~ .,n~~~ .,nn,)ot, 'M MO'i' :n ,:It,i' 'Mn MN' ,W'i'OM n~:l nN
M)O~' ')'O'N:l o~~n, o,t,w 1n~~ :e~"'N' ... e,t,~, 39 .no ,nv 'Mn MN'
.,~n')O'N:l M't,W ,t,~n:l o,t,w ~M~ :t ,:l:Ji' 'Mn ~!) t,v "n,wt, 1M:J
O~"NM nN t'!)WOM 1wn t,N nn), :t, ,n:J 'OW MN' :e~"'N' e~~n~
.t'~ " N"O ~!) t,v ,12iri'OM n~:l nN M):l~ :,.,~~, 1~~~ 40 .0~onM nN'
n:l 10 N~' :, ,N ':J~N t,v N"V ,) NO'~ :l"n:l 1'~'M MN' ,1"NM :,.,,~
'ONW 'O:J :e~.,~~, e~T,nt, '''~N~ .W'i'0M n~:l:l :,~,n~ .M"M t,:J 1'~Y
,M"Yt, :n,,~~ .t'~ ,Nt, "~:l Mt OW:l O~)':JOM t,N'~ :,t,~, 41 .0~N~:l)t,
rp~i)0I1~p~i)Po~n~r:~r:~l1n~~r~~~rr9r~~~~r:~~
~ J:
n.~ ~ ~ i) r: I
~ ~ ~ ~ ~ ..., 0
~ ~ ,,~~ I .- ~ 0 r: Q r n n E) 0 0 i) 0 0
r:~ Ji)JI1f:f-nP~n..-'-' ~ orQ[.~i)~r:~C r:r:""~F~r'-n:::n'
~ b~r J: - r~E~!=S)Il~EfI~ r:r:~ boJ:;nb ........~ r:L()r:o:;r: o ....
? r n~ r: !1 fr
n .-" !?' ~ J" ~ ~ 0 ~ ~ n~ 0 , ..., ~
f: n E
J:~~b~'~ .-r:r:qo[]~J~r!=.-~.-~I15i~no~i).-r:Fg r:'~""
~' [1 r: ~ 11 ~ J: f. r J1 .- !i
~~ p J:
(fJ J j1 : fi Lf) ~ n ... ~ ~ 11 0 q r: Q 5i ~" C q ~ r:,. ~ E~ ~ : ~- ~ J: ~ h ~
nna::~ ~~ fJ:::~~1::\nB~ ~ .-".-~or~b~r P - .. ::J .r:~o "~~
11 ~ .. J: ~ .- 9 0 r: r: .- nOr: ~- J: "r ~ 0 :>t ~ ~ .~ t':.. ~ ~ 0 ~ .- r: n ~ ~
nl1rt~ n~fJ'-~ a::'-~.- '~~. ~.-O'-.- ~ ~r: :E~r:~ ~oP
9~ ra:: 11~ ~ ~J'
~ : i) r[] [],
r J: fJ~ 11J...,0 != 2~ ~J: ~ ~ 0\~ f- 0~ ~n 0 . ~ bn ~~ E.... r:~ ::- ,- .-
9 .- f- i) J::: 0
~ ...
fI ,., ~ ~
~ ~ 11
~110~ .. ~ :rr:'-o I Qn.-n O
11I -III
r Lf)~ ... rrnnQr.-[]g~ ~f-r
.J' 0 i) Q 0 r: Ii'-" . .- f..t ~ ~ ~ ~ 9 n i) ~ .- ~ J:; 0 ~ ~ J" h 0 .. ~ (fJ 11 r: .- .-
:i-1i)E::--fJ~fiOnbr:~ OI1~i):'f'MI1~f:Ll~;'O~~ l1FbLf)~~~J
ra:: r 11'- "': ~ ... ~ s= r:o~ r: ~ ~ r ~
.....r 9r::J 0 ~ r ~ n ""r:---C non
~,~ .... ..., --~ ...
~ 11 i)
r:n r ~ ;::...... ~OQn,.,.Qr:~
~ r ~ ~ ~o
z
~
~[]
.. .- J: !l i) .. ~ - r .- J;! . r 11 ~ a::
i) 9 ~... 0'- r: 0 ~
n. n r: 9 ...~
.- ~ n 11 M J:" 0 ~ ,- .- n ~
-r ."': J' i) c 11 J: ,,~ ~ F ~ ~- 11
[] n'" r . J: ~ ~ ~ .-. ~ ~ 0
J'r-n~~r:hE1::\~,,!1~
r:- 1::\ 0 ~ ~ ~O~~~
.-.- - n ~ r~i)r
a:: r:nr ~Fr:~
E-i
~ r N'" .... ~ ..., ~ ..., I~- r ~ r ..... ~ .... :, - ~
~ ~h~~~ bJ:fI~EJ'r!=~Q i)~::Ji) ... ~~~::-E.-~ fi~~i)9~qi)~
E-i ~ ~O ~.- ~~~ PJ:;~.-~:loon::J9r:~'" .~ r~ r Q "l1fJ~~O'=
~
11r:1::\rr: o ~~~~J'r:n.-~~::-:>tJO J;!~ r:h~M~~EneroLf)i)5
<
::c: ~ fiJ' !:; ~ g ~ E~ b n ~ E ~ r ~ i) r 11 p.-J' ? .. ~ F ~ E ,- ~ h'- E .-
u r ::: r: ~ ~ i) :>t 11 r B ~ n F r: r ~ r ~ q n !=1 r: ~~ 0 0 ~ Lf) Q ~ ~ E r: .. 0 0 11 .-
E)r: :i)~rrr:11 E~~ . . . pr: :or~~::" h~~nS~c-!=J1r:9i)9r~
o 9 r 0 ~ ~ ~ ~ 0 9 n. ~ J" ~~ 9 r: 11 ~ r: J ~ ~ .. b ~ ~ [] r 11 g ~ - 0 ~ p .... ~ ::;
11,.FJ:r:~r:ro'-n.l1h~, M::-r:Ll~O~H b~ ~::7!'1 ~I1!=r: :~~
~""f-~.-~ rt pOi) .. o~.- 110:>tJ~~ 9.-PJ'~ ~~rr~OroLf)r:
O J ~
r::: 11 i) i) Pr: r:-J:r-
-C'1I'-,.,,., 0 ~ r '-n'- ..., "r... 11
r 'r'"
J''- ~ r: 0~ ~.,., ~
n Q...
r r ;:
......~
~ r: 0 ~ r ...~ Lf) ~r:-
~~ r:r~~~~'=Fi)"""~r'-P[].- .. ~ ~ ~~~r:9~~'-~..r'J:t r'- l1
rJ:-!~~n qoC~ I1q~ hi) ~~"Ql1r~~ 11 -"'-'-i:r:EI1I1~ohbn
~ .- .- :~ .- 0 0 .- r ~ .. ~ a:: r: r: 0 i) r:,. 11 ~ ~ t .- != H ~- ~ .- E i) ~ ~ .. n ~
r:i)r:r:. ~~~.-~~i) 0' n~ ~~n n~.- ~J' - ~ ..... .-:=-.
~ ~~~~J:~~~PJ:r:ri:t~ron~~Plirbr&~"Jo.-nr: ~fIn
i)r~nrrt ~ r: -~~ rt'" ~9 0 ~o ".-~~ ~r:Jr:n~' ~ '-:M
, ~ P r h ~!= r: != ~ r- ~!= [] ~ J:; 11 "'1 ~ ~ n J:; r 0 ''': F ~ ~ F ~ F !1 0 r: ~
~.- ~ .. r:~r:J:""" 11 c-11a::9::"~ ~1::\~~~ ... J ~ ...,r::::\.-
~~n On - . - 0 . - ' n "~oJ'" ~Jr:r:~r~.-i)rl1~or: r:r~no
~ ~ ~ 11 ~ Ii' 0 p 9~" ;2 r J: r 9 i) ~ .. P ~ ~J' ~ :>t r .- ~ n ~ J: i) ~ ~ r 1::\
oLf) i111~ ~J1E~ P~~112o~Ch~P~~~::;~'-hrC~!=r:E~ ol1!=1i:~h~
~ .. ::" t': J1 r ~ J~ ~ 0 ~.- . ~ r: ~ .. ~ .. r q ~ r: q ~ .. ~ q~" ~~ .- q r: r r: ': r: .. ~
Lf)
~
~~~~~gsnE~rFSI1~bnl1~r:9~r~Otr:r~b$Q\r:~c~~~
~ J'~J'~ MP.~~t1[]r,,~ a;r:J'\ I::~ ~ i1' ~r nO:>t. 11 r:?'
Qn O~r:'" r~J'r: ~\r~ S=l1rr:~oCr-~ ~'-OJ:0~ r ..... ~r
~ c.~ ~,-r:.[] ... ~r:~
"-::JM"'- [] r- 0
\ ...... 11 .. 0'" ~ rt
\. .r:~~
-~
~ ,-o .....",-~rr:r-ro...-~~ "
~rJ:; r ... J' - ...... "",- r"'-
~110r~l11:: .. O\J' , ~O " ~OO~J:l::fJr: .. ...,...-~:"~ "'-~n\'" $
N
o
00 !=PO~ .~Or:Lf)n~ ~ r~r~ ,,;::J:;~~O~ -"'n~~r: ~I:~~J'r-r[]r:
J: J' .~,- -'-r\.~..., ... ~ . . . . - ...... r , ..... ~ ~ ...... ~, ... ~ ... -O ...... ~ Q
~ 0 " .~rQ1::\""'~ "~[]r:r:O:>t.-... rt~'" "p~r~ ~...- :::;J'Q~O,-J'~
li
:> "'-,,~ J: ~ ~ rr 0 rJ' I:: ~ .. Q ~ F ~" F ~ J: .. ~ o!= ~ F E I:: r: J: ~ ~ n 9 \ ....
~ r J' ..... .. ...- ,- ... n ~ \ n ~ r: \ ~.- 9 . ~J' " . ~ ... n r ~
~~ I1Qf-"'-r~J:;J'::tf-J'112J' -"'J'~ I r\O\!=roor:~arQ~bn~hE[1
~
~
.....:I ...-r:...-~ hO~~ J:;,-r Qrr~r .'11: 0 \Or: "~\OJ' '0r:J" ao n
Z o f: J' ~.. r: r: 1::\ 0 ~ I: ~ ~ ~ ...,...- ,- .. '- ~ r: ,- 0 r: J: .. ::t ~ r ~ r:.
en ~ -0::J"'-\ ~J'I::~ri~J'~ ::"r:I1~~ ...-npJ' 1::\~'" J:" ~..co"
:s ::; 0 J:, 0 11 I:J' 11 1::\ \ n ~ 0 - ,- r: 0...- ~ ~.- ~"'-r: 11 p ~ r .... \ ~
g
E ...- 0 0 ~ r H .. ~ ~ r ' J' n "b"'- r: 1::\ .= ~~ ~ f- ;: \ f: ~ .= ::- ~ f: != r t ...- ~
11
I1Er:~"F-r:l1n1:J'oJ;!~~J'~, ~i1I::L~ :~~~ :~-n~~"'- r:oc:fn

~
o
~ :>t .F~o "F~nn "O~f..tor:~ \o...-r:~ ~r:rr~~p O~
en
<
f:.~ 0 . ~oo P ~0~J' 11 ~ ~ 11 ~F 11"; r: n n 0!!1 ~' r: ~
110 n rLf) "~r:\J'...-~ "J: ~ ~~ r'-~
n
Pg
~ ~ r ~ 0 ~"'-11 r ~ ~
~r:o ~,-~ ~~~
l:Q
\O\~a;3 ..... n Ii QarN..J:'nO~ ::J~ .... J: "~r~\ - :>tr:~or:r:>t
~
::c: Lf)...-Fr...-rJ'~~~L1~ r~\O\'1r:f~ Q~J;!~J:r~1::\ r:~ol1~f-"'- ..-r
E-i E 11 ~ 0
n ~11 r ~J' n fI r & ~ n
[] ~ J' r: 0 F..... '~ 0 .........
n' r: ~ ~ ~ 11 r .. n 0 ~ ~ J' ~ ~ ~ J: : ~ E~ ~
rt ~~ P ~"""'-I1 ~ ,- ...- r:
Z
o 9 ...-
,- r r~ '-n-...- ~.
. ..., ~
g
rn"
~
~ \0 OJ' ..,.. ~ r: ~ Q
('f') -
...-"'- ~ 0 ...- J' 0 : .- r.. .., ..- 0 r: "'1:: r:- ~

C'\
,- "'~-11 11
~ 9
~
n :>t ~r
n "oF...,J: QEF~~ ... ..FJ:~Q~J'J':>t!=~~n\~ J'!=r~~ro ~.-
r: ... r: Q-.. 0 ,.... r 0'- n ,,~[] I:: ~
.. ..- ~ ~ \ 11 ~ ...- 0 I:: 0 r: r: p Q 9 != no'" J'11 0 11
N
V\ ~ ...- [] r ~ ~ ...- ~ '-...- - r r: ~ 0 []
<,-.
l""""I
I
l""""I
-II
,-~O ...-r~QJ: ... ~rnp"'-I:EJ'09~r:
~EoJ'~[]J'0~~J;! 11J:;9~: ~oo~' ~n[]nr:oo\l1n~R~J'no.
J:f~ ~l1r : r "C\
r -P?'p 011 ~ ::;~n ... ~ . " ~~.o .. Q' M~~~'-~'-
&r:rr:~r~C .~~ '-[]\oI10~ r:11""11r:~r:~ r~J'Er:oJ'::".-~
...[]~ n .~...-
<:15
o ...- -~~~~o"'-r'- .. ~Q Q 0 - 0 -~ -.D J: 0 ~~
Z .. , 1::\C:FJ'r:Er:\OQ b~11 r ~Q~~::-~r!= "Er::;fr: ~~Nn~ii
en ...- ......... ~ - ~.D n ~ ~ ... r...-...- r r: ...- 11 , , - ~ ~ [] ~ n ..., .-~
:s ~ ." ~ r 0 ~ r ~ p...'- ~ ::; [] ~ J' r: ...- J' - O. ~"'c r J' ~ .. ~ ~ ~ J: J:
~ O~I:~\ f:!~' r9.-~fr~ Rr-~HI10~~E.I1f:
...... ~ ...-J'Q..., ...... ...- ~ '-~o~'-o~
~ ~ ..., r r: 0 ~ r ~.
r:~ ~r~J''-' []~...,r: rJ:~ rt
o b...-O ,- 0 ~... ~ " : ~ ..., ~.. r: r: 0 Q J: 11 J'~ ~ 11 ~
rl1~!=[]Q~ .~~~~r:J'nflo' ~ r-~B:;oo~~J'~~~
~
r~n nrr~ Q 0
r:o~ ..... ~...-~
.\0
: .... r
Z J'r: 1:' "'-~J'~
~~I:"
-~
n,,~r-r:~
~ ... -...- .... ~ r: - \O1::\""".~
~.- ~11~
. . . . . -~
9 .~ J' ~ I:: 0 r nn .. 11 J'" Q r J' 0 f: ~ ri ~ Q J'::t : r- J: r: ~ r: 1::\ r: 11
~ ~ ~ :>t Q...- 0 \ r - ~ J' r 0 ,- ~ ~ ...... P ~11' 11"'- r: ,- 0 ~
t: \r: n "11 "rl1~9Q r~ .Q~ F~::"~ " . . . O~J'n ~...- J' ~Qrl1~
o ~ 9 n ...- 0 r ~ ~ b ~ ~...- ~ 0 noD ~J' E 0 Q Q ~ ~ r ~ ~ ~ ~ 11 0 ~ r:
11r: ~
...- ~ 0. ...-
~
~ ~ ~ [] J' ~ .. r: \0 r:, ~ ~ \0 ,,~ "J' I: .. ...- ~ r D . r: ~ .- 0 11 " .. ~ ~
152 CHAPTER TEN
4tJ4tV~ :c~~~., ~~~V~ ."T4t )1~ 'W4t ;,Ni )c4t no 10~ i 4t W :C~~~"~ .,~~, 73
)C4t~1Wn C4tii1WO 4tJ4tV~ )l"Ti4t ;, i~V~ C"Ti' 4t04t~ 1~W4tW C4t i'JV1 C4ti1~4t,1
74 .1,Z,,~4t NlV"T i'i4t~1 :~ )rz, ';,n ;,11W;, :c~~~., P"~~' .N4t )~ '~"T ;,Ni
i',n;, 1nJ 1~ C1WO ;'i1~,1 10~ ;,4t;,n ;,Jno z,~ Z,~N :c~."n~ ... t,~~
75 .r );' 'i'4t1 4t!) Z,V );'W C1i'0~ (z,"T i 4t W) i1n ~4tii';'Z, n1Wi 114t~NZ,
)NOi' ';,n 4t!) Z,V )C;,4t!) nN i10WZ, ';'0 C4tWi'~O C4t4tJV;, :,~n~~ ... t,."
C;,W~ :C~"Q~Q nv~ .4t n!)w trr Z,V ;,iYJ 4t!)z, ;,iOW ';' ;,n4t w :,1
.z,4t Vz, ni~rJ;' ,nZ,NWO nN NZ,04t :,~,~., ~t,Q~ 76 .C4ti~"TO
)n~ '~"T ;,11W;, :,~,~~., .~N~1 Nt'n z,~ ';' i'n0 4t 1 i'Z,04t :C~"O' ... c~~~,
'~ ;,11W;, )1J11V nN ';' i!)~4t :.,~,~~ 'v~." ,~~n, 77 .W!)J 11~N"T1 :;'0
:~n ~iT~ 'V.,T' .14t NYNY nN ';' 1i~4t :1"'~~ 'VT~' .i!)~n 1nNt'n1 :r )1
:;,~ )~i' ';,n ;,Ni )nYJz, :C~.".,t, .Vir n14t nZ, :,1 )r 'i~ ;,Ni )1Vir 4tn4t1
.14tn1JW C4ti1"T i1"T~
.N6-~5 NLR Evr. I 802 4t"~: i1i'0 .~
1V O!)JZ,N VN"TiN 4t!) N'~N ;,nz,i' N001

4tYNYi'Z,N C14t N;'iN~"'TN1 4tYNVOZ,N
;'1~t:1~ ;'~1~0 CJ? ;,~~V ':(4t~ / ;'1'~~ 4t14t "Ti~~~ i,~ W~~
;"~i?~ C4t~7~0 4t1~Y~ z,~ ':(iPl / 4t;:1J;1 iiN z,~ iiN~ ;'J:l~v 4t1Q~ iN
;'1~\0 iii'1f~ ~,iO~ ;'Q7~ / 4t;:1J;1 ni~4tt C1:t ;'7~i,19 ':(4t~ iN 5
;"V?i?~ C4tW~1~ n'GQ~ ci4t / ;'v?,?J ni~t:ll C4t7~ 4t~~ ':(4t~ iN
l"I'l~ry~ MQ~f tt~.a n1~7 M'h I 'l:IT;1 n~:J70 O~~ ~t;I:tVi '1Q~ iN
;"t?~~ C4tiPt~ ~~~~ it!~G ':(iPl / ;'J:l~~ i't1W~ n4tW!?O 4t1Q~ iN
;".!~ ~~iV1f~ ;'9'~ z,~ Wi"T/-i?l Cii9 1iV9 ~~tV? 4t1Q~ iN
;'1ry~ ~,~:t~ ~1i4t:t ;,,~~ / N4t:}l "Ti~l:'; ;'~1~~ ~~1i~7 ':(4t~ iN 10
;,,~! NZ, ~7~G ~:t~W1 C:tt~ / n~l ;'~~in1 ;'~1 i'iWQ~1
;,,~iN c~in~ ;'J:l~v i,~ N,?1J ~~ / 4t~~ 1i:a't' n~1 r'1 ci4t ;'Of'J:11
;'1Qv? NZ, i,~ ~4t;:iz,~ ni~ / Z,~1 ~:tin 4t~~ ;'Oi?iZ, 4t;:1J;1W~iV
;'i1'~ inY1'~ 4t~ 4tZ,1' t'!1WO / n1':a i~Y "T,1Jt; ;'lI~4ti4t Z,~1v
;'i~ir N4t;,T ::'1z;N ~~Ji1' nvJii / T~i~z, iZ, ;4t:W;'z, ;,iDO rlNYOn .~; 15
T" ;'i~.r;, .: ~~, T;;z,;0 4t.~, iO~O / nin~i~ T~~rD~ -CZ,iri,: i;i~Pl
l"I'l~~ ii "l#~ ~~ Tn6~~~ trlip~ I ri~::~ ~~~;1' ~~N~~~' Mt;I~~
;'i~W ~J"lN~YO iWN ~~~V / Z,1'1 ;,o~n niY1'io ~4tiOt; ;'~~Pl
:119~l:I TNr,i-ri~7::1 C'!~~Q0 I t,?f T~{V n~b
4t
"v.{.1';:r M! ~Q
;"~~J:1;:1 N1V?1 i' 1 n4t~N1.~ ~J:l4t'/-t:1~1 ;,t ~Qi4t~ i09 ;'1~i~0 20
V,
;"ll:'~ "TiV 4t;:1t;1 z,~~~ iPlt:1~/ -in7 n~t~G~ ;,:t,ii' 4t:}t;1 4t;~N
;'1i? NZ, ~1i4t niY17 14t~4tl / ni1v~; ;,:t~WJ;1 ~,~ Z,~7 ~ 4t~
rI,~iO 'liV 4t:}l;1 z,~ 14t14tt?Q niw ~~ / 14t~~ i~t!?t' niw~ rI~~r: z,~~
rliiivno lW4t i'l~D Z,Nl Vi z,~ / niWDO rlO~'li rl 4t rlPl 14tOni~~
T m.v.1Y N~ lV'~~ nv. lJ7 :1:::'T:l / M~~Q~Q lQt~ 'ri~~~G ;'l} 25
rI'~~9~ rl7,iO rli?~Wt! 4t~i4t / 11J7 rl9i'l 4t;:1l;1 C,,? ni07~ ':fin:t~
rI'l~~ 4t14t 'li~~~ i,~ W~~ / 4t:}~ V1iJ ~Q' z,~ nii'~wQ 14t~ 'l~
2. Title: (What I also said about restraining the soul from sins and
reminding it of the Day of Reckoning.)) Monorhyme poem in a metre
close to the metre ha-shalem based on the Arabic al-kamil metre; this
fascinating poem deals with the Neoplatonic polarity between the
material world of the body and the spiritual world of the soul. The
words of the opening hemistich are repeated in the last hemistich of
the poem) a technique known as the (return))
'ri 'l1~~~ iWN W!)JrI :iT.,~n~ ~~~ 3 .iYli'0 cZ,WrI 14t VO :t,P~QiT
4tii'4tV NW1J :~~~ ?C'lNrI t'Jl.1 CV ni~nno N4t rl 1 4t N ,i'lrll 'l1r1 rlNZ,OnJ
rli4tW~ nln4t~WrI n14tt'0 4t Ol n14t !)101Z,4t!) nl!)i'Wri 4t!) Z,V i 4t Wri z,~z,
A. Tanenbaum) The Contemplative Soul: rlNi )C4t4tJ4t~rI 4t04t~ n4ti~VrI
Hebrew Poetry and Philosophical Theory in medieval Spain (Lei den:
.Tanenbaum) 63-65 rlNi )4tJlt'Z,!)N-1NJ .1Wl0 :.,,~~~ .Brill) 2002) 1-6
,VOW nN4tii' 4tJ!)Z,W rl4t4tJWrI rI~i~~ ,n~w~ n 4tinw nz,4t!)n~ :iT""iT~
Z,V 'l1~~~ i'lrlJl :'rI Z,V iONJ 'C4tWVOri z,~ Z,V 11'lN Z,N' Vt'i'~
.C4tN~rI c4tn~rI nww nn4tn!)~ nitln It n 4tz,4t o :,~ 4 .rI~~iOri
?C'lN CZ".1~ rlJl0t' Nrln 114tZ,VrI ilN~ rln4t4t rlw 4tinN IN :iT"~p~ '~
,t'z,i' 'rln rlllWri ,1nO lZ,4tN~ C4t!)1.1~ nlN1Z,~rI nlW!)JrI :C4tQt,~iT 4t"'~~
N4t rlW ,W!)JrI i01Z,~ ,rloZ,VrI 1 4t N :iT"iT~iT 1'~ 5 .14t J4t V lNi 4t0z,.1 :tt'
,rlnOl C'l~ rlW4tNrI 10~ :n'~4tT c.,~ ?nl~4tt C'l~ rlZ,N.1nJ ,ilr1t' ili'OO
C4tNW1JrI C4t~NZ,Orl nN rlnJt 1 4t N :iT"~p~ 14t~ 6 .t'4t ,1t' 'i'4t l rlNi
,C4t~NZ,O :C4tt,~ 4t~ ?C4tWlnrl nwon~ rliWi'JW nv~ 'l1~~rI N04t~ nN
,Z,Ni'tn4t 11tn~ rI~~iOri rlWVO~W n14t l0'lrl 10 :n,~n, .N ,t'~ 'rln rlNi
4t~NZ,01 W'li'rI n14t nl C4t!)iWl C4tJ!)1N CW :~"V ~4t rI.14t.1n ~"n rlllWri
,rl4t4t Niri :c4tWlnrl nwon~ :C~~~"iT n~Qn~ .'l1~~rI NO~1 niWrI
,4t lZ,rI rI'l1r1 4t 4t~iZ, lV'li'rI 4ti4tW rlNi ,Wl~Orll CJrori ,n4tirl ,rlV4t OWri
nyv Z,N rlnyv Z,VO rlt'J :928 'ov ,1"OWn C4tZ,Wli4t ,l'li4t ''l nil'lriO
7 .N ,n4t N"W rlNi ,rlilYZ, :iT"~P~ .C4tW.1irl nwon Z,VO il0l Z,N
niwZ, rlYin ,C4tOW~ nl~Z,Orl O~ Z,V rI~~W 4tinN :iT.,~n~ ~.,n~
:~ ,N 'ON 4t!) Z,V :n,~t,Q O~~ iTn~~ ?rln!)W~ 14tZ,N i~nnnl t'Jl.1r1 nN
,t4t 'OW rlNi ,N04t~ Z,V :O~~ .1nl~Z,0 NO~ Z,V WlilWnN 1Z,Orl n~w~
:iTn~iT ~.,n~ 8 .W'li'~ niwZ, :z, ,t'~ 'OWz, 'l1.14tJ~ :r'p~ n.,~t, .tt'
154 CHAPTER TEN
ONrl :iT"ON~ 1,n .t'Jl,1Z, iWi' 4tz,~ ,04tOW~ n 4t W!)1n rln4t4t rlW 4tinN
ONl :n ,1Z, '14t N rlllWrl ?t'Jl,1rl 4tz,~~~ rliWi'J n14t rlZ, W!)Jrl nllNn
1~1Wrl Wl'1i'rl 'rl 11VO~ rlJ~WW 4tinN :~'''P' ... ~.,nN 9 .04ti't~ 0 4til0N
?rltrl OZ"VZ, ni'z,noo n1 rlZ, W!)Jrl nllNn ONrl :iT"T~ t,N .04tOliO~
4t
tNl N"rl~ i'4t!)0 4tz,~ 01i,1Z, W4tW iW!)N .04tOW~ rlOli'00 :iT~'1'QQ
iTN"~~ iTN"'~t, 10 .t~ ,,1z, '~'1 4t!) Z,V ,l'VO Z,W rl~i'J nilY rlJ1VO
W!)Jrl Z,~N :iT.,n~ N~iT' .'rl nN '11~VZ, 4t'1~ rlNi~J W!)Jrl :"'~1't,
:p,~nn, 11 .rl ,1 'i~ rlllWrl ,rli~~ rlin~1 'rl~ rl'1,1~ n 4t NOYVrl
o 4t vZ"nrl, nl0 4t irl :iT1't"n, iTQ., .~ n4t~iVZ, rlllWrl ,rlllNnn
,i~i'Z, 4tlJ4t~ 0,1 WOWO t'J'i 4t Yrl .nll0rl inNZ, O'1Nrl t'Jl,1 nN nlZ,~NOrl
n~tlV W!)JrlW~ ,nll0rl nv~ :iTt,1'Q n1" .1 ,rl~ '14t Nl N4t ,'1 4t '~ rlNi
1~WOrl :iTn~~n, 12 .ni~1t rlJ4tN :iT"~T Nt, .0 4t OWz, nitlnl t'Jl,1rl nN
.t'Jl,1rl 11n~ rl!)ONW Nt'n z,~ Z,V :iT"~'N 4tt,1' .11 ilt' Z,W
rlNt'nw Nt'n z,~ Z,V WJ1V z,~i'z, rl'1 4t nv W!)Jrl :iT"Q~ ~~'1' 13
t,~~ 14 .,14t ,4t N"rl'1 rlllWrl ,rl4t rllZ,N nllYO nN rliOW NZ,W Z,Z,,1~1
~t,1' .14t'1rl 014t~ :~~~Q n1'~ .'rl Z,,0 W!)Jrl OV n~11n4t z,~Wrl :iT~~4t"4t
,n~1'~ .t4t ,NZ, '~'1 rlNi ,W z,z,,1~ = 4t~ Z,V 01i'0~ ,z,i'WOrl nil~O :~~
rlO~nrl lnyv nN rl~!)rll z,~Wrl Z,W lnyvO rloZ,vnrl W!)Jrl :iT"1'~
NZ, :,t, Nt, 15 .N4t ,t'4t 'W4t rlllWrl ,04tW!)4tt' nyv i01Z,~ ,rliV~J rlYVz,
.,1 ,~z, '14t N 4t!) Z,V :iT~1'Q iTN~Qn Nt, .z,~Wz, nlJVZ, rl~1Wn W!)Jrl NYOn
16 .ni~1t N4t rlW 04tNt'nrl z,z,,1~ rlZ,''1,1rl rlWl~rl ~1iO :iT"~'T ~,.,t,
NZ,W z,z,,1~ :"O,Q n,n~,n iTT1't, .~~ ,~~ 'i4t rlNi ,t'Jli4t YZ, :ct,~n, ~,~n
rl,1rlJW Z,Z,,1~1 :iT.,iTTiT ~~, .,1~ ,1 'wo rlNi ,nln~1nZ, rl~4tWi'rl
nN lN4t~4t 0 lJ4t rl4t ,1Z, :iT'N~~ ~ iTn~n 17 .111Vl Nt' no rlirltJ NZ" nlW !)4tt'~
4t!) Z,V ,ow t'JiWJ rl4t rl4t W!)Jrl 1~ rlJ~WW t'Jl,1rll :iT"1'~ iT~'~' .W!)Jrl
,rlo~n nlYV~ rl'1iOW z,z,,1~ rl~~n :iTQ~n iT~~n 18 .,1z, ,z, '~
nlYVO~ :~ ,~~ 'WOl 16 ilt' rlllWrl ,iOl0 nln~1n nJloZ, z,4t~i'0~
,rliNllY Z,VO nllYOrl Z"V nN rli~WW Z,Z,,1~1 :iT"~~ t,1" .nV'"Tl
i0 4t4t O Nlrl 4t0 :r'J"'1' ~Q 19 .1iN1Y Z,VO lZ,V i~WN :n ,z, 'i4t rlllWrl
W!)Jrl :nNt,iT c~"O~QiT t,t,~ .t' ,~z, 'ow rlNi ,n4t JWi'Vrl W!)Jrl nN
20 .iOl0 rlZ,~4ti' NZ, 1N :iT"O,iT Nt" .04tn4t~10rl z,~ nN rl!)4t4t V
4tz,~rl nil0n N~rl OZ,'Vrl ~1t' nN ni~10rl :iT.,Q1'niT iT"~'QiT
NZ, t'J0~~ rlJi~On NZ, i~01 :'1 4t ,N~ '~'1 rlNi ,t'Jli4t YZ, .rltrl OZ,'Vrl
.'rl Z,w iOl0rl 4ti~'1Z, ~4tWi'n 4tZ"N :,nn~,nt, ~t,'N 21 .rl~ iovnn
4tJ!)O :n,~1't, ~~ 22 .Vi i~'1 z,~o rl4t4t i'J rl 4t rln tN :iT""1'~ t,~Q'
14t i'4t!)00 14tN :t' ,n N014t rlJWO rlNi ,rl~1Wn~ ~1WZ, rlZ,,~4t W!)JrlW
,'rl 11Yi nN NZ,OZ, nZ,,1100 rlJ 4t 0 4t l :iT"~p 1~Q~' .rl~1Wn nlwvZ, 1'14t~
rlZ,,0i,!) :iT~~T~ t,NiT 23 .V4t WlrlO 'rl '14t rliYi' NZ, :N ,t'J 'W4t rlllWrl
:,~~n n,~1' .'11Vl 4tNil~ 4tJ~t4t ,rl"~i'rl 4tJ~r ,Z,Nrl 4tJ4t~t4t :rlWi'~ Z,w
.04t i'4t'1Yrl nlW!)J 14t~0 rl 4t ln'1 rl4t rln NZ" :it.,V, 0 ... 1~~' .,14t ,nJ '~ rlNi
t,~ n'~VQ J"'1t'i'W W!)J;, :iTQ,.,., 24 ." ,tY ';,n ;,Ni :'~"~on n,~~~
.';' nN '"Tl~VZ, ;,iilvn;, Z,~N :iT.,."vnQ ... t,~, .~ ,1J 'w" "!) Z,V :1'"
:iT~iTn ... .,v 25 ."01i' "iilvn;, "iilvn;, :t" ,NJ 'lV" ;,Ni :iT.,."vnQ
N~W~ t'1Z, 10~ :iT"V'~ ~~~~ .1'"TV 1.1Z, Z,il.1;' nl~1!);,nO t'z,o"nw '"TV
"nO t'1Z, nN nZ,lV"1 ;,iVY N~ t',Z" :t'~-.1~ ,t''' 'i~ "!) Z,V ,iV1YZ,
Wi'"TO;, ;,Ni ,N~;' OZ"V~ nlW!)J;, 1"~ :n,Qt,v 1,n~, 26 .;,~!);,;,
,t'Jli"YZ, :~~,~ lnt, .1'"TV 1.1~ :c~ .nl!)!)1n nloZ,v "n~ :1~ ,no ';,nz'
N";,1 :iT"~~Q' .11 ilt' ;,Ni ,n~;'NJ;' :iTp,~n .z, ,NZ, 'wo ;,Ni
nl0WJ;, z,~ 1"~ OOil!)O ;''';''' ;,OWW '"TV :~iT~ ... .,v 27 .n~il~O
.;,n"n!);, Nl;, 01"0;' :3 ilt' ;,Ni :iT""iT~... ~~~ .nl~1;'N;'
.N6 NLR Evr. I 802 ""~ :ili'O .~
"~"Z,D Z,o.a "1" ,,~ / "~"n~Joz, "W!)J "~~W

,,~z,n :~iN "n!J~.a / nN~ rl-tO :"N "lz;~-J "D'"T~
':;ll?~ 'i[{~}~9~ TtJ~ "rt1,n / 'J:1:tt ;~:tt" ml7~- '~~~
"~~O~J97 "~~~ "~~W / t'J~.a ;~t~ 0;" ;~tW iQN" 5
3. Title: (Another (poem).)) Monorhyme poem in the vowel metre/

mishqal ha-teni{ot; though it has no liturgical function) a religious
world-view inspires this poem addressed to the soul; Moses Darci also
structurally blurs the distinction between liturgical and secular poetry
by using the (return))
W!)J;, :"~~~ .t )tt'i' ';,n "!) Z,V :"~,,t,V ... ,,~,~ 2 .nlV1Jn;, :t,P~QiT
.t'Jl.1;' nll0 inNZ,W ;,nlJoZ, :~~~n'~Qt, .i"W~ ilt' z,~~ ni~tJ
0.1 ;,11W;,1 .,,~z,n ;,JNl nN~ ;,to "N :n )tt' 'i~ "!) Z,V :,,~t,n ... "~ 3
"n~T .';'z, :."~t,, 4 .,Z,,;, ;,nN 1NZ" nN~ l"NO V'"T :N ).1 nl~N ;,JWO
1nVQ., .'"T1Vl ~~ )ti' ';,n ;,Ni )1'"TOn Z,V ';'z, ;,N'"Tl;, OWz, l~ii' :iT."n
.,z, "VO'"T nN 'OJN :"ni"Wn "Z,N ,z, )V"~Ni ;,Ni )t'Jli"YZ, :"~o~
.,nO~1n iONn :1t,~~ "Q~" 5 .;'ilW;' Z,VO ;,"1Z,n 1""n;, ""~~ :1nVQ.,
'i" ;,Ni );'ilYZ, :1~TV .no;, t'J'.1;' nN W!)J;, ~1tvnW~ :r'J'~ 1~TV c,,,
.;,n"n!);, Nl;, 01"0;' :2 ilt' ;,Ni :"~"n'~Qt, ,,~~~ ,,~,~ .t" )~
.~6-N6 NLR Evr. I 802 ""~ :ili'O ..,

156 CHAPTER TEN
4t~i4t~1 c4t~ ':(9' '1~n~ Z,~1 / ':(1:t~7 ':(1~~ rI~~i~ 4t;jz,~

4t~4t~1 4t~7 nit'~~ iiY~l!1 / ':(7 Nt't!G 4tt1i:L't:1G iiO'J:l1
4t~i1V7 c~ 4t~ ~J:1~0J:1~~ / 4tGD~ ~74t~' ':(iPl 1~~1
/
'~T! '=r7 'J:I'lp~ "!~ n~n '=r~lJf i,~ 'l}ir,P.~Q l'1Q'lp1 5
4t~11f; ':(~iY1 n~ niwJt;1 / C4t74t~' ':(7 4t~1i?7 4t~1irl1
4t~1J~ '14t~~ ~J:11 :L4tl!~~~ / 4t~~t!~ '1iV ~J:1,iPl Z,~1
4t~~~l:l 4tt1iO~ 4tt:1~ Z,~1 / ':(9Jt~~ 4t~t1 niJ' z,~ rI~:;~
4tJirlt' nin4tZ,ti)rI 4t04t0~ / 4tD1V!)~ 4tniJiD niN0\90~
'~1~"~iv tJJ;I~7~Q '1;t?lJf i ~~~~-'J:li~l}1 'i~Q~ 10
4t~~~1 t'tl ~~t~ 4tl?1W7 / i~~ ':(7 4t~1i?~ i~~~~
4t~Gt!~ ':(~4t~~ ':('t1i? i4tl?~ / 4t~~~1 4tl!~t;~:t 4t~~~~~
4t~1ftt:1 i~Y ~1f~ 1iY1~~ / '1iV 4t0~ 4t~Y1 ~1~~ 4t'~t1
4t~i'1~ 4t~~7 ~i~,~ NZ, i:tf / 4t~\?t'1 4tl}iJi~ n~ t'ii'W~1
4t ~~~o 4t14t ~9 t:11f / '1iV 4t ;J1ry9~ 4t:;~iN ~~ ~~1 15
4. Title: (Another divine (poem).)) Monorhyme poem in the metre

ha-merubbe based on the Arabic al-waftr metre; this personal prayer
addressed to God has religious themes similar to those of the
baqqasha (liturgical poem of petition for the forgiveness of sins).
Z,N rlnNW 14t ONrlZ, :1Q~ ."n4t .1~i'1 111~n :iT~~'~ 2 .rI:LliOri :t,P~QiT
.1 ,~ 'i:L rlllWri :1t, "'Q~n, 3 .4t4t nl:LWnO :4t~'4tV" .'1 4t n 4t 1 '1nN
n'~~Q .nONri "''10 It'4t4t NZ,W 4t4tJ4tVl 4t:Lz, nN il0Wnl :4t~4tV' .,,~~n,
:4tQV~ 4 .,1 ,t' N"O rlNi ,~1i4tyZ, :4t~4tV' 4t~t, .t' ,N4t N"O rlNi ,~1i4tYZ, :4t~t,
.1niON:L l~rI 4tOV!) :,1z,i' ,t'4t i' 'rln 4t!) Z,V nz,'1r1 l'WZ" .4tZ,,1i
'4t!):L ,nZ,rln '14t on' rlNi ,1Z,Z,rlZ, 4tJ,WZ" 4t!) nN 111~1 :4t~'~t, . 1nt,iTn~,
.1J1Yi~ 14t rl4t 4t4tWVO z,~W rlWVl :1~~n~ iTQ4t~' 5 .'11Vl :L ,'1z, 'rln
rlNi :4tn4t~~ "4t"~ .4t nz,4t!)n nN z,:Li' TZ,N 1JnnNW rlVW:Ll :4t~~" nv,
rlNi ,14tZ,N :Lii'nrlZ, 1i'1r1 nN 4tz, rlNiri :C4tt,4t~~ 4t~"'iT' 6 .,1 ,rlJ 'rln
4t~i'1:Ll :4t~t,iT~ t,V, 7 .4t ,,10i' 'rln 4t!) Z,V :4t~"Qt, n,~vt" .,1z, ,t'4t i' 'rln
1niln 4t~i'1:Ll :~~n~ ~~n~~, .:L ,,1~ 'rln rlllWri ,4t nlN ,1r1JrI 1niln
rlNi ,rlilYZ, :~~n~ .14t nlYO :L4t nJ:L 4tJ~4ti'1r1 :rlZ, ,t'4t i' 'rln rlllWri ,4tJ~4ti'1r1
:,14t ,N~ '14t N rlllWri ,1:Llt':L 4t4t04t nN cZ,WrI :1QV~ iTt,~, 8 .t' ,rI 'rln
.'rI CVJ:L nltnZ, :'1 ,t~ 'rln 4t!) Z,V ,1:Llt':L :1QV~ .Crl4t 0 4t :Llt':L lZ,:L4t
4tyn:L 4tJz,vn Z,N :rI~ ,:Li' 'rln rlNi ,4t4t 04t 4tyn:L 4tJn4ton Z,Nl :4t~t,vn t,~,
4tJ1VO :'1 ,NJ 'rln rlNi ,4t4t nlJllVZ, nZ,01 :4t~"iT~ n'~Q~Q' 9 .4t 04t
:4t~"~ 4t"~4tQ' 10 .C4tirlt'Ori C4t O:L :n,n4t t,OiT 4t"'Q~ .4tJirlt' 4tnNt'nOl
Z,~Z" .:L4t lNOl :"~Q' .rliYO :"~QQ' 11 .4t4tNt'nl 4t4tnllNnl 4ti~O 4tJZ,4tYril
:4tV'~t, .'rI :LniO:L 4tJJV 'ri 4tnNii' iYOri 10 :rI ,n4t i' 'rln rlllWri ilt'rI
,:Li' 'rln 'Nl:Ln 1 4tZ,N 4tnV1Wl 4tnz,!)n rlVOW 'rI' rlNi ,4t nz,.,!)nz, ,4t nVllwZ,
t';, Z,N 4tJJvn 4t~ 14t nNii' 4tJN :1 ,f' ';,n ;,Ni :~~~1" ~i1 1~T~ .'11Vl ~
14t4tJ~~ 4tJOnJ ,4t4tJ1VOl ;,~ 4tl~W 4tJNW 4tnlZ,,10l :~~Qn~ ... ~~~~Q' 12 .1JtN
13 .N ,N4t 'nJl N ,~ 'tV ;,llW;,l n4t~;, Z,~Z" .W'1i'0;'l C4tZ,Wli4t
:"'1'...
-~Tn ... 1'~"~' .It' ,t'i' ';,n 4t!) Z,V ,14tJ!)Z, Z,~li'Ol 4tly-, ;,4t;,Nl ~"~T'
11Yi~ ';' 4tJi~t :'1 ,li' ';,n 4t!) Z,V ,10V iNW CV '1n4t ;'~lt'Z, 4tJi~tnl :~~.,
15 .;'llZ,W~ ~WN 4t4tnlJllVZ, z'non CNl :~~,.,~ ... ~'p~~' 14 .10V
;,llW;, ,t'Jli4t yZ, ,4tZ,Z,i'Ol 4t4t~4tlN Z,W cnon Z,Vl C!)N Z,Vl :~~.,nQ' ... "1"
';,n ;,Ni ,;'ily&, :~~~~n .,1 ,NJ ';,n ;,llW;, :~~~~n ~,~ 1~Qn.,~ .f' ,'10 ';,n
.'14t ,t'
.~6 NLR Evr. I 802 4t"~ :ili'O .i1
O!)JZ,N 'VV1Z, N'~N ;,nz,i' NOOl

4tnz';,n 4tilV ltl ViNYOZ,N V~iO ViN~ CN't'Z,~
ntlGi1v 4t;:1l;1 t'J~~ nl/-:t~~ 4tJ:1Q 1 ntlWl?~ 1 ~ii4t 19/-~t W~~

ntlj?l" ~O l'h~~ / 'J:!1 lW / 'J:!T;1 '7~N / 'J:!~ ~tt7 / 'J:!i? "9~O
ntllit l:1~1 z,~ ;1)1 _4t~~ llj~ 1 4t~~ '1i;, iZ, 1 4t~7 4tW~~ 1 4t~1i? i 4t W 5
nriwo 4tZ,Dn ;'VWI -il Nt'n z,~ 1 4titJ;; 1 4t~i~;' 14ti ;'\9;'
U>tt~ 1'1 ci,/ ~lPp.~ :"0 i"l?~6 v1 / ~i?~~ :If, 'l?Q .~~~
nt:l1ii'
ntl1~ i4tl?f ;G~ 1 4t~t;1l:11~ 1 4t~i? ;,9tt:' 1 4t~~ 4t~ z,~ 1 4t~~ i1~~
4t;:1t;1 ;~1i~ 1 '1i~t 4t~~1 1 '1i'1' n~G 1 '1{i}'1~ 4t~1~ 1 '1iVt ;1,~
nn!1OJ
ntl~Q C~"7 l'17 V / 'l!T;1 '7~N / '::r'! n~ 'l!1 N~:; / 'l!~ ~~~~
/ 10
4t~t~lj 1 ii~~ ;;1~~ ' 1 ii~i? C1t? 1 ii~~ ciPl ;iPl 1 ii~~ 4t~i
nn~WJ
'~t} "~1' / l'~~ lU>~~ / l'~f N,?lJ Cl' / 1'7f :I~ :I7 / l'lJ~ -,;iri
ntl~ii
iO f Nt?1J Z,~/-~~~ ;'7~~ 1 4t~7~;:1 1 4t~7Jtl:l ;'9/-4t~l;1 ;~JtG
ntl;1t?
~,i4t 191-~~ ;':~l:1 1 ;'V?t~n NZ, 1 ;'~7t:1~ ;'9 1-V?~ lin ~~
nnwoJ
-- :.
5. Title: (What I also said about rebuking the soul, in an excellent
structure with fourfold hemistichs-in the metre of the poem 4tilV
4tnz';,n.)) Monorhyme poem in the metre ha-shalem based on the Ara-
bic al-kamil metre; this poem containing four subdivisions with inter-
nal rhyme deals with the polarity between body and soul, and is also
characterized by the use of the device of the (return)).
158 CHAPTER TEN
4t."V 2 .CN't'J~ :z,,,y Z,~N )4t"~~ 1~ :C~.,~t,~ 1 .iYli'0 cZ,W;, :t,P~QiT

;,~Z,O~ 1i4tn~;, ';' NZ,;, )W!)J :nnQ'~ ~~~ 3 .Vl'"T4t NZ, i 4t W :4t nt,iTn
:nn~Q~ 1Q~~ ?t'Jl.1;' ni~no ;,YliO 4t4t;,n Nl!)N 4tno '"TV )1W'"Tli' 10W~
t,~t, .t ).1 '!)Y ;,Ni )ni'z, 4t'"T0z, :4t np "O,Q 4 .N~ )t'!) ';,n ;,Ni )t'Jli4t yZ,
4t~tn 1~ 4tZ"N :"'1' 4tnn 4tt,,~ ..1~ )NJ 'W4t 4t!) Z,V )';' 4tJ!)~ 4tllnnw;, :4tn~
4t4tiT 1'''~~ .C4tNt'nO 4tVJO;, :4t n., 1'1' .;'Vi' )t' 4t i' ';,n ;,Ni )c4t4tn~
;,Ni )i4t W 4ti4tW :4tQ.,P "4t~ 5 .N~ )~ ';'i' ;,Ni );,o~n~ 4t.1;'Jn;, :nnp't,
;,Z,''"T.1;' ';' 1Z, :N4t )t'~ N";,'"T 4t!) Z,V )';'z, :."iT ,t, 4tQt, .1~ )no ';,n
)0 'W4t ;,Ni );,il;,t' N;,n lW!)J )nll0;, C14t V4t.14tW~ :nn.,'T 4tQ, .'"Tl;';'1
4tt,vn .;'VU1il ;,NOlt'O nli'Jn;,Z, W!)Jz, C4t4t 114t Y :iTV~"' 4t"iT~iT 6 .~
4tNYO :4t on t,~~ 7 .4t;,Z,N ';' 4t4tn nnwo Z,vnl :t )~ 'J14t ;,Ni :nn~Q
1~Z, 4ti'iO :~O~~ ~t, .';'~ nl0nZ, ~1t' :n )n4t i' ';,n ;,Ni )';'~ t'z,!)0
;,Ni )Vi;, nN 4tn'"T :~O~Q V., .1~Z, ;,ViO 4t0~~ :'"T4t )'"T 'i4t ;,Ni )Nt'nO
nn'"Tli';' WN;, 10 ;''"Tin 1J4tN CN;' :nn."p iTQ .Vi~ 01NO :1t' )t '~
:nn'"Tli' WN~ .;''"Ti'!) C14t Z, lWvn ;'01 :.1 )4t 'W4t ;,11W;, ?14t'"T;' C14t Z,W
~Q t,~ ..1 )~4t N"W ;,Ni )';' '"T.1J 4tJvn :~~V ,.,~~ 8 .'"T )f4t 'i4t ;,Ni )t'Jli4t yZ,
W!)J;, :nn.,~ .,~V~ .;, )'"T 'wo ;,Ni :~~p iTQ~n .tt' )t4t N";,'"T 4t!) Z,V :~~~
lnOl;,W i 4t V i01Z,~ )nn'"T4tJ;' i4tV~ ;,4t;,n NZ,W 4t'"T~ ;,o~n nlJi'Z, ;,~4tiY
4ti'4tnin :.".,~ ~~.,n 9 .'"T 4t ).14t '~'"T ;,Ni );,it ;''"Tl~V '"Tl~VZ, ;,4t~Wln
C4tiYlJ;, 10 :."." n~Q .'"T'"TJ i'4t niN ;,J;, :n );,J ';,n ;,11W;, )'"Tl'"TJZ,
)N 'NZ,O ;,Ni )~i'~ z'w 14t nN )1WV 4tJ~ )C 4tiY1JZ, 4tlJ4t~ :n~Q .C4t 0Z,010;'1
.~i'V4t z'w 1'"Tl'"T )Z,NVOW4t 4tJ~ C;,W )C 4t 0Z,010Z, 4tlJ4t~ :."." .~
In!)OJl :N )'"T4t '~ 4t!) Z,V )~i'V4t n4t~Z" ';' '"Tl~~Z, 4ti~nnn :nn~o~ ~t,~,
'n4t 4t!) Z,V :~iT' ~~iT .n 4t )~z, 'n 4t ;,Ni )4tJJli' :~iT~ ~~~~ 10 .~i'V4t n4t~ Z,V
.Vi;' 1i~ 4tJ!)O 4t'"Tn!) :~iT" 1"~~ .4t;'1 ;'.1;'1 C4tJi' ;,4tZ,N ~ln~1 :4t )~
11 .1'"TV 1.1Z, i01Z,~ )C 4t owz, fiN;' 10 ;,Z"V :nnnQ c,.,t, iTt"v
CWl i~i' 4tZ,N 1!)1.1 '"Ti14t Cit' iW14t~1 Cln~ .11;'JZ, 4ti;,O :nn~~~ ~~,.,
;,Ni )i~i'~ :.,,~~ .no~ 4tnn~WJ :.14t )NZ, ';,n ;,11W;, )nn~WJ 4t~tvn
;,Ni )1'n~ 4ti4t :rn~ ~"'iT 12 .il~ 4tn~i4t Z,N '"Tiln Z"NW Z,N :1t' )'"T4t '~
)N4t 'i'4t l ;,Ni )Oil'"T t'J1V 10~ :r~~ .nv'"T z,i' W4tN 10~ :rt,~ .1Z, )~ N"W
).1 'wo ;,Ni :.,~,~ rV~ .1~ )~~ '~'"T ;,Ni )t'Jli4t yZ, :nn~,., ,~~~ .tt'
)1n'"T4t.1~ :1t,VQ 13 .iWNO ;,4t~onl ;,~ C4t i'4t tnoz, N4t;, c 4t4t n 1'V :n4t
.'"T )'"TJ 'W4t ;,Ni )4tw4t4t~n;, :~Qt,~iT .W!)Jz, 4tlJ4t~ :iTQ~Qn .1t' );' 'i'4t l ;,Ni
;,Ni )ilVZ, i'~'"TJ;' V.1J 10~ :nn~o 'Q~ .Nt'n n4t4tWV~ :~~n t,V~Q~
;,Ni )N!)iO ;,z, 14tNW ;,wz'n ;,OWJ Z,V cni :iT~~,n iT~ 14 .~ ).14t 'i'4t l
:3 ilt' ;,Ni :nn~Q~ iT"~'~ 1Q~~ .nlN!)i nnz' ;,w~n NZ, :N~ )z, 'n4t
.;,n 4t n!);, Nl;, C14t 0;'
.N7 NLR Evr. I 802 4t"~ :ili'O .,
NONJ',1 N'~N ;,nz,i' NOOl

NONJN ;,~ ni~n'~Nl
i~~ ;,Di4t / i~~ 4to~o / i~~ 4tPl!1 / i~~ 4toi~

"f "::l~ -l~ 1iT-l / .,~~ ~" / "fQ '~~1
:LiO in9 'i
"f1:;l '~~ / "f u>~ rli~~ / "f~tt "'Q~ / "f~tt r~:t~ 5
6. Title: (What I also said by paronomasia) by which I put people to

the test.)) Monorhyme poem in the vowel metre/mishqal ha-teni{at;
this sophisticated poem with internal rhyme is a mannerist play on
the biblical (homonymic) terms kar (dry or liquid measure) kar (ram/
pasture) kikkar (loaf of bread/valley) makkar (acquaintance) ikkar
(peasant) kirkar (to dance) and eshkar (tribute/to become drunk).
)il~;' n.,4t o l0~ )~i 14t4t ;'NZ,O 4tOl~ :.,~~ ~O,~ 3 .nlV1Jn;, :t,P~QiT
)tz, 'i4t l r )NZ, 'l4t N ;,Ni );'oZ,W i~4t~ 4tJltO :.,~~ ~n~ .;,~ );' N"O ;,Ni
),14t 'i~l n 4t ;Oz, 'n4t ;,Ni )i'OV~ ;,Vli W~~ l0~ 4tOl0 :.,~~ ~O'O .N~
);'O.,N "~1V :.,~~ .1 )~4t ~"O ;,Ni )Vl.,4t .,4t.,4t 4tJN :"~Q ... ~~~, 4 .~4t
:.,~~~ 1~~~' 5 .,1~ )z, 'W4t ;,Ni );,ViO ;,.,W IN i~~ :.,~ .,1~ )NJ 'i4t ;,Ni
10 nw4t l :N~ )t' 'i~ ;,Ni :.,~~~ "~Qn .4t )~V ';,n ;,Ni );,nJO r4t~l
:.,~ .1;'~Z, nlZ,yZ, iW~ ;,In :It' )~ N"W ;,Ni :~~ n,t,~~ .i~~l 14t4t;,
:.,4t )1 ~"W ;,Ni )l'!)i'0 :.,~.,~ ~~~, .C4ti~ C4t Z,4tN :n4t )t'z, 'n4t ;,Ni )W~~
.';' 4tJ!)z, tV z,~~ i~i~O ."."
.~7-N7 NLR Evr. I 802 4t"~ :ili'O .T
1NonNZ,N Z,V!) CNnn~nON 4t!) N'~N ;,nz,i' NOOl

1NOJN z,~ 1V
;'71~1 ;'~Y 14t~~ .,~~ 4t0~ / 1~ 1U'~7 ii~tl:1 Z,~1 .,~t:' ;,W~
;'7~J:l~ in~0l;1 ~4t7t:1G n9~ / ii t it1 .,t?~ 1U'~:t ;'~iV;:J1
;'~~",1 iZ, C~lvt;l iN!1n;,Z, / l4ti4t~n .,,1J l4t lvDO i~itl 5
M~!)~ irlN'?t'1 ~~ "M~:;l~ 'I "J;I~~ -it;llr"~i -i,il:L ~l!~
T
;,~~~ 1V~7 C~1 z,~~ i~~ / ;'9 i4tt?~ ni4t~7 1U'~7 ;1iY 14t~1
;'74t~~ iN 1i;, t'~9 1lJiJ ;4t~1 / ;'9~ryt Z,~0J:l07 V1 C~ V11
;'~i?~ .,iV C4t~4t,~ 14t~ in7~/ -G l4t~:t ;,'~ i0:t ;'~$J:1~~
160 CHAPTER TEN
;,7iN ' 04t~l} ~'"T"~ i:1 i,~ / ':(~iw7 iiO,~ ;"9~t:1 nNt7 10
;'7t?~7 :L~W~ Z,:;7 ~4t~ t;~1 / it n;J' ~7~0J;1 :Lit' 4t~ V11
;,Z,9~ 124t~o/07 t"!~ Nt;l / n7i:J~ O'"T~ '"T~~ 14t~ 4t~ 14t~~
l'1r7~ c~ CQi'~ 1" ~ "T~7 / "T ~t'1 ':f7lJ 1'V.f iJ'v. r,:t~
;'7~Z,~0 i~11~ '"T4t~l;l ':(~1 / ~~i?1 it?~O nin~iPl 1~ VG'
;,Z,1'OZ, ;,Z,iV 4t;,n i:L 4t~ ;,W1' / n1' z,:J:1 '"Ton niw1' z,:J~Pl ON1 15
Tri7Qt'1l'1f.'~ 'l'1l:'f~T:l ~~ "TiV1"/ ii~7 l,~iN '::i~ t.)~ ':ft;l~~
;,Z,OW:1 Oniti):J1 O1'4t:1W;'Z, / 0 4ti 4t W1' ~1' o4tWiZ, :Lin 4t~ V'"T1
T' '. T l'1~~:lr T"l'':f~~Q~Q t,;~'/ .;rt;lJ:l~ '~:t7 V"1~ r,~1
;'7~0~ iZ, O~~ '"T~ ;,~~t;1 / 4tl} z,~~ ~4t;:iz,~ 14t~ 4t~ i~W1
;,~~v~ 1lj~ 04tW~G z,~ Z,~1 / t','~~ z,~ 4t1~~ oJ? Ni:L~1 20
7. Title: (What I also said about concealing the performance of good

deeds from everybody.)) Monorhyme poem in the metre ha-merubbe
based on the Arabic al-waftr metre; this didactic poem is character-
ised by the regular use of the imperative form and phrases from the
book of Proverbs.
1 4tZ,V :t"V, ... iT~V 3 .0Nn:JnON z,"Y :c~nn~no~ 1 .;':L1iO;' :t,P~QiT

4tJ4t V:L 1 4t WVO :LWn4t NOW 1n1:JtZ, nNt t'}1i'tZ, 4tz,:L0 '"TOn ;,WVO n1wvZ,
00i!)01 O'"TNZ, ;,:L1t' ;,W1V;, :'''~'T' ... iT~'ViT' 4 .VWi ;'WVoz, ';'
'14t N ;,11W;, )4tNl1:L 1'"T1:L:J nN t'}4tz,no N1;, nON:L :iTt,iTn~ ... nQ~ .;,n1N
nN i 4t:JtOW 4t0 :.,~~niTt, ... "~'T' 5 .;,z,;,n 04tW4t 14t :JNZ,0:L1 :n4t )'"T
,t, c,~t" .N:J )0 'W4t ;,Ni )O;,:L iN!)n;,Z, 4t'"T:J 14t '"T4t'"T 4tZ, 0 4t:L1t';, 14t WVO
1no n11YO ;,t:LO:J 1;,10:J :iTt,,~~ ... ~iT~ 6 .N:J )t4t N";,'"T ;,11W;, :iTt".,~
NZ,W ;,:L:J4t nz'4t o '"T1i'4tJ .t'}N ;'!):J4t inO:L 1no :'"T4t )N:J 'wo 4t!) Z,V )inO:L
::L )0 '~ 4t!) Z,V )04t4tz,!):J Nt'1n N1;, :iTt,,~~ ,n~~n, .Nii'O:L ;''"T1i'4tJ:J
4t0z, '"T:LV O'"TN;, ;,4t;,4tW 4t1Ni NZ, :iTt,~, ... 1~~' 7 .;,4t nNt'n z,:J:L 04tz,!):J
1"Jn:L iONJ ON :iTQ~n~ ... c~ 8 .W1:LZ,Z, '"T,1:L 1N Z,,:JNZ, onz' ,Z, 1nJW
tVa '"T~:J :iTt,~~~ ... 1~~' .:L:J )t' 'j4t 4t!) Z,v )z,z,;,n;,z, o:Jnz, ;,NJ NZ,W
4t01 :iTt,p~ ... iT~~nQ' 9 .11tO 1N t'}0:J t'VO ,nZ"tZ, 1n1JW 4t0 z,z,;,n;,z,
.04tinN 0 4t :L4t'"TJz, ;,N11W;,:L z,!)W N1;, o 4tinNZ, ;,WVW ;,O:L iN!)nOW
)1n10Z, N4t :L;,Z, Z"Z,V 1 4t!) NY10 l:JW 1J1WZ, i1YJ :iTt,,~~ ... "'Q~' 10
'O:L 4t!) Z,v :iTt,,~~ c~~n ,.,.,~ .11WZ, '"T4t :L 0 4t4t n1 n10 :N:J )n4t 'wo ;,11W;,
NZ" o 4tinN 4t!)0 vown 1nZ,4t;,n 4t:J :L1t'W 31'T :iTt,o~t, ... V." 11 .,1z, )tt'
NZ" it 1Z,Z,;,4t ::L )t:J 'wo 4t!) Z,v :1~~ ... ~,~ .z,4t 0:J:J ;,4t;,n NOW 1 4t!)0
)1:L;,1 =1~~' 12 .;,Z,0:Jz, 1:L1~ Z,N1 :t' );,!) ';,n 4t!) Z,v :iTt,o~t, ... t,~t, .14t!)
);,Z,OJ 1Z,4t!)N V4t :LW;'z, Z,,:J4t 1J4tN O'"TN;, :iTt,Q~ ... 1~~ .,1:J )t' 'J'"T ;,Ni
;,NiJ O'"TN;, NZ,N :1t,n ... t,~~ 13 .tt'-1t') ;,0i' ';,n ;,Ni )';'z, '"T1,14tJ:L
.,;,z, ;'NllW;'~ =1'''~ .,~t, .1J!)~ ;,~z,nz, 14tJ4t V :n) 4t ';,n ;,Ni )4tJV 10~
:n )N 'wo 4t!) Z,V :"O,Q VQ~ 14 .t'4t )t' 'nJ ;,Ni :iTt,~t,~ C~ CQ'~~
..1~ )1 'wo ;,Ni )t'}1i4t yZ, :"O,Q n'M~,n .'4t~N iOl0 4tJ~ VOW
;,WV :iTt,VQt, C~' 15 .;'Jl~J;' ';' 'i'"T~ '"T4t on ,z, :iTt"t,OiT ,t"
''"TOn~ 4t~ nNt ;,WV )'~i'"T~ ;,ii'nW nlJO'"Tt;, z,~~ '"Ton ;,WVO
)c 4t i'i'tJz, 1n ),OYVz, 11tO;, nN il0wn Z,N :iTt,QM' ,n~, 16 .;,z,vnn
C4t~4tiY C4t i 4t WV;, :iTt,Q~~ ~'M 17 .Cz,~o CV nl;''"Tt;,Z, n~wn Z,Nl
1n4t ~ViZ, 10nZ, :t )n4t 'n4t ;,Ni )Wl~Z,Z, '"T.1~1 Z,'~NZ, cnz' c 4t4tJVz, nnz'
;'00 c 4t4t JVz, nnz' ,z, iY ;,4t;,4t NZ,W :iTt,'~T t,~, 18 .'"T.1~ ;,0~4t Ci4t Vl
.1Z, ,nn~ ,~~z, Vi4t NZ" :4t )1t' '~'"T 4t!) Z,V :t,.,t, t,~, .';' ,z, i'4tJV;,W
:iTt,'Q~ .,,~, 19 .,z, z,~t n4t~ 4tn4tJ~ :.14t )n N"O 4t!) Z,V )';' :iTt,'~T .,.,
:~~~Q~ ~,~~, 20 .,4tWVO Z,V 4t;,1Z,N Z,,0.1Z, ;,~tnw nlt'~1 "00 ;,4t;,
't'!)WO~ N~4t C4t ;,Z,N;, ;,WVO z,~ nN' ;,Ni )C 4t i"0!) 4tJW Z,w ;'~~i;'
'n4t ;,Ni )t'}1i4t YZ, :iTt"v~ t,v, .tt' )4t 'j4t 'Nl;, z,~;, iY14t 4t~'1 '"T4t )~4t ';'i'
.4tz, lWV iWN ,Z, 4tnnJ ,nZ,v!) :~ )t'~
.~7 NLR Evr. I 802 4t"~ :ili'O .M
l'Ni'JN '"TYi' 10 4t!) N'~N ;,nz,i' NOOl

4ti'"T4t NZ, NiNon 1;'1 4tiVW
nit:t7 ~WO I 4tl:liN OiV~7 I 4tl!4tW~W I 4tl!14t~ l'~

nit~ ~Jl?~ I C4t14t~ ~~t' z,~ I C4t1l?i~0 ':(4t~ I C4t1QiN C4t l?1.
nNt .n~ 14t~~ I NZ, z,4tt?~~ V1 1_.~ NZ, i~~ I lZ,h~ ;'1T.?iNl 5
8. Title: (What I also said about someone who aimed to diminish

my poetry and who is an ignorant donkey.)) Monorhyme poem in the
vowel metre/mishqal ha-teni{ot; in this poem with internal rhyme)
Moses Darci employs the converse of praise) scorn) to show disap-
proval of his critics.
4tnlN ~4tZ,V;'z, ;,Yi nv'"T z,i' W4tN :n'T~t, rt, 3 .nlV1Jn;, :t,P~QiT
,4tN :n'TV 1'~ 4 .t' )t ';'i' ;,Ni );'ilYZ, )04tV~;'z, :O'V~t, .4t ni 4t W z,z,.1~
;,Ni )C4tz,4tO~;' :C4t"V'~iT ?;'~1t' ;,i4t W Z,V nili'4t~ C4t nnl0 C4tz,4tO~;'
';,n 4t!) Z,V :n~T ~4t~ 5 ..1~ )n4t 'wo 4t!) Z,V :n'TV '~1r' .'"T1Vl n )'"TY ';,n
.t )~Y
162 CHAPTER TEN
Mt,Nt,'.1N1 4tiVW C Ni~N 4t!) Mnt,i' N001

Mt,NM'.1 i4t"TNi'O~ iNi'nnN1
~"TiOJ?~ ':f;4t, t,tt c4t~~ / t,in~ c~ "Ttl~J:l t,~ 4t!4t W

~"Ti~J?~ "TiV C'J ':f71 t,i"T/ - ~'J ':f7~" l;1~ 4t:p V'1
~"Ti~~ ':f~i! o~o 4tG~;1 / t,tt "T~ 4t1J?' C01~ t,~=t~ 5
~"T~N4t i4t:t~iN M~'J / "TiV M~ryJ:1 4t:p niN Mt i7~
9. Title: "What I said about bestowing honor and praise upon my

poetry and about scorning the fate of the ignorant.)) Monorhyme
poem in the vowel metre/mishqal ha-tenuCot; the self-conscious poet
employs self-praise (fakhr) in defense of his own (personified) verse.
:''''~V'l ... eN .i4t WM t,W MWJNM :.,na1 t,N 'l"'l~ 3 .n1V1JnM :t,P~~jT
)~1i4tyt, :''''~V'l '~'l" t,N .i4t WM t,V ni1i'4t~ C4t nn10 C4tt,4tO~ M~iM CN
t,V )t,1n W104tW~ W"T1i' 4t1J4t~ :t,'''~jT ,t,~jT .MnN :nN 4 ..14t ).1 'W4t MNi
M11WM :'''~V'l .,'31 .i4t WM nN )1n1N1 :,t" .t,1"T.1 1t,0 'M :.1 )to 'Mn 4t!)
1i4t~4t C4tt,4tO~M )CJ1y-, "T.1J :''''p'l ... t,V~' 5 .i4t VY "T~V4t ~i1 :.1~ )M~ 'i~
0'0 'l~V~ ."T1V1 "T )1~ 'W4t MNi )nYJt, :.,31 'l.,Vt, .i4t WM n1~4twn~ nYJt,
'MVi!) ~~i 010 t,~'1 n~ )M '!)1W '14tn1~~iO 4tOV!)' MNi )~1i4tYt, :,~~.,
)00 'Mn MNi :.,'31
jT'lnn .~4t ).1 'OW 4t!) t,V :n'N jTT ,t" 6 .0 )"T4t 'OW
.4t )~Y 'Mn 4t!) t,V :'''~N'l ... jT~jT .nYJt, "T1V 4tn4t1 :4t
tNl'~Nt,Nt, MN1~W C4t"TO tN~ NY'~W n 4t '.1M "Ti'1

M~i 4tt,N MN1~W tV M~t,i' NOV MNMt,N "Ti'1
C4t~~lO,?" 14t l;1iNiO iV17 / "T4t~~1 f~i'~ i~~ 104t~7 iiO~

C4t~QT"G i~,?~ i~~ / N'=t~7 "T4t~13 n~~ lOi~lJ Nt,n
C4t~o/1 C4tQ~ i~i? t~ii V~' / i'4t! C~l t,;':J N~M1 i~~ N~M1 5
[C4t~iin ~4t~ ':f4t~1 N\?in N~Ml] / {C4t!1J~ iitJ?~ ':f4t~1 Mtt7~ N~M1}
C4t~iO~? i!) iO l i~~ 104t~7 / t,~ 4t'2~,Q "T4t~.,~ ':f74tl!i4tn
C4t~Q~~ C4t~7t1 N;Jii i~Y7 / ':f~~~1 ':f~7 ~~:p "T~" t,;~
C4t~'T~V 4t~~~ t,~0 i"T,?~~ / C4t1;~ "T;t' iO f t~tlJ:1'J1
C4tJin1 c4tDOiJ 14t !)t, ~N niNYio~ / i"T4t~ i~.1 4t"TDY t,~ ilON 10
, c'~~ijq ~i:lf iw; i"O~?1 / tit;i?11h. 011tt7 TltIiJ~i
C4tJ,l' ""~,,, N4tOY~'" / ~4tl"O~ i1~1' t,4t:J N~" N~'"

tJ'~iN1ii9~ -,~ tt~~ 't.j~1' / l'1~~~n tJ,,!ii~~ i~i6 N~l'1i
C4t~i~~ in~4t:;l~ 14t~G C~1 / C4t~~n inQi1J~ C4t~t:lQ N~"1
C4t~i'n~ t,~ tti07 li't:l~ N~"1 / C4t~~,~ t,~ C,~~ liwN! N~"1 15
C4t~~7 f'~ "1t?~ i'~1 / "~7~1 i'OW "1J~t? iJ4t~~
C4t~W~'J f 4t i?'Jf C~i?i4t1 / ClJ4t~9 C~ '4tN~'~ t;~ ":1J9
tJ'~b~ itl9:;>ry~ tJtJ l-PQ7 / li'l?[J;]l ttt'~O '7~ "~3:'Q t,~1
C4t~iOn1 ni~;1 '~o/~'J1 / '4t~7~ {ni?~} ~~9 "t t,~ ltl1
C4t~iVTftl 4t~~i:J1 C~'J t,inf / ':f1i~9 t;~ cw 4t'J~ V~1. t,~~ 20
C4tJiN.a "~,, 'WN C4t:JNt,O~ / c~n" C~'N ~i'~ C4t~.at,.1~
.tJ'~i2t ;~ ttWQ7 tJi~' r~f / r19'tJ~ tJ~ '~tJf i,~"1~- ~~
c4tJiV,t ':JOO~ C4t nOY:J' / C4tOW.a~ niO'N" 1Z10,~
tJ'~;I~tJ ,'P7Qf' ~-P '1ib~"i 'O~l C~' ~rrn ~{V ';l~Q~
T
C4t~tl,? Wi'~tl1 ni~~ t,~~ / W1~i'9 '~Y cw 4t'J~ t,~ ,~t?~:p 25

10. Title: (Herewith I scorned a person who was always lamenting to
his brethren) and the blindness of his heart diverted his attention
from lamenting to his LORD.)) Monorhyme poem in the metre
ha-merubbe based on the Arabic al-waftr metre; here) Moses Dar'i
opens with an expression of scorn (hija) but quickly moves on to a
liturgical-like praise of God.
)ON'O" :r'p~ "~N .,,'1210" 4t,~, :~~Nt, "'~N 3 ."~"O,, :t,P~~jT

C4tJ'WO C4t,~, :C~~'~~jT ,~n'N~'~ .4t4tn~ 4tnyi' :'0 )t:J ,,~ ""121"
4 .cn'N n'NYO" t,:J nN :.1:J )~ 'w,,,4t ""121" ),t, C4t"i'''
1t, ""1'121 "0 C'N l~ t, ,!)Ot, w4t4t~no 1J4tN" :C~~~TjT~ Nt,jT
.~4t ).1 ',~ 4t!) t,V ),!)V Nt,N ,J4tN N'" :.,~V N,jT, 5 .10t" n'V"NOO
.t )t, '~ "N' )tt,,4tYt, .n'~4twno i'4t" 1'V ,on C'N" :p~" C~' t,~jT
"t,4t C'N :N ),4t ',4tN 4t!) t,V )tt,t,n l~' n",~ V~W C'N" :C~~~ ... V~~
:C~"MN "'TV~ 1~N' .tt4t4t V N'", :jTNt,~ N,jT, 6 .t.1' V~W, C4t o4t 'Yi' "WN
N'", 4t":J~ NYOJ Nt, ,.1'0" :C~~'''M N,jT, .C4t,nN C4tWJNt, ,t,V ,J4tN
:,4t )4t 'n4t 4t!) t,V :C~~'''M ~~~~ .2.1 N'~O "N' )D82 4t":J 4t!) t,V N~'O
t,V :"V~ ~~Nt, .4t )~4t '"n 4t!) t,V :t,N ~to~~~ 7 .'J4t"t,N ttN l"n ~4tW"t,
"'Y nv~ :C~~~N~ ... t,~N 8 .n,ot, ,!)'O, :C~~'ONt, '~'O' .t )~Y '"n 4t!)
)tt,,4tyt, :1~t, ~~ .C4tWi' C4tV.1!)O V4tW,,,t, t,,:J4t N'" 1" '"t, n'J!)t, 14tt,V
C~~t,M .1N!)' '" 4tJN 4t:J :,:J )'~ 'OW ""121" :N~'" .,,~t, .~ )"0 'lU' "Ni
:C~~"NjT 1~MnjT' 9 .C4tJONJ' C4t V' c4tt,n, :~J )n:J '~, 4t!) t,v :C~~~N~
,4t:J~" 4t J!)~ ,nJ4t nn ,~!)"~ C4t,~V" 1" nN:J ,4tJ!)~ n" t,!)W """
',~ "N' )""yt, :,"~v~ .,,:J )~ ',~ 4t!) t,V :c~,,~v "~V .C4tJ"N~W
o~r:~r:~~~~r:~Er:b~\nOnE~on\~~~r::>tQn1::\~r
~ !J ~ ~' J: ~ .- J: ~ ~' ~ 0 I: \~ 0 r a n Q \ .- 0
..,.,-~rrn ~rr:'" ~~ ...... r~"~~
~ ~ ~ ~ ~
Qr: r ..- J'
o ..- 0 .... ..- rt ~~
~~.- ~ - [] 0'" ~ . , - ~ - . ~
rJ'J'~~
~ ~ ..'" 0 ..- r ..... ~ 00
..- ~ '" P:=!o
.~ 0 .....
c: r:
0 0 0 ~ rt ~ ~ .. . ~..-'" . .- n ~ : r: ..- ~ q n
~O~~ ~I:
, r ~ ~O \
,- .. ..-"- ~J'J' ~ r 1::\ . ..- 0..-
~ ~1::\l""""IJ:r J'..- ..... ~.-rl1l""""1~ t:11~~1:00 no~~~r: Q o ~Q
n.
"""\~ ... ~ ~\r:J'~
~ J' := D ...... J' r: J' &. !i 0 b i
~ ~~ r:o
r
... r: r: ,- E nob ~ ::" ~ ~ Q n. F J;! s= ~ ~ 0 ,- ::-' P J; ~-f' n P 0 r ' f: ~
r"
~o .\"
n
9 1) ~ ::i != i} ~ n l;l~ ~ r: ~ ~ ~ <"'l J;
... Lf)'
f
n.~
J'J'
~r:
0 a; ~ !1 ~ ~ 11 n. ~ 11 ~ ~ I:
n r:O
!;
"""~ .... ,:;~..- ~ ~ or: r: n ~ ~ I: ~ 11
~O""
n~ r:_ [] ..!J, .....
~r:
~ rt... '" ...~ ::
~
~o
rJ'?n.-' ..-~r:MJ: '" .,-.J'o 9~ ~ :ono~r -r::
!>tJ'
....
... r: ... ..-J:\J'r:"- :>t ~ r:rp",.:~ ..... Q ~ ~ ~,..... ~rl1~\r: - I:. . ~. . , . .~ 0\ N
~ n",~ ~ "'J' :>torJ'oJ:J'o"- ~.- r J'\ol""""lONn~,
~ ..-..... o , n
[]o . ..- ~~~ n~ 00 ~r:
i1 r: Q ..... f- F ~11 \~!1 r-: ~ ~.J? F
9 [;
. . . nJ' E \ f: != 0~ r: 11r:-..-~~ 11 0 1::\ N Q QO
r N
~
~~.Q,-r ~o ..... rr~'- n '"

J'9 .. ~::-' NI1~n~::,,::,,\ J;!~ "'r:1::\r:n.-q::-'[]~or!ln.pf' .. ::J ~ ~
Qrol1~rl""""l~ "-l""""I 0 0 ~11' ~n .. ~~ ... ~.-~ r:>t ~ n.

z
~
~ :r:o 9,-11~J:
r- n ,-, 'r:' - I:
11 r J''-I:
E~!=~
~ ~. 0..~
-,........,
....... O\E~r:
p....; l""""I
"J' ~Q- ..- ..... ~ ..-
.-r~
~ ..-
\ J'
p
n r ~r c- ~ ......-
~ ..-
1: 0
~ ~ n.
~
~
o
E-i ~..- ~
Z n
:r~~2~ :~~~~E~9~~PhO~EEFEl;l~~P-~~Bb~~ 00 ~
~
~
E-i ~
"'~~f:r:;7~J:~~ .~ ... t:nn\:;o:;[]'=-oJ'~~'-~
r: .. .....". 0
r ~ - "'.... """,.. -..-:: ~ ~...'- J' r: 11 ..-
n~oo .. Q!=
~ ......" ~ ~ f:
n : ~ .. ~ .- .... ~ ,- r 0r: 11 n J'
~
~ ~ ~ ~ ~ ~J'
< ,- rt ~J' ~ .... p ~ ~ ~ J' 0 .- ~ n
11 .....
~ ~ r J' r: J'
n
::c: o 11J' J'n~~r:~~'-~QI1I1~J'J'Q.. r:n. \~ Q:>t N .
u l""""I 0~ r ,.... ~ ,.... .... ,- \ []
-II. -II.
... t: :".....
.... ..- ~ ~
'" ~ ~ ~
.-
r:,....~
..- ~
-II.
r f..t 11n ..-r
'"
0 ~ ~
~ n,-: ~ n r:
o
o~;.~.~ nEh"- rie 0~~::"0~ ~Qc-l1 "'rn\ r .... ~n
n~or:oo~~ .. r:r: l1 r ~ c-o .. J'..- ~ o"-~ol: ~
~ C - , - ' ~ \ .- ~ ,- n ~!1 r: != ~ ~ \ ~ 1: ~ ~ o~ ~ b 9 ~ !=
..-~~
"Mo~'-' .... ~~r:\~
~\..-,~
.... ::J~
~ro-J'
r:--~' r:~r-r:
..... ~n~
11~..-. '" I: r "
....;;;0
aJ'F~.~O"-~~~~~~o~~~~~r:~r: l1~n~Pr:~u~F,:;
..... ..- '" ~ ~ ..... ~-~- ~ ............ - r"-~"- [] -o"""r: "' ....
n 11~~ r:J'n "'n.QQJ'b[;~ 0bnl1~onr:. s r -~ ...
~J'~::"::"J:r:r:..-n ~ ~ \. o~..- .. J'~ 11 !In. :n .. fJl1~J;!
rQ~ Q~J'~~bb9~QHl;l-F... J;Fr:~;2F::.t;;r o!J
~.F r b !! A ~ ~ J' 2 Q' 0 r J' 11 r: Q Q i} E ::;; r:: r r ~J' J'
r"
f r" r" r"
~.-~~\,-r E.-r:oo..-gr:9~rtJ: 0~110 h1::\..-~ ~o

\.- .... r:J' r: r J'r:~~~-r ~J'J'" ~'" J:J' ~ . .-~!= n r Q n I=-~o~ .. [] ~r: Il 0 ~
"'n~'- ..,..~on."-J: ~n.... ~
~~~~~Er:~~~J:.~nr:~r:r: r: ~..-o"-0onhl1~or:
~ rJ'~~.~ n I1~ ~o o~ J: J'~nQol: r -J:~
~
\0 ~\ .... rts.~nO~~ ~ .Mn.oor:OJ'o~~J:rQo~ ro~
l""""I FJ'~~oJ;!O~~J:o::"rq~[]~l""""Iq.n.NJ'r:~Or~J'~rr:q
CD!)J CrlO lUtN z,~ 4tJ!)~ / C4tOirl i 4t D 4t~wi4t 4tn4tNi

T:. CDi~ OOnl TC~~O Di/-~O 4tz, ~iO~~' Z,NWN1
tCD4tji~Z,~ -cZ,~~1VrlS / 4tS C4tj4t ~Oz, ~~4t1:N;} 5
tJ~ '~i?inlQ tt~6 ci~ 1 1i~1fQ ~~ 'tiNt C~I~Q
T
11. Title: (What I also said about people who are about to be annihi-
lated by their king as a result of their misbehavior.)) Monorhyme
poem in the vowel metre/mishqal ha-tenl1(ot; the particular theme of
this secular poem with biblical quotations can be compared to that of
poem no. 44.
i 4t Vrl :C~Q'i1 .ro )n 'j4t rlNi )t'}1i4t YZ, :.,~V ~~~,~ 3 .nlV1Jnrl :t,P~Qi1
.rl4tOlrl i 4t V rlNZ,O nlNwn :~ )~~ '~ rlNi )CjN l1NWl nlZ,4t V!) NZ,O
:t,~~~, 4 .rl )tV 'rln rlNi :CV~~ .CrljJ CrlO jnN z,~ :CV~~ ~~~,
.i4t Vrl 4t~Wln 4tz, lJV :~t, '''Q~~' .rlOrljnrl ili'O lrlO 4tnZ,NW
:CV~"'i1t" i1~~~~' 5 .C.14t rlJO i'W1Vl c~Z,o nlVlViO :CV,., V,.,Q
'nJ rlNi )rlilYZ, :ct,~~~i1t, .nVj CrlZ, nlJi'rlZ, 4tJOO C4tWi'~Oz, 4tn4tJV
.t' )N 'NZ,O 4t!) Z,V )C4t4tNinN COYV i 4t Vrl 4t~Wln :n~T C~"~Q 6 .~ )t'
.z, )jz, '14t N 4t!) Z,V )4tNOil Vl~Y CjN 1~4tZ,OrlW 4tJ!)O :CV "t,QQ
.~8-N8 NLR Evr. I 802 4t"~ :ili'O .~4t
rl~nyZ,N z,~i' rl~nNZ,N lNnnON 4t!) N'~N rlnZ,i' NOOl

CrlZ,NYl z,~i' CrlZ,NlnN iN~n'~Nl
i'4t'yZ,N rljV~4t IN i'4tjy ~NJn'.1Nl
C4t1~:P 4t~~7 C~l i1t' n~7 / C4t1iN~ ~4tt'9' ~Vi?:t 4tT?7

C4t101 C4t~~ ~inf in1\? i,~ / ji,; jij~ t;~~4t ~~7 rl~~1 5
C4t10~ ~4tt'9'1 j 4t1in Nt;1 / jiV ~~4t~ rltt:1J;1Q C4t1~ t:1~1
C4t1~W~ ':(~ t'~0J:llj~9l:l NZ,l / ':(~0t;1 C4t1! n4t~7 ':(7~1 ':(4t~1
C4t1i?~~ ':(7 C4t77it N4ti4t1 / rl~~~ NZ, C4t1~t! ':(1;13:''1 ':(4t~1
C4t1~Wi? jiV i:171 ':(~ iW~~l / C4t~~O~ 14t1i'; j4t1~ l4t~~ 4t1~
C4t1i?' c~ N1V? ~7 c~4t~ 4t61.~/-1T? i,~ C4t l?1 ~7 ~Z,~~1 10
C4t1it~ iin~ ~rl~ ':(7 i~ n~1 / C4tt:1~7 ':(,'~ n~~ ~O,~ i,~
C4t1Q ~ ~:11~ ~ 1;13:''1 ~iJ~71 / C4t1:t'1 ':( ~iPl.~7 ~i'4t7t:1~1
C4t1~Q it1~T? ~~~~~ Z,~1 / llJ nijl WiP.~ ~~1! z,~ l~7
C4t1~~, C4t7~ ':(in~ ':(~9W n~1 / i~~7 ':(~NY ~~Q ':(i!1'l:1 Z,~1
C4t1iiT? l'~G W:;1 iN t'}~Y rl1~/ -13 Z,~1wiiG 4t1~ Wii1l:1 Z,~1 15
.tJ'"'!!tH tJW"117 f~ ';,l~~1 i i:a .;~~ l'l'r- '7il t,~ . . ~ V11
166 CHAPTER TEN
C4ti~" 4tz,~~ CNl .,4t .a0 nON / iWiwl io~n4t~ ~N 1vDO~

tJ'!~t! iN' tJ;,~~ ,-r; ir-IJ:i~7 /vti1'?f ui'~' r,~ '~p. :Lin l~ ~~1
c4t,t't? c~ ni';~~ C~7 1~!) / iPlJt17 niJi4tt?~~ iO~~~
c4t'~~f iniN C4t,~iV Ctl c~l / iN,?t'~ .,i,; z,~ ~i'~~J:1~ C~1 20
C4t'i?1J~ l~~~W~ .,iV 14t~11 / 14t'4t1~ z,~ iZ, ~Jn~~ 4t1~
C4t',n -=riPl 14t~07 iN i'4t t:11t17 / C~JtG:p t;~; Z,~0~0 ~4tWv7
C4t,~V~~ 14t'4t~n ntJ~!1~l}~ / itr~4t9 lO:t~ WiJ~ nintin rlOi?
c4t,~n~ C0 C4t~4t~~ z,~~ 4t~t! / -=r~iiN~~ z,~ i'~~~ C1'i?1
C4t,tl~ C~ Z,in 4t~~ ~4t~ ~07/ -'~ ~Z,1 i04tl:11~t 1tl C~i? 25
12. Title: (What I also said about testing beloveds before becoming
friends) examining their qualities before becoming intimate with
them) and about keeping away from a friend in case distress makes
him go away.)) Monorhyme poem in the metre ha-merubbe based on
the Arabic al-waftr metre; this didactic love poem advises the lover
first to test the beloved)s loyalty and patience before confiding in
him.
)irlJ 10~ 1 4t nlVO., nli,14tJ 4t0z, :c~.,,~~ ... ~Qt, 4 .rI~1iOri :t,P~QiT
)rlW4tNZ, 4t~Z,0 4tlJ4t~ :.,.,n n~t, .rlVO., z,nJ~ 4t.,4tilr1 :n4t )~ '~4tN rlllWri
)n4t~iV~ O)~ rlZ,4t Ori rlllWri .rln4t~~ ~1i 4t!) Z,V NY0 4t rlZ, rI~i"W z,z,,1~
.n4ti~,1r1 rli~nrl 10 ni'nlJOl c4tWJrI 4til,10~ rl4t nrl rlW4tN nJ4t4tYOri
rI~Z, :~4t )t W"rlWl ;4t~Yz, 4t."., rlOl., :" )~ W"rlW rlNi :c~.,~~ ~~~t,
.".,JZ, 1~Z, Z,~14t rlO~ )~1r1N :C~"iT' ... iTQ~' 5 .C4ti!)~~ rlJ4tz,J 4t.".,
:C~"iT~ ... c~.,~n~, 6 .t~ )nv 'rln rlNi :C~Q~ t"n~ .rI~irl lnOOVO~
)z,nJ 10~ nlVO., z,4t trlz, 4tz,~0 C4ti~n Z,W Crl4t J!) nlNiZ, 1 4t J4t V 1~r CNrI
n4t~ Z,N 1Z,n 1 4t Nl :c~",~~ 1~~' 7 .4 ill.' rlllWril n 4t )~ '~4tN 4t!) Z,V
"von NZ, :NZ, )tz, 'rln 4t!) Z,V )14t4t.,VY ,.,V0 4t W 4tz,~0 C4ti~10 NZ, C4tWJN
8 .1Z,rlJ n4t~~ :1" )rlJ 'rln rlNi )Z,V4t!) 14t4tJ~Z, :1t,iTn .14t iWN
ili~Z, 4t.,~ )C4ti~n Z,W C~4t"z, 1nv" 1n4t n NZ, CNrI :C~"P~Q .1~~'
N4tYln CNl :"4t )1" 'i4t rlNi )c4t~vnJrll C4t Viri 14t~0 C4t~1"rI nN CriO
iWN i~n :C~~'Q~ ,~."., .,~.,~ .,1~ )"i' 'rln rlNi ).,V :~.,v 9 .Z,Z"tO ii'4t
... ,~~~, .NY04t 4t0 C4tJl0N ~Nl :1 )~ 'WO rlllWri )n4t nON ln~rlN
:C~"P~ ... ,t,~~, 10 .1W!)J~ rlilWi' lW!)Jl :z, ).,0 'i~ rlllWri :C~"'~P
C~ ~,~ .ii'W Crl4ti~" 4t~ 110NZ, 4tlNi lJ4tN 14t4ti~n 14t~0 4t0 rlZ,,1nl
11 .ii'W 14t 04t CJ4t 0 4t l N1W i~" Crl 4t!) :n ).,0i' 'rln rlNi )t'}1i4t YZ, :C~"P~
:n ),14t 'i~ rlNi )i4t WV rlnNW~ C4t~1ii'Z, C4t Ol., Cri :c~n~t, ... 'Q"~
C4t,110J Cri rli'1YO~ 4tliW rlnNW~1 :C~"'T~ ... nv, .1JnJN C4t nN C4tWJN
rlNi :C~"~" 1n,n~t, 'p~t,n~, 12 .ilnN litJ :., )N '~ rlNi )ilnNZ,
:~ )NZ, 'i~ rlllWrl )1nlN nloiZ, :1nV., ~,~~t" .11i'4tZ,n4t CJ1WZ, :4t )rl 'rln
nv'"T ~Jllrl rlt :N"V t'z, nlVl~W ~"nl ; OiNrl 1~Z, ~z, nN ~i'V4t ~Jl4tl
4t
qn ... t,~ 13 .C4ti~'"T rl~i4t Z,~Orll :'"T4t )4t 'rli' 4t!) Z,V :C~"Q~ ,~.,~ .n14ti~rl
nWN :tt' )N4t 'WO rlllWrl )n'"T~1~0 rlW4tN NW C4tiW4t C4tJ~ '"T4t Z"rlZ, 4t'"T~
~t,n 14 .C 4tiyn ~t'4t0 Wi'~ 1n4t~Z" :c~.,~n ... t,~, .'"Tl~~ 10nn 1n
C'"TNrl ni4t~ ilN4t n rlllWrl .C'"TNrl VitZ, lnJll~1 )'"T 4t )~z, '~'"T rlNi :1~~~
.NllWZ, :"~Vt, .4tJN4t!)i'n rlJ~l~1 4tJ~4tnn ~z'n~ NZ,rl :4t )4t '14tN~
)lJ1N rlWVoZ, tOli Nlrll .NllWZ, 14tnlnl~ nN t~t~n Z,N :C~"'~~ ... n~,
)WNirl 10 :~'''Q .rlNl!)iZ, W04tWW CW1~ t'}iW :~.,~ 15 .t' )nz, 'i~ rlNi
4tn4tiN :N )rl W"rlW rlllWrl )t'}1t'i'n Z,N :iT.,~n t,~, .Z,Vi noy NlrlW
)iO 10Vt'W noyo :C~"'''Q YVQ .4tW~'"T CV 4tiV4t 4tnZ,~N 4tOW~ CV 4til0
t 4t no 4tz,~ z,~W 4t!)~W )nv'"Tz, 1 4t Z,Vl :C~"Tn~ ... V." 16 .1t' )l '~4tN rlNi
C'"TN 4tWVO 1~ )1WilWO C4t n01Y 1'Vrl 4t!)JVW 4t!)~1 )1~ W4tW Z,tlJrl nN
~4tt' Z,v C4t '"T4t VO C'"T Nrl 4tWVO :,~.,~, ~VQ' 17 .1~4tt' Z,v C4t'"T 4t VO
:c~"~,, ~t,~~ .1Z, '"T4t lN nON rlnVl :~ )N4t 'J'"T rlllWrl :"~~Q nQ~ .101n4t4t
:~~~ ... ~,n 18 .CZ,'i' VOWJ 4tz,~ C4ti~'"T 14tNl iON 14tN :'"T )t'4t 'rln rlllWrl
19 .C4ti~n ni'4t4tw 4tJ!)z, :c~.,~n ... c.,~~ .C'"TN Z,v nZ,t'10 rl~1n
nNl C~z,~ 4tl~nrl nN nv'"Tz, 4t'"T~ cnlN nl0JZ, :c~.,no ... 'QO~~
20 .1~~Z,~ z,~ nv'"Tz, lnl0JZ, :NZ, )~z, ~"rl'"T rlNi )lnoNZ, Crl4tnlJl~n
.~1rlNrl 4tNt'n Z,v i~lnrlZ, C4tZ,,~4t C4ti~nrl CN :,~~n~ ... 'p~~n~
21 .it Nlrl lZ,4tN~ lJOO C4t i'ninO Crl CN IN :c~.,~~~ c~,
)C~4tt' Z,v '"Tl0V4t iWN '"TV 14t '"T4t'"T 4t z,~ nN i''"Tl~1 ~W Nlrll :c~"pn~ ... ~.,V
Crl4t WVO Z,'0l~ CrlZ, nnz' :C~VQ~ ... ~~~iTt, 22 .Crl nON 4t'"T4t'"T4t CN
.Crl4t'"T 4t rlWVO~ 'rl Z,,0l CrlZ, ~4twn :'"TO )l '~4tN 4t!) Z,v )10V
10YVZ, il0W4t l i 4t n0 4t i'Z,nl 14tZ,VO i'4t ni4t i'z,n :c~.,.,n ... p~n"iTt,
1n~JW C'"TN z'w iOl0 4ti~'"T ni' :"O'~Q ... iTnp 23 .1iV 4tii'4t nliY1N~
il'"T :~ )~z, '~'"T rlllWrl :,~.,~n n'~'~iTn~ .14tilVJO C4t il04t4t 4t'"T4t Z,V
rlii'4t 1rl~ rlZ,4t O z,~w )rlZ,N nlYV :c~."n~ ... c"~p' 24 .rlOrl n~!)rln
i'JV '"TnN~ :t' )'"T W"rlW 4t!) Z,V )iNllY Z,V 4t'"TV~ '"T 4t on 10V NW )rlJ4tJ!)O
25 .C4tJ4tJ!)O rlo~n rl~1t' 4t~ :N4t )n 'wo 4t!) Z,V :c~."n~ ... ~~iT .1 4tJilYO
rlJl0 rl4t rl lZ,4tNl )i~1t i~1'"TrlW C4t ni'z,rlO i'z,n i'i rlZ,N :c~.,n~ ... cn~p
'i4t rlllWrl )C4t t'}1nZ, Z"nrl 4tilil i!)OO Z,V rlZ"V Ci!)OO rl 4t rl )CZ,,~ nN
.5 ilt' rlNil )C 4t 04t Z"no 4tz, 10YV :n )1t'
rlZ,4tz, 4tJO~~ N01J 4t!) N'~N rlnZ,i' NOOl

Nz,.,~O rlJO 1'NZ,'~Z,Z, '"T'lN CZ"
168 CHAPTER TEN
;'9'~0 t~ i~~ c,~ / N1e'~J:l~ ;4t~ iN C~i~ ;4t~

;'O~JO iZ, iD &,YJ4t / z,~~4t NZ, 4tn ini4t;,~ 4t~
l'l~"'l C~ l'l~1ii:l &'iN~~ iT~7V?~O :mz>~ in~., riN~~~ 5
;'0'; z,~;,z, C-rN Z,N / 4ti~-r 4t~~z,~ ii~tN1
TT -:-:- TT :- -T:e :-/T
13. Title: (What I also said about a sleep which took hold of me one
night) and from which I could not find a way to escape.)) Monorhyme
poem in the vowel metre/mishqal ha-teni{ot; this poem ending with a
biblical citation from the book of Psalms stresses the transience of
human existence and the certainty of death.
?;'N.1nO C-rN;, ;,Oz, :n4ti1t'i ;,Z,NW :~~~n4t ... 14t~ 3 .n1V1Jn;, :t,P~QiT
to i!)V C-rN;, nN C4t ;,Z,N ';' i~4t1 :t )~ 'i~ 4t!) Z,V :iTQ"~ ... c.,~
:iTQ'~Q ... ~t, .n4t )~4t ~"W ;,11W;, )4t n N1;, t4t4t-rVW~ :4t n ,n'4tiT~ 4 .;'O-rN;'
n~~~, 5 .~ );' W";,W ;,Ni )tW4t 1J4tNW 4t0 :,,1' .1nJWO f'i';'z, Z,~14t NZ,
1t,~'Q .1nO-rNZ, ~W4t 1n1i Nyn :-r )10i' ';,n ;,11W;, )1n10~ :,n,.,
)t'}1i4t yl, :iTQ., iT1't"n .N~ ).14t ~"O ;,11W;, )i~i';' Z,N ,Z,W10 :t,,~~~
i~1t 4tJN :t,~ "'~T~' 6 .;,vZ"n C-rN t~1 ;,Oi W1JN :1 );,~ '14t N ;,11W;,
.-r )-r0i' ';,n 4t!) Z,V :iTQ., ... C.,~ .';' 4ti~-r nN
.N9 NLR Evr. I 802 4t"~ :i1i'0 ..,4t
to l'NinnNZ,N 4t!) N'~N ;,nz,i' N001

Z,NOZ,N1 ;,nyZ,N 4t!) Z,NOVNZ,N i 4t NO
~, z,~t1G ;7 C4t1tiV;:J / ;J:l7~J:l~ ;~i;, z,~ o~n

~'i?; ~1~ ;~4t~4t~ nNt / c~ nin~ ;~iW7~ ;,t 4t~
~,V? n~ z,t?t~ iii' cin:t~ / ;,~:t~ ~~,:t~ t;4t~ tiN:t~ 5
~'i?~ 1'~1J z,~ C~ ~7~ / i't11l:1 C~~ ;~~, C~
~,JtJ;l C~l? C4t~t1 ni1~ / C~~~ CO~ C4t~~ ;1N
~iDJ ;,t CD -rDZ, -ri~~ / -r4ton~ nNt ;'i~~.1~ n~
:111~iN &,;bt;l~G :1~iN I &'f
T 'i[~ .,~~~ c:j~
-riP I
~,Jt~~ n't~ i'in1~ ;~/-~ i't11~ ~~~ C~t7:t~ 10
14. Title: (What I also said about being wary of all actions concern-
ing health and property.)) Monorhyme poem in the vowel metre/
mishqal ha-teni{ot; the poet and physician Moses Darci stresses the
importance of good health and property.
)1nNl!Jil :1nt,Vn, .1Wl~i z,V il0W :1~'iT t,V o,n 3 .nlV1Jn;, :t,P~QiT
nlN4ti~;'1 Wl~i;' :1t, C4t.,T'ViT .1Z, 14tN ;,z'vn nN!Ji :,14t )z, 'i4t ;,Ni
'n4t ;,Ni )t'}1i4t YZ, .Z,,'1,1 N~YO :~., t,4t nQ .;'iY nv~ O'1N;, nN 04tz,4tyO
.'1 )~z, 'W4t ;,Ni )t'}1i4t YZ, .11WZ,~ i'14t '1 :n,n~ 1~'~t,~ .1Jl;' :iTT 4 .1t' )nz,
,1~ )nz, '14t N ';,onZ,01 ~ii' o 14t Z,' ;,Ni );,onz,oz, :~"pt, .1nZ,vn :n~T
)~Vi 01i'0~1 :iTV~~ ~V.,~, .;,now )iVY 01i'0~ :t;4t~ 1'~~' 5 .'11Vl
~i 01n nv Z,t'~1 :~.,~ nv t,~~, .ili' )01n 01i'0~1 :"'P c,n~, .V~1W
z,z,,1~ :~"p ... 1nv., 6 .i4t yi' on~ z,t' ~V~ :'1 )n4t 'W4t ;,11W;, )W~14tl
7 .~1ii' ;,Yli ;,nNW ;'0 Z,~1 );'i',ni 1niY N;,n )1nZ,vnl 1Jl;,
.04t~iVl 04t~1iN o 4t4t n 4t'14t z, 04tN4t~0 nlN4ti~;'1 Wl~i;' :~.,vn 1"~
4t4t 4t
8 .0 n nlJWl 0 04t 1iN :~ ),1 'wo ;,Ni )t'}1i YZ, :c n 4t 4t4t 1"~
N";,'1 ;,Ni )t'}1i4t YZ, :iT"'~~' n~ .i'tn '14ton N4ti~ O'1N :,4tQnn n~
;,Ni )11;';' OV '14ton 11i~ '11~~;' :~.,v~ ... ,,~~ .1nZ,vn :n~T .~4t )t'~
14tW~V 04tYli 14t~4tlN z,~ )1nZ,vnl 1Jl;, z,z,,1~ :~., ... CiT~ 9 .n4t )n 'wo
1J~ lZ,4t!JN );,Z"n, 4tJV ;,4t;,nw~ :1 QQ ... cn~t,~, 10 .14ti~n n14t ;,Z,
4t!J Z,V :~"VQQ n.,TQ p,n.,~ .N~ )~4t '~'1 ;,Ni :1 QQ pn"4t .100 i'nin4t
.~4t ),1i' ';,n
.N9 NLR Evr. I 802 4t"~ :ili'O J~
NOJZ,N '1n',1 4t!J N'~N ;,nz,i' NOOl

NOZ,!JN N''1N Z,',1iZ,N z,'Y!J
iZ,4tlJ i!;J4t l iPl1~ OJ? / iW~~ O~ i''1'r lZ,h~~ ~z,

/
iZ, ;'~1~!l:l NZ, ;,'~ i~~ 14t J:li'1 z,~ ;'~7~ n~
15. Title: (What I also said about women repudiating the merit of
their husbands when they become bankrupt.)) Monorhyme poem in
the vowel metre/mishqal ha-teni{ot; this poem links the theme of
women and marriage to that of wealth and poverty) and represents a
conventional literary play on the conflict between the sexes.
.1nWN 4t J4tV~ ~1t'1 i'4t'1Y Z,V~;, ;,4t;,4t :,n~~ ... ~4t~iT 3 .nlV1Jn;, :t,P~QiT
)1Wl~iO ;,~ni '14t~ lnwNZ, 1n4t4t ON :,t,4t n "T~4t' .1 )N4t ';'i' ;,Ni :"~~4t
NZ,W~ :iT~t,4t nv 4 .N4t ),1z, '~'1 ;,Ni );'ilYZ, :,t,4t n .'1t' )~4ti' ';,n ;,11W;,
.'1~ )n4t 'n4t 4t!J Z,V :iT~"~Tn ... t,~ .1nWN nN OJi!JZ, '11V Z,~14t
170 CHAPTER TEN
.N9 NLR Evr. I 802 4t"~ :ili'O .T~
;,iW>, ~NJn',1N 4t!) N'~N ;,nz,i' NOOl

~ii'NZ,N 1Z,''1~ NZ"NZ,N tNl ~i',1n cz, to
14tZ,Z,DO ;,ti)J NZ, '1;1 Z,N / C4tNnO lUtN n;4t;,z, ;,NJ NZ,
TTl - "7~ :Li"~0 'h~~V?7 i C~ '~ ohio ~iv n{~~7~
16. Title: (What I also said about avoiding intimacy with someone
who was not put to the test) whereas relatives are the most suitable
for it.)) Monorhyme poem in the vowel metre/mishqal ha-tenit(ot; this
didactic love poem ending with a biblical quotation from Leviticus
advises the lover first to test the beloved)s loyalty before confiding in
him.
)t'4t 'wo ;,Ni )4t lNi NZ, :iT~~ ~t, 3 .14t '00 :4t"~~ :T~ .nl>'1Jn;, :t,P~QiT
n14t ;,Z, :c4t~nQ ~4t~ n, 4t iTt, .'1"0z,;, inN '1"14t 4t"~~ ~W iW!)N :n,4t iTt, .4t
;,Ni )'11NO ~ili'O n14t ;,Z, i01Z,~ );,rz, ;,r C4t Ol'1;' C4t 01Nno '1nN~
"'1' n,t,~t" 4 .14t W>,O lJn~J NZ,W ~1;'NZ, :,4tt,t,1'Q t,~ .~ )'1 W";'W
'''4t~~t, .~ )N~ 'i'4t l 4t!) z,>, :'4tt,~ 4t~ .1'110 nN nlZ,,1Z, NZ, C,11 :'' '0
.;,n!)WO ~1ii'Z, :'4tt,~ ~'''PiT
.~9-N9 NLR Evr. I 802 4t"~ :ili'O .T4t
~ni~J 4tZ,~N CD 4tJ;,1/-4tl C4tDi n'1~>'oz, 4tnN~

~n;~rl;~ 14tri;i~Pl ~~. ;~/ -~O 1~~;1 n4t~: N~~ 4t;
u,~ ~~~O '7~i. .,~ i 0r.~ Jlp tJ::'~ M19iNl
~Pl~1
:.-
~Z,~N~1
: -
;,PllVO
e::.
/ c;,z,
e: T
1vD~1 ~~n~~
--- T-
5
17. Title: (What I also said about a friend who served me wine with-
out lunch.)) Monorhyme poem in the vowel metre/mishqal ha-tenit(ot;
this poem ending with a biblical citation from Genesis describes a
wine banquet without food .
.N );' W";'W ;,11W;, :C4t 1''' n.,,1'ot, 4tn~~ 2 .nl>'1Jn;, :t,P~QiT

C14tZ, Z,~NOl ;,nowz' tl,14t O C;,z, 1!);,J :~~ )t' 'ON ;,11W;, :,n.,~~ 4t~'~4t'
14t nliY z,~ 1~~Z,0 )14t~1;'N n4t~z, N~W 4t0 :,n'~~4t ~~iT 3 .~1t'
4tniON :Cj1t, j1"Q'~' 4 .~~ )n 'i~ ;,Ni )1Z,t'~n4t :,n'~~4t .n1n~WJ

:~,n~~ 5 .Z,'~NZ, 4tz,~ 4tn1n~1J~ 14t4t 1nww ;,VW~ :,n~ ... nv .04ti~nZ,
.z, )1~ 'i~ 4t!) Z,V :,n~4t' .. . ~1r" .~1n~ Nii'O~
.~9 NLR Evr. I 802 4t"~ :i1i'0 .M4t
N~'~Z,N ;,Z,Nt.1Z, 1N 4tZ,V N'~N ;,nz,i' N001

;'j4t~Z,N ;,Z,Nt.1 4tZ,V ;,j4tjV Z,4tN'Y!)
[04t7]v~1 04tt,~ ;'1,~ ;,,~~ 4t~~ / 1iiJ:l~ 1i01~v1 Z,~N;:J nl~~7

~Wi4t[l] O[~] ~i?~~ ;'1~ / 1U'~ 4t~ 1i~~ 19~~ j~ ;,t z,~ ~1
. .. . .. . . [0 ]4tZ,;,iN
T
18. Title: (What I also said (about the fact) that a beloved in a tent
has numerous advantages over a beloved in the wilderness.)) Mono-
rhyme poem in the metre ha-arokh based on the Arabic al-tawil
metre; love epigram revealing a preference for girls in tents over girls
that are always outdoors based on the biblical description of Esau as
a hunter and man of the field and that of Jacob as a quiet man) dwell-
ing in tents.
nJ~1W;' ;'~1;'NZ, =1'Q"~j1' t,j1~j1 n.,~vt, 3 .iY1i'0 "iN;, :t,P~Qj1

4tZ,V ,Z,N :t' i 4t W )j i'i!) i'JV;, i!)O )V"~Oi ;,11W;, )110iN~ 1N t;;'1N~
.04tZ,;'N 4ti!)V 4t~;'N 4tW!)J~ :.1~ i 4t W )j i'i!)1 ;110iN ni!)V 4tZ,N 4tJ!)
..14t )~ ';'i' ;,Ni =1,.,n4t .n4t )z, 'i4t ;,Ni )t'J1i4t YZ, =1'Q"~j1' t,j1~j1
)t'J1i4t yZ, :C4tt,j1~' C4tT"~ .1'1n~ j 4ton nNYOJ;, ;'~1;'N :C4tt,j1~' ... j1"~V
;,Ni )t'J1i4t yZ, =1'~~ lQ~~ .;, )~O 'i4t ;,Ni =1Q~~ "1' 4 .1 )j~ 'O~ ;,Ni
~i'3T' 4tj4t Z,V ~i'V~ tnNJ (;,jW W4tN) 1WV :C4tt,j1'~ ... ~4t~ .tz, )nv ';,n
.OV :4t"~~ :cn .t~-1~ );,~ 'i~ 4t!) Z,V )(04tZ,;'1N ~W14t1 On)
.~10-~9 NLR Evr. I 802 4t"~ :i1i'0 .~
11J~Z,N i'ti Z,NO~Z,N ;".1ij .1z,~ 10 1N N'~N ;,nz,i' N001

;,4t 010 N;'JN~O z,~z, ;,4tJjZ,N ;,4tJjZ,N 1N1 Z,NOZ,N1
n~i? 4t7~~ l'lJ11'lJ 4t7~~ n~i?f / 04t~:t 4t7~~ 1i;'11i ;, 4t7~~ 04t17~
n~~i!1 n~ z,~~ ;'09~0 i:177 / jt:l~ iZ, 0~4t~1 ii~Y 1l}~ 4t~~
n~in~~ in,~iV z,~ t, 1iiJ:1~:p / iPl7~ n~t1 4t~~ in~t1 1iiJ:l~1 5
n~7t:1~ ;,~~tt i~'l:1 iPl7~~ / ;,,~~~~ Z,~t:lf ;'9~O; 1i;, 0~1
172 CHAPTER TEN
nWi:a7J:1 nii'1 ~1~=ilin~-lT!~7 / 1O~7~o/ ::lit' 1O~~7 t~~ c~ ti"G~

n~i1 t~~71
"Ot07 i1O~~l / ~1i., j~7 ~ry~ "1i~0 ~1J:1~1
[n~l ::I~O ~p. ~ ~~ ~l:I .,~~ 1~ ~13 i""? b7 rn,.r. t,~
nWi?i~ ~ry;J~ ~~ t~V?~t1 ~~1 / ji:~7J:1 ~~'G~Q~ ~~ c~~~~~G ~~1 10
nW1 ':'~WN11 "lf1 ~~1 t;tt1 / "~1J ~11 ::l~n C~i?~i~t1 i'~t::' ~tt1
'~\1iJ~ "\l~ '~i?V?G ~~7 / ::l~1O~ "J;l~ 1OiJ~ n~ oi~ C~ ~~~~
[n,~i"]
nW1in tiN n~~ C\10,?W nG1~1 / ., iY i?J:1 O~~~"T nl.~t1 1OG,t:;I~
nWWii',?~ ,,;=tio jiV O~1"~~ / t~7G n~i~J:1G7 t;J;l~ C~~~i'~
[n~U C]~ t,iNV? l'!i~ rw cniNl / l'!ry13 t'i?i1O ~~1l'!~J:l "~ry~ ~~1 15
n't!i?Q~ lN~f jJ~t?iN jJn~711 ntt'iN "i~~f lV'~ t,f niV1 M;lf
nW~l "z,~ 1011 ~lJ~ ~~ c~"~lP~ / C~~t!'13 C.,=ti?7 C~~~~ c~~~1v~
nw~ 1~t1 lQ~ ni\!)Q ~~"!Q~ 1 o~ 007 0'7~~G jJ~~ .,w~
nwtt'~t1 "~0l;1 t;~ c~*"' ~ttl / .,~~ c~ryJ:l 'Wt;l c~~~ V~G "~0l;1
nw~ ~~~ C~1 C~vrvr1 c~.,~~ / c~~~~ c~~;~ C~:;L~ c~ ~iO~\l1 20
nwwiv ~iNV?:;L~ .,~~~ "~;;l;1 / C~.,i:a~0 ~~;q C~t?~Wt1 nio~1
nW~~"~7 ::l~"1 "9 iji" j~"~l / jiV .,~ c~ "~,?W1 ~;i?1 N~ i'1;~
nw:a ~~ C~ ~~=t "\1~Q'J ~~N~1 / "1~QV?0 C~'!l C~t:l~,?~ c~~7'?
n1Oi::l~!)o~ "n,~:a ::l1O .,inN~ / ,,::l1O N~ c~iVt, .,inN i:a.,n ~O~
n1Oi~ ~D U>iJN m~N1O;; N~ nON / ;11VD~ ~Jiy.,:J~ NYO~ ~ybn ~~,
T 25
nlz)"vi.,-CDi-\r ~ni"V~" ::li.,o~ "1""r,OO~ :;:ini~Y:a: "~::l N~OJ ~~ ""~::l~
n~tt~oT::I; rQ~oT 03:' O't"i,l 1'ri~l;'Q ~~~~!]9 ~V1~ '::Ilj,t,~~~
T
no/~~~ C~ niN7l;1t1G C\1~G~ / "1i? ~~ C~.,~O~ 1O~~ ~~iN,ii'7

n101Oi:a cy!)n, cn'N~ N~::l"~/-O c.a n.,,,oo "~J:Ji1O ni"~Jo
...... T I .. : TT:- -T: - ...... - : T,,: :
n10JiV ,~~n::l iJi" ~"n~o~ / c.,t'::l~ ""~1OD" CjN "~:J' 30

n~~~,?~ ~niO oit-lQ ::If"'r11'1 't,w r1~~'Q~T irit:'l Nt,T ::Ii1~
nw~~~ "7~i1O ;~~ N~0 .,o/~ / nNt ~~ ;7 rt~Y1 ~w~~ C~W ~ti~~
nW~7 '~7~1 i:Jin Ni::l7 n~W, / ~7 tJ:l ;~19n~ ;~1~ t~ ~~~
nW1i?t:1~ ~~t;l ;~\l'~7~ ~0l;1 / ;1=t~ ~tt "1i"t? ~~t?t:;I n~'?~t9~~
no/~w,?~ ;7 n~1iV ,,~~ji? / j~~~ ;~~~7 "~~J:1 c~~'i~1 35
nw~w,?~ tiV=t "1=tiVin1=tt:)~ / ,:,~~'T~, .,w~ ttl n;~~ n~01~1
nWt:;li., ;'~T1 ,,~,ii' ;ry;V?:;L~ / ,,~o/iJ ~7~G ::l~t'1 ,,~~ "1,?T ;7
no/1~~ jiV ~0l;1 i1~~ ;\11in1/ ij~ cGi., tiV~ iji1 ~~ ;~:;L~
nW7~~ i'~9~ ti~~ c~ j~~l / ti07~ ~J:1':' Cij~ ti0 ':11 "1i? n;;7
nW;i~ c~w tiV~ ~1i::l~7 tt::' n~o:p / ~1iVG ,,~~~~ "1i., ~:;L~=il n~~ 40
nW~t:1~ 1O~~~ j~7 "~~i~ ~0l;1 / ~~~ n~;inl t9~'~ nGi?"1
n1O::li~ ~j::lD' "~1Oio ,,~nN:a / ,,~~o jD~ ~,,~ ~n~:J~o o~ ~D'
T TnW~ii -o~ tiVf jJ~1i; :jJ~1?'~i;i 1 ;i~,t" nt?6f o~W '~fQ~
n'1"i.a j~71 "Oij ':'~tt~w,? / "~':1l:1 ':'~~~7 ;~\J9~~ C~1
[nlf1t:1]G~ ~~l;1 ;9~ ;,oi!1I'Wt / ;~;"N nnt1t ;0t:1; l~'i? Z,~1 45

n~7 Cr1~7 ~r,~ 'iJ'Q~Y1;'t1~ I ~r,~~ n~r,~~~ ~i,~~l'1~ C'~:t~
19. Title: (What I also said (about the fact) that the person who
reaches the degree of perfection must be endowed with both offspring
and property) and (about the fact) that the present base world brings
sorrow to all its inhabitants.)) Monorhyme poem in the metre
ha-arokh based on the Arabic al-tawil metre; this wisdom poem
stresses the importance of offspring and property and warns for the
personified World)s dangerous temptations; it also contains a remark-
able series of allusions to biblical judges mixed with echoes only per-
ceivable in the Hebrew original (line 22) polemical references to the
Christians and the Muslims (line 39) and a plea for Israers redemp-
tion (line 46).
4tz,~ C4tNYNY OJi!)Z, iW!)N 4tN :n~p C4t .,t,4t 3 .iYli'0 11iN;, :t,P~QiT
:'"T4t )t'4t 'wo ;,11W;, )c4tyn 4tz,~ nWi'z, '"T 4ti!);'Z, iW!)N 4t NW CW~ 1100
.Wl~i C,11 C4tNYNYZ, ;,~tW 4t0 :.,n4t 4tQ, 4 .nl~N nz,nJ 11;'1 n4t~
C4t;,Z,N;, :t'4t );' ';'i' ;,11W;, )lOt;, z,~ 14t Z,V ~1t' 1~Z, :n~~,~ ,~t,t,
C4tNYNY CV c 4t4t n Z,W 11in4t ;, :n~,n~, 1,.,n4t, 5 .1~Z, nnow~ ;,JVO
6 .nWlnJl ni!)1V Z,V ~;,t;, 11in4t 10~ C;,4t'"TVz,~ c 4t4t n Z,V Wl~il
14tN 14t'"TVZ,~1 c~n;, C'"TNZ, nl~ 11in4t t'J4t Ol0 t'J0~;'1 :n~t,n~ C~'
)C4tNYNYl Wl~iO in14t ~1t' i''"TY Z,~N :n~,~t,n 1'iTQ, 7 .1iV lno~nZ,
4t"~~ .nw~z,n Ci'J 4t'"T,1~ W~z,." 14tiW~ ;'i''"TY W~z,." :t4t )t'J 'W4t 4t!) Z,V
8 .4tJt'V4t ;'i''"TY z,4t VO VW4t 4t'"T,1~ 4tJW4t~z,;, :4t )NO '~ ;,11W;, :n,p"~
t'J'"Ti :N~ )N~ 'wo ;,11W;, );'iln~ '"Tl0Z,Z, t'JN1W Nl;,1 :r'J."., ... 4t.,n~,
nw!)no lW!)Jl :n~."., ,~~~, .'"Tl~~1 ;'i''"TY c 4t4t n NY04t '"TOnl ;'i''"TY
:n~~ t,~, 9 .~ )N4t 'W4t ;,Ni )t'Jli4t yZ, =14t~t" iTQ~nt, .;'J4t~1 ;,o~n
Z,V ;,!)in t' 4t00 iWN Vi;' CZ"V;' Z,W C4t i'4ti;, 14t nl,11JvnZ, ;,n!)n4t NZ,Wl
t,~, .Z,O!)~ c4tnt'~;, nw~ lW~4t :t4t )~O 'W4t ;,11W;, )14tii'W~ C4tJ4t ONO;,
10 .C~~~z, ;,n!)4t l!) C~z, liOW;, :tt' )N4t '~'"T ;,11W;, :,~t, iTn~4t
;,Ni :.,,~t,n iTn"Q~Q~ .z,~n~ :iT~ .~z, )N '~'"T ;,Ni );'ilYZ, :C4t~4tQ~Q
C4tnt'1~;' C4tWJN;, z,~ :iT~ lV~~iT t,~, .1niO~0~ 1;,!)ON4t l :1t' )N '~n
)n'i"J4t n;, :C4tP~'4tiT 11 .t )'"T~i' ';,n ;,Ni )t'Jli4t yZ, :n~p'4t iTn~~ .z,~n~
:iT~n .t' )n~ 'W4t ;,Ni )t'Jli4t yZ, .;,4t'"TW ~z'n :iT.,., ~t,n .,1 )n ';,n ;,Ni
);'ilYZ, :iT4t~~'" .4tJV 4tZ,,1i :1 )1~ '~ ;,11W;, :iT~" t,~., .1t' )N '~n ;,Ni
.;'JOOl :iTQQ, 12 .,14t )N '~4tN ;,Ni )n'"Tl~Z,O :n~., .N4t ),1 '~4t0 ;,Ni
z,~ nN no;,to z'~n;, )c4tz"z,y C4t O ;,nlW C'"TN CN :n~~,., C~
C~4tZ,,1i~ C4tinlJ;, nNl lnwn C4t O Vi'WOl :n4t )'"Tz, 'n 4t 4t!) Z,V )14t i'WO
174 CHAPTER TEN
:~Q.,n~ .;,4t~W14t nN ;,n4t oo z'~n;, :"'~pn ~Q.,n~ 13 .11W!)in

.N4t )NO 'W4t ;,Ni );'ilYZ, :iT4t V'.,T .t' )tt' '~'"T ;,Ni );'Nl~n ni4t yi' 4tz,~~
n'"Tl~VZ, 4tz,~~ :n~~ .c4t now;, nN niVYO z'~n;, :n~."n nQ"~'
.,1~ )t 'i~ ;,Ni )C4til~ :C4t Q,P4t 14 .~ ),14t N"W ;,Ni );,O'"TN;,
CZ"V;' 4tz,~;, nN t'J,ONZ" n~z,z, C4t~4tiY C'"TN;, 4tJ~ :n~~'pQ' 1~n~
4t!) Z,V );,Vi!) n'"Tli'!) 4t!)z, C4tJ~z, 1~ z,z, l~n lWWli' Z,Ni~ 4tJ~W 10~
.,~n~ t,~, 15 .'"T4t ),1 '1nJ ;,Ni )C4tJ~z, n 4t4t wvz, 01!)'"T =1~t,Q .n-t );' 'OW
:4t )z, 'i4t ;,11W;, :.,4t.,nn ~P'~ t,~, .C4t~1;'N 14t~ ;''"T 4ti!)O z'~n;, :"4t.,~n
)C1J4t;,4t,1~ cnlN n~tlV z'~n;, :n~~,~ cn,~, .'"T 4tinO 14tNl 1JNWl t'i'Wl
16 .Z,V4t l Z"NW '"T4til0 :1 )~ N"W~ 14tZ,V iONJW );'''~i';'z, '"Tl,14tJ~
)il!)4ty ;,4t;, lZ,4tN~ C'"TNZ, C4t V,1!) Z,W n'"Tl~Z,O 101t' z'~n;, :nTn,~ n~~
nvz' C'"TN;, 4tJ~ C4tWi',4t C;,~ n!)~ nltnN;, C4ti!)Y~1 :~4t )t' ';,p 4t!) Z,V
CnlN t'1nwZ, CnlN nW'"Ti'01 n!)01N z'~n;, :n~"pQ' iT~"iT'" .;'Vi
17 .;',1i;' C14tZ, CW'"Ti';,1 ;,n~t'z, 1NY~ Ci'n;, :,1 )~4t 'i4t ;,11W;, )lNY 10~
lN~ :1 )z, 'W4t 4t!) Z,V )C4t4tJVl C4ti 4t WV ;,n4t oo z'~n;, :n~~., C4t~'~~
:n~v .,~~ 18 .cniY1N C4tZ,O,1 nw~'"T Z,Vl c;,z'4t n C4tilV t'Jn~ Z,V
:O~ .z,4t!) 4t~4tJO C;,4tW,1i'"Tl ~;,tO c;, 4t nlt'o )ii'4t 1'VO ;,4t;, 4tlWV CN04t~
~;,t nlt'O :1 )N 'ON ;,11W;, :n'~Q ~iTTQ' .tt' )t4t 'OW ;,Ni );'ilYZ,
19 .1W nWV 14t VO :'"T4t );' W";'W 4t!) Z,V :n~v l~iT l Q, .t'J0~1
)z,~n;, ;,v4t yO i!)V cnnn )4tJW nt' 4t o Cli'O~ :n~~"QiT ."Qn
CW iWN l~N;' nN ni'4t l :n4t )n~ 'i~ ;,Ni )l~N )i~ Cli'O~ )CWNiZ"
C4ti 4t VYl C4tJi't i~i' Z,N n!)01N z'~n;, :C4t~4t~4t' r'J,o~n, 20 .14t nWNiO
4t!) Z,V :C4tQ4t~ C4t~~' .4t )1t' '14t N ;,Ni )t'Jli4t yZ, :C4t~4t~4t' C4t~~ .'"Tn4t C,1
CZ"V;' :n~~,v n'Q~V' 21 .t' )nJ ';,n ;,Ni :n~~ t,~~ .N4t )n4t 'i~
22 .C4t i'tn;'1 C4t'"T~~J;' Z,W C;, 4t nl0YV n,ii,!)n;,Z" C!)1,1 n4t4tz,~z, Cil,1
)C 4tt'!)1W;, 4t04t~ N~Y iW :P"~' .nl0W Z,V '"T014t 0;, C4tz,4t O i'nWO 1N~0
:"~Q~' .4tOYV~ ~i'i Nl~4t :tt' ),1 '~n ;,Ni :iT~P" ~~ .n )'"T '!)1W ;,Ni
:"'iT~' .i~i'~ 1~1W :.,~ c~ .NZ, ),1 '!)1W ;,Ni )t;Ni~~ 4t~Z,W;' t'!)1W;,
4t'"Tl;,1 :n )4t 'J'"T ;,11W;, :,,0 ,."iT .1t' ),1 '!)1W ;,Ni )C 4tt'!)1W;, 10 '"TnN
CV ';'z, ~4til :,1 )~4t 'Wl;, ;,11W;, :n~~'''4tt, ~4t'" .n4t nwoz, 4tZ,V 1!);,J
:c4tn~Q~ C4t~t,Q 23 .N~ )N4t ~"W ;,Ni )11V'"T,1 Nl;, :n~~'''4tt, .;''"Tl;,4t
4tiO N;, 4t~Z,0 :'"T )NZ, '~'"T ;,11W;, :iT"4tQ~iT C4t~t,Q .n )'"T4t N";,'"T ;,Ni
~4t~ .N )4t N"W ;,Ni )Z,NiW4t 1Z,0 :t,,~~, .cnN '"T4t OW;, iWN CYiNZ"
Z,W lJ~Z, tOi :."n~t, 4tQ, 24 .n )'"T ~"W ;,Ni )Z"NW Z,W lJ~ :n~~
Z"NW Z,W lJ~ Z,W lOW :n~'~4t~Q' .~~ )N ~"W 4t!) Z,V )lnJl;,4t )Z"NW
;,Z,V4t CNl :n~~4t ,t" 25 .n )N~ ~"W ;,Ni ),1i;,JW ;'!)Yi lW,1Z,4t!)O
26 .;'O'"TN;' 4tJ!) Z,V ~N inlJ ;,4t;, NZ, lJ1Yi nN nlwvZ, CZ"V;' 4t'"T4t~
C;,4tZ,V t' 4t00 Nl;,W nliY~ CZ,,~ ~z, 0 4t00 CZ"V;' :n~v,., ~~t,
27 .nl'"TVli 4t
C;, '"T 4t C;,4tZ,V N4t~O Nl;,W nlVi;, 001VOl
1~ 04tJ4t ONOrl 04tWJNZ, lnlZ,~J~ Oill OZ,'Vrl :n~~~Q iTn,t,~~~

rlNi :n~~~Q iT4t M4t." .Vi OW OrlZ, N4tYl0 Nlrll 0 4t Vi 04tWVO nlwvZ,
28 .14t"T~V 4tJ4tV~1 rlVi!) 4tJV~ lJn 4ti nN OnWN~rl iWN :N~ )rl 'OW
)t'tli4t YZ, :iT"~p ~~~ .z,~n~ 0 4tili'W 0 4t Virl 04ti~"Trl Z,Z,l~ :iTn,~."pt,
0 4til0N :rl )0 'i~ rlllWrl )z,~n~ 04tN1Z,~ :iT~ C4t"'O~ ."T )N~ 'O~ rlNi
.rl4tnl~O rlW1JN :t' )N '~4t0 4t!) Z,V :n~~~~ cn~Q' .irlOrl n4t~~
)rlZ"n W!)Jrl :n~~~~ .n )n4t 'OW rlNi )z,~n~w nliYrlO :c~ n,~t,niTQ
onill0l :"T )10 '~ rlllWrl :n.,iTQQ iT4t~'~ n''''~Q 29 .1t' )~4t ~"W rlNi
:cn,~n ~4t~iTt,Q .l )n4t 'W4t rlNi )z,~nrl 4t~Wln :jT4t~,~ .0rlZ, N4t~N
ninNO Z,~nrl :n~~,~ C~~M' .0rlZ, N~4t onlNnl :t'~ )nv 'rln rlllWrl
WJ1V 0 4ti 4t WVrl Z,V rlZ,4t t'O Z,~nrl :n~~,v iTQ~' 30 .oy!)n nlwvZ,
rli'''TYl rli~V 014t~ 11rl Z,4t V14t NZ, :"T )N4t 'wo rlllWrl )OJlrl Z,Z,l~ nll0
Nlrll VWi 14t"T lJ4t "T )1l1rl lJ4tN OZ,'Vrl :n~pVQ' iT~4t"~ 31 .nl00 z,4tyn
lWvn NZ, :1t' )t'4t 'i'4t l rlNi )t'tli4t YZ, :t"V iT~~~Q' .iW4t rl 1i"T0 rlt'10
nt'~ 1z,., on~ 1Z"rl :t' )4t 'wo 4t!) Z,V :n~pVQ' iT~"'" .t'!)WO~ Z"V
rlt )1Z, 11YiZ, rl4t rlNW )'rl )NJN :n~p~Q' 4tiTt,~ 32 .V"T14t 14t~i"T Wi'VOl
OJ~4trlz, nlWi W!)Jz, 1n :n~~t, 4t"~ 33 .100 4tJN Wi'~O iWN i~"Trl
1nlN "Tl~vnW 4t"T~ 4tW!)J nN irlt' :n~"pnQ n~Q'~Q' 34 .rrv 1lZ,
.rlnNOt'o nW"Ti'no N4t rll :"T )N4t ~"W rlNi )14tnliW~ W"Ti'nnl
35 .14t rlZ,N 'rl nN ow niwZ, :~4t )t4t '~"T rlNi :'4tn.,~t"
Nii'1 ,Z, Z,VOO 0 4t"TOV 04t!)iW :l-~ )1 'W4t 4t!) Z,v :n~t,~Q' C4t~"~~'
36 .1"Tl~~ fiNrl z,~ NZ,O nlN~Y 'rl Wl"Ti' Wl"Ti' Wl"Ti' iONl rlt Z,N rlt
T'V~ iT"~'V .t'4t )rl 'wo rlNi )rl~1rlN rl~N~ qM nt,v4t n'Q"~'
nNW1J :n~M''' ,t, 37 .rlJl"TNZ, rl~i rl"Tl~V rlW1V N4t rl :n~Q~Q'
nN nwn,Z" 1nlN nn~wo )~1t'1 rl!)4t z,z,rl i 4t W 1Z, rlirllt'W W!)Jrl
)Z,NVOW4tZ, 4tlJ4t~ :,."., t,v .~~ )"T 'OW 4t!) Z,V )Z,NiW4t OV :,~~, 38 .10W
:n )rl '~4t0 rlNi :,.,4t CQ,., .~i'V4t NlrlW )Z,NiW4t Z,w 1"Tl"T i'n~ 4tnN
lNii'4t l :n )n 'nJ rlllWrl )t'tli 4t YZ, :n~.,~~ ,n."n, .14tiY Z,v 1"T4t Oin
:C'''~ 1,QiT' .04t 0Z,010Z, :""p n~t, 39 .Wi!)O 0 4t rlZ,Nrl niln~ i!)O~
'rln 4t!) Z,v :n~t,~, pt,QV 1,QV .t' )to 'W4t rlNi =1'Qt,~ ~4tMiT .04tiY1JZ,
rlllWrl :iT.,'VQ .rlZ,'l~ 4t~W~ NYOJrl Z,NiW4t :jT4t't,~ n~, 40 .n )l!)
:N )~J '~ rlllWrl :n~~,t, n,o~ .rltrl 014t rl "TV 4t"T1VO :1t' )no 'i~
nl0~ Z,Ni~ w~z'n :n~~M~ nQP'" 41 .0Z,Wli4t 1niN!)n 4t"Tl~ 4tW~z,
:rl )n~ 'OW rlNi )t'tli4t YZ, :~~~, 1Q~"~ .nl"Tl0n 4t"Tl~~ t'tt'vnnl ii'4t
)tt' 'n4t 4t!) Z,V :n~~M~ ~~~, .WWrl nN1 4t JWrl nvZ"n nNl 10liNrl nNl
NO~ Z,VO rl4t nN Z,V "TVz, 11Z,on :n~~,~ t,v, 42 .WW~ 1w~nNl :4t
tOlil .14t nNZ, i4t~l rllrl :t'~ )t~ 'i~ rlllWrl )rl4tJ4tnJ~ Z"won, rlnl~Z,o
rl4t~4tlN 4tiV nN "T 4t OWrlz, rlnl~~ 1n :n~n,~ t,~Q' 43 .n )tz, 'i~Z, Ol
rl"T4t~ 4tz,~ rl4t rl 4t 1"Tn!)1 :n~.,,~ '4tnQ4t~ 44 .rlOowZ, rlJ4t4t rln 1"TOn~1
176 CHAPTER TEN
nt,WN 4tn04tN :t:J )J:J 'OW ;,11W;, )-rVt, CWiJt" ;,4t~4t1N nN n1n-rt,
10Wt, i 4t W ;'iW 1lU'Ti'O~ 1~i1i' ;,~4tii';'~1 :n~.,no, t,V, 45 .14t)!:Jt,
Cn1t,J~ 1t,!:JW1;'W 1031 4t)~1 :n~.,t, ... C4t~~' 46 .C1-r4t n ;,4tt,V ;,11yn CN1
fiN;' nN 1t, nnt, :t )1~ 'i~ ;,11W;, );,n1N 1Wi4t 1 CYiNt, 1t,~ 1n1:J~
.;,nWit, nNt;,
.~10 NLR Evr. I 802 4t":J :i1i'O .~
4t1'l lNOtt,N l'4tY':Jn 4t!:J N'~N ;,nt,i' N001

;'i'N!:Jt,N~1 i'nt,N i4t'ni'n~ ;'i'N'-rnt,N1 ;,1N:J'-rt,N
~t=t~11i~~ ~O~,?~ 14t~1 / 14tQ~Q u,h:;li4t lGt7 4t1 Nt,n

~tin~~ C:t4ti?~ liJ~ n~f / ci4t 4t~f C~ C4t~1~ n~~71
~t~1 i:Jin C4t~t?in ~i=t~1 / C4tQ4tQ1;l Wit,t:'~ lQt C7 i V701 5
~tit,~~ C4t~~1 4tlJQ -r~1 / t,~~f i'4t1~ 4t0~ 4tlJQ -r~1
20. Title: '<What I also said (about the fact) that Time singles out
persons endowed with intelligence and cleverness for living in strait-
ened circumstances and poverty.)) Monorhyme poem in the metre
ha-merubbe based on the Arabic al-waftr metre; this complaint poem
contains a reference to personified Time and illustrates Moses Darcrs
emphasis on the unfair treatment of scholars and men of letters like
himself when compared with the supposed privileges granted to fools
and sinners.
c 4t o:Jn ~4t~OW 10tt, 4t-r Nt, CN;, :'T~4t' ... Nt,n 3 .;'~1iO;' :t,p~on
1~~;' :~ )n 'i4t ;,11W;, )Cn1N C4tt,4t!:JWO;'1 C4t n1-r;, C4tN~1n;, , 4t W)Nt"
l't, ~;'N4t Nt, :~4t )1~ 'W01 ;C;,t, ;'0 nO:Jn1 10NO ';' i~-r~ ... c 4t o:Jn
C4t-r:Jt,) Ct,1Vt, CN;, :'T,nN4t n~~t" 4 .1~ Nt, c 4t o:Jn t,N 1t, n:J1;,
:C,4t 4t~ ?iVY;, n-r1:Jt,0~ n'i")4t n:J C4t 0 4t On1 C4t OW 4tNi4t C4tW)N
t,V :'T,nN4t ... n)~ .4t n 1014t l~ i'1)4t n :~"V N)i' n~w ~"n ;,Ni )n'i")4t n
Ct,1Vt, ;,4t;,4t 1:J CN;, :'TV' ... ct"vt,n, 5 .n!:J ~i'V~ tnN4t :~ )n4t '14t N 4t!:J
C4t:Jt,,;, C4tVWi;,W 10t~ 1i-r;, 4to4ton nN ~t,no Vi;' 10t;,w
t,i1J 1t,4tN1 iO i'4t-ry;, t,i1J ;,4t;,4t 4tno -rV :'T't,~ ... IV' 6 ?C 4t OYVno1
;,nN 4tno -rV :N )ro N"W ;,11W;, :t,~N~ .. IV' ?C;,4tt,v i!:JW4t C4tVWi;,
.J )-rY ';,n 4t!:J t,V :'T't,~ IV' .t,~Nno
.~10 NLR Evr. I 802 4t"~ :i1i'0 .~~
Z,N'lVNZ,N1 Z,4t OZ,N 4t!) N'~N ;,nz,i' N001

Z,N''lJNZ,N1 'lNonZ,N ;'~1N'lO tV
14t19~ ~4tWG 4t;:1t;1 z,~ 07iV7 / ;'Q~01 ti;, z,~ ~7 N~i?971

14t1:t1 ~iO ~:t 4t~ iPlJt17 / i~4tWt;1 n~ i'lii'~ ;'~t~ ~~7
14ti~N i~in ~!)i1z/4t 4t'lD / ~;'WPl i~ ilVN lVN~ Z,~N 5
T T -. ""lUI? 'n~~~~"V1ir.1 i nQ ~l:'~ Tt.)~f ",; '~~1
21. Title: (What I also said about turning away and refraining from
answering to envious and mean people.)) Monorhyme poem in the
metre ha-merubbe based on the Arabic al-waftr metre; this didactic
poem advises wise and rich people never to react to the remarks of
jealous people.
Z,W 14ti1t'Ji'Z, ~4twn Z,N OZ"VZ, :'4t"Q~ ... ~~PQt" 3 .;'~1iO;' :t,P~QiT
,nZ,'N~ z,4tO~ tvn Z,N :'l )1~ 'wo ;,Ni ),nO~n~1 'iW1V~ NJi'0;, O'lN
;,NJi';' WN i'O!)4t n NZ,W 4t'l~ :,,,,P4t iT~~4t t,~t, 4 .;,nN Ol ,Z, ;,1wn t!)
Vli4t4t 1 1nv'l n1Jn NZ,W 4t'l~ )1Z, ;,Jvn Z,N :'4t"~" ... MV .1~ niV1~;'
.1n11Z,W nN 0 4tiViV01 1~ 0 4t Vl1J ),~z,~ 04t!)i1W 14ti~'lW V'l4t4tW ;,VW~
z,~W 'lV 1nNJi' WN~ i1V~Z, 4tNJi'Z, n 4t Jnw ~t'10 :'4t"~~ ... t,~~ 5
1~Z,~ n10 4t1 ;,NJi'0 Vi'!)4t 1~Z,W :'4t"'~O ... ,~t" 6 .1~1n~ 1iV~4t 14ti~4tN
)t'J1i4t YZ, :'4t"'~O 'M~~P~ V"P4t, .rz' );,~ N"W 4t!) Z,V )4tZ,Oi~;' z,~J Z,W
.O~z, i1l0 3'ii'N1 :n )l4t 'W1;, ;,11W;,
.~11-~10 NLR Evr. I 802 4t"~ :i1i'0 .~~
'l4tli NW4t V tNorZ,N 4tZ,V 4tJOnZ,N 4t!) N'~N ;,nz,i' N001

;,Z,'lNZ,N NJ~N 'l'V~ nN'lnON1 ;,Z,'~NZ,N VO
04t1~'l~ ~i'4tt:1'~1 04t~~;'~;1 / 04t14t1~;:i i~t:I~ tGt7 iiO~

04t11Q ~4ti?~ ~i~ t'J~ z,~ ~~~ / 14tO~1 rr~~1 O'~;:i z,~1
04t1'~ OJ? 04t'~f 14t~ii t4t~7 / 14t~V?1~ N4ti4t1 i~1~;1 5
04t'~9 4t~4t~ 4t;J~ z,~ 14tOQ / 4t~J?t? ;'~N~l!1t~;:i Z,~1
04t111 ry4t~,~~ ;'~~l;1 / 04t~~t i;:i ,iPl i~~ ;'~~iJt;l
178 CHAPTER TEN
C4t.,4tOU;' C~ iWN cniviit / i 4t W 4tz,~ Z,D ;,~;U~ nioZ,DZ"

C4t~~i~' -c 4t tiiv ~~~: i;lJ 4tZ,D: / C4t 04t O; C4t J14t Z,N; C4tiiPl T~N;
c,;~o6lJ '~v. Tii ~iO~l / 'ir1'~l':LlJ'l~ ~~~ l'l!-171 10
c4t.,.1~;' 4tt'~W!1 C4t.1J~VO / tC4t~;'N} WiD 4tZ,D CJ4t~~1
tJ~ry~7 "~':;1 m nWQ~ / tJ'~~i tJ'i?~~n9-'tJ'i~~ti9
C4t,~i'~ C4t,4t~;~ C~i 4t~~i:J1 / ;~G~ i~~7~~ itlt!tl1
C4t1~~~ C7iVG~ C4tljG t1W~} ./ N~i?9 C~l4t~ivi ;i~iY Z,~i
C4t14t~t;1 4t1~~ 1G!tI C7iV7 / Ctl4t~ ;'~~~1 ;,!~ C~1 15
C4t'ino nD z,:J ~4t;,4t 4t~~z, / 14tJ.,DO 4t.1~JDPl ni~it'1
tJ'191:11 ni~iOl "~i; nitVp, i :'! :Liu)6-~- N~ lQft tJ7iV7
C4t14t~0 z,~ .,4t~~ ii'itl .,4tt:1~ / nl:t~~ 124t~~1 ~1i?~ 4t1~
C4t.,4tDO inO:Jn1 iZ,:Jlv ~ii~ / ;,0:Jn1 Z,:Jlv 4tZ,D~ z,~ iWN
tJ,;iD\ tJ'1~~T~Q~ 'u>N" '~~!):P ; ri?:;~T in~~~~ n@~t,~t?1 20
C4t19iZ,1 ~;'~9 C4tt:1i?iZ, ni?71 / C4t~t19 14t~' i1Q Z,in 9 4t~t
C4t1:t~~ niV~Y1 in!~t9 / z,~ 14t11 t','~ 4t~1i4t 4t~t~1
C4t.,OiV1 c 4ti.1in tiV~ .,iV cni4t ;, / ~~N4t in~"~DZ, c.a iniwt;
tJ~i~l'l~lJ :L1i?~ :LiO tJIP t,~~ l' l'l~~~' tJ~ l'l'i~~~ ii:l':i;lViQ~
C4t14ti?~ C;:J 4t14t C~ niV171 / C4t~79 ni4t~7 ~n'9~ 14t17i4t1 25
C4t.,4t nD .,iV ;':J~z,~z, c;,4tJ~ / c;,4ti nN CPlnn1 C;, C4t:J~O
c4t~4t-t,n;, ;,r;'1 C:;,1J:Niiv, / ~on~- Cii.,: ;J~ ~~ 4t'iOTri1
C4t~~~O C4t~JDS; C4t1i;Ni :~~z, / ~;;i;D;' Tcnii~o Tni;~i~
c4t.,4t n4t ~4ti;iO ~~~iv4t C4tOni1T/ niJ4tJri Clz,;!)JT Z,V1 -C!)~.1 4t~iJ
/
'C":!1;ltJO i~;~l"~i' t,..7~' N~l'l :;~~ T 6-
1 "~i n1i!l i~~ 30
C4t1~G~ i'1 .1~n1 ;,~t? 4t;:1t;1 / W~ 4t1~ ~~o~ NZ,l ~;,4t~t1~
23. Title: (What I also said about requesting from Time a life of
plenty and opulence in the company of friends and about praising
one of the honorable men.)) Monorhyme poem in the metre
ha-merubbe based on the Arabic al-waftr metre; praise poem observ-
ing the rules of the polythematic Arabic qa~ida in many aspects of its
structure and imagery. Consistent with the bipartite form of the
qa~ida) this panegyric is divided thematically into two parts: a nasib/
erotic prelude (lines 3-14) and a madih/praise part (lines 19-31). The
poet artfully links the erotic prelude to the praise part with a lengthy
takhallu~ ((extrication))) i.e.) transition; lines 15-18).
.C4ti~n;, nN .,nNZ, 10t;,0 1Vi'~ :C4t 'i''i'iT ... "'Q~ 3 .;'~1iO;' :t,P~QiT
;,Ni )C 4t i',ni;, C;,4t.".,JO ~11VZ, C4t ViZ, 1Vi'~ :C4t"'''~ 'p4t n.,4t, C4t~'iT~t"
nN r!);,z, 01:J;, 10 1Vi'~ :c4t.,.,n ... t,~, 4 ..,.,J i'4t niN ;,J;, :n );,J ';,n
0\ r\r~\l1n~~n~I:r:Con\09~rnDJ'D1::\J:0~0J:~nr:\~00
~
l""""I t:
r-
~ r
r ~
~ ~ n. .~J' ~
~ ~
\ Q 0
r ~ !l 0 ' .F~ 0 \ ~ fJ ~ ~ ,- ~ ,-
I r \ ., ..... 0 r
r F n I: ~ ~ n ::; ~ Q ~ ~ 9
OJ' 0 r- 0 n....r . 0 ~ Q r- p s:. ~ g
N r:- n. ~ ~ ~O"" "~ ~ ::-' r-
"-""""r:r ~~
\ ~ []~ ~- ~ ..c~~.. f-~
[]
11
rr- ~ ~ ...... []~ E
~r- .. ~r-:.
,,~
~ E [] E .. 1:"": r- E ~ C: ~ r \r:. .: b E ~O ('f')0r- . f a::
o ~11~Q
......-~ r: ~" - r .....,-~r-n J' r- ~-. .....
00
li
~
f1 ~J' != ~
~ ~
a,-
'-". n
\ Q ~ rr- ~ 0 .J' I: r: fJ r-
0 ~ ~
~ b J' ~ ~ 0 ~ 11 ~ 11 .. : r: ~ r ri ..:. r: ~
r
..- ~
~ 0 ' 11 ~ J:; ~ a:: ~ :=[]J' \
r
r E
~
n
~ ~ 0 r: i-1 r- ~ r J' J' n
11 r: r ~ r n ~;- 9r r\' -
, ,-
0
:> nl1~ t"'\ O . 0~0 -t:;r:~ r~Onr-"-r:r -~ []J'~ ~
~I:~ l""""IO~ ~ ~ ~ ~11 . . r:J' -~J'r:.. ~~ r:[]I1~ r-r-r
~ rr-\r-rn.:1::\ r-J;!J:a::r-0[]~~ ~ -~ []~ - \~fJ ~ . . ~~"""I:
~
.....:I J' !! .... r:!I
11
~ ~ ~ ~ c- ~p
00~,- ..... ~ ..... ~
....
' ' - J ' . . , . . r: p " ~ " p
~..- ~ ~-F
~ r: J' r:~...,.
r-."" ~ r- ~ ...,
~,.,~
0 .-:
Z r: 0 \ . 9 E r fI p 0 r ~~ r: J: n. r: J' n ..-!= ~ ~ ~ 11 ~ r: 11 J:~.r: ~ \ ~ r- ~ [] ~ ~
en ~J:
~ ~.
~,..
~ J' ~
r ,- I: ~o r: J' ~ ~
__ .\~ r- J' 0r- ~ ~ ~ J:~~~'
11
l""""I ~ .... \r"::,,
~ 0 ~ ~ r:
~ ~ bJ'~ ~r\.
~ ~
0
:s != 11 ~..F fI J: J;! f- : r: - p := b n E~ ~ ~. ~ 0 r-~ r: . E r- ~ r: 0 p q
-It
f..t i-1 r: 0
.....
~ ~ r- ~ 1::\ .. \ r- r I: ~ ~ . r: ..., - ~ ~ 2 ~ . . . r- ~- J ' . , - J: a:: 0 ~ .. r 0 \

o \~r~~~ra::-I1r-N~I1C~
~ .. ~ ~.... l""""I ~ ~
~,...~
~ ~ l""""I ~
-It
.. n "r~J' ~ ~ ~
r:O\J'J'on,-
l""""I. r- ~ "J' ~~~
J ' . . , . ,-r:Q r- r-
~ !=q\O~J' J'J;!oor 0.r:P' r:'-~J'~ '-0~11 l'~~ .. 0 ..-~~J' ....
~
*:I: ~r: ,- ~o, ...- .. ,- 011 ..- r-n0r- ..... o ..,Q ~ .. J'~
en
< ~J''- -: Q ~ :>t ~ r r a:: r-. 0 1::\ \ t:; r- r: t:; r: .... J' N 0 a:: ..- ~ 11 J' .
l:Q
. 1::\ ~ ~ ~ J' fI !I 11'-0 ~ ('f') F1o J1 ~ J' ~ .- ~ 0 p ~ ~ p .'- ~ ~ J: \ 9 ~ 0 1= :>t n r:
~ ~ ..... ~ ~ -- Q .. 0 n ~. :- Q [] ~ f- r- ~ ~ r- J' .- [] r- r: 0 ~ r ...... ~ " 0
: F ~ Sa r- Q . ~ r .. l""""I J'oo ..::".. ~ ~ ~ 11 ~....... ~ 0 J' ~ o:>t r- r ~ r:
::c:
E-i
Lf) . -
,- r r ~..-
r: r:
J' ,- 0 ~ \ . 0 11 ii l""""I
r ~ 11~ l""""I
~. []~ ~ ~. ~
~ ,- J:'
J' I: .r- 0
r:- ~ 0~ r-
~
~
[] 0~ n ~r- r: ............
~.
0 r\.~ C-,- o~
J'...... -.....,- 11 ,- ~ J: ~ n
.......
~
,~ . -- ~.- ~
::-. .~ "
~ -
Z
o o~pJ;!
r~~ I1J:M~
I: .......... r ,-Q : 0 0 n\~Q00J'
J'f.,...J't"'\I:'-n~J: o~r::>t~r:r:~fI .O[]J'Or ~l1o~r"r
gf-gQronE~~ r J ; J '
N
O [] ~ ,.. 0 n 11 ~ ~ ., ~ r ~
-It , r ..; ~ ~ ~ ~ J' . . r- .. r- ~ ~ r- 9 r: ~
V\ r r .. n.~ ~r-J:~ nqf:E nf. -\O:>t~!= ~~J' .n. 00 .. r-g - f i r
l""""I
I ~ 11 \ r-:
r: ~ []
r
L ~ J:; h r r: 0
~ r: [] 0 ~ \ ~- ~ ~11 ~ ~ ~
J'::; ~ r:
~
P
C:J' :=! r
11 ~
~ nor: ~ l1
~ J' ,- ,,~
n ~ r- J' fJ 11 ..
r J' r: ~ 0 J'
~ 0 00 \ 11 ~- 1::\ [] ..- r ~ ~, 0 Lf) 0 r ~ ~o r- r:~ r::= r C ~ Q ~ J' '-r' r \
l""""I
...... ~~~,- ~ . . :~ . . . J: ~::; ~l""""I r:~r:~I1r- ~~~O~P~11
<:15
rr~
o
Z ~
rr\.r:r:r-t-.,.,r-'-
~ 0 ::t ..... ~ ~ ~ r:. ,.,. ~ ~ I: ~!=r~ []. 0n~0 ,- J'~ p~,,=[]~C:r-r:r-~ .'-~r:r-
~ r: 9 r: .- ~ ...... ~ 11 := ~.. ~ - """:
en [] ~~ Q
~ ~~ R ~ E J'r:-~~ ~~rJ'
:; :- ~ "" Q ~ .... ~ li ~ J:; Q ~ 11 ~ g C ~ ~ ~ p 11J'1::\
~ F -c ~ Q~~
~
:s
~ J:~
O~Q
r:'-br-o~~~~ ~r:!J~
~~o
~n.~ :9!=E~I1J'0r:~
~~ ~~ r:o'
- ~11
....
~ f-~p'[]
11
o ~ r:O~~ ~J'~ Or-a:: n~O...,r-t:;~ ?,r: ""J' n.r: Ca:=

~
Z
~ n :>1
Q 0 0 .- r
i} :
~ J: ~ 0
q
FQ
fI ~-
~ r r: f ~ r ~ fI r .... ~
~ ~ \ . f- .. ~ 0'- J' ~ , L1 p J:
E 51:
1)
r: ~ g r r: ~ J]
J:; ~ ~ ~ g P fl F P-. r:.. i}~ iii ~ ""- fJ
9 J'rfJ'!=~r:~I1E .!= \r:r:J'~ofl~ ~ f.t:;!=nr..c~ ~~~ ~fJ;~~ r:
t: O[]OE~r:"J' ~~~~\~ J:1::\ .. ~~.~ J'O ~r~" .J'r:r-,- -Q~~
r- :>tt:; ~r: o~ J' ~or-\r,- 0 ,- -
o
~
11 1::\ 11 ~ [] p p ~- != \ Ii \ Q
r[]~~ .. ,
0 J' ~ f:J' ~ 0 \0 ~ 9 00 11 ~ I 9 l""""I 0 N ~ ~ r~p
r-~ ~
r:o...-, ~J'~ ~ .r:~ ~[]O ~l""""Il""""Irl""""l::-'J'~ .. N:=!N~J'~~ONr:
~
~ ~ ~ ~ :=
180 CHAPTER TEN
~ii'~ :1 )N4t '~., ;,11W;, :C4t."i14t i1 ~.,p~ .~1t' 10WO CW ~1t' :N )t ';'i'
Z,V C4t"i'!)10;, C4t~Z,01 C4tZ,Wl0 14tnl~N :C4t"4tP~ ,4t.,t,,4t, 25 .Z,Ni~ Z,~
C4t~t,Q 26 ..1 ).14t '~t ;,Ni )Z,Z,,;'O;, Z,W 14til;, :,4t.,t,,4t, .';' CV Z,W In.1;'J;'
.C;' C4t~Z,O 4tJ~ Z,NiW4t Z,~ :N"V to n~w ~"n ;,Ni :Ci1
27 .C;,4til;'O ;'~1Z,0;' N04t~ nN llVi 4t4t C4tJ~;' :c4t.,4t nv cnMn,
);'~Vln 10~ :"OM~ .Cil., 4tJ~ Z,W C4t~1t';, C4tWVO;, :c."., 4t"OM'
CV nl~4tt'4tO nl~4t"J;' C;,4t nlJnO :C4t.".,Q n,~.,~~ 28 .t4t )~ 'i'4t l ;,Ni
4t!) Z,V :C4t.".,Q C4t4t~Vt" ..1~ ).14t 'wo ;,Ni );'ilYZ, .C4t4tJV :C4t~~" .C4t4tJV;'
i01Wl C4t onil .,on C;,4tZ,V t'}4t ViO ';' :C4t .,4tM4t 4tt,V 29 .t )nJ '~
:C4t .,4tM4t ~4t~'Q ..14t )tt' 'i4t ;,Ni )C 4tOni :n'~4t~M .CW!)J~1 C!)1.1~ C;,4tZ,V
10WZ, tOi IN~ ~W iW!)N :n.,,~ 1~' 30 .t )no ';,n 4t!) Z,V )';'z, 4tlJ4t~
4t!) Z,V :4t~'4t t,4tt,~ .t'}014t ni!) l~ :~~ )t'0 'i~ 4t!) Z,V )t'J014t )Z,Z,,;,O;, Z,W
:C4t"~Q' ,j14t4tM4t 31 .tt' );' W";'W 4t!) Z,V :C4t .,QMQ ,,,,~, .~4t )n~ 'n4t
inN CW :~V .C4t~~1~;' i'1ni~ i'ni4t 1!)10Wl C4t~1iN c 4t4t n ,Z, ';' In4t4t
.0iO :c4t"~Q' .it'4t!)14t :P"~ .t' )t' '14t N ;,Ni )W4t V C4t~~1~;' nYl~i'Z,
.~11 NLR Evr. I 802 4t"~ :ili'O ..,~
~4t~4t~~ ~it9t1 4tl!iwJt;1 4t1~Y / ~4t~iY1 4ti?'t:1 z'~lj ii?~ Z,~~

~4t~t~1 ,:(~7 4tl!~1W7 ;'~l:l / ':(~~ ;'7~'tt nNt 4t~1~ C~1 4t1t:1W
~4t~iit!1 ':(,~ 4t~ ;'10: l~ / 4tt1iJi~ n;t?~ 4tl:lNtrt17 i~Jtt1
~4t~t:11 ~4t1t?t:1~ ii,+,~ i'1 / c7~~ 4t0~ Z,~ ':('1 ~9W "i~:p i~~Jt~ 5
~4t~i~ Z,~ n~ n;t?~ ~7 ~iii? / inQ'~1 iV,~~ ;'~~"9 ;,~Jt~
~~4t~~ .,~ ~~ Z,~~ C4t~~iNG / ':(74t~07 ,:(~l? 4t~~0 ;"Q~~ ~~
~4t~~9 .,~~ C~ ~4t1.1iY Z,~ / t'}~~ ~1~~ C~ ~4tt:11~ ~7 i~~
~4t~iW7~ iiytt ~t:'~1 ~'1 C~ / ~4t J;1i4t t! Z,~ iio'tt ':( l;lt7~ ':(7~1
~4t~4t~~~ ':(,i.19~ ~1t:1;1~ / ~4t7Q~G N9l:1 ;'17W1 t'i?,t1 10
~4t~~~ NZ, .,iV ;'71~ l:t~ .,4t~l;l / Z,~~~ 4t:}t;1 ':(~~, 4tWi?:;9 .,~~
~4t~~7 ;'i?4t~~ 4t1t?Q1Wii/-1l:1 n~ ~vr~!?~ 4tl!iJt11 4tGt:11
~4t~i.,t Z,~ ntt i4t~Jt~ ~~~ C~ / C~ niZ,~Y9 ':(iPl t;~ ':(4t7'~ ~~iJt1
~4t~~1 4t1.4tW 4t7 ~1JtJ;11 T1h/-4t~ T14t1:P ;'rltt ~4tt:'~1 4t1'
~4t~iY1 4ti?'t:1 z'~lj ii?~ Z,~~ / 4t~iY1~ ;,t 4t~ V1lj n~ ;'~~l:l t~ 15
24. Title: (What I also said-in the meter of the poem z'~lj ii?~ Z,~~
~4tQi~1 ~1~.)) Monorhyme poem in the metre ha-mitpashshet based
on the Arabic al-basit metre; this religious poem presented in the
form of a dialogue with God is characterized by the use of the
(return)).
ClnJn 1~ t'J014tZ, i 4t W :1~O'~' t,~Q 1 .iYli'0 t'W!)nOrl :z,i'WOrl

H. Sheynin) (Der Literarische Nachlass des Josef ben rlNi ,4t OZ,Wli4t rl
Tanchum Ha-Jeruschalmi: Forschungen und Texte))) Acta Orientalia
:t,~n .,p~ t,~Q 2. Academiae Scientiarum Hungaricae 22) 1969) 256.
:t' ,0 'rln rlllWrl ,t'Jli 4t YZ, :1~~'~" ~p~n .rltrl CZ,'Vrl 4t,11Jvn z,~0
4tn,~vt" .14t )t'4t 'rln 4t!) Z,V )'rlZ, 4tlJ4t~ :4t"'~ .4t ny!)n 4trlZ,N 1J1Yi nlwvZ,
C~Wrl 1 4t Z,N rlJl!) 4tJN :14t~T~' 4t.,n~ 3 .t'4t )t'4t ~"W rlNi :14t~4tV~ ~'~iT
.4t nV1W VO~1 4tZ,N t'4t l :~ )0 'rln rlNi )4t ni'Vt Z,N rlVWnW 4t'"T~ ~iVrll
.10Vt 4t~ nz'wn NOW 4tz, Z,nOl 4tNt'n Z,V 4tz, nz'o :14t~,.,n, "~ViT 4
'O~ rlNi )t'Jli4t yZ, :4tn~,v nt,o, .,14t )~4t ~"W rlNi )t'Jli4t yZ, :4tn~~nt, "~ViT
1~~ 1~ 1 4t rlZ,N 'rl t'JN rlin4t 1!) :1t' )1 '~'"T 4t!) Z,V :14t~,.,n, 1~ .t'4t )'"T 4t
Wl~4t NZ, N~'"TJrl :14t~n, .,,~V~ 5 .rl )~ 'rln rlNi )t'Jli4t yZ, :14t~,.,n,
)t'Jli4t yZ, :1Q~ .,,~~ 1nJ4tJnl 1 4t'"TOn ,Z, iw~n i'i CN 10W '"Tl~~ nl~t~
.Cz,~J 1'"T ~~ Z,N :N~ )'"TV 'rln 4t!) Z,V :ct,~~ 1" .t' )t'V 'rln rlNi
'rl rlJl!) rl!) :14t~'V iT~V~ 6 .t4t )~ 'ON rlNi )t'Jli4t yZ, :14t~n, 14t.,on~
i014t Orll rlJ1VOrl )1Z" :14t!)Z,~ 1'"TOn Z,V ,Z, iW~01 C'"Tli'rl ilt'rlO N~'"TJZ,
'W4t rlNi )rlilYZ, :iT~V~ .14t Nt'n z,~ Z,V nZ,ON )rlOWNl VW!) nlWlnnO
lJVW!)O z,z,no Nlrll :rl ),1J '~ rlllWrl :,nQ~~' iT~'''Q iT~'''Q .t ),1J
)'"Tn!) Z,N :1~4tQ4t t,~ 7 .n )J 'W4t rlNi )~1ii'~ :~'''p .1J4t nJ1VO N~'"TO
rlllWrl :1QV 4t~~iT .14t~4tlNO 1Z,4tYrlZ, 4t'"T~ )1J4t 04tZ, z,Y 10~ )1'"TYZ, 1N~ 4tJN
4t!) Z,V :1~4tQ4t t,~~ .It' ),1~ '~'"T rlllWrl :C4t~4t'~Q 1t,4t~iTt, .It' )n~ 'i~
11nJ rlnN iWN~ :14t~VQ .,~~ 8 .1J4t 04t '"T4t Z,V 1Z,y 'rl :rl )N~i' 'rln
1t, .,~~ .14t4tJVOl 1 4t!)'"Tli 4t'"T4t0 1nlN iinWNl 1V4t W1N 4tJN rli'1YO~
'OW rlNi )rlilYZ, :1''''''~ .4tz, n~nirl iY~ :~ )'"T 'rln 4t!) Z,V :~4tn.,~
1W!)J il0WN :1'~'~"' 1t,~., 9 .t'4t ),1 '!)Y rlNi )rlilYZ, :14t~VQ .~~ ),1~
)'"Tz, 'rln rlNi )1J1WZ, nNl il0WN 1 4t!) nNl rlWvnW VO!)1 '"TVY z,~ Z,V
t,., .14t4t n 4t04t z,~ :14tn,4tn t,~ .rlOiO i~'"TO 1 4t n!)Wl ViO 1J1WZ, iYJ :'"T 4t
10 .4t n!)w z,'"T Z,v rliYJ :,1 )NOi' 'rln 4t!) Z,v :.,,~~ 1n~~
1'"Tn!)0 1nlN il0WN 4tJNl )1Z,~00 1Z, nlli4t :14t~4tQ~~ ~P~iT
VW114t n :1'~V4t j4tQ 11 .t'0) tt' 'n4t rlNi :iT't,~, ~P~iT .1n'"TinOl
.z,~o '"T1V 1Z, 10i,14t NZ, Z,V4t4tz,~ 4tJ~1 )1Z, VirlZ, C4t OOltrl 10 '"T4t on
:14t~~t, 4tQn., 12 .1JJ~ NZ, rlZ"V 1~1 :,1~ )t'!) 'rln 4t!) Z,V :14t~~ .1~'
1~4t~~~ .14tZ,V 4t'"Ton ~!)WN 4tJNl cz,~i'n 4tnJ4tJnZ" 4toniZ, i'i''"Ttnw nv~
:C4t 1~'V' 13 .1Z, NY04t lJ1Vi'"Tn nN :t' )n~ N"rl'"T rlllWrl :~,.,.,n nv
lJ4t nJ1V W~~4t :t'4t )t '~4t0 4t!) Z,V )C 4t rl n 4t Vi'ii' Z,N i'1itN 1 4t Nt'n nNl
z,~o 1nlN rli'JNl :1'~'''T 1 QQ .cnNt'n z,~ C4t nlZ,yO~ 1 4tZ,wnl
l~ili' Cli'O~ w4t,1nw 1 4t4t l'"T4t4t l Z,Nl :iT~"~ 1'n~~ 4t"~ 14 .C4t Virl 1 4t WVO
:nn4t~ n4t"~ .1J4t n!)W C4ti!) rlOZ,WJl :,1 )'"T 4t 'Wlrl 4t!) Z,V )rlYinN )rlOrl~
.4tZ, ~iV4t 1i4t Wl :14t~~" ~.,vn, .NO )~ 'n4t 4t!) Z,V )nln4tJ n4ti~ 4tz' 14t rl4t l
182 CHAPTER TEN
.4t n1iZ, i~";'W v.,nw~ :4t~'~"~ nv .iONn tN :iT~Vn T~ 15

.;,n4t n!);, N1;, C14t 0;, :2 i1t' ;,Ni :14t~'~" t,~Q
.NI2-~11 NLR Evr. I 802 4t"~ :i1i'0 .iT~
10 i 4t 0 4t Z,N VO ;,nNiZ,N t'}Y1 4t!) N'~N ;,nz,i' N001

n1i'00Z,N VOt'Z,N~ 1'1Y'~0Z,N .,~Z,N C'." n1i'Z,N
~4t'i?G Z,9~ iZ, iV~ 4t~ / ii'~t? z,~lj~ lUt~7 4t'1

~4t't:1~ ;,~4t~~tI niJiV9~ / t'i?,tI n4t~ 1i~,~ c~ 14t''~
~4tiDO Z,iNWZ, ci4t n4tinN~~ / nit WOW
.: - : e: e:
:
;'0.,4t
e::
-
N~;' 4t~
: -T
5
~4t~t? n~:t in9~O/-~ i~l~ 4t1:t'1 ii~t~ C~
~4ti 4tn~t NZ,O n4t~o / ~~
..:. T - T
;,1Z,W1
T: -:
;'~in n!1 ~it'
T -: -
25. Title: (What I also said about the description of reposing with
little food and about criticizing all hard work devoted to the loath-
some thing called greediness.)) Monorhyme poem in the vowel metre/
mishqal ha-teni{ot; this poem ending with a biblical quotation from
the book of Proverbs stresses the transience of earthly achievements
and the certainty of death.
in14t n1J;,4tZ,0 Z".,nZ, 14tiY C.,N;' :~4t"PQ 4t" 3 .n1V1Jn;, :t,P~QiT

Z,V )Vi ,Z, ;,WVJ .,4t0 1i'1!)4t 0 Z,V N~ N1;, iWN~W C1WO )CZ"V;' 10 4t.,0
:~4t"PQ 'v~~ .1JN1~n Z,OV .,4t z,~ ,Z, i~ 'i'!)W n1NZ,0~ :~~ )~ '14t N 4t!)
.nJ;' ~N;' iW1NO :~P~iT '4t"~~ 4 .;'Wi' "'~VZ, 14tiY VY~ t'}."i;'
z,.,n;, W4tN;, iW1NO :~4t.,n4t n'~'VQ' .t'0 )tt' 'n4t ;,Ni );'i1YZ, :~P~iT
~iV~ nvi"W;, WOWz, ;'01., C.,N;' :~4t"VQ ~'iT 5 .;'Wi' "'~VZ,
6 .c 4t no;, CZ"VZ, :t,,~~t, .;, )N ';'i' ;,Ni );,n10n 1~ N1;,W i01Z,~
;,n1iN :~4t" ~,~ 7 .N )z, 'wo ;,Ni )110.,i' c~n 4ti~" :~4t~O 4t"~"
;,~ c4t!)nnWO;,W ;,."VOO ;'~1t' in14t ;,W~4t cnz' n~4tnn CV ;,t'i'W
.N )f4t 'wo 4t!) Z,V )C;,4tJ4t~ C4t~i
.~12-NI2 NLR Evr. I 802 4t"~ :i1i'0 .,~
NOJ4t ~ON~OZ,N C.,V~ 1N 4t!) N'~N ;,nz,i' N001

1NOt~ 1NON NZ" Z,N1nNZ,N .,o!)n Z,N10NZ,N "i'!)~1 ~ONJnZ,N
C4t4t~t~~ C4t ONOJ ~iN/-WJ CJi;, O!)N C4t lUtN z,~

.: -T:e T :e T T T
C4t~t1t1 14t~ C4tl:l@~ ~~/-'O~ t'}t?~ 4tW~~ ;in:t~

C4t~JD1
:-
C4tJi4t~N
:e:
~4t;,T / C1D~
T:-
i~ VOWJ
-:e
ci4t "~N4t
-
5
c4t~ii' iN c4t~in c~7~ 11:11 -G z,~ ~:t ~:LV? ;'7~; C~

c4t~l? nii~i? ;iPl C~i4t~7 1 1~~1 nl~' ~~t:1
C4t~N CD C4t~Y Z,N ~1Z,/-~1 ~"TJ CD"Ti4t z,~O
C "TDl n~o li;:Li~ z,:Li 1 Cn1NiO ~in~4t 4tZ,~N
4t4t
c4t;~iz, lDi~;'i4t!):JT~ 1 C~~iD: ~D C;l~ lviZ, 10
tJ'~~:l~~ C'7k r,~ tJ~Qi':r i ClJ 'i[~ "T;Qt;I- oj?iu> ,~~
C4t~~Y1~ C4tt:19~ 14t~t?t:11 1 1tl 14t9~O V1 ;;J;:J ii,~
C4t~~t'~~ C4tl?~iJ 14t-t~~7 1 14t1~ cw 1Gt7 i~Y n~~
c4t~~n1~ C4t~!3:'~ i:1 14t11-in C4t ~J:liJ0 14t ~iiii' c~
c4t4tn!)~ cniN :L0;'z,~ 1 Z,4t~1v~o ni:Lit' CDJOZ,~ 15
C~~~~ :"ir- i'7~t17~ / ~ii'~ r,~it tJJ:li;~b7~
C4t~i?~~ C4tt:1~ V1 4tG 4t1 1 ~JJ:l~ C4tl?1 4t~~ 4tG 4t1
c4t~PlnPl c4tDiw 4t"TZ,4tl 1 NWJ ~o1v Z,D~Z,:L~
C4t4t~1vDl c4t-iyii lz,hN 4tJI -:L~ T"Ti~:Lz, C~04t ~1vD-O ~t
o tJ~7J:11 0:l~~~ C1~:t~ of :l~ H-,'~ CQ'i' "tJ~~:;l9~ 20
C4t~~it~ C4t1~ C4t~J:liJ C4tI-~:Li?~ 1V10 r,~ C4t~~9~
C4t~~~ z,~o :L1.iV n~o1~ 1 ~l~ i 4t W z,~ ;'14t W ;7
Nt'
C4t4t~!)nl C4t~i ~Plz,:1 ni~/-O ci4t ;,Z,lJ tV ~J4tJD
tJ~~i~~ C~7~~~' i,~:t f i:i ~'::'~ lQ!~ r,~ u>~~
C~17o 4t14t~ "T4t i? ~~ inl-1 i:L3:'1 tiV n4t~ ;,~:t~ C~ 25
c~i~ z,~ z,~ ;~b C~ 1~ 1 z,~ :L~ :L~ :L4t WG ;,~~4t1
26. Title: (What I also said (about the fact) that together with the
loss of earnings (one)s) relationships will be forgotten) and together
with the loss of property (one)s) circumstances will deteriorate) and
therefore one cannot have faith in Time.)) Monorhyme poem in the
vowel metrelmishqal ha-teni{ot; this remarkable poem refers to the
themes of wealth and poverty as well as to the motif of personified
Time) and ends with the poefs self-praise and a plea for Israers
redemption.
C4t:LwnJ C;, 4t OJ:JO 1"Ti4t W C4tWJN z,:J :C4t4t'T~' t,~ 3 .nlV1Jn;, :t,P~QiT
4 ."T )1t' ';,n ;,Ni )t'}1i4t YZ, :C4t4t'T~' C4tO~Q~ .;'i:Ln:L C4t"T,JOZ" C4t4t lt:LZ,
;,11W;, )c 4t4t n c 4t noz' C4t:LwnJ C;, C4ti 4t WV Z,W C:Lii':L :C4t4t MiT 1,n~,
14t :L1Wn ;,V:LiN ::L"V "TO C4ti"TJ :L"nl ;il:L 4t"Ti14t CV 4tn:LwnJ :;, )n!) ';,n
.l )l '14t N 4t!) Z,V :C,4t "~~4t 5 .C4tJ:L ,Z, 14tNW 4tOl N010l VilYOl 4tJV )no:J
;,Ni )t'}1i4t YZ, :C4t4t~V' C4t~'4t~~ .C4t4tJV n14t ;,Z, 1:J!);,W C14t ;, :C4t4t~V' VQ~~
C4t lli'0;, C4tJY:Li' 1:L lWVJW ;,z,4tz,;, "T:LN4t :C4t4t'p C~ 6 .t4t )NO 'W4t
CW!)J nN C4tZ,N1W C;, NllWZ, :C4t4tV '~M 7 .C4t inN C4tWJN nnoz'
184 CHAPTER TEN
C4tZ,Wli4t nN lOW :.1-N )t'V 'rln rlllWrl )i~i' 4tZ,N C4t.1ilVl nloZ,
,~n .i~1i' 14tNl C4t OWrl t'J1VZ, Z,~NO 14t'"T~V nz,~J nN lJnJ C4t4t Vz,
:,.,~ CV.,,4t t,~Q 8 .1JJ4tNl nloZ, c4t~nOrl :N~ ).1 '14t N 4t!) Z,V =14t~' n,Qt,
4tZ,V~ :C4t4t~ CV C4t4t~ .~ )n4t 'O~ rlNi :"t,4t, .Crl4ti~O z,~0 C4t i'ninO Crl
linn0 4t NOW :C4t4t.,V, 4tt,,~ 9 .t'z, )J 'i4t 4t!) Z,V )i~'"TO~ C4tJ~1Wrl c 4t4t n
cnlN CW i 4t WVrl :CQ,.,V ~V,t, 10 .1Wl~Z,~ i'"TrlnOrl i 4t WVrl 4tJ4t VO
rlt~Orl i 4t VY rl4tiN 10~ :C4t4t"~t, ~V,t,iT "4t~~~ .z,~ 4tion Cn14t rl Z,V .1Vz,z,
,t,~ 11 .1 )N4t '~ rlNi )C 4t 0 4t rl n 4tinN Z,V lrl4tV~ nNl~JZ, '"Tl.14tJ~ )4t'"T.1
C4tZ".1Z, C4t Ol'"T C4t4tJVrl :C4t4t'~~' Cit .0 )'"T N"rl'"T rlllWrl )t'Jli4t yZ, :~p~
i 4t WVrl Z,W nlVirl 14t nl'"T 4t 0 =1n ,.,~V 12 .rl4t4ti~J fiNZ, CYiNO
.C4tWJNrl 4tJ4t V nN illVO iW1VrlW C1WO )nl~1t' nl'"T4tO~ nl~WnJ
lJV~1 1 4t VW!) ~V~ 4tn4tno :~~ )'"TO 'W4t rlllWrl :C4t4t'~'" c4tnQ~ '4t~~n,
lOW nN 'rl rlnOl :t'4t )t'~ '~'"T rlNi )t'Jli 4t yZ, :C~ nQ4t 13 .14t nlNt'n
C4tWJN~ i01Z,~ )C4ti4t~.1~ nlV.11!) 10trl 4t'"T4t :C4t4t'~~' '4t"4t .C4t OWrl nnno
C4t Virl C4ti~'"Trl nN 'rl '"T4t0~ :,4t n,."p C~ 14 .C4t'"T~1~Orll C4t~1Wnrl
CV~Qt" 15 .r )1 'nJ rlNi )14tiW :~."n .10trl 4t'"T4t~ C4tiWZ, C4tili'rl
.C4tz,4tO~ cnlN rlW1Vl c4t~nrlZ,o C4tWJNrl nN VJ10 Virl 10trl :c4t4tn~t, ...
.C4t nZ,NJl c4t~vnJz, C4t~1t'rl Crl4t4t n nN 1,!)rlZ" :"P4t~ t,t,'T cn, 4t niTt" 16
:C4t4t~~~ .,4tp4t 14tt,~iTt" .Z,Z"tO ii'4t N4tYln CNl :t'4t )1t' 'j4t rlNi )t'Jli4t yZ,
'rli' rlNi )rlilYt, :'4tt,~iTt" .C4t~1tVrl i~'"TOrl 4t~nJ~ ~1t' C'"TN i 4t i'!)rlZ"
Virl 4t04t nNl C4t ViZ, 4tJVrl 4t04t nN 1!)1rl 10trl :C4t4tP~' 4tQ4t, 17 .1 ).1
rlNi )t'Jli4t yZ, :C4t4tP~' c4tn~ .C4t)1i 4tJV 4t04t Z,~ :1t' )1t' 'wo 4t!) Z,v )C4t~1t'Z,
t,V4tt,~, 18 .4t i'Jl ny 11WZ, :rlJl.10 i~'"T rl"'"T )N"V .1 C4t no!) ~"nz' 4t"lVi
rlNi )C4tZ,4tYNrl 4tJ~ :C4tV'~ 4t.,t,4t' .C4tz'!)W C4tWJN COliO 10trl :~~~ 'Q~
19 .rlWvn C4tWZ,Wl C4tJW c 4t nnn :tt' )1 'i~ rlNi :c4t4t nnn .rl )~z, '~
20 .C4tNi~Jrl C'"TNrl 4tJ~~ '"T.11~ Virl 10trl :C4t4t'~V' itT
C4t4tJVrl Z,w C!)1.1 nN lrll C014t nN lrl C4t Oilrl C4t 0 4t rl :c4t4tt,n, C4tt,~Q'
11.14t :.1 ).14t 'rln rlllWrl )t'Jli4t yZ, :~t, l'~4t~ CQ,4t .C4tJ1W C4tV.1J~1 iVY~
.U1'Tn i~'"T Z,~ rlZ,~o 10trl :~.,n t,~ C4tt,~Q' 21 .C014t 4t~~Z,~
:~iT 22 .'"Tn4t C4tY~1i'Orl C4tWJNrl nN it!)O 10trl :C4t4t'.,T' C4t~'~P'
C4ti 4t Wrl Z,~ Z,v 11in4t W4t rltrl i 4t WZ, :c4t4t~n t,~ ..1~ )to 'i~ rlNi )rlJrl
23 .C4t4tJl.100 C4t Ollt' IN C4t4t~1nZ, rlNllWrl~ ilnw ~ilV 10~ )C 4t inNrl
Z,w CJ~1n :c4t4t,~n, n,t,Q .i'tn i 4t Wrl Z,w lJ~1n :iTt,~~ TV iT~4t~V
rlZ"N.1rl 10t~ 'rl w 4t n 4t :C4t4t'''~' ~4tn4t 24 .wz'n C4tinNrl C4ti 4t Wrl
:T'V n4t~ iT~4t 25 .N4t )NZ, 'i4t rlNi )t'Jli4t yZ, :C4t4t'''~' C4tt,~~~ .1'4t '"T!)rl'
nN :C4t,t,iT ,n.,,~v, .N~ )'"T~ 'n4t rlNi )U1'Ti'Orl n4t~ nN 'rl rlJ~4t
nN '"Ti'!)rl rlnNl :J )N 'O~ rlNi )C 4t llZ,rl niowoZ, ln4t4t W'"Tli'rl n'"Tl~V
Z,v )N4t~Jrl lrl4t Z,N =1~ ~4t~Q 26 .14tZ,~ Z,~ Z,Vl n'"TVrl l~WO Z,v C4tlZ,rl
.n4t woz' tOi :C4t'~ ,t,Q .'"T~-.1~ ).1 'NZ,O 4t!)
.~12 NLR Evr. I 802 4t"~ :ili'O .T~
Z,N''1JNZ,N n~nY 1N 4t!) N'~N rlnZ,i' NOOl

~NYJn NZ, CrlZ,Nl0N nON'1 NO ~NnYNZ,N~
~i'ry1 4tl:l1:ttlG 4tT)/ -~ 4t~vt~ 4t~t?~ it? ci4t

~i'~O 14try~ lZ,h~ ~0t~ / ~i9~ C1~J z,~ C4tl:1t:1~irl
~i'i?~ CJ:li1V~~ in1/-:ttl z,~ NZ, iJirl n1~t:'7~ 5
~i'l}~~ ~~ C1N~~/-~ 14t J:lii t?iO in~'1~~7~
~i'1 NZ, C~4tWl:'G C~ / ~irt~ i'1 4t~ C4tl:1i?'1
~~~~ ~~ 4t1~~ ~itl:'~ / C~ 1V~~~ ~~!0 4t~
~i'~~ C1 4t1~ ii~/-~ 4t~4t~ 4tlj,~ rl1rtiNl
~i'1'J:10 ~V! 4t~7 / ~~V ~0t~ C~1t!~G C~ 10
27. Title: (What I also said (about the fact) that the friendship of
mean people lasts as long as their friends) wealth does not suffer
loss.)) Monorhyme poem in the vowel metre/mishqal ha-teni{ot; this
poem combines the themes of wealth and poverty and the hypocrisy
of friends; in the last verse) the impoverished person tries to regain
his gold in a rather amusing fashion.
)to 'i~ rlllWrl )4tJl00 Z,tNW rlVWO :4t~0~ ,,0 c,4t 3 .nlV1Jnrl :t,P~QiT
4 .'11Vl rl )'1 'N14t 'Cnni'z, 4t~rltl 4t!)O~' rlNi )t'tli4t YZ, :4t~iTT' 4t~0~ .ro
:'p~n '''Q~ .4tJOO 'i'niW Z,V iOl0 CrlZ, 4tn!)t'rl :C"'~ t,V c4tnn~'iT
:'pp~ n.,~nt" 5 .1~rltZ, i'i C4t llNno C'1Nrl 4t'1 4t'14t W liONl 4t4ti~n lJV
ni'i'1nWO rlJ4tNl C'1Nrl Z,W lJlrl~ i'i ni'Wln C'1Nrl 4t'14t'1 4t Z,W CW!)J
6 .n )t'~ '~ rlllWrl )t'tli4t YZ, :'pp~ cn,~~~ .'1 )t'4t 'wo rlllWrl )1ni~nZ,
C4t i'n4tJ CJ4tN 14tZ,~~ )1100Z, C4t'1~V Cn14t rl Z,Z,l~1 :'pn~4t ,n,.,~vt"
t't~z, cnlN 4tnJ'1 :'P"~ c4tnp"~ 7 .n )z, 'i4t rlllWrl )t'tli4t YZ, .CrlO
iW1Vrl :'PQ4t ~iTTiT 8 .C4tJl~J 14t rl NZ, Crl 4t WVOW 4t!) Z,V t'tN )nl~t
4tJVrll )~i'iJ 1!)1l1 no C'1Nrl )t't'lrl 10 nNY14t N4trlW~ :C'1Nrl W!)Jz, rlOl'1
9 .t'z, )1~ 'i'4t l rlNi :'PQ4t .rl )lZ, 'i4t rlllWrl :~4t~ 4t"~~ .no~ Z"WO
Z,Z,l~ :4t"4t "~'PQ .C'1 Z,w nlVO'1 nlZ,4t tO 4t4tJ4t V iWN~ :'P~4t 4tn~,
N"O rlllWrl )t'tli4t YZ, :'P~4t4t c., .1~ )t'4t ~"O rlllWrl )t'tli4t YZ, .4tJ1N iOln
cnN '1~~ )1100Z, C4tt;1~~ cnNW inNO :~,.,~niT c~ 10 .rlZ, )~~
'OW 4t!) Z,v ill0rl l'WZ" .(1nlN t~t~z,) C~4t"VO lnlN i 4t OrlZ, C4tZ,l100
.z,i'WOrlO nliln ' 4t 0z" rlZ,4t Orl )'1~ )~z,
186 CHAPTER TEN
.~12 NLR Evr. I 802 4t"~ :ili'O .M~
124t1. 4tl!4t~ ';iPl 4t~t1 z,~ / llJ i~iV 4t7 ni4t~7 4t,=t!?~
124tGiw 4t~i~ niJ~ / Z,ii' l~~ oi~ z,~ C4tl?~G N~;'
28. Title: (What I also said.)) Monorhyme poem in the vowel metre/
mishqal ha-teni{ot; homoerotic love poem dedicated to one of the
singers at a drinking party; following a common practice in Arabic
and Hebrew love poetry) Moses Darci uses an animal epithet) cofer
(fawn) to refer to the male beloved.
4t!) Z,V );,!)4t ~1;'N 4tz, N;,4tW l'!)n 4tJN qM 4t~~M 2 .nlV1Jn;, :t,P~Q;'
.1 ).1~ ';,n ;,Ni :4t4tM t,~ .C4tZ,4tN;' i!)VZ, IN 4t~Yz, 4t'l1'l ;,01'l :t' )~ W";,W
C4tiOr;, 'lnN ~1;'N;' :1r'Q'~ ~,;, 3 .t'z, ).1~ 'n4t ;,Ni :4tn4t~ 1,n
.n4t )~z, 'OW 4t!) Z,V :V4tQ'~ t,'P .1t' );,~ 'i4t ;,Ni =1 4t4t O,~ .;,nwo~
.;'ior :n,~v
.NI3-~12 NLR Evr. I 802 4t"~ :ili'O .~~
14tn4t~ z,i'J 4t!) N'~N ;,nz,i' NOOl

;,4tJNi~VZ,N ;'.1Z,Z,N 4tZ,N ;,4t~iV
NWJnO 4t;,4t NZ, C4tZ,4t lN i~.14t / 4tO~ c~n4t nON~ c4to~n ;'Dii
N~~' ~~ 011 i'~i :i~~ u>~~~. / '1ri~ tJ,,~~,? i~~l~ .,,.v~
29. Title: (What I also said by translating two Arabic verses into the
Hebrew language.)) Monorhyme poem in the metre ha-shalem based
on the Arabic al-kamil metre; unfortunately) Darci did not include the
original Arabic verses in this gnomic poem.
c~n4t c4to~n 4tinN 1Z,,;,;, :C4tQ~M ;'1"" 3 .iYli'0 cZ,W;, :t,P~Q;'

.Vli4t C4tz,4tO~ ;,Vil c~n4t c4to~n nN 1Z,,;, :~ ).14t 'wo 4t!) Z,V )1!)4t;,Z"
4 .1Z,ON 4tJN iONZ, NWJnO ;,4tJ'lNl :;, )N N"O ;,Ni )iN!)nO :~~~nQ
14tZ,V C4t i!)O n~4tn~z, WOWO c 4t4t n Z,V~ Z,W ONOJ;, lilV :~O~ ,,'1';'
;,11W;, )t'}1i4t YZ, :P~'~ ;,~~ .'l ).14t N"W ;,Ni );'ilYZ, :~~~~ .1~ cn~4ti~ IN
:N )1 'W4t ;,11W;, :~O~ t,V C." .1Z, i'WJ NZ, iWN ;,!);, Z,~1 :n4t )t'4t N"O
.NWJl Ci NO~ Z,V ~~
.N13 NLR Evr. I 802 ~":J :i1i'O .t,
~i:anJ ni'1~on t,~ i:a nON n10 / ~iWN i~!J~1 e~!rn ~'1on eN
~.,t~~' b~:;l~tl1:'Q tJ~~QiN ~i'tll/-Q~ tJ ~ t:i'~~7' o~ i?~in ~:l1 ~~ i:a
30. Title: '<What I also said.)) Monorhyme poem in the metre
ha-shalem based on the Arabic al-kamil metre; this epigram is nota-
ble for its positive view about death.
...
:'''~M~ n,Q .e~'10nJ1 e~:L"o e~~nM eN :,.,~~ C~ 2 .et,WM :t,P~Qjf
3 .jO )N~ 'J'1 MNi :n",QM .'1n~ e~ !Ji1YO e~ii'~ e~i:L'1 ~J~O t,:J n110:L
M11WM ),niWt" 1'1:LVt, 'M t,N e~:Li I'no e~ :LM1NM n110:L :c.,,~t, ... ,~
e'1NM n110:L :'''T~~ ... ,'OQ,
.~JniWt, ~t,N 1:Lii'~ MOM :1t' )'10 'n~
.e~ViO '1100 ~Ji~nOn :j )'10 'Mn M11WM )e~:J!J:J!JM e~:LM1NO iin1WO
:'''T~~ .,nt,,:Lnn:L 1!JMno n1:L00 N1M1 ::L~ )tt, '1~N MNi :c~~)jfnQ
.:L ):L:J 'i'~1 MNi )Mi1Yt,
.N13 NLR Evr. I 802 ~":J :i1i'O .~t,
iNW:LnONt,N ~!J N'~N Mnt,i' N001

iN'1t,N tNOt, ~t,V i Nt to:L
f7~ e~ e~ nG~ i:a e~~/-~tl n~;'J V1~ ~t,

n~~1 i'J~ Q e73:'~ 'ifl/ -1Q i'ilZ>t7 '1 ~ iW~J:1~1
f11?~ tilZ>7~ e~~~ M~Q / ibN~ '19t:l~ i~W i1i~1 5
f1~ ~t?~W e~!~ e~7 / t't?1'J n17W e~ :L1 eit,~
31. Title: '<What I also said about welcoming a visitor) in the words
of the house.)) Monorhyme poem in the vowel metre/mishqal
ha-tenu(ot; in this poem) Moses Dar'i uses metaphorical personifica-
tion of the house.
e~ni1NM eM ~O n~:LM V'"T~ 1t,~N :rt,v ...,t, 3 .n1V1JnM :t,P~Qjf

iWN:J :.,~~n~, 4 .N ):L N"W MNi )t'}1i~Yt, .'11NO now~ )1:L e~'1:L1:JOM
...
i'WJt, iMO~ n~:LM :r"~~' p,~~t, .Nt, )n~ :L"W MNi )Mi1W:LM nN t,:Li'~
.ior n~:LM :.,~~ .,.,,~~, 5 .e~ni1NM ~t,VJ eM:L e~:Ji1'1W n101i'0M nN
)n1!J~i'n:L :r"Q~ 1'~t" .n10~VJ:L :c~v~ jf)Q n:J )t':J :L"M'1 MNi )t'}1i~Yt,
188 CHAPTER TEN
~!) t,v :toP~jT n,t,~ .;'0l' )O~l' ';,n ~!) t,v :~., C,t,~ 6 .;,~ ), "~N ;,N'
.N~ )nOl' ';,n ~!) t,V :r.,N ~to~~ C~.,~ .00 )to 'n~
.N13 NLR Evr. I 802 ~"~ :"l'0 .~t,
;,!t:'~ ':f~~~ / 0~~7~~ t,~ / 0~Q1 t,~ 01 / 0~Q7iV ,~y

;,t~'J ,g.~ / N1i?~ ~~ 03:' / ;,,~ 03:' 0'J/-':t~ n~~T=il
MtJ;lG tJ~l:'~=? / tJ1~ lVN"1 ~~ / tJ7iV ;79 / tJ7t' tJlJ tJ~
;,!:t~'J ;'7/-i?~'J ;'~b / 1~~ t,~~0V?7 / 1~~l;l 0~~t1 5
;,tin 03:' N~:;l/ -~ t,~ n~~T=il / ;'~9 it, 113 / ;'~~=il0 o~
;,-t13 n~ t,~ / ':f'1t?t1 ~G~G / ':f'10 '~:;lN / ':f'1:t~ t,~ o~
;,n i!)~~ / iV1O!JO ~~ / iv1O, nSo~ / iV.u N!)'~
M!t1 tJi~~/-~ tJi~~ 'tJ~' / i,~"1~ :i~o tJ~ '/ M~1l~ .~~ T~~
32. Title: '<And this is what I also wrote with paint on the wall of the
portico.)) Monorhyme poem in the vowel metre/mishqal ha-tenit(ot;
in this personal prayer with internal rhyme) Moses Darci implores
God to heal his son Samuel who had apparently been in a coma for
some time.
t,v c., ., )'~ '~ ~!) t,V ,,;,t, ~'J~~ :C~~t"v .,,~ 2 .n'V'Jn;, :t,P~~jT
)t,,~;, V"~ ';' :jTTnn ... t,~ .';' O~'J t,~ t,V 0' :, )J~l' ';,n ;,N' :C~~.,
t,t,J~ :jT"~ ... n'~T~ 3 .~t, n,ot,vn ~~ N';, ~~ :~~ )'0 ';,n ;,N'
)'~ ',~ ~!) t,V )l'n~, :jTTt,jT ... CV .;"121' O;"~N t,121 o~~,o;, O;'~121VO
1,tn ~l'V~t, ;,~;, :Ct,O ... ct,n .t~ );,~ ',~ ~!) t,V )~l'V~' :cn C) 4 .;'0
)';,t, ~'J~~ :Ct"V 1t,~ .J~-~~ )n~ ',~ ~!) t,V )l,nt, V~121-'N~O ,~,,~
)"'1210;' :jTT~~jT ... c~~n 5 .;,!)~ ;'N'O~ :jTTn~ C~V~~ .~ )~ ',~ ~!) t,V
'N ;,t"n ;,~;, ;'N'J~121 )t,N'0121 )'J~ nN l'tnt, ';'0 121l'~O )~V" ;'1210
:jT~~~jT 6 .0 )~ 'Nt,O ;,N' :jTT~~jT .;, ).1 '~ ;,N' :jTt,P~jT .;,,~;, ,on
o ;'~121VO t,t, J~ :jTT,n ... n'~T~ .;, )N N"121 ;,N' :jT~~ ,t, 1n .;,o~ n;,
:jTTn ... t,V 7 .J~ )r ~"O ;,N' )t'J,,~yt, .o~t,n;" O~N~~J;' t,~ t,121 o~~,o;,
t'J'0t, OJ ,~,~,~ to" ~V" .,,~V t,V ,on n~121V' :n )~ N"121 ~!) t,V
1N~' .~JN~~n ;,t ;,Ot, '~~N 'V' ;,nN ~Jn~o;, l'V ~~ 121~ ON' :l"O!);,
N~'" 8 .'J~ nN Nt" ,n'N n~o~121 l"V ,~ ~ ON121 ';'0 121l'~O N';,
nt,o, .tt, )n N"O' no )'~ 'l'~' ;,N' ),nt,no nN t,N'01210 '0;' :'V)~
:jTT., ,~') 'V~~~ .;,t;, OV;, l'Vt, NJ nt,o :o~ )'~ 'O~ ;"'121;' :'V~.,
:jT~~~ ~N t,~ 9 .;,n~ "121~ 101210' ~l'V~ ,,~~ t,,~ :, )t~ '121~ ;"'121;'
:j1~"~ ~,~ .;,~~n N~' ;,t;, C'i'O~ ~non ,nn, :;,~ )'~ ~";"~ "J~.1~
:j1Tj1 C'PO~ .;'~i~ ,~ i121N ~~, ,~ ;'~i~ ~;,t, ~O~' :J~ )n '~, ;"'121;'
.;,t;, C'i'O~ ';' 121~ t~N :ft' )n~ 'i~ ;"'121;' )ii'1210;, n~~~
.~14-NI3 NLR Evr. I 802 ~"~ :i'i'0 .~t,
'l'V~ ~~N ;'~ONiO N'~N ;,n~i' NOO'

tNOt~N' i~V~N '~i!) tN~ to, tN"~N~N
;'.1~~~ ~.a~.a ~D' ;'1'1 J~n:a / ;'.1n, ;'~D iWN iW ni~n~

T Miip.1 .;~ ~7~"'n~ PlJlP~T 7:nH~;W~~ ~iNQ lJ;i!~l
I
;,~~~~ t'~V?Q~ t~1 W9~~ / ;,~:r~~ ~~! t,-.~ ~;J~G i~~tJ1 5

M~'7 tl~ "'1~'i? tli~ iJ7lP1/ tl~"11n ~.p r:;L ~t?Ti:1 tr'' 11:'01
;'.1W, VJi ~~:a ~~W i;,:a / ni'~V~;, ~~~~~ n~o~;,t;
T ;,jv} ~;~ irb ~i!): / ni~wn~-;, ~~Db -N~i:!)t,;
;,iu;,:
;'.1i~~ CD n~nu;T COT i~ nD:a "/ nini~.1T niYV 0iiio ~~t,;,
M~~1'tln;J ii~Ol'~~O-f'':l~' / tl~~ViiJ: n~~~Q ~1~1Q n~i 10
;,~~~ i;~ ~~~ ~~ ~~ t~~7 / C73:'~1 t1 ~~ ni~~O~ ~~~01
;'.1~~ '~OD;' nON C.1iOiN' / i~~w~ nio~n ~t,;'N ;,t'.1,
M~"1? tli ~~~ ~~~ ir1~:l7ij~ / ~~Q~: M11Q ~~i ~p 1'?Q~
;'~W1 ~~7':1~ ~!~ in~1~~ / it? in1 ~~iV i~t?~ ~~ ~1~~~
;'.1ioW C~~~O.1~~ c:a C~~~'N / ~~~W;'~ ;'D~W '~OD;' c~Dii' 15
T I " i
M~~tl ' ;.pi.3 ;~~ o~ niN767 'ni~~:o/iJ n~ip.Q ~"W1
;'~~1 ;,~~ N~t?~V N~ n~~ / nj3:'W~ Cl;1;~Wt;ll'1J ;"i;'1
;'~~.1V? C~ ;,t?~i,? ;"i~ ~j i? / n~ ;'~7o/~ ,~;~!'? ~~ i:a1tl1
;'~i~t i~1 ;'~1: N~ n;J1 / i~ ;"i?1~ nGii:p '~;J i'~1 i?11
;'~1 ;',1JiO :p i~i?o/Q~ / l:1W:P i~ c~ t~it!ij ~~~l!'? 20
;'.1'1' ~n N~;' iWN' no iWN / iiiwo i~W ~~ ~~D Ci ii~W'
TT-M~~~~ ,~ ~~~Q-~f'""T~ T~-~1 / n~l'i.3:~ M~~ ,~T~oiN 1in orb 1
;'.1.1Di i~ ;,n~;, i.1iW~ / i~W iiN~ ~N ~~ ~!):a ~in.1 ci~'
M~1~}~' C~:;L~~V~~ r,inQ~ / ,~. nirnS ,~w ni.3:t" N1i?~' "ru~r7
;'~~1~ ~~ ~in ~~~ H7 ~~Wl;11 / iill~~ ;'~1G n~~ t;~ t~lJ1 25
;,~~~~ '=C ni~~1 ;,t ~1~~ / C~[~7]~ ':f~ ~~ i'!t! ~~ C~ ~3i1
;'1I!)~ WNi C;'~~D ;,t ~1JO~ / ni~~~;, CN i'D~ ~iON'
M~Q7' c~ MQ~ryl i~: M~p' I: ninon ~~: ~~ ~~7 -r;'?ry ci~1
;'.1.1i nw ,~n~w ;,!) t,~ ~D' / C~.10W ~~O iow nN ~~t';"
TT ;i.1~' Ti~uinci:a ;I"n.1 TWi.1-N / ~~" ;S:a ~~iOT~WN: ;'.1~i;i' 30
TM~i?1 hi; li~Ti~ ~~~1/ {~:t~i tl7iV'i?;T ~~Q T,~~~
;'.1~n.1 '~!)DiO:a inNi~' / ;'.1i~.1 CW i:a~:a i~~ n~;'N'
T : T - : - : T:- : T: T : - : - :
190 CHAPTER TEN
M~~~ t,iP.t? 'Nt? '4t.3i4t J!11 / '4t~i:l't:1Q 11~1 V1 t,~Q~

M1I1" , 4t01'M ci4t , t,4tt, ~::l:a / C4t;;t,NM n,i:l1':a iw!].3'
~J4t~i c~ ~n:loi ri~MOO / NO~":::l1'i S::l~: ino~ri; 35
l'1~lP.l-01~~ ,~~ ;i1?WQ7~ -I' n~i.]~ Tr:;L ;t:3~G 't,f n';17
M~~l it, ni'~On i~~ i'4t~'Jl / iio iii t,~ M7tJ1 c1 ii~t1
M~~!] ,4t tJ,?iw :l~7 ':fin M~~':ll / niw~~~ in;t1~ i'4t;1'J1
M~i4t i iN ii!)~i 4t ~~V , Nt? / M~.~~ 4t1:11~t? n~ 1~ t;~1
N~ 4t~' :l1 cit,O/1 i9~0 4tt:1i? / 4t~,~ t,~ ':f~~i=t 4t~~Q~ 40
M~W=t i1 =t~ 14t~7 ,4t~, i i?~ / n~w~ 4t'~N 4t~~tlJ:l':' it,1
M.3~O~M ,4t t ,iM:a 4toit,n:l~ / 4t0~.3:a 'u1'nN' V:aWN 4t,1'
l'1~~~t;l iN 'if~ l'1~~iJ:l ~~~~Q Il~Qt r,~- '~~7 t;~' ~Q'Nl
M~4t~, ,4t 7tJ M~i~ C4t~~~ / M1~:l~ M9 i i' ii?~ ':f~1~ i~~
M~4t~~ t,~ CJ! ~1fQ ni.3il~ / i'4tTJ1':'1 ~4t~iWo/ i:a :l4t1i?'J1 45
M~~O ~ M~94tW~ i:l~o i'4t1J~ / ,4tQ.t;11 iw~~ M1t?'~ C4t::it,~
M.30 w io n" Cl' t,N ~04t~ / M4t'i ~:l~ C4t1'110 ioi::l'
l'1~~?fT ~6 .,~~~ tJ-+;~~1 ; r,~"11 titl oi"::i" ,'~;iN l'1i?~i
M.34t tnn i'i:l~ :l~W ,4t.34t1" / '4t~n:l in~!]~ n 4t :l M.3:l4t ,
".3ti~Dn i:l~\':a '4tni4t~;i / i:l~~ nN n~~ i.3iY;:~~ 50
T
M.3iVO ;~it,l'
T : - : - :
,v
- ..: - :
i:
4ti~Mi niYiN: ~t,:l4t 4t,v-;it,:l4te: :
T -: :.
~~,: - :
33. Title: (What I also said by way of correspondence to some friends

and to a person who was matchless in his period and time. Mono-
rhyme poem in the metre ha-merubbe based on the Arabic al-waftr
metre; the style of this panegyric poem is characterised by a tradi-
tional pattern of recurrent and conventional motifs; in lines 3-10) the
poet uses a series of metaphors in the construct state taken from the
fields of astrology and nature; in lines 19-23) the praised person is
complimented for his excellent linguistic and poetical abilities.
:n"~M~ .C::ln iWt, W'i"O i 4t WM :jT~,~n ... n"~M~ 3 .M:l'iOM :~P~~jT

:jT~,~n ... ~'M~ .0 )'0 '!]'W MNi :jT~M' jT~V .n ),t, ,4tN MNi )Mi'~t,
i 4t WM t,W 1V0.3M :n'N4t~~jT 4t"'N~ M4t.,TjT, 4 .MO::ln t,W C4t O,'O C4tOW:l
.C4tiW4tt, i'N 1Wn:l nit:' ):l4t l' 'Mn MNi )C::ln, :l'0 l4tM.30 N'M
i 4t M:l i'N 'Ni Nt, :N::l )tt, ',4t N M"WM )C 4t i 4t M:l C4tOW:l :jT~~V' ... PM~~
5 .M )l ',4tN MNi :jT~~V' .0 )04t 'OW MNi :jT~~V' ~V .c 4t i'nW:l N'M
~4t" .t ),::l 'W'M4t MNi )1w,n :~~N~ .tt, )M::l 'OW MNi )Mi'yt, :.,4tNjT,
.r ),t, ',4tN MNi )~'i4t~t, :~~~~, 14t" ., )n.3 'W4t MNi )~'i4t~t, :jT~~'
.n::l )It, ':l, MNi )~4tOM' :=-J4t .,VjT, 6 .4t ), W"MW MNi )ni4t ::l :jT~~~~
., )t4t 'i4t M"WM )W:l4t C'i'0:l :C4t .,.,M .MO::ln 4ti:l' =14t~ 4t~T'~
10NJ i 4t y i 4t yi' C14t~ ,1Z,W nJY~ :,14t )rl~ 'wo 4t!) Z,V :iT~~t, ,~t,~,
)C 4t i',nrl :n,.,'1'niT 4tt,'~4t .t~ )nz, '14t N rlNi )rlilYZ, :n4tQ~iTt, 7 .14t nZ,wZ,
:~4t"~t" 8 .10trl z,~ :iT~~' 1'~" t,~~ .rlo~n~ :t,~~ "iT~ .~ )n '~ rlNi
4ti!) :"4t )1 'i4t rlNi :4t"~ n,~~nQiT 4t~1'Q .1" ),14t 'Wlrl rlNi )n4ti!)rlZ,
9 .N~) " 'ON 4t!) Z,V :iT~~' iT~~ t,~~ .4t )N ~"rl'"T rlNi :1'.,Q .Cnl~WnO
rlNi )rl~1" rlO~n 1'VO :n,n,~~ n,~1' ~'''~Q .N~) no '~ rlNi :t,4tTiT'
'14t N rlNi :.,~ n1'~ .4t )z, 'W4t rlNi )C4ti~ C4ti~'"T :n,n,~~ ." )'"T4t 'Wlrl
4t"~"Q 10 .'"Tz, )z, 'ow rlNi )C4tOW~ 4tJ4t O z,~ :iT~~t, CO .,1~ )nz,
:"O,Q r4t~~ .rllNJ 14ti~'"TOl :,1 )'"T W"rlW rlNi )nlW!)4t" 4ti~'"T :n,t,~o
t,~ .n,&;,,10 :n,t,~o~ 11 .rl )~ 'rli' rlNi :iT~~' o.,.,~ .rlo~n Z,w ni!)~
t,~ 14t1't, .'"T4t )~4t 'rli' rlNi :ct,1'~' .1Z, OJN NZ, n Z,~1 :1 )'"T 'J'"T rlNi :T.,
Nlrll :iT~~' iT~~' 12 .Cli'O z,~~ :iT~~' "~1' t,~~ .C4tWJNrl z,~z, :~4t~
)no 'rln rlNi )rlilYZ, :,n~~t, .nON nlJOiN rlJl~1 rlo~n 4tZ,rllN~ 1~1W
)C4t~Z,o 4t J~ :iT"~Q 4t~~ .C4t,14t rlJOrl z,~~ Z,Wl0 Nlrl :iT~4t"Q ,t,Q, 13 .t 4t
14t~rl C4tOW~ 'rl :"4t ),1i' 'rln rlllWrl :,n,~t,Q~ t,~Q' .1 )" 'W4t rlNi
Z,~~1 :t4t )n 'ON rlllWrl :iT~4t"Q t,~~ .rlZ,WO z,~~ lnl~Z,01 lN04t~
t'J4tz,no lnl~4t'"TJ~ Nlrll :iT~~' 4t"~~' 14 .i4t Vl i 4t V Z,~~1 rlJ4t'"TOl rlJ4t '"TO
.1NZ,~ 4t'"T,1~ nN NJWl :,,~ )rl~ ~"O rlNi )Z,,~ 4tionl C4t4tJV 4t'"T,1~ rlJWOl
C4t,14t rlJO Crl 4tZ,V CW Nlrl :iT~'Q~ C4t 1"'" 15 .4t )ti' 'rln rlNi :4t~'1' "4tO~
rlJOWl C4t Vli rlV~W 14t Z,V lJOi'rl :'"T )rl '~4t0 4t!) Z,V )cnliV~O cz,4t~Wrlz,
rlNiJ~ )nlZ,NW ni'"TO 1iV iWrl :n,t,~~iT n~"1'Q ',,1" 16 .C'"TN 4t~4tOJ
)rlilYZ, :n,~t,iTt, .N~ )t4t N"Wl '"T )0 'ow rlllWrl )t'Jli4t yZ, .rl~Z,rl 4tJ4t4tJV~
.'"T )"4t 'i~ rlllWrl )t'Jli4t yZ, .C4tJi'tl C4tiVJ :iT~PT' "1"~ 4t~~ .,14t )t '~ rlNi
",n~ V,11!)rl N4t"no lJ4tNW 1'n 10~ ni'4t l'"TO ln~1wnl :iT~~' iT."iT, 17
18 .N"n4t NZ" rliVWrl Z,N l~N~ vz,i' rlt z,~ :t" )~ '!)1W 4t!) Z,V )rliVWrl
.rl'"Tnl ntnWl0 ~in~ ln~'"T4t n!)Z,WJ C4t '"T01Z,0 nl~4tl~1 :iT~'~~ ,~.,n,
:'4t~4t"Q .1'"T4t~ rl!)1Z,W 1~inl :,1~ )~~ 'O~ rlllWrl :iT~t,~~ ,~.,n,
:~"V '" rlZ,4t,10 ~"n rlllWrl :iT."n ~.,p .4t )~ N"W rlNi )rlilYZ,
)rl'"Tn :iT~'~~ .'"T4t )N~ 'n4t rlNi )ntnWl0 :iT~'''Q .rliln Z,w rlnonZ,o~
14t~0~ Nlrl ni' 4t l'"TOrl lJ1WZ, :iT~'~~ p,,,p.,, 19 .n 4t )rl~ 'wo rlNi
)rl~ 'O~ rlNi :iT"p.,4t nQ'''~ .~4ti4trl t;w n,1z,4t Vrl In!)W nN nz,onOrl
)rl 'rln rlllWrl :iT~'~~ n~~ .Crl4tJW nN ii''"T 4t l 1'"T4t~ nOi ni'4t l :n-t
4tZ,N Cni~'"T NZ, 4t~ :t )~O '14t N rlllWrl :iT~'~~ .,~., .rlJl~J lrl4t!)~ 14tN :4t
,t, C~ .C4tZ"i'W, C4t tlin C4t i 4t W i~no Nlrl :iT~~' 4tt,4t1'Q 20 .rlJl~J
)t'Jli4t yZ, :iT~~' iT.,n,o~ .14tiW~ rli''"TY W~Z,4tl :t4t )"J '~ rlllWrl =14t"~~
:iT~"1' .,~~ .iWrl Z,w lni4tW~ 14tN :""'~Q '''4t~' 21 .'"T )NY 'rln rlNi
rlOrl iWN c 4t4t nrl 10 lno i~~W C4t nOrl nN 4tJN n~Wl :~ )'"T 'rli' 4t!) Z,V
lZ,4tNl 14t'"T4t'"T 4t 4t!)~ W~'"T~ li4t W rl 4t rl t'J"'J :iT~4t~~~ "n, 22 .rlJ'"TV c 4t4t n
.C~4t'"TY~ CJ4tJYZ" :rlJ ),1z, 'O~ rlNi )rlNJi' nlii''"TO~ li4t W rl4t rl 14t~4ti4tZ,
192 CHAPTER TEN
lJ'11V 1"!) )C"inN "!)~ i"W;, (ili'O) i;,J W~" iWN~1 :iT~~1''' ... C,'" 23
nlNiZ, :.,~ n'Tnt, .'1 )~" ';'i' ;,Ni :.,,,~ n,~ 24 .;'JJVi ;,i"W i'''!)0
;,JNynl :1 )n" N"W ;,11W;, :iT~"~~ C"~~'1'~' t"nQ~ .iilWO
;,now~ C"!)n~ ,Z,O;' Z"NW nNii'Z, nlZ,nO;'1 i"WZ, ... C"WJ;,
:iT~""1' ... 11'n, 25 .;'ilW;' Z,VO ;,"1Z,n '1"1";' ""~~ :iT~"~~ .C"WZ,W~1
:iT~""1' .N" )~" 'i~ ;,Ni :iT~"Q n~" .t )tOi' ';,nl N~-~ )1" 'OW ;,Ni
;,~O ~z, l'''ON z,~ CN nv-rz, lV"1 :iT~"~~ ... '1''' 26 .n )to 'lV" ;,Ni
:t )n" N"W ;,11W;, )1nO~n~ nl~~i ;,~o ;,t c~n )C,,!)Z,N 1~in~
.1"n~~i~ '11'11 ,"!)Z,N~ Z"NW ;,~;, liONnl nli'nWO;, C"WJ;, ;'J"Jvnl
)z,'1.10 10~ ;,o~n;, "i~'1 CN :iT~~t, ... C~ .1"Z,V liON :,.,1'~ '''Q~' 27
.;'J!) WNiZ, ;,n";, :~~ )n"i' ';,n "!) Z,V )z,'1.10;' nJ"!)z, WNi 10~ iW;,
:n,."Qn .;'J"~~ ;,z, i'z,n NZ" :t" )"z, '1"N ;,Ni )i'z,n C;,z, lnJ :pt,n 28
;,o~n~ lJlnO ;''';' iW;, :iT~Qt, ... iT'~1' ..10 )N" 'J'1 ;,Ni )C"ii''' C"i~'1
"!) Z,V )~1" lOW z,~o ~1" CW ,Z, lnJ ';' :C"~Q~ ... ~"~iT' 29 .nlV"JY~1
z,~ Z,V i"WZ, ln~w nN lnJl :iT~~" ... t,1" .~1" 10WO CW ~1" :N )t ';'i'
:iT~t" ... iT~"~iT' 30 ."!) z,z,;''' nlJJi "n!)Wl :1 ).10 ';,n ;,11W;, );,!)
nNY10 ln~WnO~ )inN C'1N z,~ ~z,~ 11~WZ, nJNOO iWN );'0~n;'1
nN 1;' i~O Nl;, :,t,~iT' ... "~Q .,,~ )t~ 'i~ ;,Ni :.,,,~~ 31 .Vl.1iO ;,z,
.ii''' 11;' z,~ :.1" )N 'wo ;,Ni );,t;, CZ"V;' "z,~;, z,~ nN 1;' CZ"V;' ii'''
;,o~n ;,Ji' ;,o~n n"WNi :t )'1 'wo ;,Ni :iT~P' .';' 11Yi :,.,~,,, 1'~"
nlJlnJ lnNi"1 ';' n~;'N :iT~,n~ ... n~iT~' 32 .;'J"~ ;,Ji' ,J"Ji' Z,~~1
,";,Z,N ';' nN n~;'Nl :;, )1 '~'1 ;,11W;, )1"nl~WnO~1 1~Z, "n~ n,,~z'
33 .;,t;, Cli'O~ C";,Z,N nNi" l"N :N" )~ 'i~ ;,Ni :,n~.,", .,~~z, z,~~
)1"J~NO ;''1W z,i'00~ 1"nl~WnOO Vi;' nN i'Z,00 Nl;,1 :iT~~' ... t,~Q'
1'~' l~NO lZ,i'O ;,Z,OO;' lZ,O lZ,O CV;, 'i'1 lJ!) :" )~O 'lV" ;,11W;,
:.1" );'z, ';,n ;,Ni )t'Jli"YZ, :iT~1" ... ,~~~, 34 .t );,J 'W" ;,Ni :,"n,~~nQ
n'11~V~ :N~ )NZ, ~";''1 ;,11W;, :C"iTt,~iT n.,,~1'~ ."W!)J C1Y~ "n"JV
lJ";,Z,N ';' Z,N C"~ii' :"J )n N"O ;,Ni :C,'" t,,,t, t,~~ .C";,Z,N;' n"~
;'i'WOl ;'J"~z, C"~Vi;' ;,J"tO lno~nl :iT~""~ ... ,nQ~n, 35 .;,Z,,,Z,, COl"
;,n~" ... ;,n"~ ;,nJ~ nl0~n :~-N )" 'wo "!) Z,V );'V'1z, C"NOY;, nN
36 .,,~ )t" ~"W ;,Ni )t'Jli"YZ, :~Q~' ~1''' .;'J"" ;,~Oo ;,n~"
nN llV'"TZ" ;'J"~z, C"NOY;, nN lno~n t'J1Y~ nli'W;'Z, :iT~~" ... n".,t,
.11J~Z, l""~ li~t :n )'1" 'Wl;, ;,Ni )1nZ,";,n CW :'''~T' 37 .;'JOW~ CW!)J
Z,V :."Q .".,~ ."J"V 10i NZ" ,,~z, ;'~.1 NZ, :N )NZ,i' ';,n ;,Ni );'~.1 :C.,
..10 )N" 'J'1 ;,Ni )c"'10nJ C"i~'1 ,Z, lnJ ';' :,t, ... P"~iT' ..1" )N W";'W "!)
Nl;,1 :iT~'~~ P"~"iT' 38 .1'1"Z, ;,IN C";,Z,N;,1 :.1" )N~ 'OW ;,Ni :iT~~'
Z,Vl :iT~'''~ t,1" 39 .C~z,~ ln~;'N i,OWZ" lnlN ~1;'NZ, 1"V01WZ, Cil.1
'~t ;,Ni )t'Jli"yt, :"~'1' ... "nt,~Q .;'Jl"~1 il!)"Y~ t'J1VZ, ;,11YO ''IN ;,t "i"W
:N" )N" 'Wl;, ;,Ni )t'Jli"YZ, :iT~'''~ ,~ .,,~~~ .;,!)V ;,z,.10 ;,J;,1 :N );'
)nN iWN~ :4t~"~ t,~ 1~'''~ 40 .ilWN fiNO ;tI14t~1 0 4tiYOO il!)Y~
rlNi :~., C,t,~, .,1 )N 'wo rlNi :"O,Q 4tnp .iWrl Z,N rl!)V )rlZ,4t,10rl
Wi'~Z" ,Z, 1JnnrlZ, :n )'"T 'ON rlNi :4t~~nnj1 ,t" 41 .rlOi' )t' 4t i' 'rln
iWrl Z,W 04t!) 4t rl 14tJ!) nN nlNiZ, rllli'O iilWOrl :j1~~~ 4tt,,~ .l4tJ!)Z,O
14t !)14t 0 ,1J1V V~WN 4t01Z,n~1 4tnJW~W 4t'"T~ :j1~'Qnj1 4t.,1' 42 .101Z,n~
43 .1nJl0n ri'rl~ rlV~WN :1t' )f' 'rln rlllWrl )14tJ!) Oz,Y Z,W
44 ?14t4t n Z,V rlnN 14tZ,0 ONrl :Z,NWN 4t~z, nNl :j1~,t,n "Q'~'
rlJ4t~WrlW rlOli' ilV4t W Z,V~ O'"TNZ, V'"TllnrlZ, n4t~t NZ,rl :j1~4t~~ .,~~
~YV 100 i'4t nirll rlnowZ, 1Z, Oi,11 :j1~4t~~ ~4t"Pj1' 45 ?14tZ,V rlilW
46 .rlnJNl 11,14t 10Jl 1,14t~ rlnOWl 11WW :4t )rlZ, '~ rlNi )Z,~N Z,~1
li'4tn~ nt'~z, rlnlN 1n4t4t l '"T 4ton lW!)J nN il0~ Z,NrlW :j1~'Q~ C4tj1t,~
n14t lVOWO rlllWrll ;rlJl0N rlVil 'rl~ nt'~ :,1 )tz, 'rln rlNi )~1t'rl
rl 4t lliZ, lnlN rli'W4t Z,NrlW :j1~Q~ 'O'~' 47 .n4t~iV~ l"ON lVilWrl
'rln 4t!) Z,V :j14t''' 'O'~' .n~1WOrl 10nZ,0 ,Z, 1n4t4t l rltrl OZ,'Vrl 4t,11JvnO
48 .lOnz, rlJOW :~ )t'0 'i~ 4t!) Z,V :j1~Q~ ,Qnt, .rl4t li 4tOl~ :rl ),1~
iO OZ,~NO 1n4t4t l rlZ,Vinrl 01~~ 14t~4tlN nN rli'~1 :j1~1't,~ j1P~4t'
.,Q .rlZ,Vinrl 01~ :t4t )NJ '~ rlNi :t,1'''' ~,., O'~ .rlJVZ,rl noY~
:,nt,~n n4t~ j1~4t' 49 .rlJVZ,~ rliO rln4tinNl :'"T )rl 'wo 4t!) Z,V :j1~1't,~
:,1 ),10 'rln rlllWrl :j1~4tTnn '4t~4t1" .t )1J '~ 4t!) Z,V )lU'Ti'Orl nN 'rl rlJ~4t
lJ1Yi~ Z,NrlW :j1~T,t,1'n ,~,~.,~, 50 .1'"Tl~~1 1tV nlNiZ, 1 4t n 4t tn W'"Ti'~
:tt' ),1~ 'wo rlNi :j1~T,t,1'n ,~,~~ '4tn'4tt,~, .10V ~4tt'4t4tl lnlN now4t
)OZ,'Vrl rlZ,~4tW '"TV iWrl nl0 4t NZ" :n,~.,~ ~t" 51 .4tn14tZ,~ rlJtZ,vnl
:"1' 4t.,.,j1, .11nl04t 1~ 10~ rl4t~~1 rlZ,~n '"T,1~~ fiNrll :1 )NJ 'W4t rlNi
04t~~1~rl nl~iVO :j1~'1'Q 4tt,~t,~, .'"TV 4tiirl lyy!)n4t l :1 ),1 '~n rlNi
.0'"Ti' 4trlZ,N rlJVO :t~ ),1z, '~'"T rlllWrl )04tOW~
.~14 NLR Evr. I 802 4t"~ :ili'O ..,t,
',1tOZ,N rlZ,NnN 4t!) N~',1vnO N'~N rlnZ,i' NOOl

iNi!)YNZ,Z, rlionZ,N 10 iNi'VZ,N
'"T' 4t0~ n~ ~~;n~ v4t~~1 / ~~;N1 i'~1VO 14t~~ rl97~ rl9~

'"T'~~1 '"T~ i~'~l '"T~i4t;1 4t71J / ;!)~~ i'w;n 14t~7 rl9;'"T 4t;:1l;1
34. Title: (What I also said about being amazed over the transforma-
tion caused by the mixing of wine) from red to yellowish.)) Mono-
metre; the poem)s Judaeo-Arabic heading refers to the medieval prac-
tice of mixing wine with water and the resulting change of colour;
194 CHAPTER TEN
however) in this remarkable riddle poem) mixing of wine with water

is surprisingly described as illicit sexual intercourse between a father
and his daughter.
to" :jT~~V .,,-r"n "'''W~ n"J""!)'N "n"n!) :jT~' 3 ."~"O,, :~pt'~jT

('.1'~J""t, -r'.1"J~ )'i'0J"!) 'O~) ,:,.,;tt1 O".1t, 10'" .C.,Ot, to" :~~~, .t.,.,t,
)""yt, :,., "jT" nv .n,",v ."t,.,.1 c,,~ 10"10 n'~N "on"t, to, tN~ ~,
...
"t" n N'"W ~"'Nt, "O,-r t.,.,,, tN :'''j~ "jTn 4 .N )~., '10'" "N'
:,~ .n" )N~ ~",,-r "N' )~".,yt, :"~n 'j~~ .'~'''NO ,n-r"'!) t,t,.1~ "~"N
)n'Jtt, to, tN~ 10"10 'W!)N :'''j~' ."'N~ """n -rJ, VJ :~., )-r ',~ "N'
J-r,!)" n'Jt" CV C" .,~ :-r" )-r '10'" .,!) t,V
.NI5-~14 NLR Evr. I 802 .,"~ :"1'0 .jT~
VNOi'N .,!) N'~N "nt,i' NOO'

VNO' .1t,N tV t,,,N'.1t,N "'''10
"l'''-r~" t'!JWO "0 / "l'-rt, / C.,~~W~" -rnN / C.,t,.,O~" -rnN t,NW

/ ;t,V"-c.,i!J: n;w~~~ / T~S~" n;'~D ~~vJ / -"D"-r~,, t,~~1V~;i ~ON T/
-,- T O~ l~l} ~~~~ i ~r,7iil~~ .~~~~. C~l} '.;~~1
i'~"J:1 "rlJ:l C~1 / V~~~ ;J;.1~ "~70t C~7 n~o~ C~l / V~~~ ''''7;'' ":':1~ 5
t'" / ., nJ~~~ -rWO
VQ, / "'~;l}7 n~ n~1ViP~ r i!lt;l13 0~1 / 'l:119~ VQ~ '7' ~~!~.
;t,'!? N'r1 / ;t,iW ;07;v n;J;~'t:1G '1.;V~1 / ,.,w t,i?o/~t ~\l~1
"ii?t "'1Q n9~ ~~ n;'1~ / "~~~7 C\l~"'~ C"W~;:'1
"7':1\l:;L ;n~~-r ~ ntt ~"7':1tl1 / '~1JJ:l ",~:a W;J~ ~~ r~G~
"7i~1 ~;Oi~ t;V~ ;nl~tl7 / .,~ "ry~ C"~~~W9tl n~01~1 10
"7;No/ t,~~ ''''Q~ -r1~1 / ;t,Q~ ;:a ''';~1 t~ ~~,~~
"7~t C':'''~~jt ftt C.,~~~ / ,,~~t,J:l ~~,~ ~'i' n1~ C~1
"t,n", ,." nN W;JN CnJ'" / , 0 ".,,,., ;~l':a C.1~Jl' n,
i173:'~1 01 i1ir,~ n~l?~ 'i~7 / n:t~~~ i'i:l17 1zji)~ ~~ ~in r~i
["t,]no~ ,"y t,~ ",y c.a n;W!)J / n10n, ~t, t,~ .1~Jl'~ N"" 'WN 15
T ,- ;i79~1 "T~~ :~i"~ -~1~3}7 -/ IJbJ;l-~i~i'P,-i 'l}.~~
T
"7t? ~7 ~~W~ t;~1 ~J"lJ;O~ / t,~ ; J;l7~ n~~ ~7 "t'o/~ t,~1

35. Title: (What I also said about suppressing the sexual lust of igno-
rant people. Rhymed prose introduces this monorhyme poem in the
metre ha-meritbbe based on the Arabic al-waftr metre.
.nv'1z, :iT1'.,t, .z,,1WO;' 1""JV Z,V c~n Z,NW W!)"t' :iT1'''''''iT ... t,~~ 3
V'1" C'1N;,1 :N )'1 'i~ ;,Ni )z,,1WO;, :iT1'".,"iT .'1 )~ 'OW ;,Ni );'ilYZ,
nv~ nl!)WnJ ;,W"N;,1 W"N;, nlliV :,t,~" n".,1' "n~ 4 .1nWN ;,1n nN
;,11W;, )C"z,,,~WO;' :C1'~iT ,,~~~, .n )t' 'J'1 ;,Ni :C"~~ n,~,~, .z,,1WO;'
;,W"N;,1 W"N;, z,,1WO;, nv~ :,t,t,'iTn" iTn1'~ .CVt' ,,~"WO :tt' )1~ 'wo
CN :1'~"" C~ .'1z,";' Nl;, z,,1WO;, "i!) =1~iT iT""~' .C"V,11WO~ C",1;,JnO
)1"il;' :,,,.,t,,,, .1"il;' nN V,1""O Nl;, )1n'1"Z, inNZ, c""n~ '1z,";' iNWJ
.1"il;' nN iVYO Nl;, )no Nl;, CNl :1'~~" c~, 5 .,1 ),1" '~t ;,Ni
"!) Z,V :"n"Q~ ... ~iT .c~n inl" nl";'Z, ;,Yli ;,nN CN :"n~,~n ... c~,
:.,,,~ t,P~Q~ .'iY" nN N~'1Z, ;,Yin CN :""~"iTt, ... c~, 6 .1 )t" ';,n
tOi~ C,1 ;,t 1VilW~ wonwo iilWO;,W iW!)N :""'lr" .Z,'i'W i"W~
8 .t ),1~ 'O~ "!) Z,V :,t,~Q ~~'" 7 .t'~ )t ';'i' ;,Ni :n,~,~~nQ .;'11iVZ,
"on"~ :n".,1' ",t,~t, .C"WJ;' ~~Wo :cn1'''.,,, C"~~iT' .;'~1iO;' :t,P~QiT
Z,Vl :t' );' nl~N ;,JWOl t'''-1 )n" 'i'''1 ;,Ni );,iln;, 10 C"il0N;, nlW" N
:iTt,iTn~ .. . 1"1'Q, 9 .,1~ )n" N"W ;,Ni );,Jl,10 ;''1''0 :iTt,p~ iT.,Q .nl"iV "1Z,,1
'i" ;,11W;, )nlW!)"t'Z, ,,!);,n ,nZ,,'1,1, ;'Wl~ ionZ, C'1N "!);''' ;'''t'V~1
.'1 )N 'ON ;,Ni );'ilYZ, :,nt".,~ .Z,"Vl" N1Z,~ '11~~ i"O;, "OVl :N" )~
n!)it'J lnV'11 :iTt,~", ... n'Q"~' 10 .n" )'1 '1"N ;,Ni )nlW!)"t'~ :iTt,iTn~
:C"1'~'~QiT .1nllNn NW10Z, ;,tV;, ln~;'Nl ;,Z,~O;' ,ni"Wn CY1VO
11 .,1 )'1!) ';,n ;,11W;, )t'}1i"YZ, :iTt,~", ~pO~" .ro )N~ N"W ;,Ni );'ilYZ,
:iTt,,~~ ... .,.,,,, .lJ~ Z,,'1",1~ ~N;' V",1" :,t;Q1' .4 ilt' ;,Ni :,t,Q1'... iT""~'
CN C,11 :iTt,~~ ... c~, 12 .;,Z,NW Z,~N "J~ Z,N '1iN :;,Z, )tz' 'i~ "!) Z,V
lni'1Wn~ i;,OO Nl;, );'W"NZ, C'1N;, i'i'tJ 1~il li!) nllYO Cl"i'Z,
C";,Z,N C;,Z, iON"1 :n~ )N 'i~ "!) Z,V :,~." ,.,~ n'~Q .;,OV Nlt'nZ,
;,11W;,1 .Nt'1n C"Z,,1i~ l'Nl :~ )t''' 'wo ;,Ni :CiT"t,~.,~ r~ .1~il li!)
);'~Vln :iTt,~~ .;'J1Wl Z,Vl~;' ;,t-Nt'1n C"Z,,1i~ l'Nl :~"V i' 1"~1i"V ~"n
,11Jvn;, :,,0 ... c~'~1'n, 13 .Z,NiW"~ ;,WV ;,z'~J :t )'1z' 'i~ ;,11W;,
:,".,n~ .1 )1 'i~ ;,Ni );'ilYZ, .t'inn" :cn~", .z',1WO;' "inN '1"0 c""noo
lJ"N C'1N;,1 :iTt,1'~' ... 1"~' 14 .iVYO ;,Z"n Nl;, :iTt,n", .z',1WO;' "inN
);,Z,VJ;'1 Ci;, C";,1Z,N n~;'N~ i'i NZ,N C'11 iW~ n~;'N~ i'1~'1Z, '''iY
;,11W;, :iTt,1'~' C., .1~ ;'i'~'1Z" ... ,";,Z,N ';' nN ;'~;'NZ, :~ )z, '~'1 ;,11W;,
n,1JVO ';' n~;'N :iTt,nQ, ... .,~~ 15 .NWJl Ci NO~ Z,V ~W" :N )1 'w"
16 ."Z"n, ~N~ Z,~Z, ;,!)1in N";,1 )W!)J;, CV ;'~"t'''01 ~Z,;, nN
.''1~vz' lJ"nl~Wno ,nZ,on~1 ''10n ~1i~ 111~ )";'1Z,N :iTt,Qn, "iTt,~
.''1~Z,0 C"inN Z,w cn~;'N inN ,z'J NZ, lJ""n Z,~ :,~"n'Q" t,~, 17
1~1W" Z,Nl :t' );,!) ';,n "!) Z,V )nlW !)"t'~ ,1;,JJ Z,~Z, :iTt,o~t, ~,~~ t,~,
.;,z'o~z'
196 CHAPTER TEN
.N 15 NLR Evr. I 802 ~"~ :i1i'0 .,t,

Ni1'.:n Nn10i' 1'-r NJNOt c'-r ~!J N'~N ;,nz,i' N001
Nii'!J i~i'!JZ,N1 NZ,NO ~Z,OZ,N ;,n-rNtN:1
-r~~~ 101 n~ t:'Q~ ti;, i~W~7 / inl:l~ ;'W3:'~ tGor" '=T~'J~

7
-r;iN i~W ~JJ;1 iG~G n~ol / C~W17 ti;,,, tint ti~~"l
36. Title: '<What I also said about criticizing Time for its cruelty and
injustice in increasing the wealth of the rich and the poverty of the
poor." Monorhyme poem in the metre ha-merubbe based on the Ara-
bic al-waftr metre; this poem ending with a biblical citation from the
book of Proverbs combines the themes of wealth and poverty with
the motif of personified Time.
.,~~vt, .-rz, )tt' 'n~ ;,Ni )~1i~YZ, :,nn~ ... 1jjT~ 3 .;':11iO;' :t,P~~jT
~., n~n~, .1t' )~ '1210 ;,Ni )~1i~YZ, .C~i~ 121VZ, 1211~i tn 1J tOt;, :1,jT
:1t'10 :c~~.,t, ... 1'~~jT' 4 .C~~JV;' Z,121 CnOJi!J nN -r:1NO tOt;, :"~N~
10~ :"~N~ n,~., .N~ )~ '0:1 ;,Ni );'i1YZ, =1,n~ .C~~JVz, 1211~i nnz'
:"~'Nt, .,~~ ,~n .1Z,0;' iONO nN ;,n121V NZ, :1t' )N 'ON ;,Ni );,-r1i'!J;'
.1 )NZ, '1210 ~!J Z,V )t~OOz, ~~in ;'i'1210 n1n121Z, tn
.N15 NLR Evr. I 802 ~"~ :i1i'0 .Tt,
'=T:t~ryG~ '=T~i~3:'l~ N9~/-" ;'~:;l ~J:1iN ;'~~'0 O:t1~

'=T:tt?~G~ ~1J '=T1iV~ VQV?~/-0 ~Q~~7 C~77~G~ ~l:17~ t1~W
'=T~,t1 i'~!7 :1~W~ niJ~G '=T~~ / C~ H:t~Wt!G ~J:1i1OQ z,~ :1~
'=T~ i~~-r9 ni-r~t~l ;'7i?~ / '=T~7~ Z,7QG z,~ ;"~1 H7 5
37. Title: '<What I also said about love.') Monorhyme poem in the
metre ha-mahzr based on the Arabic al-sart metre; this love poem
ending with a biblical quotation from the book of Psalms uses an
animal epithet to refer to the beloved.
:~n'N jTV~~jT .~1i'Z, Z,i'1210;' :jT~~~ ... ~n~ 2 .iY1i'0 i~;'O;' :t,P~~jT
1~'~V"~ .;, )-r 121";'121 ;,Ni );,:11;,N :jT~~~ .t'~ );' '0:1 ;,Ni )~1i~YZ,
.~1i'Z, Z,i'1210;' :~OjNt, ... n~~ 3 .:1~ ):1 ';'i' ;,Ni )1n:1121n0:1 :1~~n~~
;'~l;'N z,z,;,z, :4tO~~t, C4t t,t,;'Q, .ninN ;'~l;'N n~wz' :4tnt,~ n~~
:1 )to 'i~ ;,Ni :1~~Q~ .4t~~ )~4t ~"W ;,Ni :4t n 1"'V~ .4t nZ"t ninN
;,Ni );'ilYZ, .4t ni'4t nw :4tn,~n .4t~~z,~ 4tniON :C~ ... ~t, 4 .l'iN;' ~t'4t0~
.N )~z, 'l4t N ;,Ni );'ilYZ, :n'~VQ .;'~l;'NZ, ntlVz,o :;'~4t~;'Q .t ).1 ';'i'
~lwn NZ, Z"NW ~inl :~~ )N ~"W ;,llW;, )t'}li4t YZ, :1~.,n p.,t, ~4t~n
;'~l;'N Z,W ;,n~w :1nt,~ t,t,;'Q .;'~l;'NZ, :;,t, 5 .NllWZ, :p4t.,t, .Ci'4ti
)nN i'i :1~ "~'''Q n,.,~~~, .;, ).1 'W4t ;,llW;, )4tlt~ :;'''P~ .ninN
..1 )t!) ';,n 4t!) Z,V )n~wz, ;,4t lNi )4tn~l;'N
.N15 NLR Evr. I 802 4t"~ :ili'O .nt,
;,nNY!) Z,N'.1iZ,Z, Z,NOZ,N 1N 4t!) N'~N ;,nz,i' NOOl

C;,Z,Nl;,N 4t!) ;,nNZ,Ol C;,Z,Nli'NZ,
N,iO~ '"Ti~~ ii?~ lZ,h~7G n9~ / 1Ut~ Z,~7 Cii'9 z,~~ t'}t?~01
;,,~ niPll? Z,~7 n;~ N~;'l / C4t1:tl l'i!1t:1~ 4t1?7 1iW7 N~;'l
38. Title: (What I also said (about the fact) that money makes the
speech of men eloquent) while being a weapon in times of distress.))
Monorhyme poem in the metre ha-merubbe based on the Arabic
al-waftr metre; in this poem) Darci refers to the power of money.
C'"TNZ, iW!)NO '"T4ton t'}0~;' :~"'Q' ... r'J0~;" 3 .;'~liO;' :t,P~Q;'

)t'}li4t YZ, :~"'Q' .,,~~ ..1 )1 'ON ;,Ni )'"Tl~~ :"P4t .nON~ :nQ~ .'"T~~n;,z,
)t'}0~~ l.14t W;'Z, Z,~ln NZ,W i~'"T ,z, 14tN :;,.,~~ ... ~,;" 4 .1 )N 'NZ,O ;,Ni
)i'WJ l0~ t'}0~;' :nt,~ ~,;" .z,~;, nN ;,JV4t t'}O~;'l :t'4t )4t ';'i' ;,llW;,
.4t )t' ';,n 4t!) Z,V :;,.,~~ n,nv t,~t, .;, )~z, ~";''"T ;,Ni
.~15-NI5 NLR Evr. I 802 4t"~ :ili'O .~t,
10 1NOJN ;'N~nWN NO 4t!) N'~N ;,nz,i' NOOl

1N4t VNZ,Nl NOliZ,N 'l'V~ 4tZ,N 1Nl'"TVl NOZ,,,
l4t:t7~ 4t ~~Z,tN4tl t;1~ i4t1~1 / i:1 t;1~1 4tl!iN 1G!tl oio t:1~t!
l4t:t4t~1 C~ l4t~G ':fin ;,~~ / 4tl:liN1 Z,4t t?t7 t;4t~~~ ~~G~
l4t:t~~t z,~ i!)~Y1 ;'~1 iW~ / l4t'~~ z,4t~~~ 1Gt t'~'~ z,:t~ 5
l4t:t4t1~ z,~ Z,4t~'~1 N~~ 4t~~ / i04t1~ 1i'"T~ Cii'9 '"T~t' Z,~1
l4t:t'~ n~ ;'7;1~1 ':fWh~ / iW9W1 ci4t 4t1iNl? z,~ t'}4t7t:1~1
l4t~4t~O inn~oPl ;,4t n ~Z" / ino~ ilUtii4t l W4tN i 4t WD4t l
"~~i 'tJ~'~V?~1 '''f.1Q 'l?7 I ii~)p.~Q lirii~ r,~ i"~~~i
198 CHAPTER TEN
14t:t~rI~; 14tJ:liO~ z,~ i1~~~ I i:1 C4t~tiW z,~ lG! t';1,~ rlt1 10
14t:t4t~f~ C7i V7 l~1~ Nt,1 I 1v1 4t0~ NZ, iJi1v1 z,~ l~ Z,~1
14t:t1Q 4tl}i4t7~~ ~4t7t:1~ ~Z,1 I 14t1JtG7 4t~7iV7 ~iYi?~ NZ,1
14t:t~1 i'tlW C~i~ 4t~~1 Wi:LQI-~ ~Z,1 i:L 4t0~~7 C~i~ NZ,1
14t:t4t19 :L4t1G WiJ~ i~l~ iO f I '1tl!?~1 i~l~ lG!tl :L~t9~~
14t:tO! 4t7tW i~:J~ 4tl:1~11 I 14t1:1~tl~ C~ 14t 1:11i?Q 4t~ 1~G7 15
14t:t1i? -=riPl C4t~~!)tl 14t~4tt?1 I 4t~:t7 z,~ iZ,4t1~ 4tl:l4t~~1
14t:t7Q n~9t' 14t1~i:1 i'4t~;:Jl I 14t~i:L~ :L4t l?1o ~Z,1 rlt n~G~
14t:ti?~ t'io r,~ lG! z,~~4t NZ,l I C~i?11i:J~ lQ~~ 4t~:t7
14t:t4t~' n~v7Wl rlJ;1!?~ W~l I t','~~ 14t'1 n14t~~G Vi z,:t~
14t:t~if t;~ i'1i:Lf 14t~'0 i,~ I ii~Y~ t"!\?i:L~ l~,~ N~rl1 20
39. Title: (What I also said about someone)s complaint about oppres-
sion and hostility to some of the leaders and notables.)) Monorhyme
poem in the metre ha-merubbe based on the Arabic al-waftr metre;
instead of a fear of personified Time) this poem displays a fear of the
punishment in the world to come (ha- (olam ha-ba') similar to rab-
binic eschatology.
14t Vl!)1 4tnlN Z"tl4t 10tri CNrI :'4t~t,~ O,Qn4t iT 3 .rI:LliOri :t,P~QiT
)~1i4tyZ, :'4t~t,~ 4t~,t,~~4t' ?4tiN:J t'4tZ,W )'rI )rlnN '11V:L 4t:L 14t rl4t (14t :Lz,:J)
Z,:JNOZ, 10tri ln4t4t :Llt'rI Z,:J1NrI nNl :'4t~4tV' 1~Q' 4 .N4t )'14t N"O rlNi
.:J )t' 'nJ rlNi )rlilYZ, :1~Q' .C4tNOYl C4t:LVi r:L 1Z,rlnO 4t'11V:L C4tW!)4t t'
'rln rlNi )~1i4tYZ, :'4t~4tV, C~ '4t~Q~ .l )n ':L'1 rlNi )~1i4tYZ, :t,4t~~4t 1~Q'
)il'1r1 4tZ,''1lZ, i01Z,:J )1Z,W C4t iWJZ, lnlJ 10tri :iTQ, t,4t~~4t 5 .rI )ti'
:'4t~'~T t,~ ,~,~, .rlOi 4tiW:L W:Lz, :rI )t '14t N rlNi )Vi iW:L Z,,:JNZ,
C4tiO 10tri :'4t~4t"~ t,~, 6 .W:L'1 C4tZ,:J1N )C4tz,4t O:JrI i01Z,:J )C 4t :Ll:Ltril
rlt :n )rlV 'rln rlllWri )C 4t :L4t '1Jrll C4tJl'1NrI nN Z,4t!)WOl C4t'1:LVrI nN
)rlZ,!)NZ" z,4tz, n:Jwnz, C14t ilN 1!)1r1r1 :'4t~'V r'J 4t t,n 4t ' 7 .C4ti 4t rltl z,4t!)~
Z,V 1Wn 4tnnJl 1 4tZ,V Ci4t'1i'N C4tOW:L ilN 4tilNO z,:J :n ):Lz, 'n4t rlllWri
rlNi :,nQt, ,4t~V4t' 8 .1t' )N '!)Y rlNi )~1i4tYZ, :iTt,~~, 1~n~ .1YiN
9 .nloZ, C'1N z,:J Z,W 1!)10 :'4t~4t~O ,t" .i4t WVOl ~il0 'ri :t ):L N"W
nO'1N:L lnlN il:Li'4t l C4t:Llt'rI 14t4t no C'1N z,:J Wil4t l :'4t~~' p4t nv 4t,
.i:L'10:L C4t i:LVrI 4t4tV:L :N4t )N:J 'O:L rlNi :,~"Q 4tVt, .rI:Linri i:L'10rl
.1Z,Orl t'!)WO rl4t rl4t rlt :N4t )n N"W rlllWri =1QT ~~~Q itT' 10
11 .14t 0 4t z,:J :,4t n,Q4t t,~ .C4t :Llr1N:L '1 4t On '1l1:L 10tri :'4t~'iT~t, ,.,~~,
NZ" :'4t~,n ~t" 12 .lO )n:J ':L'1 rlNi )rlilYZ, .nOWN NZ, :~~ 4tiT~ ~t,
'~ rlllWri )rlW1JN rl31'l!) 4t:L Vl!)4t CN Cl 10tri 4tWVO Z,V CZ"VZ, OV:JN
NZ, Cl 1N :'4t~V' ~t" 13 .~1Yi'N nYJz, NZ" :L4tiN CZ"VZ, NZ, :tt' )tJ
:~~~., ~,~n~ .i'nW ~M~Jt, ~n'N OO,,~, ~OV ~~~~~ tOtM 'WN~ NWJnN
'''ON t,V'!)M nN ~V'" MWO '~OM' .,~~, nN 'ON~' :, ).,~ 'OW MN'
.O~OW~ :pn~ C,.,~ ."on nN w~n~, :J )~~ ',~ ~!) t,V w"~n t,V'!)~
.,n!)O ~JN :.,n~N' ... ~,~~, 14 .0~i'nW ~~V :~~ )n~ 'Mn MN' :,~~.u,
~~'N OV~ ~t"t, :t~ )~t, ,~., M"WM :,~~~.,~ ... ,~~ .tOtM t,W ,~n'JnOO
:'~~j1T ... ~n~.,~, .~ )t~ ',~ MN' )~,,~yt, :,~n~n~ C~ ,~n"pn 15 .''IN
:~ )J~ '~t MN' )~,,~yt, .tOtM ~t,~M t,V ~n'~JnM Mo~nM n'tV~
~'YO :J )r '1210' ;~MtM nN tn~~ o~nJn~, ~O~M nN ~'Y~ o~n!),Y,
~OYVt, ,~~tO ~JN' :'~~"p ... ~n~t,~, 16 .'M n,~t, tn~, ~Mtt, ,,~, ~O~t,
.OJ!) OJ, ~'o'o ~!),., ,~ w~w Nt,N ,~n'J"~~ "M~ tOtM t~NW
MnvO' :,~~ t,n ... n.u~, 17 .M~ )N 'W~ MN' )~,,~yt, :,~~~ 0' ... ,t,~.,~
t'tO~ O~'V~JM nN t,~~N~ ON OJ, O~O~nM nN ~~V'~ ON OJ ,t,~N'
:,t,~~~j1t, ... ~~~t, 18 ..,~ )~t, ,~., MN' )~,,~yt, :,~~t,n nN~n .n~,wo
1'~~ l~N~ .,t,~W~Mt, ."V t,~,~ Nt, tOtM ~~ .,v t,w,no, i'tn M~M~ ~~~t,
VOW nN~'i' ,nNt,W MJ'WN'M M~'~~ n,v~!),O O~t,~OM W,t,W :C~p
19 .~~~n, ~'MN' tONJ' ,~, O~i" t'~J' ~~~, nON :n~,nw~
WN ~YJO' t~"M O,~ ~J!)O' 'MO i" N'~ ~~~t, t,~N :,~~~~~ ... t,~N
:,~~,.,~ ... N,j1, 20 .~ )M 'ON MN' )M"Yt, :.uT .O'J~M~ JM t,w n!),nM
'M OW~ n~~~ :~ )J 'W~ M"WM )O~~"~M ~W,~ 'M~ n~,~ (~t,M) N'M'
.O~~'~M ~W~ n'N~Y 'M :., )., N"W MN' :,~~,.,~ t,.u .'~Mt,N~ tVW~'
.~15 NLR Evr. I 802 ~"~ :"i'0 .~
tNOtt,N t'~ ~!) N'~N Mnt,i' NOO'

Ot,Vt,N t,MN VN'YN Ot,'~t,N~
~iN~ V9'~ .,~ 'i~~ / it,ii' ti~~ t,~ HQJ:ll:1 ;~~

~iNiG ~~t?i~ n~1 ~~t?i~ / O~ i~~,~ V10 tGt~
40. Title: What I also said (about the fact) that Time unjustly
thwarts learned people.)) Monorhyme poem in the vowel metre/
mishqal ha-tenii'ot; this homonymic poem ending with a biblical quo-
tation from Ecclesiastes illustrates Moses Darers emphasis on the
unfair treatment of scholars like himself.
.t )M 'Mi' M"WM )oo,nwn MOt, :j1~nn 1~N 3 .n'V'JnM :t,P~~j1

,t,'i' )'O,t,~ .,t,'i' y-lNO ~'N~ M~M' :., )~~ 'W~ ~!) t,V :~'N~ ...,t,'p
o~nMW t,t,J~ :.,~ "~'p~ ."~i'0 Mt,'VM nOM n,,~ VOWJ o~nM t,w
.o~nt, MV' O,J tOtM :,~~~~ .u.,j1 l~T' 4 .,~ )~~ ~"O MN' )O~J'N ,on
200 CHAPTER TEN
)4t lV!)J;' 1Z,~0 ~i l~ )n31lZ" 'l10Z,Z, ;'~iO C'lNlV z,~~ :~'N~Q ~4tO'4t
.n4t )N ';'i' 4t!) Z,V
.~15 NLR Evr. I 802 4t"~ :i1i'0 .NQ
t1'.1n NZ, IN 4t!) N'~N ;,nz,i' N001

;'~i'.1n 'lV~ NZ,N ;,~nyZ,N
~;'04tD~;' ;'i~n Cit' / 'l;1 Z,N i~nn~ ~;'N~ CN

~MirHJ:lib-Wt~'~~~?r,~ I i'~~J;1::I~~ 17 M7~~ c~
41. Title: What I also said (about the fact) that love is only possible
after trial.)) Monorhyme poem in the vowel metre/mishqal ha-tenu(ot;
this love poem advises the lover first to test the beloved)s loyalty and
patience before confiding in him.
C.,to .~1;'N CV i~nn;,Z, ;,Yin CN :."., CN 3 .n1V1Jn;, :t,P~QjT

1Z, ii~n;, CN :p~NnjT CN 4 .1n1N t.1i;' z,,~ C'l1i' :'jT04tV~jT jT.,~n
';,n ;,Ni )i;,O :~4tn .N );'0 'i~ ;,Ni )1Nt'n Z,V i'!)Nn;,Z, Z,,~4t 1J4tNlV
.'l4t )N4t '14t N ;,Ni );'i1YZ, :,jTp4t n.,jT .4t )Y
.N16-~15 NLR Evr. I 802 4t"~ :i1i'0 .~Q
;,4t1i CNJn.1N 4t!) N'~N ;,nz,i' N001

~NonZ,N C14t ,Z" 4tnn ~N~nNZ,N
;,~~ 11J;:i ~4tlJ~ 4t;~ / 4t~;-;:i nl~~ ;,~~ C;4t

;,~tl ;,~~ ;~~,~ / ;It?G 4t14tt?O ~7 4tl:19~
;,oZ,nN ;~ i 4t!10 ~4tnz, / ;,tnN1 ;'100 i4t0~1 5
M~1T c~ ~O1 ~~ coi i '~7? ~f'i?t~ ciVQ
;,~~ lth~ z,~ n;4t~~ 14t'1 C;4t / i09 'l1J~ ;,t?~'~ 'l~
;'97~ ;,~,~~ V~O/~ 'l~ / ;;i~ ~J4t~;~'P~ 4try 4t1
42. Title: What I also said about taking advantage of the sight of
beloved ones) even on the Day of Reckoning.)) Monorhyme poem in
the vowel metre/mishqal ha-tenu(ot; in this love poem) Darci imagines
killing his beloved so that he will be united with her at the Last Judg-
ment) if only at the trial when she will be summoned to accuse him.
r'J4tv~~ ':"'1!)4t ;'~1;'N 4t4tZ,N ;'N~ iWN~ :4tt,~ C,4t 3 .nlV1Jn;, :t,P~QiT
.~ )to 'W4t ;,Ni :iTQ~ .;'0 )'1~ 'i~ ;,11W;, )t'}4t VY nW~1Z, N4t;, :iTQ~ 1MiT
)'1z, 'OW ;,Ni )t'}1i4t YZ, :14t~~Q 1'OQ 4t., 4t OiT .;'~1;'NZ, 4tniON :iTt, 4tnQ~ 4
0.11 t )'1 W";'W '1~ 14tN 0101 ;,!)4t) ;,Ni );'~1;'NZ, 4tlJ4t~ :iTQn iT~4t .'1z,
4t J~NZ, nl0l'1 ;'~1;'N;' 4t4tnz, :iTQt,M~ iT4t Mt, 5 .~ );' W";'W ' 4t non 4tnJ14t)
)t'z, 'OWl t'4t-n 4t )n~ 'OW ;,11W;, .t'!)WO;' JWln nN 1;'0 lWVW In
.t4t )n '~'1 ;,Ni );'~1;'NZ, 4tni"Wn noyvo :iT" 4tP~M C~'VQ 6 .~4t_N4t
)t'}1i4t YZ, :CQT 4t~t, .;,nlN .11i;'Z, 4tn4t04t'11 4t~z,~ 4tn~wn :iTM~" 4t~t,
014t~ ln~1;'N OV '1n4t t'!)W4t;,z, lnit'o :iTQ~ .,v 7 .~ ).1~ 'i4t ;,Ni
).10 '~ ;,Ni )t'}1i4t YZ, :.,M4t iT~~~~ .;,nlN nYiW Z,V 11'14tJ Nl;'W~ )14t'1;'
1~W 1114t~ )~i lOt 1W04t4t t'!)WO;,W ;,11i'0 Nl;, :iTQt,v 4tjT4t, 8 .1~
.;'~i;' ;'~1;'N~ lJl~n;,Z, Z,~14t
.N16 NLR Evr. I 802 4t"~ :ili'O .~Q
4tiO non~ 4tJN 4t!) N'~N ;,nz,i' NOOl

4t~J4tl 4ti'1Y ;,~ n4t~4t NZ, 4t~ 4t~z,i'~
rr~l:';J9~ ;z, ;'7;~ ~~ / l;n~ 0;4t ;'1;0 1;J ~~

rrl}'~ '14tl!~ i~i? / z,~ 4t~ ;,n
NZ, ;i:ti?7~
43. Title: (What I also said (about the fact) that I concealed my
secret in my heart in order not to allow my chest to reveal and dis-
close it.)) Monorhyme poem in the vowel metre/mishqal ha-teni{ot;
this poem contains a witty reference to the resurrection of the dead.
4tnJ!)Y 4t~z,~ :N4t )t' 4t i' ';,n ;,11W;, :'' '0 1~~ ~t, 3 .nlV1Jn;, :t,P~QiT
OW ;,Vi!) Nii'4t l :;'0 )NO 'i~ 4t!) Z,V t'}1i 4t Y;, :M4t~V~Q' 1~~ .1niON
:t'4t )~ 'wo ;,Ni :,t, iTt,,~ .'14t ).1 'i~ ;,Ni )It'~ =1'M~ .nJV!) nJ!)Y t'}014t
z,~ 4t~ '110;' nN il~i'Z, ;,Yi NZ, ~z,;, :M4tn~4t '''~pt" 4 .'110 ;,Z".1
.~4t )tz, 'n 4t ;,Ni )o 4t no;, n4t4tnn~ nn!)4t;,~ o4t'14t nv 04ti~i';'
.N16 NLR Evr. I 802 4t"~ :ili'O .,Q
N~1Z,0 ;,Z,Z,N 1~04t NZ, IN N'~N ;,nz,i' NOOl

o;,n4tJ 10Z, NZ,N O;,n4t Vi N''1N 10
~:t4t~0 i'1 li? z,~ z,~/-lj o~ ;z,l:" 04t~l;l i~Y0

~:t 4t~';4t n~'G O~ 4t~ / ;,:~~ NZ, i 4t l? ;79 OGt:11
202 CHAPTER TEN
44. Title: What I also said (about the fact) that God does not enable
kings to harm their subjects) except (in response) to their [i.e.) the
subjects)] own evil intent.)) Monorhyme poem in the vowel metre/
mishqal ha-tenu(ot; this poem about the righteousness of God begins
with a quotation from Deuteronomy and ends with a quotation from
Psalms.
)~z, '~'l 4t!) z,V )4t!)1'l NZ,Z, 'M 4tWVO :,t,1'~ "'~jT 3 .n1V1JnM :t,P~QjT
)t' 'Mn M11WM )i''lYM n'l 4t O Z,V CZ,'VM nN 'l04t 'M1 :jT~4t~jT t,~n .'l
1i'Z, t'!)WO 4tnOW1 :t4t )n~ 'W4t MNi :P"~ 'P .i''lY~ z'~n t'!)~ N1M1 :t'
4 .i''lYM 11' 'l.1J~ VWi 4tt'!)WO nZ"i'WO :4t"Wi Wi4t!)1 .nz,i'Woz, Mi''lY1
14t WVOW ,Z,01 :jT~ n1'.,Q .fiN 00n1 :n )~ '~n MNi )Mi1YZ, :OQn,
.'lz, )ti' 'Mn 4t!) Z,V )M4t~W14t CM C4tVi l~ CN NZ,N i4tV~ t'1Z,W4t NZ, oon
.N16 NLR Evr. I 802 4t"~ :i1i'O .jTQ
4tYNYi' IN 4t!) N'~N MnZ,i' N001

4ti4t'~~ 4t4tNt'.11 4tiW~
V,~~ NZ, C~ ~4tt?i4t NZ, i~Y / 4t~ 4t7 N~~ M1l:'~ i~~~
V1 nii'1~tl ClJ 'liV M:~~ / NZ, ~it' Vw,. ClJ 14t~ iOt~
45. Title: What I also said (about the fact) that my punishment is
commensurate with my wrongdoing) and my recompense with my
welldoing.)) Monorhyme poem in the vowel metre/mishqal ha-tenu(ot;
this poem about the punishment or recompense in the world to come
contains a reference to one of the main principles of Karaite faith)
namely that one should not add to or remove anything from the
Torah (Deut 4:2).
MWV4t n 4t wv iWN~ :1t' )N '~1V M11WM :4tt, "~N~ 3 .n1V1JnM :t,P~QjT

:1'''~4t Nt, .'M :.,,~ .4tz, N~4t 4tni.14t iWN1 :M~ ).1 '14t N MNi :4tt, N~4t .,z,
1Vi.1n NZ" c~nN M1YO 4t~JN iWN i~'lM Z,V 1!)On NZ, :~ )'l '~'l 4t!) Z,V
:1'" ... 'Q~' 4 .n1Nii'~ 4tt~iO 'l4t i'!)n Mt i'10!)Z, w4tw 14t4tYZ, 4t1Ni1 .1JOO
.Vi 1NZ,0 C4tVWi1 11N z,~ i'4t 'lYz, MJN4t NZ, :N~ ) ~4t '1210 MNi
.N16 NLR Evr. I 802 4t"~ :i1i'O .,Q
C1Z,VZ,N ~z,t' 4t!) n1nZ,Z,N IN N'~N ;,nz,i' N001

~4tYJ N'l;''l',10 Z,~Z" ~4tYO
Z,'1t:1:11'ii'~ n~t 101.i1 Nt?1Jl / ;~'1t l'ii'~ Z,~1 'l4t~~ Wii1

z,'1 4t!~ i~Y 14t~t:1t11 iZ, 1'0 ~4tJ:1~ / i~Y 4t~~ i'li?~ ~ii7 Z,~h ;,~,
46. Title: What I also said (about the fact) that persistence is appro-
priate in the quest for knowledge) and falls to the share of every hard
worker.)) Monorhyme poem in the metre ha-merubbe based on the
Arabic al-waftr metre; this didactic poem compares the constant quest
for knowledge with a sailor)s onshore preparations of a journey at
sea.
:'l );'1' ';,n ;,Ni )t'J1i4t YZ, .'l4ton Wi'~ :.,4tQn ~,.,., 3 .;'~1iO;' :t,P~QjT
4t~ );,o~n W1i'lZ, z,'lnn Z,N :t,.,n4t , t,N' .'l4t on 14tJ!) 1Wi'~ ';' 1Wi'l
14t YONO z,z,,1~ :'''P~ ~,.,t, .t'~ )t~ 'n4t ;,Ni )1!)0 :t,~n 4 .Nt'nn tN
:.,,~ 4tt,V .1nwvZ, 4ti~'l Z,V 4tJN 'li'W :~4t )N 'i4t ;,Ni )nz,o;, Z,W C4t~i;'
.t'4t )z, '1210 ;,Ni )t'J1i4t YZ, .C4t~ 1n14t;,~ n1Z,i'n V1JOZ, 4t'l~ ;,w~4t~ 1n14t;,~
C4tJ1t'iW;,1 C4tVZ,O;' /;, ,Z, z,Z,OW 1i'l;,1 n1J~;';' z,z,,1~ :t,., ~4tn~
.'l )'l~i' ';,n ;,Ni )tN :4tTN .C4t~10J 1Z,4tN~ 1WVJ
.~16-N16 NLR Evr. I 802 4t"~ :i1i'O .TQ
~Nt"~ 4tV'lno4t~ 1;'1 ~NW NY'~W 4t!) N'~N nz,i' 'li'1

NWJN!) Z,,',14t ;'it'N'~~ IN~ NO;' Z,,00Z,Z, z,4t NOZ,N 1Z,''l iN'nN!)
Z,'i'4t Z,V',11
~J:t4tw~ ;,:t4tWi~1 / l~iZ, n~it!W Z,~iW7

~Jt:''21 in~i1i?1 / 4t~7 n~it!W ;7 ;'Ol?
~J~~~ ;~h Z,~1 / ~1iV ;4t1J:p 'l~7 4t0~ 5
~J~iDN
e: :e: e:
4t~i/-N
T
i'lioZ, 'In!)~ CN1
: -:. :
47. Title: And (what) I also said about a person who was gray-
haired and who was asked to give a speech) which matter aroused
anxiety to the respondent and preoccupied his mind) whereupon he
began to say (the following).)) Monorhyme poem in the metre
ha-marnin based on the Arabic al-hazaj metre; this lament on old
204 CHAPTER TEN
age) ending with a biblical quotation from the book of Genesis) is

devoted to the Arabic theme called al-shayb wa- 'l-shabab ((gray hair/
old age and youth))).
nlinW;,1 nl,Z,4t;, :4t )N4t ';'i' ;,11W;, )C 4tilVJ :n'''M~ 3 .rJiO;' :t,P~QiT
i';,1 :t'~ )~ 'WO ;,Ni );,Ji'tO l4t~Z,;,W iVW :iT~4t~ .,v~ 1~'t, .z,~;,
;,Ni );'ilYZ, .ni' :iTMp 4 .,4t )NZ, '14t N ;,Ni );'ilYZ, :'~4t~~ .;,~4tW C4tJi't
:'~M~' .C4t~1YV;'1 C4tilnw;, 4t4tnlW,1i :,n,.,.,p' 4t~t, n'''M~ .t' )1t' 'i~
...
ilnw , 4ton 4t~z, :~"'V 4tiT4t 5 .~o ),4t 'i'4t l ;,Ni )n4tt'~ 4t~z, nN ;'0~1
4t~z, :'~~'~4t 1~M .~ilV~ nlinw :N4t );' W";'W 4t!) Z,V )~ilV Z,W 14t!)~
;,nN CN :,.,'Ot, c~, 6 .4tJ!)1W4t 1Wn :N4t )t'z,i' ';,n 4t!) Z,V )11Wn
n14t inN 4tOYV Z,V Z,~i'N :,~.,v~ 4t~~~ .4t~z,~W ',0;' nN nv,z' ,n!)o
.t' ),10 'i~ 4t!) Z,V )',0Z,
.~16 NLR Evr. I 802 4t"~ :ili'O .MQ
N'Yi'Z,N~ N'YiZ,N 4t!) N'~N ;,nz,i' NOOl

Z,NnnoNZ,N V4tiO Z,Nn z,~ lNl
~V1~ ;7 c~4t~t~ it1/-~ ci4t 4t17~ ;:t ~,~~ c~

~VV?, ;J:l1i~Jt~ c~ ll/-~ ;~ry9W ~i4t~t1 iN
~Vi4t NZ, ~~4tt'4t4t NZ, / ,iV ci4t 4t,z,4t 4t~ ,1N'Pl Z,N 5
...~V~,~ Nt,' t.j~ '~ii' '~ I 'i[t'~"~~7~~ t.j~7 l'1!~
~V~~~ C19~G ni3Tl / l~ ~'9~ NZ, ni~it' i~~~
~Vtr~ ~~ 4t~ z,~ ~Jt:1~ / z,~ 4t~ t;~ lZ,h~ niiii' z,~ 4t~
48. Title: (What I also said about being satisfied with one)s destiny
and (about the fact) that every situation may quickly change.)) Mono-
rhyme poem in the vowel metre/mishqal ha-teni{ot; this poem end-
ing with a biblical quotation from the book of Numbers advises to
put one)s trust in God to overcome the vicissitudes of personified
Time.
.C4tJl0N i!)O lOt;, :il,1W 4tlt'4t~ :C'4t C~ 3 .nlV1Jn;, :t,P~QiT

"~V' VYiO~ lJtN nN 14tJl'N VYil :1 )N~ 'OW 4t!) Z,V :'V~.,~ ...
"M~
'''4tQiT 4 .1~ ",1~ )C4t,~Vz, 1Z, lVYiJ C14t 4t,z,4tW 4t!) Z,V t'}N )i01Z,~ .cZ,Vz,
C"~~ :t ), 'Wl;, ;,11W;, );'iY~ 1nnOW nN t'}4tz,n;, lOt;, =1'~ 1nMQ~
:,V.,4t ~t, .3 ilt' ;,Ni :C,4t 4t.,t,4t 5 .';' n,,~v~ :1n.,,~v~ .i4t ON l1Z,i'~
:'V~4t4t =-J4t t,M4t .~~ )~ 'wo ;,Ni :t,~t, iT'P 6 .,1~ )NO 'W4t ;,Ni )t'}1i4t YZ,
C,1 :'V~Q~ "~~~ 7 .1V,14t4t NZ" n~ 1!)4t"n4t ';' 4tli'1 :NZ, )0 '~ 4t!) Z,V
;'i1i'lV ;'0 z,~ :~4t~ n,."p t,~ 8 .104t4t i'n;, NZ, lOt;, n1Vi c.:n n1~1t'
.~ )t' 'O~ 4t!) Z,V :'1'o4t .,1' .t'~ )~O 'i~ ;,Ni )lVNiO ';' it,1 C4t lVJNZ,
.~16 NLR Evr. I 802 4t"~ :i1i'0 .~Q
;'7Jt~1 C1 C'~1 4tl:1t:1W 4t~~ / i'"TiO~ C,~ l~1 i~~ 4t~~

;,Z,,1"
T:-:
;'1'Wi 4tJ~ ~J4t~ nNtZ,: / Nt'n
T : : :
4tz,~0
_:e
;'PI!)n~
-::T:
4tJ~N4t~;,
::
49. Title: (This is what I wrote on a bowl as a warning to those whose

deeds are malicious.)) Monorhyme poem in the metre ha-merubbe
based on the Arabic al-waftr metre; this admonitory poem is quite
peculiar) because the Judaeo-Arabic heading reveals that it was writ-
ten on a bowl.
c.,~ 1~ .;,nN i!)V 4t~ :t'4t ),1 'i~ ;,Ni :"~1' 4t~~ 2 .;'~1iO;' :t,P~QiT
;,Ni )4t nZ,!)lV 4tJN :4tnn~ 4t~~ .i!)VO N1;, C4t lVJN;, z,~ Z,lV C'"T104t :''''04t
4t~'~4t~iT 3 .NlVJn;, );'Z,VOz, ;,Z,V inN C'"TN :iTt,1'~' C., c.,~, .t' )~ 'lV4t
Z",V NZ, Z,V :~~n 4tt,~Q .,1z, )z, '~ ;,Ni )C1J4t;,4t,1Z, 4tJ1N4t~;, :iTn~nt,
iT1'~" 4t~ .i!)VZ, C!)10 C,1lV C4t VlViZ, ;,i;,tN :iTt,,1" n~Tt, .4t!)~~
.,14t )4t 'lV1;,1 '"Tz, ),1 ~"lV ;,Ni )t'J1i4t YZ, :iTt,,1"
.~16 NLR Evr. I 802 4t"~ :i1i'0 .~
iN,10 NJn~N l"~lV 4t!) N'~N nz,i' '"Ti'1

iN,1Y1 iN~~ NnN10N l!)'"TZ,
C4t~1;l i~U0 CJ? ;'~O iW/ -;:I ;7 l~!) i~1 ~it9 ;,G
C4t~~0 z,~ n1~~ NZ, / '"T~7 ~it' cw ;7 ;J:li1vJt~
C4t~7~~ C4t l:lG ~~iPl ii~/-i?7 ~4t~~~ ;'1~9~ 5
c oZ,iV n4t~ n4tJ~ PIN / iO n4t~ i~ nt' lZ,hN z,~ ci4t
4t
-T T-T:- T- T T
50. Title: ((What) I also said about a person who built a cavern to
bury the dead) both adults and children.)) Monorhyme poem in the
vowel metre/mishqaI ha-tenu(ot; the poet praises a certain Moses who
apparently constructed the community)s catacombs.
206 CHAPTER TEN
';'i' ;,llW;, );'WO iW&' ;,4t;,4t ~lt' i~W :iT~Q ... iTQ 3 .nlV1Jn;, :t,P~QiT
.~~ ),14t 'WO ;,Ni ),&, 1l0t' :1t, 1'~~ .C&,OV~ ~lt' i~W C;,&, ~ :t' )'"T
'~ ;,Ni );'ilY&' :1n,~v~ 4 .'"T )~&, '~'"T 4t!) &,V )';' &'YN :c4t Qn "'~iT CV
CW ... ~lt' CWl '"T4t ... C;,&, 4tnnJl :;, )1J 'W4t 4t!) &,V :n"~4t ... C~ .~ )'"TO
5 .n4t ),1&, 'i4t 4t!) &,V )nYJ&' :C4t Q4t iT t,~ .ni~4t N&' iWN l&' InN C&'1V
l;'~ il~i'&' C4ti~i' nliVO ;'J~ ;,WO iW;,W 4tJ!)O :C4tQt,~~ ... iT"VQ~
:C4t Qt"v ... c,4t 6 .C4t t'i'W :C4tQt,~~ .&, )t'0 'i~ ;,llW;, :iT"VQ~ .c4t no
,&, n4tJ~ );'WO iW;, );,nN )l~ il,1&' 4tJOt n4t~ l&' ;'Jl~ C'"TN &,~w 10t~
.nYJ&' ~lt' CW )C 4t0&'1V n4t~
.~17-~16 NLR Evr. I 802 4t"~ :ili'O .~~
INOJN&'N ii'!) IN N'~N ;,n&'i' NOOl

;,ON&",1 ;,JV '"TV~4t ;'ON&'!)Nl
i~t1' Nt'n 4t&,~~~ ini~n~ / i~~;'N ONO iWN i~.a C~NJ

i~~Y1';i 1liOt 4t~ C~~W~ / i~-:~VvJ~ ,4tD4t~:, l4t;1'i &'~i
If,:
T-: T
i::li"i? tJ~ 'lJ~' viti~t,t!' I ~"Q~1 cfu't!

'~p' clY:;lini 5
i~~~ 1~l:'1 li;,:t i'"TiV i,~ / i4tW~7 ~l7~ C~1 ~;'~N~1
i~~ii'7 n~c,~i;'1 n~&'~t? i:;1 / ill 01 i04t~ i:;1 14t~0 n~1
i~~~ 'i4t~ 4t~t~~ n~1 4t71 / C4tl?17 .':(,~ 4t0~f ':(4t~ iG~i
i~4tJ~ 1'W1'WO 4t!11'iO&' / 4t'i~&' ~wi4t 4t;,N n1' &'~1vl
i:m,~ ~~~iN'lOt .1~~ C~11 ~~.~ ~'QJ:I. MJ:lil u>~~i 10
i~4t'"TN;' niN&'Pl;, &'iv CNl / c4to~n '"Tio &'1' '"Ti01' iy!)n ~t;l
,. 'i:1"'1':11T~~t1 tiV~ io~! '~fT i' tJ'~~"'!~ n,*,o t! ~l)' .,ii
i~~T i~ C4t74t1~ ~W11 ci4t~ / ;'~~~J;1Wii' 1:1 IGr~ ;'1~t11
i~17 ;'1t:1l:l,~~ &",~ C~1 / 4t~Gt 4tGtt:l &'~7 ~~!)~ WNi1
i~ nitO' 4t~~0~ '"TiV C4t11J~ / C~o niN1G C4t~~Y~ C~~4t~1 15
i~4tW~ .N&' '"T~ &,4t t?f ~~i1J ;':;1 / ~iO,~ n~o~t'~ C~~t~i
i~4t~' i~ iniwt!~ i'4t71t17 / l'~ niJ~G W4t1t:1G~ c7~~ ;,~~
i~~;'~, 4t~ ~~1 c~~.a '"T~7 / Vlv~~ nii~o~ c~1~1
i~~~ 14t~~~ ~~Y:p IGt7 ;,V;>/-:t~ n;J~ C~G ~iwQ~ l\?~~
Ni~~~ nN~~ ;"t?N~ C7iV~ / c4t1:1~!)9 4t1t:1~ ':(i&'t!G &'~11 20
i~1t'~ 19$1~1WW i4tJ:lW~ / '"T~~f n~o 4t17~7 ~iWt:1~ i'W1
Ni~4tl nPl!)4t &'iNW n4t~ i!)io~ / ;,O'"TNO i'"Ti04t 4t~ 4tPl1''"Tt;
b'~~ ~\?iV ~:r V~iT-ltl11 i01~Tti~i? ':[in~ t,7.ii~~1
i~in1 iV,~ 4t~~ 14t10 ci4t1 / t','~~ '"TGiV 4t0~ ;,t 4t1t:1~1
i~4t17 i'i~~ ;'Ot;1~~ C4t1~t? / ;'~~O~l i'1~ ci4t i'4t1:1~1 25
i~t?9 ':(iPl ':(79f cv;> ~W~1 / N:t 4t0~ ':(! inN~~ 11~ 1~7
i:a i~~ n~v7W~ ~1~~1 / rlJ;l~J:l7 N:L~ 4t0~ V,,?1 O~1

i:aZ,Z, ii~Y i:L'i OW NZ, z,~0.a / rlt~1 Ni4t WiJN t'!1WO rltl
i~~Dl iinu> ~~:aT i 4t NO 1~ / 4t~~S z,ijT iJiY-\: iiN :O~;;Z,N
:i~~i~:~N in~w:a ~o~4ti / 1~1VDO~ i~NZ,b~ rI~t4t 4t'1D 30
i:!l"1t17 '~~~lz;T;l ~~. f1?~~ i" C'l:'l~i~' r,...~ '~1~-~' M~~~' C~1
i:at:111 i~1~ 4t~:p Z,~7~ l~nf / 1~i~~ i'1~n4t~~ 4t 1:13:''1 n4t~~
i:LJ:l~1 :Li\9:; 4t~' OJ:li~t'7 / 14t1t?t! n~ rI~~ ii~t? Z,~1
51. Title: (What I also said (about the fact) that poverty and bank-
ruptcy chase friends away.)) Monorhyme poem in the metre
ha-merubbe based on the Arabic al-waftr metre; this poem refers to
the motifs of personified Time and the hypocrisy of friends) and dis-
plays a fear of the punishment in the world to come similar to rab-
binic eschatology.
'O:L rlNi )~1i4tYZ, :.,~~ C'N~ 3 .'1V:Ln :z,"Y :"V~4t 2 .rI:LliOri :t,P~QiT
:'~TV N~n 4tt,~~, .1:L rlYi NZ, 1:LlriN :,n.,~n~ '~'iTN ONQ .l )'1~
1:LtV 14ti:Lnl 14t :LlriN z,~ :'~4t~ViT t,~, 4 .Nt'n NZ,:L lnlN :LtV 1:LlriN
5 .N )rI W"rlW rlNi )~1i4tYZ, :,4t lrt." '4t"'" .Vi 1:LYOW lNiW~ lnlN
:'iT'N~~ 4tnN 5-6 .Onli'ninrl Z,V onlN n4t~1r11 :cpn., 4tt,V cn4t~'iT'
Z,V )1nlN 04tNJ1W 14t:Llii' Ol1 4tJVrI Z,W 14t nN OlW V'114t NZ, rlnN ONri
W4tN Z,N 0 4ti:Lln Orll :'~N~ "t,~ .1r1NJW Wi 4tnN z,~ :t )t'4t 'wo 4t!)
)n '14t N 4t!) Z,V :'~N~ ''''V .i:L~ NZ, rlt iWvnrlZ, z'4t nnrl iWN 1100rl
)rlilYZ, :'Q4t~ .14ti:Ln 4ti:L'1 nN 14t:LrlW~ :'Q4t~ nv, 7 .1:LN:L lJ'1V ::L4t
4ti:L'1 nz'nn :l4t )4t 'rli' rlNi )~1i4tYZ, :n,t,t,'iT' n,t,~o .4t )f4t 'rln rlNi
)z,i' 14t4tJ:L:L :L"Wi' n 4t4tt'Jz, :'~~'pt, .n,Z,Z"r1 lr1 4t!) n 4t inNl nlZ,~O lr14t !)
4tJN rloZ, :C4t V.,t, 14tN 8 .rlJ:LWi'n 0 4t V01W 4tJtNl :l ):Lz, 'W4t rlllWri
::Lz, )lZ, 'n 4t rlNi )i'Wn i4tW~ 4t4tJtlN:L rlO~1nrl :'~~V 4tt" ?0 4ti:Ln 1 4tiY
nlJl~n:L 1'1 4tVi'1 20 ilt' '1Vl 1N~0 :t,~~, 9 .04t:LlV i4tW~ OrlZ, 1Jrll
;WNi-14 ;rlllNn-13 ;i~-12 ;:LZ,-11 ;W!)JrI-I0 ;Z,~WrI-9 :O'1NrI
.Z,li-20 ;1t':L-19 ;04t4t'1 4t -18 ;rI!)-17 ;04t4tJtlN-16 ;04t4tJ4t V-15
rlnN Vl'10 :'14t )n4t 'OW rlllWri )~1i4tYZ, .4t'1:LZ, :LW14t 4tJNW~ :4t"~t, nv
4t4tnl:LWnO nN nnowo rlo~nrl :'~4t~~ V~V~Q 4t~V"Ot, .1'1:LZ, :LW14t
)rI:L4t lN Z,ill ON Ol )rl4t4t J1V:L rlnow W!)JrI :,~,~~ ~~~, 10 .rl4ti:L'1:L
i01Z,~ )'110VZ, rlYli :Lz,rI :c4tQ~n ~t" 11 .rl4t Z,V i!)W )~1lrl i01Z,~
lVOW4t l 4t'110:L 1'10V ONl ::L~ )l~ 'i4t rlllWri )o4to~nrl '110 nN )'110Z,Z,
:,~.,n .,~, 12 .1nlN 1:L4tN~rI 0 4til0 4t4t ON Ol :'~4t"NiT CN' .4t i:L'1
)n 4tirl )rlV4t OWri )rl4t4t Niri :o4tWlnrl nWOn:Ll li~:L nl~nJ:L onz,J Nlr11
r'J4t~iT .10Vt 4tz,~ nN NY14t l :rI~ )J 'i4t 4t!) Z,v :,QVT 4tt,~ .W1W4t Ori )OVt'rI
208 CHAPTER TEN
.;,o~n nWil'1 lW!)J nllNn :iT~,~n iT,~n, 13 .~~ )~ 'OW ;,Ni :,~.,n,
14 .10t;, 4tz,~;, inN 04t;,1Jl iOl0Z, 04tt~ 04tWJNW 10t~ :'~iTT C'4t~
0,1 Nl;,1 il'1;' 4to~n 4tJ!)~ '11~~ nNi4t~ 1~il0 WNi :,~.,t, ~~."
nl~i 00 14tJ4t Vl :n'Q'~~ C4t~T~' C4tQ'~1' C4t~4t1" 15-16 .';'z, t'}!)1~nO
nl~iOO 14t JtlNl )z,~ 14t VZ, ni~4tJ ,nwZ"nw 10t~ 0 4tinN nwZ"n~ nlNiZ,
:1t' ),1z, '~ 4t!) Z,V )o;,4tZ,V ~4tW;'Z" W!)4t t';, Z,w z,~;,;, 4ti~'1Z, ~4tWi';'z,
;,!);, :rt, iT~' 17 .Vi~ nlNiO 14t J4t V OYVl 0 4t 0'1 VOWO lJtN Ot'N
l!) ,nZ,'N~ z,4t0~ lvn Z,N :'1 )1~ 'wo ;,11W;, )z,4t0~z, ;,J1V lJ4tNl i'nlW
)10Vt i01Z,~ )WN;' nN i'4tz,'1;'z, :'~4t~~ P4tt,.,iTt, .;,nN 0,1 ,Z, ;,1wn
01i,1Z,0 1~1;'NZ, lZ,4t!)N nlil0N 14t '14t :'~'iT~t, C4t .,4t, 18 .z,4t0~;, Z,w
W~'1 ;,4t;, lz,.,N~ ;,nlN i'!)00 4tJ1V Z,~NOW It'~1 :'~~1' 1~~' 19 .;'Vi
0 4t VWi It'~1 lW!)J V~wz' Z,~N i'4t'1Y :;,~ ),14t 'wo ;,11W;, )04t~JV 14t4t l
14t4t~' .;,~ ;,1Z,Wl ;'~in n!) ~1t' :N )t4t 'wo ;,Ni :iT~~4t n~, .ionn
l;,4tZ,V z'nw 04tZ,,1il :~'~Q' t,~, 20 .04t~JV 14t4t :1t' ),14t 'nJ ;,Ni :'~~1'
:4t"t,~t, p~' 21 .OZ"V;' 4tZ,~;,Z, 0 4t n!)no;, 04tWJN 4tinN n~z,z, il0 4t N
iN!) '1,1~~ :'~"1'~ .,~~~ .4t'1z,,1 4tZ,V 4tni!)n i'W :1t' )tt' '14t N 4t!) Z,V
~~ .~iV~ IN 4tnw~ IN :no ),14t 'i'4t l ;,Ni )l0,1iN 1~iVl WW 14t nw iWN
;,O'1N;, 10 O'1N :~'~4t' ''''04t 22 .~~ )NZ, 'wo ;,Ni )t'}1i4t YZ, =1Q~"~'
Z,Nl ;,nN i!)V :t'4t ),1 'i~ ;,11W;, )i~i' 4tZ,N In'1i~ ~1~ Nl;, ;,4tZ,Nl iY1J
11n~ 0'1~ z'z',1no :~4t )~ ~"W ;,Ni :'Q"~ t,t,,~n4t' 23 .~1wn i!)V
4t.,n~, 24 .i~i'~ no;, nN nl!)4t i'O o 4t vZ"n :'~4t~O 1't"niT' .;,Z,OO;,
25 .t'!)WOz' 1'10V4t :'1~ )'10 'n4t ;,Ni :~~~Q~ .,Q,1' 4tjT4t .1nl0 4tinN :iTT
i'4t nVl :4t-t' )t 'J'1~ 14t'1;' 014t~ t'!)WO;, ilN4t n 4t!) Z,v :iTnn~4t p4t n1"
.N ),10i' ';,n ;,Ni :iT~'Q~' p"~~ .1n4t n!) 14ti!)01 ~n4t NJ4t'1 14t 014t
26 .04t OV 14t'1Z, '10Vl ';' ~4tiZ, ~YJ :,14t ),1 '~ ;,Ni )1nlN t'1!)WZ, :'~4t"t,
;,Ni )t'}1i4t YZ, :'~OQ 1,n 1t,Q~ .1'1V 1,1Z, OJ~4t4t Nt'n 4tZ,~ ON :~~ 1~t,
:,1z' )z, 'W4t ;,Ni )01J4t;,4t,1 WN~ t'}i~4t V1Vi;, :,~ 1'~" 27 .~4t )N W";'W
~N 4tiWN :N )~4ti' ';,n ;,11W;, :~"4t itT' 28 .;,n!)n Z,,0nNO 11iV 4t~
)t' 'oW ;,11W;, )VWi;, Z,w lWJ1V Nl;, 1~ :,~t,t, iTT~' .';' nN Ni4t
4tJ4t V nN ';' i 4t N4t :"4t~Q C4tiTt,~ 29 .';' i~'1 Z,N 1~Z, OW NZ, iWNl :N~
30 .~iVl ii'1~ Z,~ :'~"1" ,.,n~ t,~~ .1J1Yi nN ;,WV4t W 4t'1~ O'1N;,
.04t~1t';, 14t WVO Z,Z,,1~ ';' 1NZ,0~ il;,t' O'1N ;,4t;,4tW 4t'1~ :'4t~1'Q~ 4t.,1'
31 .U1'Tli';' n'11~V~ ';' 1 NZ,OZ, ;,O'14t W 4t'1~ :,~,.,~ iTQ.,4t,
.4t4t VW!)O 4tnlN ~4tw;,z' 4t4t'14t nN ';' i'tn4t )'11NO 4tnNt'n ON :,~.,nt, c~,
nli4t '1N 14t nl'1 4t 0 14t ;,4tW 1'11n4t4t no~nz' n4t~ ';' 4tz' ;'J~4t :,~n." n4t~' 32
33 .N4t )~O 'n4t ;,Ni )t'}1i4t YZ, :,~n." ,~.,~ .04t OW;' n'14to~ n14t!)10 J4tNl
:t'~ )t'0 ';,n ;,Ni )o 4t4t n;, i!)O~ 14t'1 4t On nN ~1n~Z, ;'11~ :,~n~, "1"
.1~n~4t Z,N 0 4t i'4t'1Y OVl o 4t4t n i!)OO ln0 4t
.~17 NLR Evr. I 802 4t"~ :i1i'0 .~~
C4t'lVZ,N nNfoZ,N ~J',1n 4t!) N'~N ;,nz,i' N001

;'1N'lVZ,N1 'li'nZ,N Ni''lYNZ,N 14t~ ~' ,110Z,N ;,1NZ,t'Z,N
C4t1~Q CJ? 'liV i'ino/ ;'~1l:l Z,~1 / C4t14t1~ CJ? ~1~1 ~4t~ iiO'
C4t1:tl t'~9~ 4t;:1~ ~4t1 CiV1 / 1V~ 4t;:1l;1 nii'4t T i4tJ?~ 4t~ V11
C4t1~1 C4t~~i1v i'in1tI C:t4t WO / C4t~~;,~ 4t~4t~ ;,~~, ;'~~1 5
C4t1~O~ C4t~ 'ifi?t:1't ~4t1~1 / ~4t~7 C4t WIt?11 ,1t:'9 nNf7
52. Title: (What I also said about avoiding disgraceful joking) which
causes hatred and hostility between friends.)) Monorhyme poem in
the metre ha-merubbe based on the Arabic al-waftr metre; this wis-
dom poem cautioning against mockery is characterized by the regular
use of the imperative form.
'WO ;,11W;, )C4ti~nZ, ,11VZ,Z,0 z,'ln :c4t.,~n "'Q~ 3 .;'~1iO;' :t,P~QiT

1'1~JO :~~ "4tV~Q 4 .1W!)J n1iYO iOW ,J,WZ" 14t!) iOW :,1~ )N~
C1i,1Z, n,Z"Z,v n1t'VO C4tz,4t O :C4t"~" C~'V' .;,Z,''l,1 WN n'lZ"J It'i'
.N ),14t '14t N ;,Ni )t'J1i 4t yZ, :4t~4tV iTn~., .n1~1ii' c 4t nvz' :iTQ~' 5 .Z,''l,1 ~4tiZ,
.N~ )'l4t 'W4t ;,Ni )C4t~4t1N :C4t.,V, C4t~~'~ .f~ )no 'j4t ;,Ni ),1Vz,;, :p,n~iT
;,Ni )t'J1i4t YZ, =10'" ~nQ .,1VZ,O VJ04t;,Z" t'1i'WZ, 14tZ,V :C4t"'O~ n~Tt, 6
.'lz, ),1 ~"W ;,11W;, )t'J1i4t YZ, :C4t"'O~ 1'j4t, .t' )~z, ';,n
.~17 NLR Evr. I 802 4t"~ :i1i'0 .~~
ii'4t~ C'lN~ 14tn4t~ CNn'~N 4t!) 14t~0 Ni'4t'lY 4tZ,N ~,1i 'li'1
;,ONiO ;',14tZ,~n1 ;'ONZ,~ Z,'~i'Z, nViNO!) 14t~4t NZ"
14t~7o n~ z,~ ~4t1~~~ / i4tiP~ 'l7: ;,QtJ:' ;'V?11

14t~~ NZ,l ii?4t~ C,~ / niOtl~~ c' ~~n~tI 4t~
53. Title: (A learned friend challenged me to conclude two verses

with (the citation) A man who is in honor and does not understand
[Ps 49:21]) whereupon I set about at once to take up his challenge
and fulfill his wish.)) Monorhyme poem in the vowel metre/mishqaI
ha-tenu(ot; this poem) characterised by the imperative form and a
biblical citation from the book of Psalms) may have been written as
part of a literary duel.
210 CHAPTER TEN
.,t,4t .MO~n 121i'~1 :M~ )t 'Mi' MNi :jTQ~n jT~"" 3 .n1V1JnM :t,P~QjT
'Mi' 4t!) z,V =14t~t,jT 14t"~~' .0 4ti!)N 4tz, i 4t i'4t l~M :t'4t )NZ, 'i4t MNi :.,4tp4t
.Nii'O~ i"0!) 1214t 4t~ :C~ ~'M~jT 4t~ 4 .04tJ~z, 14t'l.1~ 14t M4t nv z,~~ :n )t'
'Mn 4t!) Z,V )MOM~Z, M01'l 01Z,~ 14t~0 NZ,121 O'lN =14t~4t M'QjT~~
.N~ )t'0
.~17 NLR Evr. I 802 4t"~ :i1i'0 .,~
~it't:1; iin~ z,~ 4t,ltW i~/-~ 1~Z, N~ n~ .1~1~ ;4t~

~it' 4t~ iiNM nNe: 04t;;Z,NM
T .:
/ Ni-, iONJe: Z,N niin~~
T :- - -: - :
54. Title: One day I composed a poem about praising white hair.))
Monorhyme poem in the vowel metre/mishqal ha-tenu(ot; the opti-
mistic view about gray-headedness in this poem ending with a bibli-
cal citation from the book of Genesis contrasts markedly with Moses
Darers generally pessimistic view in his poems of complaint and with
the uniformly negative view about old age in medieval Arabic poetry.
)i121N~ :MV ?4tn~4t121o .1N'lN 1 4t N :~'tont, 7N 2 .n1V1JnM :t,P~QjT

nN N~4t i121N1 :M )t'4t '~'l M11121M )t'J1i4t YZ, :~'tont, N~ .'lz, )t~ 'n4t MNi
.'l )N 'i~ 4t!) Z,V :~,to N.,4t, 3 .04tYV ~t'nz, iV4t~ 1MVi
.NI8-~17 NLR Evr. I 802 4t"~ :i1i'0 .jT~
~4t121Z,N n'lO 4t!) N'~N MnZ,i' N001

~4tV NZ" NJ'~ M~n~ oz, N''lN
liP.J:1 M9t 14t1'~ M19 iNl / z,~ 4t~'1t ~~ 4t~iZ,~ ~i9~

li?! 4t~~ ~'101 O~i'~ / M:t4t W4t~~~ M1in t M~0
55. Title: What I also said about praising old age when it is not
accompanied by indecent behavior or shortcoming.)) Monorhyme
poem in the metre ha-mahir based on the Arabic al-sart metre; this
poem ending with a biblical citation from Leviticus praises old age.
0.1 :4t )1t' '14t N MNi )l4t i'tM O'lN :~~ 4t~'t,~ 3 .iY1i'0 i 4t MOM :t,P~QjT
~"121 MNi :t,N 4t~""~ .~~/~~ i'n1210 lN~ ~121 l~n4t4t .1214t~ 0.1 ~121
);'ilYZ, =1pn .1Z, ~1t'W 4tniON :'4t"~~ iT"Q'~' .';' 4t~i-r 4tniOW :~~ )~~
.~z, )t'4t 'i'4t l 4t!) Z,V )04tJi't -r~~z, 14t Z,V =1PT ... 4t~~Q 4 ..14t )t ';'i' ;,Ni
.N18 NLR Evr. I 802 4t"~ :ili'O .,~
;~~ ;W~ ;~ li?it 1Vry~ / ;4t~ ~i9~ 4tl!:tW 4t~ii

;"?9~ ;,~i~0 n1~~7~ / ~1iV i'1J4t1 ;1ltW ;4t~ iN
;,,?NiG it? ;1;1lt1 4t~ 1;1/-7~t?0 4t~1ry97 ~4tW~l
;~h0 l~ iiNO liiJ:l~/-~ iin,,? z,~ llJ l:t~' 5
56. Title: What I also said about the (aforementioned) theme.))

Monorhyme poem in the vowel metre/mishqaI ha-tenit(ot; this poem
ending with a biblical quotation from Ecclesiastes is again devoted to
the Arabic theme al-shayb wa-I-shabab ('<gray hair/old age and youth))).
1 4t N :1~~ .. 14t~ .;'Ji'tO 14t~Z,;,W 4tiVW :4tn~~ 2 .nlV1Jn;, :t,P~QiT

3 .1iVW nN 14t~Z,;, i01Z,~ )1i'1t Z,W 1WJ 1~ 1WJl )wnJ 1~WJ
)ilnW;' lV~Y~ ~ilVZ, nl0l-r 14t ;,W 14t nliVW ,0Z,VJ 14t N :~."v 14t~
iWi'Z, ?14t nliVW lJ4t~Z,;, 14t Nl :1~Q~ iT~'4tiT n.,~nt" .N4t );' W";'W 4t!) Z,V
4tn4tJV :4t~.,nQt, ~4t~~' 4 .-r4t )no ';,n ;,Ni )1~Z,;, V~Y;' OV ;,J14t Z,W
.n~ )NZ, 'i~ ;,Ni )nlt'W ;,WVO n 4t WV :nt,~OiT .4t nlN n4t~1;'W W4tNZ,
..14t )~ ';'i' 4t!) Z,V :1~niT ... 1,.,n4t~ 5 .nV.1nW;' :1~~"Q ,,0 1 nV.,
;'i~JZ,N ;,4tJ-rZ,N O'l 4t!) N'~N ;,nz,i' NOOl

;,-rWZ,N~ NiOZ,N N'~i N;,Z,-r~Z,
;,~4t~~ z,~ 4tt:1~J1 4t1,~ W,.7 / 4t7 ;i!)t!G 4t~Gt z,~ 4t1 NZ,t!
;,Vlt 4tJ~4t1V;' 4tVi Z,Nl / 4tNiiZ, 4tJJnJ ViJ 4t-rv
MV1~ np "f nit69 ,~:t~ i .,~t:iV?~1' 'Vi*' ~~1 iitt -r~7~1 5
;'~iJ1 ;,7t:1G ;'Oi?7 01;1t:11:11 / 4t~lt~l ;'9lt~ ;'''?1~ 4t~~~1
57. Title: What I also said about criticizing the vicious World for
replacing a person)s welfare by distress.)) Monorhyme poem in the
metre ha-meritbbe based on the Arabic al-waftr metre; this poem) cast
212 CHAPTER TEN
in the first person) blames personified Time and World for bringing
poverty as well as sickness) old age and grief.
:4t"t'~ t'.,t, ?tOtt, i'4t!)OO Nt, CNrl :4t~OT Nt,j1 3 .rl~1iOrl :t,pt'Oj1
.t,OVt, rl~!)rlJ 4tnn1JO :j1~4t~4t t,N 4tM'~' .4tJVt, i 4t WVO 4tJ~!)rl Virl tOtrl
:rl )rl '~4tN1 ;4t nNYO Nt, rln1J01 4tnnJN~ 4tnVJ4t :J )rlO 'i4t rlNi )~1i4tYt,
4t4t J4tV~ ",J 4t n~ WnJ tOtrl 'WO~ :4tN'.,t, 4t~~n~ ~,~ 4 .1Jt, nJ1rl Nt, 1JVJ4t
Virl tOtrl :j1~'T . t,N' .1'iN~ rl4t rln 'J1 VJ :~4t ), 'i~ rl11Wrl )4t4tN1i t,~
:4t~~t, 14t~t,j1' 5 .~4t )n~ ,~ rlNi )rli1Yt, :j1~'T .4t4ti~n 4tJ!)t, 'V1i 4tJWV
t,N "J4tJ~ :j1~"~ n'TMO .4t~t, nN i 4t nWrl1 4t4tn1iVW nN t4t~t,rl tOtrl
CV1Jrl nN 4tnWi4tJ 4tJN :j1t'.,~ 4tt'~~, 6 .'rl CVJ~ n1tnt, :, )t~ 'rln
n14t Nii'O C4tWJ 4tnw :4tO~~' j10~~ .rl'Virl nN1 4tt,1nrl nN 4t4tt,N 4tn~W01
;~~ ), 'i~ rlNi )t4t i' t,~1n t,W 1n1nN :'CV1J' trl 4t n10W n1VOWOW
C4tWJ 4tnw :j1~'~' j1t,MO .~ )N n1i rlNi )cnt, n4t~o ,t,04tt,N t,W 1nWN1
)n4t~14tnrl n1VOWOt, "J4tJ~ .Jt, )1~ 'O~ rlNi ),n!)t,y n1J~0 n14t Nii'O
.'rl'Vi1 4tt"n' t,W n4t~t,w n1VOWO tN~ rlN~ ,'CV1J'
.N18 NLR Evr. I 802 4t"~ :i1i'O .M~
t,NO~ ~nnN to 4t!) N'~N nt,i' '1"

t,NO NO NJ'~t,N t,~O tV 1rl1
C\liPQ C\li? C4t~ti~ C~1 / C4t7:tt ~~~ tQo!'J 4t14tW~

c~iV~t? 4t~=t~7 ~~t~ ~N7~ / C4t14t1~ ~~ C~4tQ~ rl~i?~ ~t,1
C~iV~~ t;~ ~t,7~ ~t~11 / rl:t~~ r1Q ~'t}~ 4t?~t,1 5
C~4t-'n~ n 4t-'ttl7 C4t W~~t~1 / ti09=t ~~! i,~ ~~ 4t;jt,~
58. Title: (And (what) I also said about one who was endowed with
money) yet who did not keep away from the paths of indecency.
al-waftr metre; this poem portrays rich people as thieves or (pick-
pockets
rl11Wrl )t,3T'4tt,~ 4t J~ 1WVJ C4ti 4t WVrl :C4tt,~~ 4t"4tt'~ 3 .rl~1iOrl :t,pt'Oj1

C4t~J1J Crl :cn~po c~, .t,NiW4t~ C4tt,~Jrl ,nN~ rl 4t rln :J4t )J4t ~"W
:~Nt,~ .~~ 4tVi'n~ 4trln t,N :1~ )~~ '100 rl11Wrl ::'j~ ,t" 4 .1rlViO ~N
C4tJ~Nrl nN C4t~J1J Crl :cn,~~~ 4t~~Nt, ,~~~ .N~ ), '!)1W rlNi )inO~
WJ1VO "n!) Nt,1t, :Cn'~~~N 4tt"t" 5 .Crl4ti~n n1V~~~W n1ii'4t rl
)~1i4t~ :'T~"' ... '''M~ .Crl4ti~n n1V~YN nN CJ rli'tn~ C4t ni'1t, 14t rl ,'rl
';,n 4t!) z,V :cn4t.,n~ n4t"~iTt, .Cz,Z,W z,~ :,~~~, ... t,~ 6 .t' )J.z, 'j4t ;,Ni
.n4ti~;'Z, ln4t inN 4t;,4t :J.4t )t'i'
.NI9-NI8 NLR Evr. I 802 4t"~ :ili'O .~~
NW4t V CNJnJ.N 4t!) N'~N ;,nz,i' NOOl

INJ'J.~
iN;,JZ,N OOW nZ,'J.'~N ;,n4tz'o N'YVN t'}Yll iN;,JNl
nill~ Z,ii'~ t'}iPl z,~ i11iW l'~ niPl'f? / nill~ lW~ 4tt:1:tW z,~lj ii?': z,~~
ni1'~~~ i9! C4t~~~ iin1 i~J.~ / o~o Z,ii' t1"!Q rrJ?t?~ 4t'1~ ;'~9'~ C~
nill~J?11 nin!it ii?~ 4t~7\P~ / C;:J4t~1 4tt:1~~ l~tI 4t~~ ;'~J?1 5
niJ~ii'9 ni~,:a ".,i,; "~i4t;17 ni07~/-~ 4t~t~~ C~G ni~~J. i4t~r" C4tJ?~~
niJt1~~ i 4tWz,~ 4t~~~ ;,t?~9~ i:a / 4t7 ~13:':1 ~iWi?~ C94tG li0t! nw~!
niJ9 ~JJ;1~J ~7 i i?4t1 11Jl 4t~i4t / ;'~~~V9 ;'97~ ni?~in 4t~4t~4t1
niJ~,~~ ;,,~~ i1~ ii?~; N4t:} / il3:'~ 4t7~ itlt! i1tJ .,~:t ;,~t:I
nill~J:1~~ ni~t:1~ ;,4t14t1~ niW!?~ / inV;>i?~~ il4t T ii?::L iiNf ~ry~ 10
niJiw4t~1 "~i4t.1 ~4t~ ':f'h f ihV;> / ~~~4t71J i~W~ ~~i?1~ ~'i?~
niJi4t 4t!~ ~4t~4t~ ;,~~ iV;> 4t~ / ;'~i4t 4t!~ -z,~ ~~ ;,~i4t 14t~f ~~4t~
niJ'~V9 C~iW~~ C~4ti?,iJ z,~ / t'}~Y CJ? 4t!* C~iPl ~~t:1 C~1 V4t~
nillwiw iN ;,4t;,4t ;,It'0 4tz,:a0 n1' / vZ,in 4tJW ~0.,4t ;,4tn!)W 4tJW~
ni)iizii+~ '~Q~ v~~ c~ii~ i~~in i ni-~7t17 .~~)~ l~ t1:r~Q~ "Ni~ 15
niJ~~Z,9 C~ niN4t!:t~ niOl~J:1~ / CtlW r~1 C'1 14t~ ~J:liViit 4t~'~
ni1'~ it?Q ~~~ Ci?,iJ 4t;:1~ N~ C~ / li~ C!l]: C~ niN ~~iV~~7~
niJW t'~9 C~iPl 1W'~ WiJ~ 4t~t:1~ / C4t~i~!:p ni"9 iv v4t1~V~ 4t1,~
niJiit?tJ 4tt:17~~ itlt! l~~ ~.,V;> / C4t~WiW:t ;'~~O C4t 'Pt:1 t;~:p ~~'?~
nill'13:'G~ l~!) ;,~V;> J.~J~~ z,~ / ;'~l} iiN7 ii~! ;'91 i4t~~ ~~t:1l:l 20
niJ"t~4to t';,~ 4t"~~1'~ ~0.,4t / C4t~i CJ.l C4t~1' ;,4t~4ti4t 4tJW~
niT-HQ~ liMQ iN~ .,i "?
i~ i nlJ7 1ZN:t~ i,tt- OiO~r:. nv.~~~ilz;
ni)~~~Q "f ~.t;I1Q! ~~07 ~OH I "iJ~ ~7.P. .,~~ C~"1.t;1 nv.~ ~7ii'
ni1''13:';1 ni073:'; n1~ N4t:} 4t~ / ~~ r~ C~O[~] 1'9' ltl n;4t7f ~~~
ni~~W1 niN~ nin~J9~~ C4t~,i4t / ;'17W niJ:p,~ ':fiPl '1~ N4t;:11 4t~~1 25
niJi?7 C~1 NiW~7 ;"iPl~l n1~ / 4t7 ;'~~7 ~4tJ:1't!i? i,~ 4t1"t:1~
nill~ t;~1 .,~ z,~~ N~ ~7 4t~;:1 / ;,~~ ;'~1i?~ n~ t;~lj WiW9 Z,~7~
niJ:t7 l~ iW1i? n~ 4t~G9ii'4t1 / 4tl} 4t,iV~ 4t!i"~ 4tJ:11~~ nNt
niJ~~t9 C1~~ l4t:t~;,~~, / l4tJ:lill~~ ;,! it:l~ 4t~~4t~~1
niJ~~~ C4t~~~ ~it' CW1 .,~ .,iV / 4t7 c~in~ ll}~ 4t~ 4t~11~4t1 30
nilln ;,n~~ NZ, c 4t oZ,iVZ, N~;' 4t~ / inilln~ nz,04t 4tniJi1' t;~z,~
- T : : T: - : -: - -: T:
214 CHAPTER TEN
59. Title: (What I also said about taking advantage of a life among
gardens and rivers) and about the description of the parts of the body
of a pretty girl which put the daytime sun to shame.)) Monorhyme
poem in the metre ha-mitpashshet based on the Arabic al-basit metre;
the description of love) wine and nature in this poem uses erotic
imagery from the Song of Songs.
4tJN )CZ,'Vrl 4t,11Jvn z,~ r~ :P"'~ t,~Q 3 .iYli'0 t'w!)nOrl :t,P~QiT

nNO 4tnZ,NW nnN :'1 )t~ 'rlnZ, '11,14tJ~ )14t4t n,nwZ" nlJ4t,1~ n~wz' t'J4t'1VO
rlNi )t'J,nrl noZ,rl Z,'i'Z, :n,~v t,V .4t4t n 4t04t z,~ 'rl n4t~~ 4tn~w 'rl
1y14t y nN V,OWZ" :n'~4t~~~' C~ 4 .VOW 4t~JN nlJV Z,'i' :n4t )~z, 'OW
...
.t )n 'i4t rlNi )t'Jli4t yZ, :"'~V 0'0 .0'1rlrl 4t!)JV 14t~0 i 4t Wrl 4til!)4ty Z,W
C4tYY1J Crl4t ni!) :n,~~v." CiT4t~4t~' .tt' )~ 'i~ rlNi :l~iT 4t~V iTt,V, 5
'OW rlNi )rlZ,4tZ, 4t04tOiO :"P~ 4tt,t,~Q .1JVi lrlZ,V :n )t4t 'i4t rlNi )C 4t nZ"
.t'4t )1t' 'Wlrl 4t rlNi :C4tQ n,t,,~ .N ),1~ ~"W rlNi :.,4tQT C4tV~' 6 .,14t )tt'
7 .~1rlNrl Z,W lnli'ninrl z,z,,1~ nlZ,~NnO nliVJ~ :n'~~'pQ n'Qt,v~
rlJ4t,1J 4tz,~ z,~0 4tz, C4t VJ C4t Orl n,Z",1 Z,W i'tnrl Z,'i'rl :n,~~.,~, n~~.,
)1 'i4t rlNi :iT~~'VQ .rl!)4t rliVJ i'~nz, ~rllN 4tJN :n'~Q 4t~4tQ4t' 8 .rliOtl
...
rliVJz, W4t :.,.,V~ iTQM 9 .t'4t )NZ, ~"rl'1 rlNi )t'Jli4t YZ, :n'~Q ,~n,~ .~
)ni4t rl i'1n~ NZ, t'JN )nvi"W rlJ4tN CZ"VZ, N4t rl 4t~ WOWrl Z,V 11in4t
iT"~V .ii'4t rl i'1N :,14t )N4t '~t rlNi )t'Jli4t yZ, :.,.,~ "p4tt, .rlZ,4tZ,~ i01Z,~
10 .C4t Virl nlJ~WO Z,V C4tWJ~ rl!)4t rl :n )N W"rlW rlNi :n'~~~Q~
),1~ ~"W rlllWrl )ii'1~ ilN 10~ nilt rloZ,Vrl Z,W nYOrl :,,4tT iTM~Q
C4til0 4t4t C4tZ,~10 C4t~1rlNrl :n'~VnQ' ,n~pQ' .WOW nit4t ii'~ ilN~1 :'1
4t~N :N4t )~4t N"O 4t!) Z,V )4tJYli' t'1W :~"pV 11 .rli14t nYOrlW c4t~nrlO
Z,W C4t4tV'1Y~ :iTnp"~ .C4t~ii'V~ c~nN i04t N 4tJNl C4tt'1W~ c~nN i04t
C4t i'ninO C4t~1rlNrlW rlZ,4tz,~ ilnw rlWNi iVW :"'''4t~ .,V~, .rliVJrl
:iT~'4t 14tV~ iT~4tV 12 .rlZ,!)Nl rlZ,4tz, 11~N~ :t' )t 'wo rlNi :n'~'~4t~' .1~
.t )n 4t 'n4t rlNi )rlilYZ, .rlOi4t :iT~'4t .C4tJ14t 1 4tJ4t V :1t' )N W"rlW 4t!) Z,V
13 ?rl4tiNrl 10 in14t rli'tn rl~1rlN rlNi 4t0 :n4t ilt'i rlZ,NW :n'~'4t 4tQ
CW!)J rlZ, C4t i'W1Jrll 4tiYl W~'1 CVt' 10~ rl4t!) CVt' :n'~"'VQ iT4t~
4tiY t'VO :N4t ),10 'i~ rlllWrl )t'Jli4t yZ, :r'p~ CV 4t"~ .Crl4tZ,V nJ'1vno
C4tJ'1VO 1n4t l :f4t )t'~ 'wo rlNi )t'Jli4t yZ, :n'~"'VQ cn,~~~ .w~'1 t'VOl
)C4tJW1W IN 4tJW nvZ"n 10~ nl0l'1N rl 4t n!)w :n,~~,~ 4t~~' 14 .1W!)JZ,
'OW rlNi )t'Jli4t YZ, :iT'~Q 4t~~ .C4tJW1W 14t nln!)W :,14t )rl W"rlW rlllWrl
z,'1,10 10~ nYl N~ J rlZ,W Cirl iNllYrl :n'4t~t,nt, .,~,~ 15 .rl~ )rlZ,
)'1 W"rlW ;lWrl z,'1,10~ 1iN1Y :rl )t W"rlW 4t!) Z,V )niN!)nZ, 4tlJ~rl ~rlJW
i'~nOW 4t0 :n,~,~~~, 'P~'M .n14t!)Z,nZ, 4tlJ~ 1iN1Y '14t l'1 z,'1,10~ :'1
V~Y :C., 14tV .rl4tnlVlit~ :iTn'V'.,T 4t~~~ 16 .'1 4t on no~ iNllYrl nN
.~4t )~ 'i~ 'OW rlNi )1~Z, V~Y :CiT~ 14tV' .~~ ),1 ~"O rlNi )Cl'1N
)NO 'i~ ;,Ni :n,~".,~, .NZ, )l~ 'wo ;,Ni )nl0l.,N nlWVJ :n'Q.,~nQ
:n,~"~ ... C~ .~ )l" '~., ;,11W;, )NZ,!) ;,WVO :n,~ 17 .nlJ~Z, :n,~~,t,Q .~
;,11W;, :n,~"~ "OM .;,"nlV~YN nN i'WJO lJ"N ON z,,,0~ ;,WVJ o~n;,
.N~ )l~ 'n" "!) Z,V :iT""'V~ ".,~, 18 .nlJl~n ion :tt' )n~ 'wo
:n,~~ ... "t,M~ .nlZ,~wNZ, ,,,.,Wl :n )t W";'W ;,11W;, :C"~'Q"~ ... ".,~,
." )1 'wo "!) Z,V :n,~~ ~VQ .t'VO lZ,"!)N ;'''''W l"~ 11lV"Z, Z"~,,W "0 "iWN
(it VlO~ ;,il0N) O""JYli' o"n"w~ ni."l0 ;'Jt'~ :n'~'''OM... iT~~~ 19
llN ,iiW :l )t W";'W "!) Z,V )Ol!) 1~ 1" NW O"Z"Z,Y 0"0 llN~ ;'il~t'1
20 .0"JW1W~ ;,l10 o"t'n nOiV 'Jt'~ ltO;' ion" Z,N i;,O;,
OWl WOW;' i;'1t~ i;,1t iNl!)O;, 11nnn;, ;'!)1l lZ,!) :n'~"VQ~ ... iTnMn
nl~V ;,iVJ;, Z,w ;'''~i'' :n'~T'''Q ... ,,~~, 21 .l1Jvn;, innOOl N~nJ
.WW ".,,0V '''i''W :1t' );' W";'W ;,11W;, )O""JWln t';,~ ""'0V~ nl~il
i"W :iTP'~ 22 .WWl t';,~ n!)Yi Z,V :1 )N 'ON ;,11W;, );'ii''' l~N :~iT~
.Z,lWO~ tOi W"W ;,NiJ :O,QMn nv~ .~ )to 'lV" ;,11W;, );,Z,li
In'' ON :t )n W";'W ;,11W;, =1'iTQ .~ )N 'ON ;,11W;, )t'}1i"YZ, :"p" ... nnt,
:lJ ).,~ 'i~ ;,Ni )nlJnOl :n'~"~Q' .;'~;'N~ In''~ 11;' z,~ nN W"N
i"W~ ;,Z,'i' nNW1J N";, iWN~ :n'~"~~Q ... iTt"p 23 .;,"nNZ, lnJ nlJ.,l01
"!)1" ;,Z,,~ :n,~".,vt" ... iTt,~ 24 .nliOt;, iNW z,~ Z,V ;,ni"W ;,Z,"!)NO
W";'W ;,11W;, )nlJ".,v;, O"WJ;, z,~ 1"~0 ;'!)";' N";,1 Ol!) 1~ l"NW 0Z,Wl0
nz,,,z,~ ''IN :l )t~ 'n" ;,Ni qM nt,,,t,~ .,~ l"N 0101 "n"Vi ;'!)" ,z,~ :t ).,
"n~ ;,JJNW ;,nlJO~ .,n" 0""1iW "JNl N";, :n,~~~~, ... ,,~~, 25 ."!)"
nlJ~WO~1 01Z,W ;'1J~ "ov ~lV"1 :n" )~z, 'w" "!) Z,V )1"Z,W;' lJn"~
;,11W;, )0"N1W"J;' "inN :~,~~t, ... ""M~ 26 .nlJJNW nnlJO~1 o"nt'~o
.;'WNZ, "z, "n"Ji' :" )., nli ;,11W;, :n,~pt, .O"WJ o;,z, lNW"1 :l~ )N~ '!)1W
"JJ;, :"JJvn );,nlN Nii'NW~ )OZ"V~W ;,now;, Z,~1 :n,~~ ... t,~t" 27
"J.,N :" )nz, ';,n ;,11W;, :""~'''Q "n,~n n~T 28 .i~V z,~o ,Z,"N ;'N~
';' iWN~ :n,~~t, ... nv .t~ )NZ, '~., ;,Ni :"M ".,'v~ ."nlNn z,~ ,.,lJ
nN ';' In''''1 :n'~Q'TQ ... ,,~~,,~~'" 29 .1V'"Ti'0;' n"~ nN Oi'Wz, ;,11YO
';' Vt'''1 :n )~ 'i~ ;,11W;, )0"0";' i~~WO 1"~;'1NZ, ,.,V,JW O"Jl~ "J~WO
.nlJOtO o"nv~ :NZ, )l" 'nJ ;,Ni );'ilYZ, :n'~Q'TQ .O"i'0 l"V~ II O";,Z,N
.,,, "nOln~1 "n"~~ o;,z, "nnJl :;, )1J 'w" "!) Z,V :n'~~Q' ... ,,~.,~~'" 30
"Nt'n Z,~Z" :n'~M ... t,~t" 31 .1"V ll~ :c~,n~ .nlJ~01 O"J~O ~1t' OWl
"!) Z,V );'J"Jn 0., NZ, i'''JV;'z, n~lV" NZ, O"OZ"VZ, ';' ,,~ 11Jn lnl";'~ nz'o"
.Z,N nlJn n~w;, :" )tV ';,n
.N19 NLR Evr. I 802 ""~ :ili'O .0
iNtlNZ,N 10 i"'n~ t'}ini'N iNiWNZ,N 10 NY'~W "!) nz,i' "i"

;,"Nil "Z,N V'li ;,"Nil ;,nilWO .,Nl'l i'NO NO z,~ iNY "nn
216 CHAPTER TEN
rI~9'~ N4t;:1 lZ,h~ z,~ 4t~:t~ / z,:t~ ':f~~1 i4tl:1t;'l:l ':f4t~

rI~iPl nii:ti., ~4tt:'~1~ / rI~in ~4t~ ':fin rl7:t~~
rI~~,~ N1V? n9~~ z,~ OW / N1~ 1U'~ z,~ oi4t ':f~iW7~ 5
rI~t?tl O~ n~Z,4t~0 l'~ / ~~4t~ O~ ~4t~~~ O~
rI~1~ ':f~t~ :L!~ OJ? / N1V? VGW z,~ 124t~G7~
rI~,' ~~in:t~ rI~4t~ ':f~1/-i? OJ? ':f~7 4tl!4t~, 4t~
rI~1iJ NZ, Z,~iw 1U'~7~ / ~1iVG ~1~ rl7~n:t~
rI~' niwJt; ~4t9~ z,~ / i"~~ l'~i~ ':f7~1:t~ 10
rI~:t1 NZ, Z,1 n;!~~ / i'~iV z,~~~~ ':f~,?~ O~
rI~10 n~ l;lt;'~9 rll;l/-~ 4t~ ':f~~ rl1~ rlQtJ:'
rI~t? n~1~ ':f~i:a,t' / N9l:1 :LV?t:1G :LiW t:1l:l oi4t:t~
rI~9W l~ :L1~i4t7~ O~/-7~ z,~ ~4t~1 ':fJ:lJt~
60. Title: (And (what) I said about a wicked person who committed
many crimes) so much so that every time he drove the horse of his
opinion and his reflection) it [i.e.) the horse] turned backwards.))
Monorhyme poem in the vowel metre/mishqal ha-teni{ot; the title of
this poem of rebuke illustrates Moses Darers use of Judaeo-Arabic
rhymed prose and figurative language.
4tNJ.1r1 4ti:L., nN N4t:LnrlZ, Z,~1n 1 4t N :t,~~ ... 1'~ 3 .nlV1Jnrl :t,P~Q

Z,V :~4t~ t,~ 4t~~' .z,4tO~ Nlr1 rI:L., NY10l :n4t )4t 'wo rlllWri ?z,4tO~ )1Z,W
4 .1Z,W 4tNJ.1r1 4ti:L., nN lVOW i:L~ Z,'~rI :j1VQ~~ ... 4t~~' .1~ ).,0 'i4t 4t!)
rI!) Z,~1 :ft' )t' '~ rlNi )lOtri z,~ 1 4t !) nN z,:LJO rlnNl :j1~,n ... j1t,~~,
:1 ):LZ, '~ rlNi )ii'W nli:Ll., lrl :j1V,n n,.,~,., 14tn~~, .rlZ,:LJ i:L.,
rl4t rl inN W4tN z,~w 10t:Ll :j1V~~~ ... 1~'~t" 5 .rlVln 'ri Z,N i:L.,Z"
'OW rlllWri )ii'W nVl:LW rlnN V:LWJ )nON nVl:LW Z,NrI OW:L V:LWJ
1 4tJ4t V:Ll 1W!)J:L :j1V~'~ C~ 6 .N1WZ, 1 4t rlZ,N 'ri OW nN Nwn NZ, :t )~
OZ"V .,:LV rlnNl :j1V~"~ V4t~"Qt" 7 .1'V~ nlViWl0l nlJYO i'rI rlVlt'J
VYiO:L lJtN nN 14tJ.,N VYil :1 )N~ 'OW 4t!) Z,V ):Lt~Z" ii'Wri nVlowZ,
rlO.,o 4tJN :j1V~" ... 4tn4tQ., 8 .N ).1~ 'OW rlNi :~,~ VQ~ .oZ,Vz, ,.,:LV'
4t!) Z,V )rlVil VWi lJ~1n z,~w Z,,:L4t i' 4tz,~~ Orll 1!)1.1 11n nNl 1:LZ, nN
9 .rI!)4tNrI 11n Z,N rlnN 1Z,W4t l rlVWiri nNt iON 4t l :n )rI '~t
:ft' ).,~ 'i:L rlllWri )rlZ"n:L 10~ 1.,4t 4t~ lYO i' rlnN :j1V"'~ ... j1t"n~,
10 .z, ):L~ 'O:L rlNi )rl 4t 0 4t n 4t WNiO :j1.,'VQ .rlV.,4t NZ, W4tNl rlZ"n:L
4t!) Z,V )Virl nN nlwvZ, i'i:L~ rlnN i 4t rlO 1 4t4t n z,~ :j1V., ... 1't,~.,~,
04ti'i:L~ :rI ):L '1nJ 4t!) Z,V :P"~~ f,.,n .1Yi4t ViZ, Orl4tZ,.1i :t )t'J '~
V.,,4t 1J4tN :j1V~~ ... C~ 11 ..14t ).,~ 'O:L rlNi )t'}1i4t YZ, :j1V., n,~vt, .1YYi4t
:t )rl 'rli' rlllWrl :t,., nt,T~' P~'1' .z,t,1 4tWVOOl 04t4tJV i'W1VO V~1W
4t~ 1nlN rl~tV rlO~nrl :;'1''';' ;'Q~n 12 .i''lYl t'!)WO Z,t,1l Wi i'WV
13 .nONO nv-rrl rlnN 4t~ :1 )'l 'Wlrl 4t!) Z,V )rlJl~n~ ,1lrlJZ, rlnN ~iOO
nlVt'~ 14t nlnilN z,~W NYOn W!)J 1l~Wn 1livn iWN~l :;'1'~ C'4t~'
:tt' )N~ 'wo rlNi :;'1'~ n1'.,Q .t~ )t 'rli' rlNi :1~,~~n ~~Qn .1'll04t
:rl )~~ 'O~ rlNi :C1't,~ .1nO~n~ :1n~1'~ 14 .z,~Wrl 1i'l0 rlVln O'lN
)~~ 'O~z, n4t~iVrl ninl~rl rlllWrll .ilV~ 1~ OVz,~ Z,N 04t~NZ,0 nZ,W4t l
rlnt'rlz, 1lnNrl nN OVz,~ 14t l rl'lW~ 1Z,nl 1i'lrl 10 1lnNrl t'nl :,1~
1~ ~'lJl4t l0Wl Vi 1,JONZ" :,1 ),14t ~"W rlNi :;'1'Q~ 1~ ~"~'4tt" .1i'lrl
rlVirl rlYVz, 1ll~no iilWOrll .'lNO o~n ~N ~'lJl4tl 'l4tl'l 4tnN rlVOW
.ion nN 11JON OJN tNl )nlZ,nnrlZ, 11JONZ, ~'lJl4t l'V4t W
.~19-NI9 NLR Evr. I 802 4t"~ :ili'O .~O
rl'lNiO 10 4t!) N'~N rlnZ,i' NOOl

i 4t,1Z,N 1l'l rlO!)Jz, i4t'~Z,N
':f1 iN W1f i1~~ rl:~l:1 'l~ / ':f14t1i4t1 rl7lt~ ~t1~: 4t~

':f14tt:1~t11 ':f~4t~'t17 l'i!1t:1~ / 0~i'4t~ OWl 'l~ niY1~G 'l~
':fliN9~1 ':f7t~ 4t~f rl1~0 / ~J~~~ ~~iN n9~ N~rl rlt 5
':f11~ 4t1~ iJiOQ7 ':f'~ / 'l4t~J:l rl:~l:l iJiY1 N~rl 4t~
':f1 i'l 4t~~ i4tWltl:' n~~ l4t7~ / iGNPl &':;7 1irl ':f7 ni4t Q 4t7:t~
':fl iV ~7 i,~~ ~~4t1. z,~ / ~:tt1~1 n1~ 4t~~ i:;~
':f'l~7~7 07iV 'li~f 1~~4t / ':f4t~ it, rl19~ inl~~ 4t~
'ni::l~71 rm~~ n9~ '=r7 '~ / r,~J:.I "Jr ttlO~? Mi?!lJt;ll:' 10
':f1 rl:t~ 'lirl o~~ it:J9 / rl~t:1~ lWl;1 Z,1' 0~1 Oi~0
':fl:t~ Z,~1 ~4tJ;11V?7 n,~~o / ~~W~ i'1l ttli!) 4t0~ n~:t~
':f1t?t1 ii?~ N~~0 04t~9ii'J:1~ / z,~ ~~ 4t~~ ':f~ 04tQin7 z,~~
':f1~~ ~z,~~ ini?~~ oJ? / ~~ 1ii:tW~ 4t~~ ni?~~ o~
':fl~ tiV~ i4tW~ rlv?,ii7~ / W1 i 4t Wltt17 iiYltG ~7 14t~ 4t~ 15
':fliO 'lN9 iPlt?~ WiJ~G O~ / ~Z,1$ n9~ ':fn~~'l~ rlWltG
'=r1~n'~7
'-P 'G7 V7 l~t:l / 1:17 cJ1 n7lJ '1~-P7~
'
61. Title: (What I also said about persons whose purpose in giving
charity is for their own sake) and not (for the welfare of) the others.))
Monorhyme poem in the metre ha-mahir based on the Arabic al-sart
metre; this poem combines rebuke with the themes of wealth and
poverty.
218 CHAPTER TEN
inNl 1nlN COliZ, ~;'1N;' :,., ... 4tQ 3 .iYli'0 i 4t ;,O;, :t,P~QiT
'lV :,.,4tn~iT' ... .,V 4 .i"WV' 4tJVz, ;,nN ~wnJ lnolVZ,W 'lV )1Z,4t!)W;'Z,
)~1i4tyZ, :C~' "4t .1nlN 'l4tn~;,Z" 1,4t OW;'Z, )i~t z,~ 1Z, i'1noZ, ;,YliW
'''~4t 4t~~ .~4tlN nON~ Nl;, ;,t~ W4tN :~4t'~ ... itT 5 .;, )1J 'W4t ;,Ni
;,4t;,nw ;,Yli Nl;, :'''''4t ... ~'iT 6 .;, )1 '~'l ;,Ni )1nZ,,~4t 4t!)~ :''''~Q~'
'l4t On ;,4t;,nw ;,Yli C,1 Nl;, =1'iT ... 4tt,~, 7 .1~ Z"WOZ, 4t'l~ 1!)0~Z, i'1i't
nN 4tniWV;, 4tJN iO Nn NZ" :,1~ )'l4t 'i~ ;,11W;, :"4t~vn ... t,~t, .4tJV
.ro );' W";'W ;,Ni )1Vi 4tJN :,."., 4t~~ .i4t WV ;,4t;,nw~ :"4t~vn .Ci~N
'i'4t l 4t!) Z,V ,'110~ 1ViZ, n~;'N" nllYO Z,V i~1V Nl;, :''''1'...
4tnZ"t inNW 1nN 1 4t N :~Wln lnllN,1~ Nl;,1 :,.,Vt,~t, ... 4t~ 9 .n4t )t'4t
.,~v 8
iltNN :10YVZ, i01N i 4t WV;, :,."~~t,, ... iTpTnniT 10 .CZ"V 'l1~~~ ;,~r
CN :,.,~ ... C,4t iT 11 .4t'l1~~ nNl 4tnlN CZ,,;, 1~ 1~W )1'00 nl~i;'Z, nl~
4tz' nllnw;,Z, ;'yj4t l NWJn4t 'l4tnv~ ln4t4t noZ, ,Z, 1nNl 4tJVz' iltVN nv~
ni~10 Z,YVl t'JlynZ, 1!)1;, 4tJV;, iWN~1 :,.,~v
4t
... nv~, 12 .1'lOVO~
C4tWJN :'l )t' '!)1W 4t!) Z,V :p'" Tn,~ . nlN 'l'~VZ" 4tnlN niwZ, ;,4t;,4t
.';' Z,N iilWO;, n 4t4tJ!) t'J'0;, 'lVl ;,t ilt'O 13 .C4t tn!)1 C4t i'4ti
Z,V )Z,,~;, t'JN Z,V C4t'lil0;, 1 4tJ4tONO Z,V 1'OnO V!)W;, :,.,on ... t,~iT
"p4t .1J4t04t~ C4t OOli'nOO C4t Oln ~Wl0 1 4t'lOn ;,z,!);, :t )r ';,n 4t!)
1'i~WZ" 4tJV;, ni'Vtz' ~Wi';' :,.,~~ ... np~~ 14 .n )1Z, ';,n ;,Ni :,.,on
1nl~~ W4t 4t~ :iT"4t ... 4t~ 15 .,1 )tOi' ';,n ;,Ni )t'Jli4t yZ, :~t, 1'''~~~ .1~Z,
4t!) Z,V :"'~VQ ,t, 14t~ .14tO~JO i 4t WV;, nN 'l4t i,;,Z" 4tJV;, nN i 4t WV;'Z,
16 .i4t WVOl W4til0 ';' :t )~ N"W ;,11W;, :"4t~V ... "4t~ViTt, .1 )'l4t N"W
In,1W;,O ~,1WJ 1014t i' 'l101 )1nZ,,'l,1 Z,V C4t'l 4t VO 1 4t WVO :,,,'0 ...iT~VQ
1'~VZ, ;,nz'Y;, 1n :,."n4t4t t, ... '''~Vt" 17 .1 )~Y ';,n ;,11W;, )C'lN Z,W
.CZ"VZ, 10W nN 'ln4t4tz' lnlN i'tnl
.N20-~19 NLR Evr. I 802 4t"~ :ili'O .~o
'lN9 4t7 ~J:l:tQ~ ;,:t1~ / 'li'l~~ C4tl?~ / 'li'l N~ ~~W

4t~\l? 'lGt:1Q / 4t~4ti?,0
niW~J~ ni~G C~i?t:1, / 4t7 4t,~ 4t1i1 C~:t1i?

't!) nilV'lP~f. '~~:l1fQ I niN~!)1 '7 1~1Ui?~T;l C~ 5
C4t 0 4t l niZ,4tZ, ;'~WN / 4tllOtO 4tnZ,NW

't!) c4to1v~
-T:
4t~~:
T
Z,1'- oi~ / c4ti!)~
-T:
c~b
-.
;'Vi1VN
T::"
e~~~in ;J:l;':1~to/ / ~l~~1 ~~~~ M~1 ,i1

{e~~iO~ ;1~J :L~:P~ / ~!~t niO~ e~1}
't!J e\1~J1'~~ M:LMN / ~t, M01'J ~:J ~t,nN
-: - - T -: - T -: T -: -
10
e~i?~lVntl t,~ i~~ N~M / t~lVi?~t:l ~1i1 n~o1 e~

't!J e~iP lJ,?Q i~ t:11 :L~ / t,~ ~!* i'ii ,~J:l~o/ t~;
e~'in ~~ ~Ji~1'i / ~n~:L~ ~i!J1' nitnt,

't!] tJ~1QriQ ir,'~1 -i~ I ,~h1.,iN T~-9i~11~
i1 ~ry~ t~~ 'i'=t~ / r~t ei~ ~7 :L1!?: 15

't!J i19t? ~J~G'~ ~~ / iJ~~7 r~ t,~ nitn7
e~~~1 J7o/ t~~:p ,i1 / n1=t1Jt yi!)t:'tt ,~ J:ltp;

't!J e~JlV~
T:
tN T
~O~O1"
- -: -
/ e~lV,n
T -:
i~ ~'JO
- T :
~~
e~70~1 e~t'~ t~~ / ~1~J,? e~w~ ein=t~

't!J e~t,t,UM ~OJ' ei~/-M :Lii1' '1' niiMJ ~1' 20
T : - T : - -: - T : -
M~~~1 01~1 O~ / t~i:J~ ~7 ri?=t~

't!J M~i:L7o n~=t~1 ii~/-tl itlt '1.1. ~~~ ;i~
iO~W~1 nQo/tt e~1 t,~~ / O~ ~~!n~ ~1.in=t~

't!J o~o i~Ot e~1'J~ :LiV~
: : -:
/ ~JtN~ ni~~~ i~Ot ~~
-: T : .:
62. Title: '<What I also said in a non-Arabic metre.)) Its strophic form
with use of a refrain and an exceptional hybrid metre (mixing the
quantitive ha-qaluii'ial-ramal metre with the syllabic metre) its erotic
imagery and frequent quotations from the Song of Songs all point to
the fact that this poem can probably be regarded as an epithalamium
written on the occasion of a wedding.
M"121M )"NO ~t, MOVJ 'In:LMN ~:J '~"'JO :L'121 )~:L'MN :,~~ ... ~,\t' 2
:~~~p\t'jT 3 .e~121J n:LMNO ~t, ,n:LMN MnNt,!JJ 'NO ~t, nOVJ :,:J )N :L"121
.N:J ),:J 'n~ ~!J t,V :~~~V ,~n~ .JO ),:J 'i:L MNi )Mi'Yt, .n,n121t, ~t, tn
:t,p\t'~jT 4 .n~n'O:JM M~~121t, n~JVJ MJ~ N i~121M nN nnn'!JM nt'inO M
c~pn., .~ n'N nN!JiO :L'MNM t,121 ,n:Lii' :~t, ... C~~"p .iY'i'0 V,t,i'M
tMtj t~N121 n,121i' n':Jo 'O:J N'M :L'MNM t,121 'i',n~i :n,\t"~~ n,~~
,y-,n eN :n,~,~., ... c~ 5 .M121'JN ~n:Jo, :n~ )'~ 'i~ ~!J t,V )N!JiO
t,:J NO t,v ~:L ':Jon :n,\t'~\t'~~ ~~,~~o .M:LM NM nt,noo ~ n'N N!Jit,
220 CHAPTER TEN
ev ,n'N ,,:JW )i"O!Jt, ~"W, ;, N" .;, )::1 121";'121 ~!J t,V )e~::1JV nt:nv
;"'121;' :C~Q~' n,t,~t, j1~~N .n ), "~N ;,N' :~nt,N~ 6 .;,t"nt, ;,N'!J'
n::1wt, e'i'0::1 :C~~~~ C.,Q j1~~~N 7 .;,t,~t" eo'~ '::1wn :;,t, )n 'i'~'
);",~t, :j1~~~N .l~~ n",t" nt,o n~::1::1 n::1wt, 1211'::10 N';, ,,;, n~::1::1
:C~~'''j1 ... j1N., 8 .,~ )n 121";'121 ~!J t,V :C~Q~~ ~"j1 t,~ .,t' )t~ ';,n ;,N'
9 .;'::1;'N n,o:J ;,tV ~:J :, )n 121";'121 ;"'121;' );,::1;,NO no ~JN );,N'
.,n'i'n,n;, ::1N:JO :1"'~ ~N~Q .,~ )t':J ',::1 ;,N' )~,,~~t, :~.,~~ n'Q~~
~'WN :c~~,~~n~... ~L;;nN 10 ., );'V ';,n ;,N' );",~t, .e~wt,nJ :C~~'Q~
11 .t )t 121";'121 ~!J t,V :c~~,~~n~ ... j1Q~~ .n.uvo ;,::1;,N n"nt, ~nt,':J~w
'!Jvt, 'N ~::1~t, ~", ;'0" :t' )::1 121";'121 ;,N' )~::1';'N ;,N'O :~."., n,Q.,
:~t, ... 1~~ 12 .e~::1';'N;' t,:J n'N!Jn ~::1';'N :c~p,~nj1... N,j1 .e~t,~N;'
);' 121";'121 ~!J t,V )i',no '~!J evt' :c~pnQQ ,~n, .::1::1t, t,:J N!J'O '~!J ,~,
:c~.,.,n ... ~~,~~., .~n~::1::1 ~::1';'N nN n'N't, :~n~~~ ~.,~~ n'Tnt, 13 .tt'
)Nt, '1210 ;,N' )~,,~~t, :~~,~, 1n 14 .;'J'V n'WJ' t,w ;'0';'0::1 ~"w ~JN
.ro );' 121";'121 ~!J t,V )i'wn, ;'i',wn ,,'vo ,t,,:J t,:J :c~"QnQ ,t,,~, .t,
:,~~ Qt, ... n'Tnt, 16 .~::1';' N n'::1n::1 1.1::1 n::1wt, ~t, e~v J :.,., ... ~.,~~ 15
)e~J'WN' e~::1JV 'V~!J';' ,JO,:J::1 :.,.,QO '~~Q"~ .e~n'!J ~J~O t,:J n'N't,
r,~nN .N~ )::1 121";'121 ;,N' )~" n::1 :,~no~ 17 .,t' )::1 121";'121 ~!J t,V
l::1t, ::1';,N;, :c~~~, ~t,~ 1~~~ .::1';'N;' t,w ,n'::1n::1 ;,YiN :."., n.,~n~
e~Jw:J e:J~Nt'n ,~;,~ eN :n~ )N '~ ;,N' )~JW 'O:J e"N' Jt,w 'O:J
)t 121";'121 ;,N' )e~unn ~~n"~!J ~"n::1 :c~~.,n ,~ ~"~Q 18 .'J~::1t,~ Jt,W:J
:c,n~, 19 .::1 )n 121";'121 ;"'121;' )l~ n"~!J;' f~O' :c~~~~ TN ~O~O~, .,~
~JN :~"'~Q C~~N .n~ n,o:J;, ;,t'~wt, ,'0.1 "J~J::1 t,i'WO;' .::1~::1N;' nJ'V::1
nJJ:J :, ),:J '0::1 ;, N' )~,,~~t, :n'''j1~ ... C~T"N 19-20 .n::1wt, ~~'VO
'V :c~t,t,~j1 ... "~ 20 .e~o ~t,V e~nN:J ';' Vt'J e~t,;'N:J ,;,J ~t,V
,!J'W ;,N' );",~t, :~,.,~ .e~~::1'V l~::1 e~t,t,~ 'i't,nOJ' ;,:Jwn;, ;",~w
.~i';' nJ'V::1' :r~p~' 21 .t~ )::1 121";'121 ~!J t,V :c~t,t,~j1 'O~, .t' )t'~
nt'~o ~t, e~i'N :j1~~~" ... ~t, .n~n,o:J;' ;,t'~wt, "0.1 "J~J::1 t,i'WO;'
:ro )N 121";'121 ~!J t,V :j1~~~" O.,~, .e~JJV" e~nt, e~ !JJVO ;,~'WV e~::1;'N
(e~::1;'N;' nt'~o nN) ;,n'N ::1~~N' :j1~,~t,j1...1,n 22 .;'JJV' ,JW'V ~N
:=-j."n~, 23 ., ), 121";'121 ~!J t,V )e~O'W::1;' e~';'::1 e~", ~n~w l~::1
,~ no;, nN ;,t,::1N :t,~~ O~ =-j~" nN .n~ n,o:J;, ;,t'~wt, "J~J::1 t,1'1210;'
~:J :O~O ... "~QT 24 .t~ )0 ';,n ;,N' )~,,~~t, :~~~N' nQ~N .n,~t,V::1
.::1'V e~~t,~ l~VO:J ~JtN::1 ;':J!JO ,~w;, ~"!J~~ n,~w
.N20 NLR Evr. I 802 ~":J :"1'0 ,)0
N~':JW ~!J N'~N ;,nt,i' NOO'

;'::1~ Jt,N' ;'O~OJt,N ~!J ;'::1.1, ;,t,
i~iY11'~ii' 4t;:1l;1 :L~ i~iNt / nNt?t:llli~ z,4tQ:P ;7

4t1 NZ,t!
i~1J:l ~4tt:1~t :Ll1?l3 n~l / l'~iil;1 v17
O~i't ;7~1 4t1~
63. Title: (What I also said about a person who has a desire to slan-
der and gossip.)) Monorhyme poem in the metre ha-merubbe based
on the Arabic al-waftr metre; this poem ending with biblical quota-
tions from Isaiah and the book of Psalms accuses someone of slan-
dering his friends.
1'1' ?1Z, 0 4t i'4t!)OO NZ, 1 4t Nt'n ON;' :.,~,~, ~t,i1 3 .;':LliO;' :t,P~Qi1
1':Li'4t 1:LZ, :t )NO ';,n ;,11W;, :r~'p .,~,~~ .1t' )t'4t ':L'1 ;,Ni :n~~n,
:t )t'J 'W4t 4t!) Z,V );,Vi 1i'1:L 1Z;,;, ;,nN :r~,.,n 1t,~., 4 .1Z, 11N
.~ )J ';,n 4t!) Z,V );,:L4t '1 N4tYl0 ;,nN :.,~.,n ~~n .1Yi4t ViZ, O;,4tZ,li
.N20 NLR Evr. I 802 4t"~ :ili'O .,,0
INOJNZ,N Z,NO'l IN 4t!) N'~N ;,nz,i' NOOl

;'N'i" ;,oZ,V:L ;,N;,:L1
inlNWO u,h in4t l / ;,wn4t ~Z" NiiJ 4tiN

in~~6 'U>'~ ~~':L1f I ~~r' ~r,{~~~1
in-l't~t li:L~ tiV1 / iZ, ;,l;lt:19 t;~t? 4t~~ 5
ini~:L.a ~N~ 4t~[1] / ~N '14t 4t!)~
T: -T: e: -
i:L'i Z,~1 TT T:
64. Title: (What I also said (about the fact) that the beauty of man
and his splendor are represented by his knowledge and his strength.))
Monorhyme poem in the metre ha-marnin based on the Arabic aI-
hazaj metre; this poem with a phrase from the book of Proverbs and
ending with a biblical quotation from Judges sings the praise of
knowledge and strength.
lNW ;,4tiN :n )l 'ov ;,Ni )'1 4t n!)O ;,4tiN :~.,,~ 4t"~ 3 .14tJiO;' :t,P~Qi1
i1~n4t .0;'1J lJ4tNl i'nlW ;,4tiN ON Ol :,n~~~Q ,t" .Ni4t4t NZ, 4t0
.;,4tiN nlNW :4t )'1 '14t N ;,Ni :,n~~~Q .'14t ):LO '~ ;,Ni )t'}1i4t YZ, :~4t.,n4t'
:,n~,t,n .i'V1Y Nl;, ON Ol )wz,n '14t On ;,NiJ Z,4tN;, :,n~,"n t,4t~i1' 4
,Z, N4t :LO 0 4t i:L'1 ;,:LiO;, z,4tO~;' :,t, 4t~' 5 .n 4t ):Lz, 'OW ;,11W;, );'ilYZ,
;,11W;, :,n"Q~~ 1'~~ T'1" .1Z, ;,nno z,4tO~ 4t!) :t )n4t 'wo 4t!) Z,V );,iY
Z,W lnl~Z, ONn;,:L i:L'1 z,~ :~4t~ t,~, 6 .tlV:L o~n i:Ll :;, )'1~ 'wo
.N~ )n '!)1W 4t!) Z,V :,n.,,~~ ~4t~~ 4t~ .W4tN
222 CHAPTER TEN
.~20-N20 NLR Evr. I 802 4t"~ :i1i'0 .jTO
NMnONi'01 Mt4t '.1Z,N 4t!) N'~N MnZ,i' N001

NMn'lNVN 10 MZ,Z,N~ ''l1VZ,N1
MiO MJ1'~O n~ iON/-1 MWN nNWJ ~iON

M"W C~O~~ ti~j,~ Nt, I -N1i?Ttt1 ~~7~ n~ ~"9~
65. Title: '<What I also said about marriage and its sufferings and
about taking refuge with God instead of remarrying.)) Monorhyme
poem in the vowel metre/mishqal ha-tenu(ot; in the final verse) Darci
contrasts the original meaning of the biblical passage Nahum 1:9
('<affliction shall not rise up twice))) with its new meaning in the secu-
lar context of the poem; in the Bible) this passage describes the rela-
tionship between God and his enemies) but Darci uses it in the rather
different context of marital relations.
:jT.,Q .,QN' ?4t 1WJ MnN :1Z,NW :jT~N nN~~ ,.,QN 3 .n1V1JnM :t,P~QjT
.MJVZ,~ MiO Mn4tinN1 :'l )M '1210 M11WM )tt1i4t YZ, .nvlViO 4tnWN :4t n 4t JV
'i~ MNi )4t ni'VY :N"PN' .MnZ"t ninN MlU'N ,z, ni'n :jTnt,~ np 4
.t' )N 'nJ 4t!) Z,V :jT"~ Nt, .'l4t )t'z,
.~20 NLR Evr. I 802 4t"~ :i1i'0 .,0
4tJ~nY 10 4t!) N'~N MnZ,i' N001

4tiOVZ, 4tJ~in1 4ti04tZ,
ni~ 4tJO 4tWi N;~~~ / 4tz, iY n1' 4t~t;V Z,N ~iON

rri9~ ~~ ,~~~ rJ:l~7 "~/-iV '!~ .r;~ '~ J;I:tli>o
T
n't?~ ';7tW i~:t~ ';1;13:''1 / 4t~ 1;I7~t?~ c~ l;l4t~~ 5

n1~~ C~ 1'4t~ ~M~~ / z,;~~~ ;W~~ i1J~ l'~O
66. Title: '<What I also said about someone who befriended me

because of my wealth) and who left me because of my poverty.))
Monorhyme poem in the vowel metre/mishqal ha-tenu(ot; this poem
combines the themes of wealth and poverty with the hypocrisy of
'<fair-weather)) friends who stop being friends in times of trouble.
.,~ nv .4t nlN ~tVW lU'NZ, liONn :4t~T'V t,~ '''Q~ 3 .nlV1Jn;, :t,P~QiT
~,~~, .iY nvz' :l~ )nz, '14t Nl ;4tz, iY C14t~ :l )~i' ';,n Z,W ;'~~i;' :4tt,
ni~ lU'N;, :n.,~ 4t~Q ."Tz, )"T~ 'wo ;,Ni )4tJV n14t ;,Z, 4tn~!);,w~ :4t~"
);'Nl!)i~ :4t"~~ ?4tJV CZ"VZ, ;,4t;,NW n~wn;, :n.,Q4t n~~n 4 .4tJOO
'W4t ;,Ni )t'}1i4t YZ, :n.,Q4t 14tn~t, .;'~1N~0Z, 4tiY lni' :n )NJ 'i4t ;,Ni
)t'}1i4t YZ, :nt,~o~ C~ n4t~~ .4tiOlZ, ;,Vlt' ;,nN :n.,o~ n4t~~ 5 .N~ )nz,
.nv"TO C"TN z,~ iV~J :"T4t )4t 'i4t 4t!) Z,V :.,V~~ 1nV., .N~ )1~ N"W ;,11W;,
;,11W;, :n"~4t rViT 6 .cno~n ;,niOJ :t )t'0 'i4t ;,11W;, :n.,o~ 1t,~~
)0 'W4t ;,Ni )t'}1i4t YZ, .1'V;' nz,4t Oi' 4tinN :t,,~~, '~~4t .,n~ .t'-t )"T4t '14t N
.1'V;' ni!)4t "T1V :n"~4t C~ r4t~ .t
.~20 NLR Evr. I 802 4t"~ :ili'O .TO
"T4t li NlU'V oNonZ,N 4t!) N'~N ;,nz,i' NOOl

;,Z,NO'l "T4t"Tl z,~~ "T4t"T0 lNOtl
"T4t VO lNJ'l~ "T 4t tO Ni;'J~ "T 4ti!)
1'~ CJ? C4t'~t~ c1;'i:1 ~~ / ;,~~ ';iPl oi~ niPl17 4t~t~~

"T1iO 4t~ ;,~V t,iOJ:l~ it:l/-~ 4t~, niWJt; lVO lGt~ 5
"T1.J:.l ii?~tI z,~ z,~ 4t~4t~4tl / ;,~~ c,,? ~W~ z,~ 14t~:t~
"T1.i4t ;'~i?~ z,~ {itl} lVNiG / i"~~ i;:J~ 4t~~7~
"T1'~ C1t: 11~G / N~i~0 iV~tI n~01~
67. Title: (What I also said about seeking a comfortable life and
extended time in company with every good friend of surpassing
beauty) against (the backdrop of) a streaming river and radiant gar-
dens.)) Monorhyme poem in the vowel metre/mishqal ha-tenit(ot; this
wine poem depicts one of the favourite drinking places in medieval
Arabic and Hebrew poetical tradition) namely a garden by the banks
of a river.
iT~~ .14t4t 01~ nlnwZ, ;,Yli 4tJN :O'~ n,n~t, 4t~~n 4 .nlV1Jn;, :t,P~QiT
CV C4t"~~' .CW~;' nlliVZ, lJlZ, "Ti4t 4t"Tl' :~ )1 W";'W ;,Ni :C~'~ iT~
)i~VW C14t~ 4t"TlJ Ci'W )lOt;, :.,."Q 1QT' 5 .l4t )"T W";'W 4t!) Z,V :.,.,~
:.,.,n 14tV~' 6 .;,z, )~z, '~"T ;,Ni );'ilYZ, :~n .4t4t nlZ,NWO NZ,OO 14tW~V
7 .C4t04tVJ~ n,Z,~Z" ;,JW CW n~wz' ;,Yli 4tJN )iW!)N4t ';' CN
'~t ;,Ni );'~i nli4t;,o~ :P"~~ .i'OVz, ;,lO!)O Cilt i;,J;, :""'4t "iT~
:4t )~ 'i~ ;,Ni :""~4t "iT~iT 8 .;'ilW;' Z,VO ;,4t lZ,n 4t"~~ :.,iT ."T4t )t'
.C4tWNi ;'V~iNZ, ;,4t;,1 "Ti!)4t CWOl ll;, nN nli'W;'Z, l"TVO N~ i;,Jl
224 CHAPTER TEN
.~20 NLR Evr. I 802 4t"~ :ili'O .MO
'lOO to 4t!) N'~N ;,nz,i' NOOl

;'''i~ ;'i'n~Z, ;,.,WJ
"i0t:1~ n19 4tl} z,~ W;}~ / 4t1i., 4t1.~1 nli? ~iiG

"i0Jt~ 4t~ in1i? 4t~!?7 / N'i?~ t~ in14tW Oi4t:t~
68. Title: (What I also said about someone whose singing is revolt-
ing due to its excessive coldness.)) Monorhyme poem in the vowel
metre/mishqal ha-teni{ot; this poem ending with a biblical quotation
from the book of Psalms may have been directed at one of the sing-
ers at a drinking party.
)~1;'N;' 4ti~" Z,W ;'~i;' Onli4tii'O :."QMn ~'''Q 3 .nlV1Jn;, :t,P~QiT

nl0 4tW!)J i'JnO in~nl :1t' )t '14t N ;,Ni )nloZ, 04tYli 04tWJN;, z,~
C'4t~' 4 .4t n z,~ W!)J ,.,4t~ iWN :4t )~4t '14t N ;,Ni :4tM t,~ ~~~ .4t nl0YVO
)t'}1i4t yl, :~"P4t T~ .4t."., ni4t W :N );' 'W4t ;,11W;, )iOtO Nl;'W~ :,n"4t~
;'~i;' Onli4tii' nN Z,'~OZ, Z,~14t 4t0 :."QV4t 4t~~t, .N )~~ 'Wl;,4t ;,Ni
.t 4t )tOi' ';,n 4t!) Z,V )~1;'N;' 4ti~" Z,W
.N21-~20 NLR Evr. I 802 4t"~ :ili'O .~O
z,~~ Z,~0 ;~iY1~ in/-~~~ O~ ;~~ tin ~~

z,u~ ;,4tPlnPl
- e: : -
T
~W~1 / ;'~~O ow iZ, ;,WD N~;' 4t~
e: - T T T T
69. Title: (What I said about the Sukka.)) Monorhyme poem in the
vowel metre/mishqal ha-teni{ot; this poem ending with a biblical
quotation from Yona is a plea to God for Israers redemption.
Z,NiW4t OV nN l'z,nz, ';'0 Wi'~O :t,~n iT4t 2 .nlV1Jn;, :t,P~QiT

:t,~~ ~'iT 3 .,OV nN nz,y;, NZ, Z,Y;,1 :l~);' 'OW Z,N "'l4tJ~ )1niYO
.z,Y~ ;,4t nnn ~W4tl ;'~O OW ,Z, WV 4t l :;, )., 'J14t 4t!) Z,V
.N21 NLR Evr. I 802 4t"~ :ili'O .v

;'J4t -rO Z,;,N C"'T 4t!) N'~N ;,nz,i' NOOl
;'J1W'~l ;,iliO t'}4t'Yz,z, C;,nJoZ,N~
4tn~Z,N 4t;,l NJ4t i'4t Ni'n Z,4t tJZ,N 1l'Y.1~4tl
4ti~Y

4tz, ;,4t;,4t ;,4tWJ/-N~
e::_ T -IT :-
4t~ 4tW!)J~~
-:-:
i 4tl) 4tnN~
T
4t14t ~1 C:t 4t~ C~G 4tl:l/-4t~i? ~it9~ V1 N9~1 5

4t1~1 i~~ ~~t7 C'1~ / n~wi?~ ~01~ ~i9~ 4t~1.
t4t1~1 ~~t7 ';7;:1 / z,~ n~ C~N~W z,~ C~~1}
4ti~J;' c4tNJi1v -riv c;, 4t~ / C4t~z,~~ c4tn4t~-r 4tJNl
: T - : T : : -
70. Title: (What I also said about blaming the inhabitants of a cer-
tain city) on whose tongues there is bitterness and rudeness towards
the visitor) and who) it is absolutely clear) despise the stranger; and
this city is Damascus.)) Monorhyme poem in the vowel metre/mishqal
ha-teni{ot; in this complaint poem) Moses Darci compares the Dama-
scenes to dogs) in their lack of hospitality and their aversion to
strangers.
nl4t nlN 4t!)1Z,4t n Z,V 00l~OW w"~nN ~n~ :4tn~t,~ 3 .nlV1Jn;, :t,P~QiT
)Z,"i-'l~l 'w Cli'O~ '~ )'n Cli'O~ ;'N~ 'N :4ti~V;' n4t~!)Z,N~ nl-r.11JO
4tn~~ 4 .(N843 'ov )Nll;, ;,Ni )4t OOV 1~l0) i'WO-r Nl;, lN~W )'CNWZ,N'
NYONW 4tn~wnl :4t"'~ 4t~~~~' .n4t )-r4t 'i4t ;,Ni )i4t VZ, 4tnv.1;' :.,4t V
5 .l~ ;,onN 4tilY 4t;,Z,N :.1 )~~ ~"W ;,Ni )i4t V;' 4t~Wln Z,YN ;,ono
.4tz, C4t~4tN~O i 4t V;, 4t~Wln :4t"4t~ ~., C~ .l~) Z, 'l4t N 4t!) Z,V :CiTQ ~~Q~'
.nl4tiN IN C4t~NtZ, C4t Ol-r i 4t V;, 4t~Wln :liON 4t4ti~n :4t"~' 4tV., 6
)t'}li4t YZ, :4t"~' .,lrt ~~Tt, .t' )~z, 'OW ;,Ni )CnlJWi'V~ :C~"V n,~p~
.nl4tiN IN C4t~NtZ, cnlN C4t llWO 4t4ti~n :4t"~' C,Q., 7 .1 );' 'j4t ;,Ni
;,llWO 4tJN :4t"~~iT 4t~~' 8 .nilN z,~ C4tNJ1W C;,W 4tJ!)O :1t,iT t,V
.-r )t' ';'i'z, ;'NiJ~ tOlil )it;, nN C4tNJ1W C;, C.1 4t~ C4t~z,~z, cnlN
.N21 NLR Evr. I 802 4t"~ :ili'O .~v
l'-r Cli' 4t!) N'~N ;,nz,i' NOOl

;,iOl Z,;'N'.1Z, -rNi'JO ;'i'n~
i~4tWt;1 ~~t:' 4t~~ ;,'~ i~~ / Z,~it11'~ i-r4t~~ C~ 4t'~Wt

i~ ~Z,'9 C4tW~l iV,~ ~ii7 / Z,~iV9 l4t~~iJ i~~ C~ l4tl!N1i?
226 CHAPTER TEN
71. Title: (What I also said about a people whose majority is ruled
by an ignoramus and a woman.)) Monorhyme poem in the metre
ha-merubbe based on the Arabic al-waftr metre; the particular theme
of this poem ending with a biblical quotation from Isaiah can be
compared to that of poem no. 88.
n31'T z,i' 1,14t;,JOW CV 4tn4tNiW~ :t,t,'T' 4t"'~~ 3 .;'~1iO;' :t,P~QiT

N"O ;,Ni );'ilYZ, :iT~~n .,14t;'JO~ t'Z"W lnWNl :'~4t~n ,~, .z,!)W C,11
C4tWJl C4t"Tz,4t iWN CV :,~ CV .~ )NJ 'W4t ;,Ni );'ilYZ, :'4tn~.,p 4 .,14t )4t
~,.,t, .1~ lZ,WO C4tWJl Z,Z,'VO 14t W,1J 4tOV :~4t ),1 '~ 4t!) Z,V )1~ C4tZ,Wl0
.;,4t VW!) ~i Z,V :;, )N '~4tN ;,11W;, )C4t~i;' 14t VW!) 4tJ!)O :'V~~
.~21-N21 NLR Evr. I 802 4t"~ :ili'O .~v
i'WvnZ,N 4t!) N'~N ;,nz,i' NOOl

Z,tJOl No~no No4to~n~ Z,t,1nZ,Nl
4tl:lN1i? ~71 ~1~ i'ilD~ 4tl:1';'1 / 4tl:11i? ;,~~ 4t~11t Z,iOl:1~

4tl:l4t~ z,~ / 4t7~ 4t1~0 / 4t71 ;1io / 4t7~ 4t7 C~O / 4t7~ llJ n;/- 4t7'f ;,~~
4tnt90 / 4t~~lDPl n1' / 4t~~io 4tz, / 4t~nl ;'i/-4t~,1 4tPlN / 4t~lD 4tNi~ 5
4tl:liN ;~/-4twl4t~6 / ~~ ~~iN / ~t?~t:1ii=S~ / 4tW~= "Tip n!-4tQ~ liY,~
4tl:ll~~ / 4tT7~~ ci~ / 4tTQ ~~~~ / 4tT~1i:l z,~ / 4tT~~~ z,~ / 4tTt ;;1~Y
4t~;:J / ii~t C~G / in, i~0 / ii", iN t,-.~ / iiN'f ~ / iiN'f ;~
4tl:ll~~ / 4t~:p ;4t~t:17 / 4t~:t 4t~J:l~ / 4t~t? "Ti"T~~ / 4t~i?l:1 z,~ / 4t~~ n'Jt~
4tnZ,1'O / ;,nnlDJ ~i/-Nn~ 4t~z, / ;,nPl!) 4t~ / ;,nNi n1' / ;,nJ1' 4tz, 10
~n64t-N
-T
/ ;,:'ili,;J
T::e
nilDi-~~
T:
C~T4tz,

/ T;'~O~4t
T:
/ ;,~:aDN
T::-:
4t~/_i"TT
- T:
~~nN
: -
4tnNt9n / ;'1'''TiJ 4t~ / ;'1'''TNl / ;'1'J~J ;'i/-1',1 4tJtN / ;'1'OlD n1'
'J:lNii?7 i M~9U' n~1 M~~~~ ~t, 1 :1~~~ '?1_~1' ,~~~ 1 M~~~~ 'i(~
4tnlNPl / ~4ti~ 4tJO / ~4t"TNN n~r,/ -~Jl "T4t OPl / ~4tnJ~ 4t!) / ~4tJz, iiolDN
4tn;i~ / i"Tri=Z,Ne: ~1'/-iN;=~N
T - -: e: : e: :
4t~/_~~~
-. - :
m~1' / i~~-;,tnN
T: T e:: e:
- -:
/ ~U;N
e: -:
nD~'
..:
15
72. Title: (What I also said about courting and flirting with great and
forceful enthusiasm.)) Monorhyme poem with internal rhyme in the
metre ha-shalem based on the Arabic aI-kamii metre; this love poem
is presented in the form of a dialogue between a lover and his beloved
and ends with a biblical quotation from the Song of Songs.
;'iln~ 4tnw,1!) i~VW C14t~ :4t n.,p t,'Qn~ 3 .iYli'0 cZ,W;, :t,P~QiT
p,~~t, .~ );' ~"O ;,Ni );'ilYZ, .4t ni;,4t O :4tn~., .n4t );,~ '~"T ;,11W;, )4t~i"T~
<hN't uNt: t~iL~ / la~r~ t~~6L.k ~J:.
S wle! a~~~ ta..&u W-/dJrkQW t:~ t~~ctJ,J:.
tNQ ti~ ~~ L.<ht4'~ / aL~ ~C:J.. tGU ~r~J:.
tt~ NQ wlo1 wri~ / ~~N~U~~ tr~t~J:.
t:CJa'4~L.W N't~t: ~L. N'tCJr1L.t: CJ1 N~/~Nrw

~CJCJN e!'tUW NJ\/N G~ CJ1 ~/Nrw ~CJNrw N1 ~e!uJ..~
at' CJe!~L.: ~II~ l08 I 'lAg: ~lN 1It:'
t:G~d't ~W J..~~e!N t:r't't a'4~~U~U~ t:a'4WIla'4( 'tCJa'4't N( U'

N't UJ..L. NCJ~( d't G~
a'4WIla'4 r( J..' ~NL.aw: NGa'4L. a'4WCJa'4~L.L. CJa'4UCJa'4
~cau W~L.U~: ~~Na'4L. NL.NW t:U~L.W ~GW N'1aW CJJ..L.~~ ~Nt:~N N~UW
Wa'4~~W CJa'41 ~N( ~r: a'4CJL. G~~ ~'ta'4~r~ a'4CJL. CJ~L.~U rG a'4~' S1
Ne!G ~J.. d't J..~t:~L. rN~U ~N CJrd CJ'trt:'t NU G~ t:J..t:L.~ G~U~~ ~Ua'4~e!W(
t:'tt:~ ~wu'tau~ a'4NQ NGr~a'4 t:N~a'4W Wt:NW 'te!L.NU~' vI N~Cl~L.UN~U~:
ru, ~r( ~' t~L.aw U~NU~: L.NW ~~e!1 J..( ~J..' 1 NL "dL.NU~: ~N~ ra'4t:du~
rua'4~ uaN~' ~Claw N!t~: 4\~L.~~( L.NW N~~, ~r( N' ~NL.aw: 't~~L.W( L.NW
II au U~NU~: ~Na'4L. a'4CJdU~ NU wr~~GW w~r~dw r~~uu~ 'tJ..du ~~
Wa'4~~W J..t:1 t:( ~~: Ndt:L.w t:N~L t:J..L.L' t~CL.W N~ClU~: N~r~ CJGUJ.. d~J..'
L.NW N~~, 'tN( a' t~Uuw: L.NW t:L.1 ~( ~t:' 11 NUL.~ L.L.~~ NaCL.w: 't~~L.~~(
'tJ..dU ~~ 'tt:~ rGUW N't ~~G~~W Nt:J..U~ NU ~t:~J..~ t:d.r~w' GUUW "c~:
't: ~u1 'tCJ~W~ 'tU~' 0 1 ,,~ ... Cla"u~: ~W~N Wa'4~t:W 't~ a'4t:du a'4r~~UW
ur~ 't~ ~N a'4e! L d't 'tU ~~L ~ J..L.L a'4Nr ~ CJa'4U~e! e! 'tda'4 ~U( t:r~r~J.. 'tN ~~ r(
I
N't U~d'1~( L.NW ~I '1J..( U' ~tL.~L. OG~: N't uL.ue! CJCJr~' ~Ut~ UN~U~:
~N~L. W't~'tW ~~a'4U~L. t:~a'4Q WCJ~L.' 6 ~a"u ~G~: d'tCJW ~GW' N~ ud~G~:
r~/J' 8 Cl~uL w~~U~: Nr~ a'4 t:~~ 'tCJ~uL we! ~L.1 t:N~L. ~'ta'4dL.L Wa'4U ~L.
da'4~ ~a~t: t:d~r~L ~t:~N~ 'ta'4CJ~U t:t:~U~' Ct~U~: CJu~e!l t:~I1~ d't ~J..~ U't~~U
L.NW J..t:1 ~( r' NS UL.t!~: N't UGUJ..~( L.NW t:Lv CJW( ~J..' UG~L Ct~U~:
J..t:L.~ dCJ~' L ~~GL C!~: ~'t~'t~ t:~~G~~L' N" UUG!~: N't Ua'4CJL.~ d't d~CJL(
~a'4N~ UaN ~( ~'t~CJL. '1'tU~ 'tuaN~' 't~~L.~~ ( Wa'4~~W a'4CJI ~( ~' ~~~U~ N~U~:
N'1~L. t:~'tN WNWt:W' N" UUClO~: L.NW ~L.I ~t:( r: N't UUCJ'1~' ~~~N U~N~:
L.NW a'4I1N J..( r 9 ~L.~~l a~~: 't~~L.~~ ( L.NW d~, ~( ~N: ~da'4~ ~~rL' NO~L.L:
~r' ~UC~: L.NW ~I ~~( ~' ,,~ O~CC~: Ut:e!~ N~U~' U~~c~ Cl~U~: 't~~L.~~(
t:~U~' S ~C~ NU~: Wa'4~~W a'4I1N ~t:( ~r: a'4t:W NU~' tC~L.W: L.NW CJIIN a~ (
~GW L.d~U~ ~CJ~Q N~l t:L' t,,~ O~L.L: L.NW dCJ, r( r ~,,~ C~U~: t:~N~ N't

~"W Cl~C: ~~G~~L CJ~a'4'tQ( rdL.u~( N~l t:L J..~G~( d't G~ a'4WIla'4 J.. (~: ~'tL
~L.W: ~J..~ 'tra'4e! NU ~J..~W' ~"W dL.NU~: NCJL.U~ 'tW 'tt:~N N't~~' v
Lll zog I ''flAH 'fl1N SW dO SISVS: HHL NO (Z~l-l 'SON SWHOd :NOILIGH
228 CHAPTER TEN
73. Title: What I also said about someone whom Time treated
treacherously and who should be guided by the advice of his old and
experienced friends.)) Monorhyme poem in the metre ha-marnin
based on the Arabic al-hazaj metre; this wisdom poem ending with a
biblical quotation from Deuteronomy refers to the motif of personi-
fied Time.
)t'J1i4t yl, .1Z,i1.1 nN Vi;' lOt;, ON :1t,.,,~~ CN 3 .14tJiO;' :t,P~QjT

'OW ;'11121;' )14t n1iY :,4t n'Nt,n .Z,i1.1 1;'Z, z,.,!);, N1;,1 :r )'lz, '~ ;'11121;'
:n~~ .,~t, .4tZ,.1iZ, nWi Wi!) :.14t )N '~4tN 4t!) Z,V :1t,~., CN' 4 .n )n4t
4t0 nyv nitV~ lOt;, Z,V i~.1n;, :,~ pTn 5 .n4t )'l~ 'W4t ;,Ni )t'J1i4t YZ,
nyv Wi'~ :1t, t,N~ 6 .~4t )tJ 'W4t ;'11121;' );'i1YZ, :1t,4tV,4t, .1~ ;,01JOW
14t~N Z,NW :t )~z, '~'l 4t!) Z,V )lOt~ 0 4t 01JO 0;' 4t~ 04tJi't;, nYV1 14t~N
.1Z, 1iON4t 1 1 4t Ji't 1'l.14t 1
.~21 NLR Evr. I 802 4t"~ :i1i'O ."1'

Z,NOZ,N 11~~ IN 4t!) N'~N ;,nz,i' N001
Z,N'lnVNZ,N 'l0!) Z,N''lJNZ,N VO
'l~l:'~ 0;":'0 iZ, 1W~1 / l'~ 04t'~0 li;, z,~ n1t~

'l~t~:; ;'7i?~0 O~ li?/ _.!~ i~~tl ~4try'~1
74. Title: What I also said (about the fact) that equity is upset when
money is in the possession of mean people.)) Monorhyme poem in
the vowel metre/mishqal ha-tenu(ot; this poem ending with a biblical
quotation from Isaiah focuses on the unfair treatment of scholars and
honourable men when compared with the privileges granted to fools.
C4t.,QjT .1';' 'l~N4t :.1 )t'~ '1210 ;'11121;' =1,jT t,N n"~4t 3 .n1V1Jn;, :t,P~QjT
o4to~nz, Oi1.1 t'J0~;' :"~V~ '~4t' .nv-r z,i' ~NZ, 'l1~~ ln1J;, t'J0~;' :rt,
04tWJN~1 04t'lz,4t~ n1i4t ;,4t ii1V t'J0~;' :.,~~~~ ~4tjT"4t' 4 .04t'l~Vz, n14t ;,Z,
.'l~~J~ ;,Z,i'J;'1 li't~ iVJ;, 1~;'i4t :;, ).1 'W4t 4t!) Z,V )nv'l 4tz,i'
.N22-~21 NLR Evr. I 802 4t"~ :i1i'O .jTV
;,04t i' NO IN N'~N ;,nz,i' N001

i10~0Z,N NJNZ,N~ NZ,N i10VOZ,N lNOJNZ,N
;~~;'N1 ;-r;1 ni~n nN / ;~t1' Z,1' lUtN C;4t 4tPln~;;,

'i~ry~ i!ll?~ M~~ v V1 / iQ!~ -w, ~~~~ ,~ ~Q~
;:a 1'~1J 14t ~ 4t7t~ ;,:~~ / w,lZ,h~ z,~ ;,t tI1;-r:t~ 5
75. Title: (What I also said (about the fact) that the value of an
impoverished person is comparable to that of a broken vessel.))
Monorhyme poem in the vowel metre/mishqal ha-tenit(ot; this poem
ending with a biblical quotation from Jeremiah combines impover-
ishment with personified Time.
4tJ!)O C-rN 4tnn~1;' c 4t 0 4t ;, -rnN~ :'~'iT~' 4tMn~'iT 3 .n1V1Jn;, :t,P~QiT

C~tV Z,V :~4t )t' 'i4t ;,11W;, )t'}1i4t YZ, :'~TV t,V .1~1;'N nN ~tV C-rN;,W
,~O~ .Vi;' lOt;, 4t-r4t Z,V 4tJV ;,WVJ ~1;'N;' :'~iTT' .,~~~ 4 .4t ni1n nN
4tJV z,~ :,~ t,~ .1JJOt~ :iTT ,~.".,~, 5 .t' )0 'lU' ;,Ni )t'}1i 4t YZ, :'~iTT'
.nz' )no 'i4t 4t!) Z,V :,~ 4tt,~~ .l~ )n4t N"W ;,Ni :~., ~4t~ .1iV ion
.N22 NLR Evr. I 802 4t"~ :i1i'0 "1'

;'VOZ,N 4t1'-r ~NYN NO 4tZ,V N'~N ;,nz,i' N001
C;,Z,NO~ c;,ni"n 10 -rWN C;,Z,NJ1
~Z,7;;'J:1~ cJ:l~;,:t~~~ / ;'1~~~ 1;;' 4t~~~ ~t:t~

~z,~;,n4t CilV1' [~;i]~~ / cz'4t n Z,1' c 4t nt';:a
T-:- TIT : T - e:
c;, i~~1':a
:-
76. Title: (What I also said about what happens to wealthy people
and how their arrogance is stronger than their confidence in their
money.)) Monorhyme poem in the vowel metre/mishqal ha-tenit(ot; in
this homonymic poem ending with a quotation from the book of
Psalms) Moses Darci scorns the rich people of his day.
);'i1YZ, .cn11Nl~ :CM'iT~~~' .C4ti 4t WV =1'iT 4tt,V~ 3 .n1V1Jn;, :t,P~QiT

'1nJ ;,Ni );'i1YZ, .t'}1i4tt'~ C4t l;,JnO C4ti 4t WV;, :,t,t,'iTM4t .N4t )~ 'W4t ;,Ni
Cl1 CJ1;'~ cnt'~o c 4t OW C;,W 4tJ!)O :,t,t,iTMiT .,,~V~ 4 .;, )~
.t )t'0 ';,n 4t!) Z,V )1~ C4t NlnO
.N22 NLR Evr. I 802 4t"~ :i1i'0 .TV
[Z,'i' lNOJNZ,N] Z,V!) ,Z, IN 4tZ,V N'~N ;,nz,i' N001

;'~iN 4t!) NO -r4t tN Ni4t'~ ;,-r'l1NZ, ;'~i
230 CHAPTER TEN
N4tYiN 4tn1i 4tn~i 4tZ,D1 / 4tW!JJ CD ~4tiN 4tz, iY nD

'~b U~Q N{:i: 311 i ~~ P1 lbtt '7~i!]~~
4tY!Jno ini4t 4tz, ;,WD / iY!Jn ;,wiV ;,4t;,N ~z, 4t~
: ... T T :...... .. : ...
5
77. Title: (What I also said (about the fact) that if a man performs
the word of his Lord) He will let him obtain that which is even better
than he (first) had in mind.)) Monorhyme poem in the vowel metre/
rnishqal ha-teni{ot; this personal prayer with religious themes and a
quotation from Job ascribes righteousness to God even in times of
distress.
4tJN 14t4t'"TnO ;'i'1YO~ 4tJN 4t1iW iWN~ :~4t~'~ nv 3 .n1V1Jn;, :t,P~QiT

).1 '~4tN ;,11W;, :4t~~~ CV ~4t"~ .4t OYV Z,V ;,11Z,W 1~~ N4t~01 4tJ4t~" 4tJ4t~
Z,V )';' nN i'4t'"TYO 4tJN1 :P"~ ln~ 4tt,V'~t" 4 .4tW!JJ 4t~4ti 4tJ'"TN n~i :nJ
4t~ :4t~~MQ ,t, 5 .4tz,~O V~1J 1JOOW Vi;' Z,V :4t~MQ t,V ..1 )1Z, '14t N 4t!J
z,n4t4t o 4tJNW ;'00 in14t t'}N 4tz, Z,01.1 ';' ;,4t;, )1n11YO nN C4t4t i'O 4tn4t4t;, CN
;,WVN 4tJN :.1~-~~ );' N"O ;,11W;,1 )n4t~iV;' nin1~;' ;,11W;, )4tOYV~ ,Z,
.4tY!Jn nN ;,Wvn ;,nN1 1Y!Jn z,~ nN
.~22-N22 NLR Evr. I 802 4t"~ :i1i'0 .MV
~1J"'TZ,N~ iNii'NZ,N 4t!J N'~N ;,nz,i' N001

CNi'.1NZ,N 4tZ,V 4tYNYi'Z,N 10 i''"TnZ,N1 iNt1NZ,N1
4tYN1JZ,N 14t'~4t~01 ~1Z,i'Z,N 14t'"T100Z,N 4tYNVOZ,N1
C4t7i~~ C~4t~ 4t1~ ~O~ C~1 / C4t7~n9 C4t W':flt?t1~ i~Y 4t~V?~
C4t7i'"T~0 ~4t9t!1 4t;17~~ / C~~l ':fJ:liJt1~ CJ:liN ;,1J9 5
C4t7in7 N~1G n9~ ':f~n4t7t? / 4t~7Q '"T4t~~0 ~7 4t~t?t' C~1
0'77P,O 12i"1f. "T:1?O~ / '7 ,~~O t;~ 0~1 '7~ t,iOQ
C4t7~' '"TiV 4t~4t~1 4t~~ ~7 / C4t'~7 4tl:19;t~1 4tl:1,i:l nNt7
C4tz,~;,o 4t:lz, C'"T:l 4tniVO'"T1 / 4t4t~~:l ~;,~ '"TNO '"TD 4tJ4tD1
c4t~nJ~ '"TlzjN~
v -4tDW!, ~i~~ / 4tn1lNw 4tT~ ~~~J riD i,;i 10
0'7n tl'~~l'1 v-y N'9 i~ ~~tJ1 / i'!011?iM riq~ ~~ ~lJb1
c4tz,~~n 4tz,~O '"T 4t :l 4tni~it'1 / 4ti~Z, '"T 4t OPl '"T~DJ 4tt;~W1
0'7~f. ~1~~ ~i~ t,~ 't,~~ / 'lP~O~' ii~~T:1 ~~7 Tt.)~~~. ;7
C4t~i?~ 14t1l;l n~~ c4t'~~01 / t"'~:t N4t~J:l 4t1~ ':fl:t~ 4t~~
C4t7~' ':f7 4t~1i?7 4t~1i;'1 / 4t1pl:'G~ NZ, ':flt?t:lt 4t~J? ;,W~ 15
C4t7~~~ 4t~J?t? CJ? 4t~:t7 / 4t~t?Q ~1~~~ T1~W1
C4t74tJ?1f~ ':f1iN9 n~o ;,t?l:'~1 / ':f~iY1 4t1~~ ~1~~ W~701
04t7:tQ ;7 4t~l:'~~ 4tl:17~01 / 07iv7 ;~l? 4t~~0 i1e'~~

o4tz,4to~ 01' o4tNt'inl o4tDwi!1 z,z,~ / ;,~~wn 4t~ ~.,Oz" ~Ni4t 4t.,D
. O~~D!1~it' ~4t;'1: ;'~J: i~~ -I: .,4t t;,' Nt':n ~WN: ~N o;~vJi 20
tJ'7~j,9' tJ'lp ':r=!~b~ T.,~y ,~~~ / N1Jr.1 TCl;Q T~tl~ ~f ~~u>:'1
78. Title: (What I also said about confessing sins and crimes) and
being wary of the punishments for those sins and crimes) which make
the heart black and the forelocks white.)) Monorhyme poem in the
metre ha-merubbe based on the Arabic al-waftr metre; this personal
prayer employs the device of the (return))and has religious themes
similar to those of the baqqasha (liturgical poem of petition for the
forgiveness of sins).
:'Q~V c~, .4t4tNt'nZ, nz'o )4t4t;'1Z,N :c4t t"nQ 4tV~~ 4 .;'~1iO;' :t,P~QiT
4tNW .,V :C4tt,'~4t C~4t~ 4t.,V .0;,4tnl~WO 10YV O;,4t VW!) 1~i :1 );' 'i4t ;,Ni
~i~ :,1 )NJ ';,n ;,11W;, )t'}1i4t YZ, :1n,~n~ cn,~ iTnQ 5 .4tz, nlZ,oZ, iW!)N
nN "~N :Ct,~, .4t )tV ';,n ;,Ni )14tOni~ :1n,~n~ .4tVW!) ;,no 1 4tOni
0,11 :c4t t"nt, c~, 6 .t ).,J '~ ;,Ni )t'}1i4t Yt, :C4tt,'''~iT 1 4tQn ., .4t4tNt'n
)';' );,n4tz,w 100 Wi'~O 4tJN 04tZ".,,1 0 4til04t4tZ, 4tz, Oi,1 14t!)Z,~ 4tNt'n ON
4tz, N~W ~1t';, z,~ Z,V ON 0,1 4tZ,V Oni :C4t t,t,VQ t"Qn 7 .04tZ"n N!)1i
;'~1t';, 4tJnZ,O,1 ;,nN :n4t ).,~ N"W ;,Ni )0 4t Vi 04tWVO~ 1Z, 4tn~w;, 1.,4t 0
8 .~ )n~ '~., ;,Ni )t'}1i4t YZ, :C4t t,t,VQ V'''~ .;'Vi;' 1 4t nZ,0,1 4tJNl
.,01V 4tJNl t'~o 1 4tZ,N i4t~;,Z,O OZ,~Jl Wl~ 4tJN 1~Z, :C4tt,~~ n~Tt,
4t;,Z,N ;,iONl :1 )t' 'tV 4t!) Z,V :4t~~ 4tn~,~ .nlZ,!)Wl0 04t4tJ4tV~ 1 4t J!)Z,
)4t4t nlVO., :C4t t"iTQ 4t~4tV' 9 .14tZ,N 4tJ!) 4t;,Z,N 0 4ti;,Z, 4tnoZ,~Jl 4tnw~
Z,~ :nv t,~, 10 .11i114t VZ, 4tz' 10i,1 )~z,;, 10 nVi'1~;' ;'J~ ;,t'in nlVO.,
4t!)0 nl~n4tJ 0 4t Vi;, 4t4tWVO Z,V ;,t'in;, nli'Vtl :c4tt,n~iT ,~n~ .10t;,
:1t' )N~ 'O~ 0,11 ;4t n,1NW 04t0~ 1~n4tl :.,~ ),1 '14t N 4t!) Z,V )z,!)0 4t0 10~
4t4tn~ Vi"W' 1Z,,;, 4tJNW ;,.,,0 4tJN :C4t t,." ~~niT' 11 .04tz'nJ;' .,WNl
14t~ ;'~iN ;,onz'o;, 4t;,nl :N ),1 ~"W ;,Ni )4t iOl0 1~1nl 1iV 4tz'i' Nt'n
"1' .04tZ,." 04t~Z,;, Z"NW n4t~1 i'tnl 1Z,;, ."." ."., n4t~ 14t~1 Z"NW n4t~
:c4tt,,~n 4tt,~~, 12 ..,NO .,V ;,Z,.,,1 ;,.,in :,1z' )t~ 'i~ ;,Ni :"'~Q
.4tZ, ~1t'W ;'0 Z,~Z, ;'i'4t tO 4tnlW!)4tt'1 )4ti~Z, t'}1!)~ 4t~ iWN i~;' Z,~W;'1
:N4t )~ ';'i' ;,11W;, :4t~VQt, iT~~n t,~t, .100 Wi'~O 4tJN :t,~~~ 1t, 13
:C4tt,~~ .,.,~~ .t4t )~ 'ON ;,Ni )1.,OnZ, :1~n t,~ .4tWVO Z,~~ 4tJN 4tn4tJ!)1
)n 4t N"W ;,11W;, );,11JV 11WZ, :1"~V 4tQ, 14 .N4t )1t' 'OW 4t!) Z,V )';'z, 4tlJ4t~
14t ;,4t )';' t'1!)W4tW~ :C4tt,p~ C4t"'~4tiT' .,1 ).,4t '14t N ;,Ni :~~~Q~ ~4t~n .n4t
;,WV :"~i' )t'4t i' ';,n ;,11W;, :1.,on~ 4tQV iT~V 15 .04tz'!)W 04t Nli~;' Z,~
1i., ';' 4tJil;, :,1z' )t' 4t i' ';,n ;,11W;, :C4tt,~~ 4t~"'iT' .1.,On~ 1"~V ov
232 CHAPTER TEN
iWN~ lnOW4t nli'"Tli';' 4t4tnl~WnOl 4t~z, :C4tt,~~iT nQ~' 16 .14t i'n

1J1Yi~ 4tnlN t'}1t'V )';' NJN :C4tt,4tVQ~ ~~t,iT' 17 .4tNt'n Z,V i!)~n
4t'"T.1~ 4tJ~~z,;, :4t )NO 'W4t ;,Ni )z,.,VO nl0~~ 1ilN 4tZ,V ;,t'V;,1 Wl~Z,~
ti~;' )NJN :c4tt,~n .,~~, 18 .cnw~ z,4tVO~ It'~ :t'~ )t'i' ';,n ;V~
4t~~iT .4tZ,V V4t!)WnW CV1J~ 4t~1N~0 z,~ nN Z,t'~nWl CZ"VZ, 4tJ~tvn NZ,W
Z,V :c4tt,~n 4tnt,~iT' .10V '"T4t on 4tJNl :.1~ ).1V ';,n ;,Ni :Ct,'Vt, 1QV
z,~W '"TV :C4tt,4tO~ 4t.,v 19 .C4tOVJ~ 4tz, lZ,!)J c4tz,~n :1 )tt' ';,n 4t!)
C;, iWN~ :C4tt,V~ C.,,~~ 20 .~t'10Z, 1~1W4t C4tZ,4t0~;'1 C4tNt'1n;,
:CiTQ ~'~4t' 21 .14t~i'"T nN ~4tt'4t;,w ~N Z,W ~1t';, lZ,WO nN C4tNli
.;'i''"TYl t'!)WO ;,WVl lnVWiO VlVi ~1W~1 :t'4t ).1z, 'n4t ;,11W;,
.;,n4t n!);, Nl;, C14t 0;, :4 ilt' ;,Ni :c4tt"nQ 4tV~~
.~22 NLR Evr. I 802 4t"~ :ili'O .~V
Z,';".10 INOJNZ,N z'r cz, IN 4t!) N'~N ;,nz,i' NOOl

;,z,i'V '"Tn 4tZ,V ;,Z,'i' z,'"T Z,Ni' N''"T N!) Z,'i'4t 4tnn
iD~J N~;' iN c~n N~;' CN / 3n~4t NZ, lUtinO c~n

T .,~~ U>tt~ ;~ f~ i~V?in {iNi., t,'fVj liO~~~
i~:t~ 14t~~ iN 14t~G C~ / ii4t~G lUt~ i:;1~ V1iJ 5
79. Title: (What I also said (about the fact) that a person remains
anonymous until he speaks) and when he speaks his words indicate
the extent of his intelligence.)) Monorhyme poem in the vowel metre/
mishqal ha-tenit(ot; in this homonymic poem) the Hebrew verbal form
ni~(ar assumes the role of rhyme word but with three markedly
different meanings.
~ino Z,4t lN C.1 :n~ )t4t 'wo ;,Ni :.,V~~ c~n 3 .nlV1Jn;, :t,P~QiT
C'"TN z,~ iV~J :'"T4t )4t 'i4t ;,Ni )z,.,0~ :.,V~~ .11~J 14t n!)W Ct'N ~wn4t c~n
t'}iWJ Nl;,W '"TV Z,4t.1i l'V~ ~wnJW 110J4t i' 10~ :.,V~~ 1'Q~P~ 4 .nv'"TO
:~ ).1 'OW ;,11W;, )t'}1i4t YZ, .t'}iWJ :.,V~~ ~~~ .CW1~ noy Nl;,W ;,Z,.1nOl
:.,V~~ .,~." .'"T4t )~ 'OW ;,Ni );'ilYZ, :V"'~ 5 .WN~ iV~ ;,JO;, ;,J;,1
;,Ni )c~n =14t~Q .z,4t0~ IN c~n Nl;, CN 14t Z,V '"T4t VO C'"TN Z,w lil~4t'"T
iV~ W4tN :t )~Y ';,n ;,11W;, )z,4t0~ );,o~n ion :.,V~~ 14t~Q .'"T~ )r 'wo
.nNt nN 14t~4t NZ, Z,4t0~1 V'"T 4t NZ,
.:l22 NLR Evr. I 802 ~":J :i1pO .~
"~O~N rIpon ,,:l i:lYN~ N'~N "n~p N001

"t'Y1~N "~!)NP~N n~v';n ,,~'-r~N1 "~N"N~N ~~V
"i1ynO "'t'!)~ ~Y~:l N"~N N~N "i~':JN~N:J
N-r~:l~N N-r,,:l "o~V N-rn t'p NiVN121 -r'JN O~ ~~~N!)
iWi?iO n~=t~ n~~~; t~/-iw ~~ ~~ :lin :l;~ i'Jl?~ 5

iW=ti~ ~~O -r;~~ rrtl/-iW ':f~'Jt:l~ O~ V~~~
iW':11 VG,~ N~ -r~ -ri?/-iw "Q~l;1~ Oi0':1G 1~~7~
i~:lO~
:
i!)iino
:..
3J~0/
-..
-iw ,,~,,~
-: :
in!)in
T : -:
n3J:l~
:
iW,i? ~1=t1 i~ir O~ iG/-iw ~0~1 i~Y 1i?~1 Oi1~

iW!)~
: - niiUO ioiw i~/-iw~~
T :.1~!).ioiw. w~ ~~ 10
o:aT
80. Title: (What I also said about admonishing foolish people to

endure abuse and submissiveness. I made the mid-verse rhymes the
same as the end-rhymes) except that I entered them in the middle of
each word. I never found a poet who by singing urged his breeding
camels forward in this desert. Monorhyme poem in the vowel metre/
mishqal ha-tenit(ot; the title of this admonitory poem with internal
rhyme inserted into the middle of the words) an innovative method
according to the poet) illustrates Moses Darers use of Judaeo-Arabic
rhymed prose and figurative language.
.-r ),,~ '121~ "Ni )"o~n i~"O :~~t, "jT~~ 5 .n1V1~n" :t,P~~jT
0~1:J :V~~~ 6 .n-r1:J~0:l1 n1~J:l ~n121 ~o ~:J ~V ,,:l1n :'~p'~ ... ~,n
O!)in,,~ O~:J~iY OJ 0" :,~v~ n~n,~ 1t,jTn~ .0~V1~:J n1~"~ O~:J~iY
:,~n., ... ,~~t" 7 ." )" 'n~ "Ni )~1i~Y~ :,~~,~ t,,~ ,~v~ .0~-r:lV 10:J
'"n ~!) ~V )121ni 1~00 V0121~ N~121 -rV ,:J ~V -r~!)P~1 1~i:l-r nN tOi~1
,,~,,~ 1n~!)121" nV121:l1 :,~~~~, nv~, 8 .010nO ~!)~ "i0121N ::l )t'~
1:l"~ nN ~~t'~1 p1n~121 :'~'p c,~ 9 .1~~~ !)12101 1~~~PO nN V01121
'" ~ N ",p :-r~ )r~ '"n "Ni )1ni1n ~i:l-r nN i:J1r1 iO1121 "~"~1 '" ~V
iY1~ :,~~~ ... .,~,~ .,"~n:l i01~:J )121-r1p" ~i:l-r:l :C~ 10 .1:Ji-r i01211
.J:J )N:J '1210 ~!) ~V )n1~:J001 n1iYO 1121!)~ nN ~~YO 1~1121~
.N23-:l22 NLR Evr. I 802 ~":J :i1pO .N~
"p-rYN~N ,in ~!) N'~N "n~p N001

"p-rNY i~ J 0 " n:ln0 ~'-r~N
234 CHAPTER TEN
~niN~ c niw1' ~.,tll~1

T -: -
1 C~t,~YN ~lIO ~;,~ ~'i1 n1':a
T -: : T : -: -: : - :
~-tliY~iO "~1~~ ~'9~G~ 1 C~1Q~ l~:;lG ~ry~ n!' C1~:;l~

~ni:1wno t,~0~ ~:a~0~ 1 CO~WN ,iV ~!) ~t,1'O c~n~:Jw 5
~rl!)W :t,:1'- CniOW riN NWNi ;ii~1''' C~:Jt~ M~;,~ t,:1~
T T: - T : ... T" :
i -: - T: : ... : ... -:
81. Title: What I also said about abandoning friends whose love is
untrue. Monorhyme poem in the metre ha-meritbbe based on the
Arabic al-waftr metre; this love poem advises to banish unfaithful
friends from memory forever.
:~n'Nn '''T~~' .~n1N 1:1fVt ~~:11;'N .,WN:J :Ctt,'~N ... n3J~ .;':11.,0;' :t,P~~j1 3
:~n'~3J'~ C.,)~, 4 .:1 ,:1:J 'i'~1 ;,11W;, ,~~n1Wi':1 n1WVt,0 1VJO~~1
:~n,~~n~ c~n,~~ 5 .~~n1YV1 ~~":1':1 ".,0, ~:1 ".1:1 C;,W l~:1N .,WN:J
:~~'~3J" ... t,~t, 6 ..1:J ,;' N"O ;,11W;, ,;,."yt, :C~~~N .~"0.1t, cn1N n:JWN
., ,tt' ';,n ~!) t,V :~nj~ ... N~N' .C~JONJ Nt, c~":1n .,,:JtN Nt,W ~':J
.N23 NLR Evr. I 802 ~":J :.,'1'0 .~j
N~ J,t,N .,".1 ~!) N'ytN ;,nt,i' N001

N;,t,;'N 1~:1 N;'i'~.,!)n1 N;,t,~01
;'1'~:1W:a rlW!)J t,1' "G)N 1 ;,.,ON ~J'~J t,1' t,:1~

T :. T:- - T- TIT -
tt
;,~~~1o t ~O i? 'J~11 - ~1 rl'1~ ,~ '1 t:'.t;11 9
;'1" ;,.,i~ ~o nN iN rlt, 1 niw1'~ ;'0 ~J1'~'i~ ~O 5
";V:1W ;'lI~O ~U:;!)lIW 7rl'~J n:ij1'~o ciit'~ ,v
T : "1'~'~; nt,.1J :~~ '1't, 1 ~J~t,1': ~nN~n ~;,n~, T
;'1''' ~J~D r1iZi1'n Nt,- j ~~ ni'iwJ ;'~M~ ~~~:N

T T T
;'1'w iN ci~ 1~0~ ~; :1;,1- iNO ~~MN ,~~bn ~~:1~

T
i1~~i o~~~ "T~ ii1lJ \~ i "T~"'~Q tJ'~~iri' o7.ci~~ 10

;'~~Q~~ ':f7':'G i:a ci~ '~I -~t:l~ ;,,=tlJ t,~~ '~Qt:llj C~
;'1'W!) VW!) rlt, "!):J~1 1 ;,Nt'n Nt'n "~Y rlt, nt;o~ tN
TIT - ... T - . TIT: T -:- T
82. Title: What I also said about the injustice of the world and its
imbalance and its segregation of its inhabitants. Monorhyme poem
in the vowel metrelmishqaI ha-tenit(ot; this poem reproaches the per-
sonified World with causing separation and divorce between lovers.
;,V1:1WO :1~~nn;, Ct,'V;' :j13J'~~j1 ... t,~n 3 .n1V1Jn;, :t,P~~j1

:j13J~)"j1 ... .,.,nn, 4 .N~ ,t, '0:1 ~!) t,V :j13J'~~~ ... j1"ON .1J'~"!);'t,
4t!) Z,V :,QP iT4t"O~' iT""~ .lt nl~4t4tnnrl Wl0 4t 0Z, '"TV nlJO V'"T14t lJ4tNl
Z,V :iT1'., n~ ?z,~nz, nlwvZ, rlO rlYV 4tz, tn4t4t 4t0 :iTt, 4tQ 5 .rl )z, 'O~
.1n'"Ti!)rl nli 4tiOO CVt'4t CZ,'Vrl :iT"'~ n'~1't,Q c1'~n 6 .t' )n~ '~ 4t!)
7 .4tW!)J nlVi~ rlV~W :'"T )n!) 'rln rlllWrl )t'Jli4t yZ, :iT1'~~ iT~QQ 4t~~~~
:iT1''' 4tt,,~ 8 .lJ4t!)Z,~ Nt'1n Nlrl rlO~ CZ,'Vrl V'"T 4t CN :iT1',.,4t, 4tiTn,
CN :t'~ )1~ 'i~ rlNi )1J~ Vll!)Z, NZ,W n 4t '"TlJ rlVl~W V~~4t CZ,'Vrl
.C4t~rllN t4t~ '"T 4ti!)4t NZ,W n4tt'~4t CZ,'Vrl :iT1'~ 4tt,~, 9 .rlVi lJOV rlWvn
NZ" Crl4t4tn~ NZ, 1'"Ti!)J NZ,W tnJ14t l Z"NW C4t~rllNrl Z,V i'10!)Z, tOli
z,4tyO CZ,'Vrl :"'''4t~Q c4tp~,n ~t,Qn, 10 .l~ )N ~"W rlNi )Cnl0~
.W!)Jrl '"TV ~in rlVlJl :4t )'"T 'i4t 4t!) Z,V :iT1'~~ ,~.,n .rl'"T4ti!)rl to C4t~rllN
C014t '"Tn4t iN~rlZ, C4t~1rlNZ, nlJO'"Ttrl tn4t4t CZ,'Vrl :iT.,~n c~ 11
12 .~4t )nz, '~ rlllWrl )nlloZ, tOli 4tZ"N :iT1'4tO~' 1t,iTQ .rlZ,4tZ"
.1J4t !)z,~ lVW!)1 lNt'n Z,V ,Z, nZ,0 4t l 'rl ,Z, z'no 4t :iT1'~~ T~
.N23 NLR Evr. I 802 4t"~ :ili'O .~~
N4tJ'"TZ,N tN 4t!) N'~N rlnZ,i' NOOl

Z,NlnNl rli'~NZ,N iN'"T rZ,rl'"T
rlirlN'Y rlnZ"N to tNOJNZ,N rl4tJN'n
rlt~~ n4tWN1:t rl:~l! 4t7/-:t~ n4t't:1~ ~it' z'~G 1ViP.~

rltt' C7iV~ t;1~ ':(4t~ i~1V / ':(~iO nitt:1; ':(~t' C~ 4t~ 5
83. Title: (What I also said (about the fact) that the world is the ves-
tibule of the abode in the hereafter) and (that) man)s circumstances
in the latter are perceptible from those in the first.)) Monorhyme
poem in the vowel metre/mishqal ha-tenit(ot; didactic poem dealing
with the interdependence of this world and the next world.
Wi'~ :n4t.,n~ ~P~ 4 .rlirlN't' :z,"Y :iT"iT~'~ 3 .nlV1Jnrl :t,P~QiT

4trln Z,N :iTT~~ 4tt;~, .,n4tinN~ ,~t'4trlz' :tt' )n '~'"T rlNi )~1t' t'Jl0 'rlO
,z, rlii'4t rlO nv'"Tz, rlYin CN :1~'O c~ 5 .rltrl CZ"V~ Z,!)Wl z,'"T
.rltrl CZ"V~ '~YO rlNi :iTTiT .,,~ .N~rl CZ"V~ )C 4t 0 4t rl n4tinN~
.~23-N23 NLR Evr. I 802 4t"~ :ili'O ..,~
~1Z,i' Z,NOZ,N tN 4t!) N'~N rlnZ,i' NOOl

N'"Tl'"T~O ii'!)Z,N~ t4tiOVOZ,N '"T0'l1 ~VNn t4t iOl0Z,N
~iNnOl N'"TrlN'lO~ 4tnlN NO~ iON z,~ tN~ 4tnn ~lNZ"
236 CHAPTER TEN
~n~o4t '11' n;J;~lVn~ / 0 4t i 4t lV1';' ~z, Z,1' i~Y it.a

~r1i::l~ Nt, l'17;?i ci' I 't,Q~ ,~~ tt~~ "'l?9~1 5
84. Title: (What I also said (about the fact) that money tires the
hearts of wealthy people) while the body of those living in straitened
circumstances is exhausted and fatigued by poverty) so that every
order given to them is like a fight or a struggle.)) Monorhyme poem
in the vowel metre/mishqal ha-tenit(ot; this poem ending with a bibli-
cal quotation from the book of Genesis combines the themes of
wealth and poverty.
014t '1V OJ100~ 0 4t i'0vnO 0 4ti 4t WV;, :,n,Q4t "T~ 4 .nlV1Jn;, :t,P~QiT
5 .;',1N'1 ;'~iO 04tO~J ;'~iO :n )~ nl~N ;,JWO ;,11W;, )Onl0
'i~ 4t!) Z,V :,n'~~4t C,4t .10t;, z,~ 4tJV;, nN V,14t4t O ';' :,n'~~4t .,4t OQ4t,
.~~ )n
.~23 NLR Evr. I 802 4t"~ :ili'O .iT~
t'~'Y 4t!) N'~N ;,nz,i' NOOl

lNOJNZ,N iO 1n;, lV lNOZ,Z,N
;n;o '11' '14t on ;~~z,~ / ;'1;0 i 4t PlO4t lV4t N z,~ Z,1' ~;n
i
- ;i:lU;NOTC~ 14t1'O 4tJ~~ :'~1'1~4t0~ ;4t1'~ z,~0
;n!)1v~ :N~~ ;Ji'1~S ..4t~ ../ ;JOi To~1v~ ;J;U;S~ b~ 5
in't~ '1Pi~ lV'~ '~;iN c~ I i lV'if. iV'1'~J:I~ ,t:T t,~
85. Title: (What I also said about restraining the tongue from reveal-
ing one)s secret.)) Monorhyme poem in the vowel metre/mishqal
ha-tenit(ot; this poem ending with a biblical quotation from Micha
advises not to disclose one)s secrets to friends) acquaintances or even
family members.
nN i 4t no;,Z, O'1N z,~ Z,V ;'~1n :,~~t,~ ~,n 3 .nlV1Jn;, :t,P~QiT

,4tV., t,~Q 4 .t ),14t '!)1W ;,Ni )14t4t n z,~ :,n,Q "1' .,4tQn .1~Z,~ 1'110
)14t'1Z,4t 0 i01Z,~ )14t yZ,n 4tNY14t 0 0,1 :,4tVQ 4t~~' .14ti4t~01 14ti~n z,~0 :,4tV.,,4tQ,
;,Ni )i~'1Z,O lJ1WZ, nN ilYV4t :'~O" C4t~4t ,~,~t,~ 5 .N~ )~z, ~";''1 ;,Ni
;,Ni );'ilYZ, :'~O" .1W!)J nliYO iOW ,J,WZ" 14t !) iOW :,1~ )N~ 'WO
ViO 1J1WZ, iYJ :'14t )'1z, ';,n ;,11W;, :,n~~, ,~,~t,~ .;, )NO '14t N
1Z,,1i iOWl :1~ ),1 'WO ;,11W;, )'Wi"0 :,~,.,~t, .;'OiO i~'10 1 4t n!)Wl
.1;'ViZ, Wi"0 C4tWz, i;,OO ~1;'N z,~ :~4tp ... t,~ 6 .1J1WZ, :~'i1 .'"T~Z,O
.1 )t '~4t0 4t!) Z,V :,n4t~ ... C~
.~23 NLR Evr. I 802 4t"~ :i1i'0 .,~
~Nn~Z, lN1JV ;,nOOi NO N''"T;,1

~N~nNZ,N 'l'V~ 4tZ,N ;,Z,ONiO
C4t1~ ii?4t~ ;71~ 4t~~7 / ;1~~ nt1~~ ii?4tl:11i'"T~

C4ti~~~

cnt;~~
e: e: :
~Oi~
e:: -
/ t'DO~
- :.
;,Yi N4t~J;' 4t~
T T T -
86. Title: (This is what I wrote down as a heading to a letter sent to

one of the beloved ones.)) Monorhyme poem in the vowel metre/
rnishqal ha-teni{ot; this poem ending with a biblical quotation from
2 Kings is a preface to a letter.
4tnnJO ;,4t;,n :C4t"~ ... "p4t n .~n~o;, lVOJ =1'''~ 3 .n1V1Jn;, :t,P~Qi1
:t'4t )~z, 'i~ ;,Ni )1Z, ln1J 4tJNW ;,Jno;, :1"~V nn~Q .14tJ4tV~ ;'ii'4t
';,n 4t!) Z,V )~1t' ;,ViO ;''"TW 10~ :C4t"~ "P4t~ .4tJ'"TNZ, ;,n1Z,W N4t;, ;,nJO
:~o )'"T ~"O 4t!) Z,V :C4t"'~~ ... i1~" .t'!)W l~ V~Z,N :~4t~~i1 4 .~ )tz,
.1J1Z,i'Y~ Z,Oi~1 ... C4ti1~~ cnz' C4t ;,Z,N;, ~NZ, N~4t1
.N24-~23 NLR Evr. I 802 4t"~ :i1i'0 .T~
nioiiO 4t~.az,.1~ c 4t 4t~.1~ / ni0 4t DJ CD ni~it'1 Z,N nioiZ,lD

n'iDtJ~ ~rQ -~~i tt~~ ~iv:p / C'J:lQ ~f ";ll?Q~ t,inlJ :l'''~
niOlDJ z,~ i!100~ c4t~~i~~ / i10n~ iniJn~ Z,N 4tOni~
n'iD,~ t,~ in~o, NQ~ ~61 T/ ,n:tt1~ ~~' 'i['''P, -r'~ {;i"T"} ~~p' 5
nio~JY i~Z,~ '"T4t '"T4t -z,~ 4tnOY1 / niNZ,O 14t ni'"T 4t'"T4t 4tnoy ilDN
I n'iD~iT;1 ,~~~ '~~Q' ~i~l / '~~-'1 'Q~ ,:~)~"f~"'! C~1
nioiZ,t!t' ni~l?1 ri?O n~~ / iV~'t i~ 4tl:litQG i07~1
niOii''t i~ i~:tW7 ;,~:t~ i~~ / ~~ 14t~:t iZ, 4t1~lD:t 4t~1 n9~
ni04tl?~ v~1~ c~1 4t~V?t:1Gt / i~ ;"tt1J:1~ lG!tI ~~ t;~1 10
ni~W~ c~4ttliJ't1~ ~4tW~1 / c4t~~;,~ '"T4t1!?; lGT l'~~ c~1
ni~~i~O 14t99! i'4t;J~ Z,~1 / 14t~iY~iO i;107 i~Y itlG~
nio 4t1.t!~ nilD~~tI ~4tt:1~1 / iV1.7 lD4t~ c4ti?in1;:J ~4tW~1
238 CHAPTER TEN
87. Title: (I also set this down an introduction before the prose (of
the letter).)) Monorhyme poem in the metre ha-merubbe based on the
Arabic al-waftr metre; this poem employing a series of conventional
similes expressing multitude praises the addressee of a letter (see
poem no. 86).
c~~,t' C~WVO, n,~,~ ~" :n,~,.,~ ... n,~,t,~ 2 .;,~"O;, :t,p~~n

:n,~~v~ ev n,~,~, .C~OW~ C~~~,~;, n,~,vo '!)OO~' C~;, ~t,J t~~JO~
~t,J~ , ni"Y' :n~ )no '~ ~!) t,V :e~ ~t,~~ .N )Jt,i' ';,n ;,N' )~,,~yt,
;,N' :t"nn ~,.,~ .c~t,"J C~'!)Oot, n,t,~i';' ,'v N~~O ,,'WO;, 3 .c~;,
.;,'W;, noY~ ;,~~, :t )ro 'n~ ;,,'w;, :e~n~~ t,~ .,~o~, .t~ )~~ ',~
:n,~n~ ~~~~ t,~, .~J~ ~'V c~O~ t"n~, :t~ )nv ';,n ;,,'w;, :r'j~~ r'j,v~
:e~~~,~~ .t )JO 'W~ ;,N' )~,,~yt, :,.,on~ ... ~~n.,~ 4 .;,~ )N ',~ ;,N'
:n,~~~ t,~ "~o~~ .c~OW;' ~~~,~~ 1V,t nN ;'~'N :t~ )~~ ',~ ;,,'W;,
"V~W t~NW ~';'N t,V :n'~"N ... ~t,v 5 .n'W!)J t,~ '!)OO~ )"NO ~,
.;,,'W;, t,VO ;,~,t,n ;,~~n;, ~"~~ :."., .,t,,~ ct"V~ ,;,'O~ t~N' ,n~;'Nt,
noY~ N~;' ,n,,~,~ 'WN :n,~,~~ ... "~N 6 .~~ )t'0 ';,n ;,N' :n'~"N t,v
t,V :n,~,~~ ... n'Nt,~ .n,t" ;,t,,~ ;,n,ovt, ,nN t,w ,n,,~,~, )~'!) O'OV
:~~,~, ... eN' 7 .J~-~~ )NO ',~ ~!) t,V );,V'!) c,t,n~ 'N,n;, n,ow ~!)
:n,~,~n ... t,T~' .~ n'N ,n~~tV t,t, J~ ~!)'J~' ~~ n,o YV t,~~ ~IN l',y-, CN'
CJ ~';'N;' :,v~~ ... ,~t,~, 8 .tt' ), 'wo ;,N' )t'~t, ~t, V~'!)O ~';'N;'
.t'~~~ ';' nJon, :n )~~ 'o~t, "J~J~ ),nJ,on~ t,~no;,t,o ~n'N VJ'O
.,~ '~'N c,t,n~ 3TT,nN ,~t,N ;'N'O~ :'ONJ , )~~ 'O~ t~t, C"i"
,~V~ ~ J,N l'~i';'O c,t,n~ :~ )JV ';,n ;,N' )tW~' 'V :n,~,t,nn... nv~
,o,t,~ )~~~t, t~V~ ~';'N~ t,~no;,t, ~t, i'~!)OO :~t, ... n~N 9 .;,t~n Cot,y
n~wt, t,,~~ ",;,W n,o,i'o ~~~t,~ 'J~J :n,~,p~ n~~~ .~~n'WJ'~
:~~~n~~ .~';'N;' n,~n~ ;'~;'N tOt;, ~N t,V :,~ t,v, 10 .c;,~
)ro ';,n ;,,'w;, );,~, n'O~VJ 1~~ w,nN' :n,~~v~ V~~N .~~n,~wno~
.C~~';'N ,~,!);,t, V';' tOt;, COt CN :e~~,nN ... eN' 11 .,t' )r ';,n, N~
C~~';'N;' t,w c;,~n'JO'N )3'1;' tOt;, t,t,J~ :n,~~~ e~n'~~"N ~~~~,
VJO~' tOt;, t,w ,~n'J"~ nN Ct;,t, ';' ,;,O~ :n,~,.,vn ... .,n~~ 12 .,~tV~~
n,~wno ,!)O :~~ );' "~N ;,,'W;, ),t,w c~t,~J;' n'O~tO nN C~~i't, ,JOO
:'~~~T p~~~ t,N' .cnyv ,!);,t, :;, ), 'tV ;,,'W;, :,~n,~v,~ .,~nt, .c~o"V
c~i',n,;, C~~';'N;' nN ';' ,nN~ :,v.,t, ... ~~~~, 13 .t' )0 I' ';,n ~!) t,V
t;,t, ;,n~~;, ;",!);,W )C~~';'N;' t,w c;,~n'W!)J' :n,~ ... ,~n~, .;,to ;,t
Nt, 'WN n'W!)J n,~nt" :t'~ )J~ 'n~ ;,,'W;, );,~~nnt, ;,JO'i'n )n"o~
tN~' t';,N ~J~ ~JW n,o ~,nN :N )ro 'i'~' ;,N' :n,~ ~.,nN .;'J~~nn
;,N' .;,t~,n;, CWt, n,~~oo~ W.J. van Bekkum) The Secular Poetry of
Efazar ben Ya(aqov ha-Bavli (Leiden: Brill) 2007)) 25-27.
.N24 NLR Evr. I 802 ~":J :"1'0 .nE)
t;'~'V:1:1 '00 tN'OJ N,-rtN ~!J N'~N n~i' -ri"

t;,~,V~' t;'J'O~ to:1 t;,'Ni'nnN'
i:1~i?~ ntt ~''?~1 ,~! ~~~ / ni:1i?~tl ~~o/'?~ ':f~':'~ tQ!

i:1iw, i-ri' -r~~ 'ONJT io~ / iJnJ inWN -r~~ ~N ,~,
i:1;,t :~:J ;'~:Ji: en i:V"~J~ / -rv Mnn!) :H~N~ ;'W"N ~";, 5
i:1~'~ ::1~~nn; T;iwD 'WN: / ,~0vo~ :i~~t' Mri~wnT ~nvT~
i:=l"'!i?~ h7 0'til' i; ;~ "T~Q I ' 1t:'ri :lii n~ ~~b~ :li;Q.'~
i:1:t7 n~ ~~~~'? iJi;'~ / '~iW7 ;,9 i1 WiJ~ ~~ t~ e~l
i:1~~~~ e~ ;"t!~ i~ ~~7 / iJiNl i~~~ ~:J~ ;,~i~~l
i:l~O~ l~~t;1i:17 N":;L~ u]i:J~ I in~~7 iZ:1.~~iNl i; V'1 'iJ'~~1 10
i:1~! WN' ~~ ~~~ e1~;' e~1 / t; ~~~ n; ~~ ;'1=t~ ;'.!,~~
i~J' i!),v ~~v niw,in eJ' / e~wiJ~ e~v ~~v e~wJ;"
i~ ~;~9 O~1P~l tJ~ ~~7 I tJ~ry.,~O i; -lGT -N~ ~~~~
88. Title: (And I also said about the disdain of women for their hus-
bands) and their contempt for the person who provides them with
food and sustenance.)) Monorhyme poem in the metre ha-meritbbe
based on the Arabic ai-waftr metre; this poem ending with a quota-
tion from Isaiah represents a conventional literary play on the con-
flict between the sexes.
e~121J;'121 V'~ N tOt;, n':J'!J;,n :1i'V :'~~pv ... 1~T 3 .;':1"0;' :t,p\t'~jT
)J '121~ ~!J ~V :"~T ... ,t,\t'~, .-rvy ~:J:1 e;,~ n':1"N' e~':1J:1 n,t'~'121
1~N ~N' ...'ON ;,121N;, ~N :tt' )J 'i:1 ~N -r'J~J:1 ),:1 '~1210 e~121J' ::1~
4 .t ),J ';,n ;,N' )~,,~y~ :'~~pV nN ,.,~\t', .1:1 ~1210~ N';,' 1ni"121n
;,~-r~:1 N';,' ),n121N ~-r~ ~V t'~121 J n,~;,~ ~ N~ e"J ,~;" :,~,\t', ... .,~,
;'~N ~:J :'~jTT t,~, 5 .'~:1'121 ~-r~:1 ~':1121:J' ,:1 ;,-r,,;, -r~:1 '~ON:J
N~;' tN' :,~~.,t, jTnV~ 6 .~J';' nN t'121!J121 -rV ;'~V:1 nN ;,nn~!J
N~;'121 ~J!JO :'~'on ~,.,~, 7 .,-rJJ :1~~nO' e~:1't';, '~121VO nN nn:J'121
~~ 'Y :,t' )n:J N"121 ;,N' :,t, .,~ 'N~ .e~:1't';, '~121VO nN ;'121~n:JO
8 .~:1'i':1 ~:1~ en :-r )t'~ ';,n ~!J ~V )OV:J' :'~"p~ ,~t, en, .-rNO
;"'121;' :,~~t, ... '~'jT~ .,n,o~ ;,o,-r e-rN ~:J 1:J~!J~ :.,~,\t't, ... t,~
~O:J' :,~~~V~ jT~'P~' 9 .;'IN-r ;':1'0 e~o:JJ ;':1'0 :n ):1 n':1N ;,J1210
10 .1n'N O~V:J0121 ,;,~O~ ,n'121':1 '121N e~VYON;' ~:J:1 ;,J'i'121
);'OV :1~t'~;,~ ;,~, ,n~:1 nN O~J:J;'121 ;'121~N;'121 )'~ >M' :,~,to~ 1~N'...
JJvnn, :1,t' '~:JN' ::1 );,J '121~ ;"'121;' :,~,to~ ~~vnjTt, .n:1~'N N~N ;'J~N
240 CHAPTER TEN
?04ti~,1;' 10 n1i'tn o4tWJ;,W ;,ii' 1 4t N =1~ iTTQ, 11 .O~W!)J llU'T~

';' 1JnJ1 :,14t )n~ '~., ;,11W;, )WNi;, 4tJ!) z,V NWJnO ~Jt;'1 :'~~T C~,
;,W4tN;, i01Z,~ .;,t'0z, ;,4t;,n NZ" ;,Z,VOz, i'i n 4t4t ;,1 ~Jtz, NZ" WNiZ,
11WNi;,1 WNi;, N1;,W ~N;' Z,V nNWJnO ;,.,OVO~ ;,n1n!);, N4t;,W
1."., ",1J~ n1NY14t ~1n n1Z,v~~ 04tWJ;,1 :,~~, C4t~~iT' 12 .n1~4tWnZ,
1~ iONW lOt;, N~ 1Z,4tN~ :c~ ,t,~~ 13 .10~W Z,V lZ"V nN n1.,4t~~01
.~4t ),1 '~ 4t!) Z,V :,~ ,t,~Q C4t~~' .10VZ, ';'
.~24-N24 NLR Evr. I 802 4t"~ :i1i'0 .~~
0'" 4t!) N'~N ;,nz,i' N001

~YJZ,N1 .,~Z,NZ, ~YvnZ,N
;,G OJ? ~4t, li;, z,~ ;'~1l:l / ;7

4t'1 z,~lj l~ z,~ ~i9~
;,ii z,~t:I~ ;~~~ 4t~ / t'i?,tI OJ? ;'17w ~t?~9
;'i? NZ, oi4t z,G3:'~ ;O~i / ;~7 ~~V? NZ, ;'7~~~ 5
;,~~ ;,:tit' Nt; li;,~ / ;V?~~ ;'1~l:l 1;1~~ o~
;,~ntl iniN N~i"1 / ;1;13:''1 -z,~ .,~ n;~ ;~t?t'
N9 ;7~~ ;7~t? ln~ / 4t~ .,~ .,4t~J:l ~7~t?~ o~
~i? o4t~~ ~7~ i~~ / ntll:l i4tW~ n;J~,1 ;,~~
;'~i~1 itl4t~ nlQ / ;~7G i1 oJ? ;79 Z,~7~ 10
;,YiN n~z,z, ~NY"1 / ;,t;nJ ~~tD ;,z'no ~iiO
T : - ...... T : - T : - : T T: -
89. Title: What I also said about criticizing the enthusiasm for hard
work and exertion.)) Monorhyme poem in the vowel metre/mishqal
ha-teni{ot; this poem emphasizes the transience of earthly achieve-
ments and the certainty of death) much like the classical Memento
MOTi ('<Remember your death))).
.,1 )n4t 'W4t ;,Ni )z,~n ~W14tZ, 1iO N :t,~n '''Q~ 3 .n1V1Jn;, :t,P~QiT
4 .., )nJ 'W4t ;,Ni )~1i4tYZ, :iT~Q CV ~4t" .W1~i n1~i;'Z, z,.,n =1'iT 4t"
iT't,~ .1Z,W VY~;' n11Nn z,z,,1~ 4tW!)J t'i'W Z,V nin4t1 :iT~''' nO~Q
V.,,4t 1J4tN ;,z,4tz,~ :1~t, iTt,4tt,~ 5 .t'o )tt' 'n4t ;,Ni )~1i4tYZ, :~P~iT cv
.;'Wi' ;''''~V~ nONO NZ, 014t~ :iT~p 1 M'" .,1~ )~ ';'i' 4t!) Z,v )V1,1iO
n~wn :iT~ViT C~ 6 .onz,~ ;'Yi' 1JW!)J1 :;, )N~ 'O~ ;,11W;, :iT~P
)~1i4tyZ, :1~~~ iT.,~n .1.,4t~ n1Vt' 1N )~O~~ 1W!)J nN n1.,!)Z, Z,~1nw
i'4ti 1WNi1 1nO~1n~ V,1!) 1Nt'n :iT~'MiT 1~~M 7 .,1~ ).,z, ';,n ;,Ni
,n,~ ~~'4t' .iVJ;' Z,N 1.,4t nz'wn Z,N :~4t )~~ 'i~ ;,11W;, :.,4t Mt,~ .nv"o
.t' )tt' ~";''' ;,Ni );'i1YZ, :nt,~o~ 8 .;, )1t' 'i~ 4t!) Z,v :iT~'MiT
9 .t )1 N"O ;,Ni =1T"~ .1nO~n nN i 4t On 1nlZ,~OW '1V :~~Q .,V

).1 'i~ ;,11W;, )nloZ, )i4t WV z,~ Z,W C.1 )C'1N z,~ Z,W 1!)10 :j1~p j1Q~
:C4t~~ r'Jt,~ .~4t )4t N";,'1 ;,Ni :"4t~V n~,~ .~1Wn i!)V Z,Nl ;,nN i!)V :t'4t
)t'}1i4t YZ, :j1~'''4t' .,j14tQ .'14t )tt' 'wo ;,Ni :n,Q 1~t,Q 10 .1 )1 ';'i' ;,Ni
C4ti 4t WV;, :j1t,n~ ~'''Q 11 .;'ViZ, fliZ, nli;,OO C4tZ,.1i :n4t )1 'wo ;,Ni
C4tNY14t C;,1 :j1~"~ '~~4t' .t )~4t 'i4t ;,11W;, )CntlnN fiN nN C4t~tlV
.tVJ~ ;,YiN n~z,z, lN~1 :;, )~4t 'i~ 4t!) Z,V );,O'1NZ, nnno i~i'Z,
.~24 NLR Evr. I 802 4t"~ :ili'O .~
to tNOJNZ,N~ z,tJ NO;,O tN N'~N nz,i' '1i'1

NO;,01 ;'~J''1 'fV~ tV i'Ni'nnON~ nJN~ ;,~4tYO
z,~ tN!) ;'~i to tz,'y!)n nJN~ tnOVJ to ;,~ f'~
z,'1V ;,JO ;,0i'J Z,~1 z,'Y!) ;,JO ;,OVJ
~4t7~0~l:l ;7 ~4tWvG / ;1t?t1 ~ii z,~ i~Y 4tl!~7~ 5

~4t71$ z,~0 4tl:lNtrt1G / 4tl:l!:t~ '1~ 4tl:li~i?~~
~4t74t~'~ 4t7~1 ;i0t:1~ / 4t7~'~ 4t7 4t7~ i'~~
/
~4t7~ i~Y ;1t?t1 r~~ ;10 &'10 ;1:t~ ~~ c~
~4t7~ z,~ 4tl:l:tit' 4t~ / 4tl:1Jt1~ i~Y 4tl:19~ '1iV 4t~
90. Title: (And I also said (about the fact) that whenever a person is
afflicted by a misfortune) this happens deservedly because of one of
his sins) and whenever he is granted a blessing) this happens by the
grace of God) since every blessing from Him is gracious and every
punishment by Him is equitable.)) Monorhyme poem in the vowel
metre/mishqal ha-tenit(ot; this personal prayer ending with a biblical
quotation from the book of Psalms has religious themes similar to
those of the baqqasha (liturgical poem of petition for the forgiveness
of sins).
Z,,0.1 1Z, ~4tW;'z, ';' 4tnl~~ t4t N :14tt,'Q~n 4tn~t,~ 5 .nlV1Jn;, :t,P~Qj1
z,~ ';'z, ~4tWN ;'0 :~4t )tt'i' ';,n ;,11W;, )4t'10V 1'10n 4tWVO Z,V 4tlNi
Z,,0 4tNt'n Z,V ;'04tZ,~1 ;'Wl~ wn 4tJN :14tt,.,~ 4tn,"p~' 6 .4tZ,V 4t;"Z,,0.1n
)~ ';,n ;,11W;, )4t nZ,NWO nN woo )NJN :4tt,~~Q p~j1 7 .1nZ,,'1.1 '11;'
4t~Z,,;,~ 4tz, iltVl :14tt,4t~~~ 4tt,~., 1,Qn, .14t nlZ,NWO z,~ ';' NZ,04t :1
)1'10n :14tt,~ ~t, 8 .14tnlZ,.1VO~ 4tiWN 10n :;, )t4t ';,n ;,11W;, )14t~i'1~
:n4t )t'~ N";,'1 ;,11W;, )14t Z,N lJll~01 ;,z,i'J;' 1'1~V ~z, nN fONO )4t;'1Z,N
nl~1t';,w V'"T14t 4tJN )';' )4t niON '11Vl :1't,V 4tnQ~ 9 .14tZ,N C~~z, t~;'1
242 CHAPTER TEN
4t!) Z,V :1't,v t,~ 4tn~,to .4tz, Z,,0.1Z, 1;' 1 4t Z,V NZ, )4t'lOV ;,1211V ;,nN i121N
.~ )t" ';,n
.~24 NLR Evr. I 802 4t"~ :i1i'0 .N~
'lJV NZ,4t O'.1 4tn!)Z,N NV'l4t NZ, 1N 4t!) N'~N ;,nz,i' N001
Nn4t~i'1 1n121nN!) z,~ 1V N!)4t!)V 11~4t 4tnn Nn 4t nyZ,N Z,'i'VZ,N 4t1''l
o4t'liio~ o4tN"in ~4tnJO iO 4t;,4t f 4t~ 4t'lD i~n~ 4t!)4t OZ,u,h NZ"
.: c4t~ono i~,;, 4t~i4t .~4tz,~ f rii:;~D i~tJ':'::a ~~~ tN;
- -: - ... : . : -: : T : T T:
91. Title: What I also said (about the fact) that a young man will
not be called beautiful by a person of true insight until he is absten-
tious from all vile and shameful deeds.)) Monorhyme poem in the
metre ha-merubbe based on the Arabic al-waftr metre; this poem end-
ing with a biblical quotation from the Song of Songs deals with the
qualities of the perfect beloved.
'lV ;,!)4t i1n~ 0Z,12110 ;,4t;,4t NZ, :C4t.,."Q, Nt" 3 .;,~1iO;, :t,P~QjT
;,Ni );'i1YZ, :C4t.,."Q, .t" ).10 '1214t ;,Ni )1i'l0 :~4tn~Q .Vi;' 1i'l0 i104t121
.14t!)14t~ 0Z,12110 ;,4t;,4t )14t N"nO 1211i!)4t121~ )tN :n,.,~v '''T~jT~ 4 .nz, )~ 'n4t
.ro );' 121";'121 4t!) Z,V :C4t.,QMQ ,t,,~, .~4t )n~ 'n4t 4t!) Z,V :4t~'4t ~t,~
.~24 NLR Evr. I 802 4t"~ :i1i'0 .~~
14t~~~~ u,h~~ V1iJ i4t~~ OlJ ;'~f-~O~ ;'~~;:J n:;7 ;'911:1 i~~ ;,,~~
14t~~0 i'iWl12ii! ~1 4t J:17 f 4t ~J:l 4t7 ;~ ~~ 1tJ~ 4t1p~ 4tJ:1iN
92. Title: And I said about love.)) Monorhyme poem in the metre
ha-shalem based on the Arabic al-kamil metre; the final verse in this
love poem is reminiscent of a well-known poem by Moses ibn Ezra;
like his Andalusian predecessor) Darci makes clever use of the laws
governing the portions given to priests at the sacrificial offerings in
the Temple.
;,01'l;' =14tQ4t~~ jTQ.,n .;'~1;'N :jT"~V 2 .iY1i'0 oZ,121;, :t,P~QjT

'ON ;,Ni =14tQ4t~~ ~4tN~ .4t 'l4t Z,V nZ,'l1.10 :jT~'QN .t )~ 'ON 4t!) Z,V )inoNZ,
tOliW iW!)N .1;'1~ 10~ 4tnlN 4tWV =1iT~ 4t~1' 4tn,~ 3 .4tJ4t 04t W4tN :;, )~
'!)1W ;,11W;, )1;'1~Z, 14tJ~0 '"TnN nN ;,J4t Ol Z,O!) ;,WVW ;,~4t0 ;'WVOz,
:1""T~' 1QQ, .1;'~ 14t Z,N "00' ;,"WV WilW;, 0 4t OV!) ;,O~ OWl )n4t -t4t
.N~ )~z, 'j4t ;,Ni :1""T~' .04t4t nZ,;'1 Vit;, 1;'~Z, 1nJl :l )n4t '~'"T ;,11W;,
.1;'~Z, ;,01in lJnn 14t 04t;, i"W nNl :~z, )t 'i'4t l ;,Ni =14tQ4tiT P'~'
.N25-~24 NLR Evr. I 802 4t"~ :ili'O .~~
;'!)Nt'Z,Z,N 4tV'"T4t l"~W 4t!) N'~N ;,nz,i' NOOl

;'!)N'n~Z,Nl Z,i"nZ,N ;" li'"T lZ,~N 4t!) 1;'1
'"T~ 4t1~V' '"T:ti~l 04t~~ Z,inf / 14tl:1:tWQ z,i?~ i~~ n~ '"T~~1

'"TD0 4t l t'~04t t;~z, ~iDO 4tZ,D / O'in!)z, iniN ~JnJ nitO~
- : .: T -: T: - -: T : - : : T T: :
93. Title: (What I also said about a person who lays claim to grace-
fulness) while he shows the utmost degree of weightiness and heavi-
ness.)) Monorhyme poem in the metre ha-merubbe based on the
Arabic al-waftr metre; derisory poem about an arrogant man in the
Karaite Jewish community.
)'"T~~z, 14tn~wnw z,i';' W4tN;, :'4tn~~n .,~~, 3 .;'~1iO;' :t,P~QiT

.t~ )nv ';,n ;,Ni :C4t Q4t t"n~ .1Z,i'4t 4tt~1 '"T~~N 4t'"T~~0 :z, )~ N"W ;,11W;,
111~nO 4tVi'"T ;,WO 4tZ"N :.,1'Q4t, n"TQ~ 4 .1 )l '~n ;,Ni :"1' 4t.,.,iT
lV1Z, Nl;,1 )'"Tl~~ "nO nOJ~;' n4t~~ nitO;, Z,nl~~ n~wz' O'"TNZ, lJnJW
:.,1'Q4t, .;,z, )~z, '~'"T ;,Ni :~'Q4t .Z,,!)4t4t NZ,W 4t'"T~ OW 1;'1~4tWl;'W i01Nl
.NZ, )tz, ';,n ;,Ni
.N25 NLR Evr. I 802 4t"~ :ili'O ..,~
;,no~nl OZ,i'Z,N ;,z,4t'Y!) 4t!) N'~N ;,nz,i' NOOl

;,nlt'01 Z,4t i'OZ,N OiNyZ,N 4tZ,v
z,~, ~7~ ;'~1~ ii~~/-~ ~1~ n~G lZ,h~ iV? NZ,

Z,~1 ~7~ ~4t~'0 i;1io / '"T~~ t'~ ~l:l~~ ;'~1~ ;~
94. Title: (What I also said about the advantage of the pen and its
wisdom over the polished sword and its power.)) Monorhyme poem
in the vowel metre/mishqaI ha-tenu(ot; this gnomic epigram reflects
the Arabic literary debate between pen and sword.
244 CHAPTER TEN
NZ, CV!) "IN :t,~., ... ~t, 3 .Z,4t i'yZ,N z,"Y :t,4tPOt,~ 2 .nlV1Jnrl :t,p~Q;r
'ON rlNi )"'i4t YZ, :~.,n n~Q .c4tz,4t4t n "Z,N N~Y Z,V i~,1nrl '1nN il~4t,1
"Z,W 4tZ,,1i ~N "Z,N nlNO V~iN :~ )~ '!)1W rlllWri :t,~., r'Jt,~ .rI )t'
.i4t rlO i!)10 t'V 4tJ1WZ, :~ )rlO 'rln rlllWri )"'i4t YZ, :.,~'O 'i'Q ~V 4 .~in
rlNi )~inrll t'Vri l4t4tJV Z,V G. J. van Gelder) (The conceit of Pen and
Sword: on an Arabic Literary Debate))) Journal of Semitic Studies 32
(1978) 329-60..OJ 104tirl :4t )~O '~ Z,N '11,14tJ~ :t,~., r'Jt,~ t,4t~~;r
.~4t )rI~ '~ rlNi )rlilYZ, :t,4t~~;r
.N25 NLR Evr. I 802 4t"~ :ili'O .;r~
lNl V'YNlnZ,Nl Vl'y'~Z,N 4t!) N'~N rlnz,i' NOOl

V'YN10Z,N "iWnn l'N'~WNZ,N Z,4tN'Y!) ~on~
4t~iVl n1V? 4t~~ Cii'9~ ~W1 / C4tW~~ z,~ ':(~i~~ it?~O iiO'
4t~i~9 rlt ~~1Zh?~ C~ iiO~/-l rI~~ rI~0 rI~~ ~i9N4t C~1
4t~iOft:1l:l 1U'~ C,~~ niOii'Tf/-tl z,:t~ lZ,h~ '1~~9 Cii'9 l4t~1 5
4t~iiQ~ i~4tWJ:l iPl7~~1 / C4t~~ii? lVNi i04tWt;11U'~ nG~01
N4t~~1 rl19~ z,4tQ:P ':(79 Z,~1 / C~Oll~t?~ 4t0~ '17: ~it'1
4t~~~ ilp ~~ ~J:liN N'i?~l / ':(9 i i'9 C~i~ C~Q l'~i l~ nNt7
95. Title: (What I also said about submission and humility) and
(about the fact) that places are honored according to the virtues of
their inhabitants.)) Monorhyme poem in the metre ha-merubbe based
on the Arabic al-waftr metre; this poem is characterized by the imper-
ative form and a paraphrased Talmudic saying (b. TaCanit 21b).
rlnN iWN~ 1nl,1r1Jnrl Z,V '1!)i'rI :C4t~~~ ... "'Q~ 3 .rI~1iOri :t,p~Q;r
ni~n~ ~Wl :4t~'V' ... ~~, .,14t ),1 ~"W rlNi )rlilYZ, :1~'~~ .rli~n~ N~
"it'YrlZ, 1Z, lNii'4t C4t'1~1~Orl CNl :4t~'~Q ... C~, 4 .C4t4tJVl C4t niWO
)rI~ 'wo rlllWri :;r~;r ... C~, .4t Oli'O rlt 4t~ 4tz, ln 4tJrI :CrlZ, il0N )Crl4tZ,N
nN '1~~0 Cli'0rl l4tNW :4t~'Q~nn ... 14t~' 5 .rlJrI rlZ,V 1Z, iON ~1t' :t
~"n 4t!) Z,V )1nl,1r1Jnrl~ Cli'0rl nN '1~~OW Nlr1 C'1NrI NZ,N )C'1NrI
.101i'0 nN '1~~0 C'1N NZ,N )1'1~~0 C'1N Z,W 101i'0 NZ, :~"V N~ n 4tJvn
lnJl~n :C4t~'''p... nQ~n, 6 .n ),1~ ~"W rlNi )c~n ~N :4t~'Q~nn ~4t~
,nt,,~, .~~ )t' N"W rlNi )C4tnilN~W '1~1~0Z, 1~!)rlZ, rl 4t lWV C'1N Z,W
.,14t )N '~4tN rlNi )ilnNZ, lnlN ,14t on lnlW!) 4tt' lZ,4tNl :4t~,.,n~ '~4t~n
1N '10VO Ci NZ" c~n 1N '10VO nln!) n14t rl ~1t' :t,4tO~ ... ~,~, 7
NZ, iWN Z,4t0~1 li't 1Z,00 c~nl l~OO '1z,4t ~1t' :,14t) '1 'rli' 4t!) Z,V )W!)4t t'
)J.r, ';,n ;,Ni :~4t~4t' .n 4t )N 'Wl;,4t ;,Ni :;'.,Q4t ."T1V i;,t;,r, V"T 4t
:4t~"~ ~"P4t' .'01i'0r, n~w t'}4t Olnl O~nnl i;,O ,r, )1~ :1Q'PQ 1~ 8
.4tJl"TN :,r, Nii'4t iW r,~
.N25 NLR Evr. I 802 4t"~ :ili'O .,~
VN~t'r,N 4t"Ti r,NO'J.r,N V4t"T~ 1N~ 10 4t!) nr,i' "Ti'1

;,~ nOWNl ;,r, iON ;'~i ;,~ i"TJ. rn!) r,NOVNr,Nl
i"Ti"T~ n~ t'}4tQi;'7 V~W~ nG~ / ~~~~ i't:I,~ r,:;7 V~~~ 4t~

. i:;~~f N~ Nr, 4t;J~0 . ;i~01 / 14tl7?l?G~ 14t~~ .4t;J~ 4t~7i?V;;"1
i1:;1~ "TiV 14t~1 i;:ib 4t0~ / ~~~1 i~l? ;'Ot~~ Nr,l 5
i"T4t~7 i't11~ O~l n~ iG iNl / V1 nP7 iNt?~ 4t~~ i';1~J:l~1
96. Title: (And (what) I said about someone who was of marvelous
beauty) but whose character and deeds were wicked; when God
deluded him) I took pleasure therein and rejoiced at his misfortune.))
al-waftr metre; love poem in which the lover takes malicious pleasure
in the misfortune of the untrustworthy beloved.
."Ti!)4t4t Nr,W ;'Vl~W~ n4tt'~;, ~1;'N;' :pn"4t 4t~~ 3 .;'~1iO;' :t,P~Q;'

t'}4t Ol;, ~1;'N;'1 );,J04t;,O ;'J4tN nNt;, ;'Vl~W;' r,~N :,.".,~ ,t,~~
:,.".,~ n~ r'J4tO';'t, .N4t )~r,i' ';,n ;,Ni )t'}1i4t Yr, :1'~~~ nQ~ .i'nin;,r,
14t J!) 4tn~iV;' :'4t~1'Q' 4tnt,p~' 4 ."T"TJ i'4t niN ;,J;, :n );,J ';,n ;,11W;,
5 .1n"T4tJ.~r, ;,11W lJ4tN 4t!)14t ;, :,.,~~~ 4t~4t;' .14t WVOl ~1;'N;' r,W nl!)4t;,
ON OJ. :,.,~t,Q ,t,~, .n4t )N '~ ;,11W;, )1~ 11"TN Nr, :,Q1' ;,n~,~ ~t"
'W4t ;,Ni );'ilYr, .4tnli~ t'1r,WN :p~~n~, 6 .iYVO~ "T"Tl~ ;,4t;,4t ~1;'N;'
pn~~ c~, .N4t )1 'n4t 4t!) r,V :n~ "Q'~' .~4t )t' ';'i' ;,Ni :1'" n1't, ."T4t )~O
.i'nWN O~"T4tN~ 4tJN OJ. :1~ )N 'WO 4t!) r,V )1niYr, nOWN :'''4t~t,
0 4ti!)ti);, nr,4tNW 4tr, ni!)in / 4t~ r,iNWO 0 4ti!)O r,Niw r,"Tn

c,,~-~'? ii'~u;Q .U>'~ r.r~V?~6 / 'i?~'uiQ N~M ~~OfQ ''''!~i?1
246 CHAPTER TEN
97. Title: (With this answer I apologised to someone who wished to

borrow a book from me.)) Monorhyme poem in the metre ha-merubbe
based on the Arabic al-waftr metre; gnomic epigram ending with a
rhetorical question: (My book has for a long time been my beloved;
now would a person lend his beloved to others?))
:t,.,n .C4t i!)O 4tJOO Wi'~z, i'0!);, :t,'~~Q ... t,.,n 2 .;'~1iO;' :t,P~QiT
3 .N4t )t'O ';,n 4t!) Z,V )4tz, ;'Wl~ :4tt, n,~.,n .tt' )t '14t N ;,Ni );'ilYZ,
;,Z,NW :c4t.,n~t, ... t,4t~~4tiT .4t~1;'N 10tO i~~ 4ti!)O :4tp,~n ... 4t"~O'
?C 4tinN C4tWJNZ, 1~1;'N nN Z,4tNWO 4t0 :n4t ilt'i
.~25 NLR Evr. I 802 4t"~ :ili'O .n~
z,~ t'}NnnNZ, N'~N ;,nz,i' NOOl

~1i'Y~ lNonZ,N Z,Ny'~Z,N 10 ~1'1N
VW~l! 4t~i1 1't1~~ / ;V?~~ ;~~ c~ it?~O l~

VW'T:l ,,~ iO~07~ ,,~ I t,~ VO~J:I ~6 1Z>'~ n~1
VW, ;:t 4t~ z,~ ~it' t;iO~~ / iljt;'tI N9l:11ii t;'t:J Z,~7~ 5
vW1 ni:a~Y1t1 t"!lj;1 / C~ ;,~ ~~ ;,~ ii1Vi?~
98. Title: (What I also said about presenting all kinds of rules of
conduct) based on qualities of a superior kind.)) Monorhyme poem in
the vowel metre/mishqaI ha-tenu(ot; this moralistic poem ending with
a biblical quotation from Isaiah is characterized by the use of (do)s))
and (don)ts))
z,YJ4t;,z, ;,Yli ;,nN CN )4t iOl0 C'1N :v~,n ... 1~ 3 .nlV1Jn;, :t,P~QiT
C'1N nl'11N ;,OWN;,1 4t!)1'1 4ti~'1 ~own Z,N :14t~ ... n~., 4 .Cl00 1W!)J
:v~4tn t,~ ,Q,Qt" .14t!) Z,V VOW4t NZ, :l4t )l~ 'OW 4t!) Z,V :1'~ ... ~t, .inN
1i'1 NYOl :v~~ ... "~t,, 5 .C'1N Z,W nlVi;, 14tnlJl~nZ, 1nv'1 ln4t n Z,N
6 .;'Vi nnn ;'~1t' 1~ C4t Vll!)Z, ~W;'1 ;,Vi ;'Jl~n z,~0 cz,vn;,z,
:N~ )n 'i~ ;,11W;, )Vi;, 1i~ Cli'O~ iW14t ;, nN t'}'1V;' :1"~4t ... "'~P'
)14t nlNt'n z,~ Z,V ;''111n;, Cll :v~., n,~,~.,n nn~ .Vi C'1N;, ~z, i~
.VWi;' 4tz,~~ :v~., n,~,~.,n .1 )nJ '~ 4t!) Z,V
.~25 NLR Evr. I 802 4t"~ :ili'O .~~
NZ,'li 10 cZ,V ~ON~Z,N IN 4t!) N'~N ;,nz,i' NOOl

iNJZ,Z, ;,Z,NO lYl iNo'n 4tJN'l~ iN~ i 4t l
iZ,ltG7 t'4t~~ Z,~lti:L~ WiJ~ / z,~ 4t~~ N9l:1 i,~ rlQtO '"TG7
iZ,~NZ, WN :LrlZ,Z, cw i!)JD/-1 4ti!1r1 Z,~iNZ, rlOi'"T 4trlPl
: T : - - : T T -: - .: - : ... :
99. Title: (What I also said (about the fact) that the one who acquires
knowledge from an unfaithful person is like one who gathers fruits
by bending the branch towards the fire.)) Monorhyme poem in the
metre ha-merubbe based on the Arabic al-waftr metre; this gnomic
epigram ends with a punch-line containing simile.
)c~n C'"TNO iOl0 '"T01Z, rlnN CN :,t,VQt, ... .,Qt, 3 .rI:LliOri :t,P~QiT
)4t 'wo rlNi =1'~~ ... iTQ~n .1Z,W rlZ,4t VOril rlOiOri 4tWVOO cz'vno 1N
iWN ~NZ, rlnN rlOl'"T :,t,~~t, ... 4tiTM 4 .rlo~n NYOn tl:LJ 4tn!)W:L :,14t
)t'Jli4t YZ, :,t,~~t, ~~ ~iTt,t, .rliV:LZ, 14t!)JV:L wonwo 1N )1'Vri 4ti!)O Z,~1N
.rlZ,~1N WN :LrlZ" :1 )t'~ '~ rlNi
.:L26-:L25 NLR Evr. I 802 4t"~ :ili'O .p

V4t'"T:LZ,N iVWZ,N z,4t'y!)n 4t!) N'~N rlnz,i' NOOl
rI:LNnYNl 14t~iZ,N ',100Z,N ~i'OZ,N Z,'i'Z,N 4tZ,V rI:LN:LiNl
C4ti~~ :Lii i~ ii:LDO ~NZ,Jl / C4tiDWri i.a~OO i 4t W n 4t iY

C4ti 4tOW 4tif,1 NZ" i 4t!)iN-::irlt /: i~iD Ni.) ~4tlz; niiYiN ii ';WN
c~~n~6 C'i?~1Uritl C't~~Q/-t1 nb~ C~ ni~79 &'f "TO~O~ 5
C4t'4t~9 C4t~~i~f i'!O C~N~ / z,~ 4t~~~l? ni~~,1t? 14t1't:1:;~
C4t,4t~~~ niOii'~ ttl niZ,~Z,f / iJ~~ niV1 t4t~7 t4t~ ni'iW1
C4t,~~ C~~1~l C4t~i~'f / ti4t lt11 :LV?t:1G '"T~~ C~1V?~
C4ti~,1n i~ Cri i4t'iO iitN~ / C4t~'"Tl CWNi 4tZ,D t'D niit'D
-C''''lQlJ ttQ~ toTtI birlf T/- ~~~f M~~~~; ;''1Q t.)~1 10
C4t,~:t iJ~~~f N9~ NZ,l / iZ, ':fii~ r ~ ttl ni'"T1 z,~ niY1~~
C4t'~Wi? i~in ~N9~ ni'"T~OQ / n:;~~~ it?~O 4t~~ niw~~ nNt7
C4t'l c4t~in rI~~ tiW7 z,4t1J~ / i:L4t~t? iGiN :L1i? 4t1.4t~~1
C4ti~tD C:L i'"T~Z,Z, ~4trl4t 4t'"TD / c4t:L~n~rI 4t'"T~'"T,1 ~N4t~Yrll
C4ti'"Tn ti ii:Lz" i~i~T ~WN / ~'iwZ, CPlciriz,o~ Cy!)n ~~; 15
c'i~ott ct;l~n~~~ Ct;li~'tf / C1'lpf C~~7~ '1N~~' C'W71
C4t,~t~ ni:Li?~0 n,i:Lf / C'~~7 c4tWi~ C;:I1 C14t~lt07
C4t'G~ z,~0 C4t~7'? iN '"Tt:I;J~ / C4t~~T t4t~ C'9~~ C4t7t11~1
C4t,V?~ t1i!1~ ii!1~~l / i~i01 C~ii C~~ rI~~~~1
C4t'i?~ C4t,4t~ 4t~~~ n;ltG~ / ~Z,t1l i'4t1 i 4t W4tl)9 ~O~O ~Z,1 20
C4tiON '"TiV C'i.1Jz, ~~irl NZ" / i0 4t!)Z, '"T 4t ~OWl ~i!)n nON
T -: T : ... : : : .: T T : : T ... e:
248 CHAPTER TEN
C4t-r'w~ C~iJiW7 o~o 1'4t,~~ / l~Y~i~ ,:(1:t~ Z,ii'~ Cl~~ ":;7

7
C4t'~1 ~nJ:l~ .,i;'1 tiV 4ttl717 / C4t'9 iW ;,~JtG :L~t'~ Z,ii' ~N'r1
C4ti~";' :Lz, 4tWJNl niJ4t~ CDl / ni.,~on 4ti.a C4tJ~ON 4ti.1 N:L4tl
c''-b~''l'~' ~~~ c6 1~o7 I c~~~ \~ V'w~ ~ni?7 .,'*'~ 25
C4ti~";' ~iW4t4t cn!)1v:L~ / c;,4t!)~ ioiN :L4t nJ nN ~J!)~
C4ti~:LY ii." T-~i"~ -C;,4t~~O~ / io~b~ ~N: ni.,~oii z,~.: ~01Vl
c
. C:4ti 4tiD i~ 4tz,:Li;," ~n6~4tl / C4t :L4t.,J .:Lz, ;,~no: C;4tJ 4t~y
c4tii"~-:C:L ;,4t~~l: 1n!1iMl :/ ;,~~O .~z,4t~. z,~~ c~iTn i~yi
C'"'!it!'~Y~i!)~T."ip ~~~ I CQ~n C~~ i1i>p, M?ir- Ci'1 30
C4t'9G~ i~ C~ 4t11iO i4ti?107 / nGiif t'~~ tin~J;l C1~1
c4t,iO~ C4t~ii C~N~ l'lJ ~N4t\?t!/-~ 4t7~ l'~ t;~ :L~7 nlJtW Z,~1
C4t'4t~f Z,ii' C~9~~ lNY 4t14tJ? / "1};Jf C~9iW :L:;7 ':(iPl Clt:1;J~
C4t':tl ni:L1~ ~t?f N,?lJ C~Jt17 / i'1. i~l .,iV C:t:t7 t4t~1~ NZ,1
C4t,~iV1 C4t~7i;' C01 i'!~ 4t0~ / ni4t'~ z,~ C4t~7f Z,i~~ ':(4t~1 35
C4t,~O, ~'t:1~ ~t;1 ;,t 4tW1~1 / ;'~i?~ n:;J ~t;1 ;,t n;JtG~
C'"'!:ti? C'"'!~ Ut~ C'~tJ~ I l'1-\,~'~ 1Z>'~ i,f n'?J;lO '7.~t,1
C4ti!)D &'1' c4ton~ ci4t ni;,Z, / C4tJ4t:L~:L ;,n~t'~ CW!)J Z,:LN
C,!~~ uh~ t,~ "iO~T ~O ~~. C~ll nioi~- 'w1tJ '7.P, C~~li?T~,
C4t'~:L, C,4t W 4t~~ Z,i?1~ i4t~1 / niZ,~t;1 z,~ ni~0J:1 4t1Gt:1G~ 40
C4t,~t! z,~ C4t,4tl}~ C~ C-tW~ / C4t~~, z,~ C4t~~1 tiV It?in1
C4ti 4t :L.a z,~O ":LD~ tD i 4t W z,~Oz, / ;'!1iJl wz,nJ iWN i 4t W:LiwnZ"
, C~QT;l-C~" "~7 ;it~~1 i' liJ:tY 'b~ ~~07' C'~'t!~1
C4t,4t~~;:J niV~~1 ii?::L iiN~ / "~~7 ,:(~1~ iW~ i~ n~01~1
C4ti 4t l N1z/4t tiV~ ;,t cZ,iV~ ./ c4t.,~jjn C4t~W Sz,~ OJ C4t;;~N 45
C'",!rj~ C*' '?P, hl?b liY'1 I ntt ;;p~ C~,!~~~ ~'':i~ Oi;,
C4t'~Q z,~ CQ4tW~ 14t ~iit:I:t/ -~ ~t1J: i.,i:Lf n4t~ l~~~~
C4t,~~ CJ? C4t~i?t ~;,~"i4t1 / Ci~Y7 W10 i4t~:t ~i4t~1
C'"'!~~ ,ip t,~"'!~ n:w~ '7.P, I ~7~1 l'17iP ~t,P,~ i"'P!~
C4t'i?~ C~ C4t~,~ iZ, C4t14t~t;1 / C~t?~119~;:Jl n7iti);:J1 50
C4tiDl c4tNJi1v 4tZ,D CZ,4tW04tl / CZ,.1iZ, z,4t!1~ Vil :L4tiN Z,~1
C~i~N1' C'~t' "i;~ U)l?! l~in~ /' C~ip' ~~ -"$.I~7 ~1 m~1
100. Title: (What I also said about the preference of badt-style poetry
and its masters over the cold) ugly) and weak style and its adherents.))
al-waftr metre; in this remarkable poem (see especially lines 24-32)
Moses Darci seems to acknowledge some Carabiyya arguments in
favour of Arabic intellectual, linguistic and poetical superiority.
i 4t W;, :C4t"'~4t n4t"~ 3 .V4t i'yZ,N :z,"Y :lr'POt,~ 2 .;'~1iO;' :t,P~QiT

:,~t,~, .1~1nZ, OJ~4t;,z, C4tZ,,~4t CJ4tN C'1N 4tJ~ ~1iW il.10 z,'1.10z, ;'01'10
in14t nliY1N ~ );,t;, z,'1.10~ :C4t"4tQ~ '~ 4 .n4t )t 'OW ;,Ni );'ilYZ,
.'1 )t'~ N";,'1 ;,Ni )t'Jli4t yZ, :"4t~'~ ~iTT .nlii'4t C4tJ~N IN ~;,tO nlii'4t
'i4t ;,Ni )C1Z,;,4tZ, ;'01'1 )'11NO ;'i'tnl ;,Wi' l~N nl~4tnn :C4t"4tQ~ 4t"T~
;,Ni )nliY1N :n,~~ .c4t'10nJ ;,o~n 4ti~'1 :n,~t,Q t,~ .,QnQ, 5 .N )t4t
:c4t."n~iT c4tp,~niT .4t )N W";,W ;,Ni );'ilYZ, :C4tT,.,niT .~ )t'z' 'W4t
nliY1N :n,t,,~o .i4t W;' z''1.10 4ti'1n~ :'4t.,.,n~, 6 .1t' )4t '~'1 ;,Ni )t'Jli4t YZ,
:C4t"4t~Q C4t~~'~~ .C4t~1wn C4tJ4t4tJV :pTn 4t~4t~1' ..1 )t'~ N";,'1 ;,11W;, )ii'4t
4tJ4t Vz' ;'J4t~ nli4t~.1 :C4t"4tQ~~ n,.,~, 7 ..1 )nOi' ';,n ;,11W;, )t'Jli4t yZ,
'14t~ C4t4t'1W~ :C4t"~1' C4t"~~ 8 .1J.1~ C4ti 4t ON;, 4tWNi~ n14tJ4t4t;, c~n;,
1 4t'1W 4tJW :;, )'1 W";'W 4t!) Z,V )C 4ti!)1V 4tJW~1 C4tJl04ti~ 11Yil ;,~wno
:c4t.,,~n C4t4t." .;,~4tn~ t'in Z,W C4tin~ :~1' n,.,~1' 9 .C4ti!)V 4tJW~
)t'Jli4t yZ, :c4t.,,~n "'T~~ .C4t il.1n C;, ;,~ C4tz'4t O nil.1n~ C;,Z, i'4t!)001
i 4t W )C4t4tJ4t~;, 4t04t ni4t WO n 4t nli!)O;, ;'.110Z, tOlil )1t' ).1~ 'n4t ;,11W;,
:,~,n~ .'11NO ;,!)4t ;'Jl~n Z,~ :iT"'iT~ t,~, 10 .n4t~iV~ nWll0 )iltN
;,iWV t'JON t' 4t VOO;, :~Z, )N4t 'O~ 4t!) Z,V :c4t.,Qn r'J0~ .i4t W;' 11n~
'W4t ;,11W;, qn n,.,~ .1J4t0~ '1 4t n 4t i 4t W;, :C4t"1'~ n,~.,~~ 11 .C4tiOn
.i4t W;' ;'J~O 10~ :'~4t~~~ .1 )0 ';,n ;,Ni :,t, 1'''1' 14t~ .'1on 4t'1W :~4t )~z,
lJ~1n Z,N liWi'J c4to~n Z,w C;,4t nlW!)JW ;,~4to;, It :c4t"'~p n~Tt, 12
.i4t W;' 4tii'~OZ, tOli lN~1 );,onz,o~ C4til~4t.1 :~.,p 4t"4t~~' 13 .;'~;'N~
14 ..1 )t'~ 'W4t ;,Ni :C4t"~' c4t~,n .t' ).1V ';,n ;,Ni :iT~' l'~t,
Wl~~Z, C;,Z, iltVZ, C4ti!)O Z,W N~Y 104t4t.1 C4tii'~O;' :C4t.,'T1' '~4t~~iT'
W4tW iW!)N .N~Y 4t'11'1.1 :'1 )t N";,'1 ;,11W;, :c4t~,n~iT 4t"'''~ .i4t W;' nN
15 .''11'1.1' ;,nlVOWOW ~ n4t~iV;' ;,z'4t 0;, Z,W ;,V!)W;, C.1
16 .i4t W;' 1~1n nN ~'i.1Z, C4tYli C4tii'~O;' :c4t.,.,n t,~,
i W;, 4tn~ nN ~Z,WZ, C4tYli C nli!)O;, C4t~J.1;' :C"4t~~ C4t~t"
4t 4t4t
;,11W;, )nWlnJ 4tZ,~~~ C4til0N :C4t"'O~ cn~,n~~, Cn'p4tT~ .C;,4ti4tW~
Cit, 17 .C4ti't~ C4t il0N :n )1Z, '14tNl ;c4tnWnJ~ 1;,1iON4t l :N~ )tt' '!)1W
n~,~~ .C;'Z,W C4ti 4t WZ, t'Jit'Y;'Z, c4tw4t4t~no c4tn~;, :C.,~~t, C4t~'~
)~ 'i~ ;,11W;, )C4ti~.1;' 4tJ!)O nl~4t~no C4tWJ;,W 10~ :C4t"~TQ n'~p~iT
iOJl W~~ CV ~Nt i.11 :1 )N4t '~ Z,N '11.14tJ~ :C4t"Q~ c4tt,n.,~, 18 .;,~
;C4t;, CVi4t :N4t )1Y ';,n ;,Ni )t'Jli4t yZ, :,,1"0' C1"" C4t~ 19 .1'~i4t 4t'1.1 CV
:z' )'1 'J'1 ;,11W;, :C4t"~~ 1"'~~~ .,,~~~, .iVOl 1Z,,;, C4t;, :.14t )N 'J14t l
;,11W;, )t'Jli4t yZ, :,t,~~, ,t" 20 .14ti!)Y~ 4t;,1i!)t'1 ;'~i 14tiWJ~ ;,iVW
Z,W cnOi~ :C4t"P4t nt,1'Q~ .C4t Vi C4t iilWO :p4t., 4tnQ .t'~ )~z, '~'1
COYV~ c4t~4t~no 14t;, nON~ :C4t"Q~ nQ~ 21 .C4t~1t' C4tiilWO
.t'4t )n 4t '!)1W ;,Ni :'Q4t~t, j4t 'Q~' .C4ti~'1 C4t~iO 14t;, NZ" C4twnOl
C4tiilWO;, '1.1J :c.,~~ 22 .tz' )'1z' '14tN ;,Ni )t'Jli4t YZ, :C4t"Q~ '~"iT
r:n~\n~J:lnn~~~r:rnr:~~~rOQI~~110Qrr~r~p~r:~n
~ r: .- \ .-~ [] n f r ~ \ ~ ~. ~ ~ r \ J' 0 != ~ ~ ~ f ~ J' r .- J:: ~ ~ F 11 ~.-~ ~ ~ ~ .- !=
11 r ~ .- 11 ~ 11 J' ~ J: ~ f1 r: ~ ~ Q ~ r::>t ~ 11 .= r: b r r r: r: r: n 11-{' ~
~o ~9 Or . n 9 ~ ~ J' r: ~.-.-p~,
J' r:.- .-rO\ Q &. ~ r: n r ~ .., [] [] ~r #}I'!I ~ l1 .....
n .
~..- ...
a []
.~ ~:'J'~~ ~.-r-~.-.-
. ..- O~ N:= 11 ~.- \ r: 11.- ,11 ~ h r: ~, r: ~ r: 0 ~ ~ . ' . - I 11 \ \,.., J' J' ~
n n P .-.............'
J' \ I~ r: ~ .- "::J I~ 0 0 ...., r~ ....
~ . J'.-....,PrO~h....,n,,~~o .-~ -~ Ir r ~ r 9 ,,' ~ 0~ r~ .- ~ r: .- r
r (f").-: .- n....
n....~~~n~rr: r:....,r:~~.-~~ or.-~r:1::\n
'-~""'.:J' rQ.- .... .- '-Q'~~~~ ~~ ~p.~ .-~-r:O ~.~ ~ r
J'r ~~'-~.Qn~fr'-~ E nJ''-J:r .. ~qJ'J' -1::\Il~cLf)ogQF~fJ
~ fJ ~ \ p r: r
n r:F~ 9J;!n\ ~
: ~ g r:
r: [] ~ ~ .- ~ .. b
0 ~oor: F
F .
~ ~J' N ~ 11 ~ ~
Q~r:J'~(f")~ l1r"nS(f")~.-P':;1;.~J'~
~ p (f") r:J' J' ~ ..
rn~ ~~' n::"Or:~ ~ N";~~~':; ~ r:....,.-J:n~J'O.-.-~i1.-rrt00
r\\:>tOngFoQ?\I1J'~ flr:C~'-~r~L~eJ' ,,1::\~\r~O~~of1
~ r:' r~~.-~ ....,. .-~Q M~'-O
r o .... "[].n~r:
J:J' ~ ..... ~~r:~~[],.,.~.
. r:-~-#}I' r:J'
r o-n~.- [] ~ ~#}I'[]I1~
~ ~ \,.., r: ~ ~ r'- rt.- - J'-~-~
~ n :~-.
--- 0 ~ ~
M \ I~ ...... ~ r .. n \ N J: ~ C~. ~ 0 ~ : ~ ~. J:::>t ~ \ ~ r: ~ r: ~ P' 0 .-~
'-.-~ r: b~J'~ ~fJnO ~~~r:nI1Pf:~~ \J'rpn....~J'~r:r:
z ~rl~C.- ~J'~\.-.- O~I1J'.-.-~r-t"'\~.-C'II .q~.- nQr~ ~Or:
r .~~~ OQ~O ""J'I1 ~- ~Qr:~. onr ~ ~ ~~O
~
r:~J'rr: ..... r~\~~~ r:r:r~ O\J'?,r.-r:C~~r.-~Q~ \~~r:J:~ J'~\
E-i
~
\0 9 ~~~; r~:r: ~r:rr:PN!=!=J;!n~r~fJnQ~rJ;!r:'-~~n\ .-
~ '-r:'-r:OrfJJ';MQJ'r:I~~fJ\OMf~,-~(f")~~rfJ:>t~fJcrr:r:I1~E~F
E-i -Pr~ n\' r: -~'-I1~~'- n~ J'~ .. ~ ........ '.11 0 ,= ~ ~Q~
~
< 11
rO
11 fJ r: !:!. .. , Il ~ != J::;
p r:O~ r
F r: .... r q r: != ~ i} b ~ ~ l;l ~ r ~ 0 I l
.... .-i1~.- :!=.-~ J::r:~ r:~
P E i}J' r: i) "7 ~ 0
O\~ 1;=!lor9 r:
::c:
u o rt-f F J:-! ~ ~ ~~~ ~ J;!
#}I''- .-'-#}I'~'- ~
a fo r:r- F f ~J'r J:; EJ'r: ~:= ~ \ ~r- r: r: ~ or:- ~ I1
03~ -~~.- 110~ r C [] ~ ~ fJJ' ~
o.-r.-rr:11
~rJ'(f")i1r:~
0':; . #}I' ~ nr.-r:~~
n J' .... Q [] r: n .- .- ':;'-'-f:
r M ~ J: 0 1::\ r:r QI1 ,-.-1 ~ob
'o~ ( r " ~
I
1::\rr:~ ri~
~ r: n'- .-: []......
.- 0
~~ ~~Lf)~'- ~ ~ .~.-
.. J' := J:: ~' n ~ r~J' .- f! r: 0 0 r: 1::\ .- J:: r: 0 . n ~ p '-r~ ~

g
Q 0 1::\ ~ 0 N 0 \ 2 .- \ 11 0 n : J;! r ? ~ fJ ~ '1 n 0 ~ 0 b ~ r r :; \ r: ~J'
~~'-r
~?' -J' ?' fJ ~ F fi ~

'-o.-~ n,.. ...... #}I' ~ Q r~ ~ t....r~~~ ~ O~QO ~.-11
b.-J' :>tJ:~ r:~I1Q~rOO~.-r ~ ..... .- ..... ~ on....,M ~ ~ .-~.-Os:-
rOo
#}I' 9 I ~ r r: ~ I1 ~ [].-
~..... ~ rt 1::\ 11 r r
,:; N ~r:- Q r J:: r ~ n p. r:J'
~ ~ J: []
0 r: n
~r: r: J:: r J' #}I' .- ~ ~ ~
.. \ 1::\ ~ ""'0 I~" ---..cJ' ~ r: ~ n
r: ~11 ..... r: J''-
~J'~..,.~ .. nl1r: O 90~r:~r .. J' - - .. n....
.-
~~ o r r:nr ~\.-
\.-r I1r~ o r o 11 r~1::\ ~ ~~r: ~ :>to' J''-nr~ ~J'
J' .- F fJ \ ~ J: 0 ~ ~.- J' J'J' J: 0 i:t .- ~ 9 i:t r r: ~ M ~ r ~~ 11 c- J:: ~ ~ r:
~ ~
~......
~o r.. Or M
r ~~ !1~I~
E ~
r: r: :!:
J'11 J] ~ " ~r r ro~ .- ~r : ~ f. f1 R ~ r ~ b r~ .. 1;. p 11 F
~.- [] ~.-.- J' ~ .. ~ ~I.. '"-' #}I' r r: ~...., n
or:~#}I' r:r:J:~rl&.Mr .l'!"J:~nQ~O~r:r:~.l'r:o rt~~ - ~ r:
~ pr:~~ ~\'-rt ~n jJ:>t 0 J' [] 0 - J:;:>t~ E.-r:r: on
oLf) l1J' r 11~"'"
r.-::.~ r- -OJ'r~"o~'
#}I'#}I'~ I
FF~
n~.-11
~rl1J'r""'~
...., #}I':>t~
rrl1r~
#}I'~ ~11~
~rr~o-r~
.- O~~.-
-\~~~ Ir:
N . . 0,::Jbn~~""'l1rp[]r~
. J' r: r: r: .-.- ~ .... 0 ;;:'bn~J:~~~[]I1.-~(f");;:'f:
~ ~J' r: ~::J J' r: .. .- r . (f") ~ ~ 0...... J'
n~ ~
0 11,::Jr~o- r (f") . ~
ion 4tn~ 4tJ~W :"4t )"T '14t Nl ;i~i' 4t~~W :1 )n!) 'rln rlNi )c4t4tn-c4tno~
C4t~1"rl C4tiilWOrl :C4t~4t~Q~ ;,n,~~ C~~~ 38 .C"Tl04t i!)V~ iWN
.'rl~ n,,~ 1~Z, :t )~4ti' 'rln rlllWrl )c4to~nrl Z,V C4t~010
10~ C4t Virl C4tiilWOrl Z,V 11in4t CrlZ, nnz' 4t"T~ :C4t"~V c., 4t n,;,t,
:n'Q"~ 4t~.,n .~4t )"TJ 'W4t rlNi :c4tn.,p~' 39 .i!)Vrl Z,V ~rltrl 11in4t
).1 '~ rlllWrl )11~i'4tirl Z,V CW1~rl 11in4t~ :PQ t,v CO, ." )rlO '~ rlNi
.rl )t '14t N rlNi :~,~ .1 ).1 W"rlW rlNi :."Q, .rl4t rl 4t i'0 CW~ nnn :"T~
Z,V rlZ,4t rlnrl 11in4t~ :n,t,;,n 4t.,QnQ, 40 .~z, )"T4t 'O~ rlNi :c4t"~~
41 .C4tZ" i'W CJ4t NW C4ti 4t W Z,V Z" i'W i 4t W 11in4t ~ :c4t"'~~ "4t~' ..1Vz,rl
tOli 'C4tN!)i) CYVrl CW .c4t nOrl Z,V C4til~4t.1rl 11in4t~ :c4t~~" 1o ,n,
t,v c 4t .,4t n 4t .1"Ti4t rl i~V~ C"Ti' 4t04t~ ~W4tW C4til~4t.1 ,,~wz, C.11 c 4t noz'
)rlZ, 'ow rlNi )rlilYZ, :~,~nt" 42 .C4t4tJVrl Z,V C4t i 4t WVrl 11in4t~ :c4t.,on
.~'''' i'tn i 4t W nOlVZ, :TV "4t~ t"Qt, .Vil wz'n i 4t W :;,~.,~, "4t~ .~z,
4tnnJ 14t nN z,~ nNl ,z, 14t now i4t~.1 :tz, )t~ 'i~ rlNi :C4t"4t~~ t"Q .,~v~
C,., .11J~Z,rl tiN nOlVZ, ~WV~ =1'~t, C4t~~"~' 43 .C4t"T~Vz, ,Z,
iJ :1V"~ .,~~ .,~ 44 .ionZ, rlno"T ,nOli' :n )t W"rlW rlllWrl :c4t.,Qn
:.,p~ "'~Q .,~~t, .'V"T4t 14tZ,V liJl :1 )n 4t '14t N rlllWrl )t'Jli4t YZ, .rl~~1 ,Z"rl
45 .t4t )n~ 'n4t rlNi )nlilNOrl 4t!)4t l :C4t"'~Q;' n,v~4t' .ii'1~rl ilN nOlVZ,
.rltrl CZ"V~ C4t~1Wnrl C4tiilWOrl z,.1"T nN tlV~ N~1 C4t i 4t :C4t.,4t, o~
in~~ 1"TOn nN Crl4tZ,V 01i!)4t C4t 0 4t rl n4tinN~1 :c4t.,n~ C,4t, 46
"Tl~~1 :"T ).10 'n4t rlNi )U1'Ti'Orl n4t4tJ~ nN lNi4t :'Tn4t 14t~~' 47 .CWNiZ,
11inNrl rltrl n4t~rl "Tl~~ rl4t rl 4t Z,'''T.1 :" )~ '.1n rlllWrll )n4t~rl Z,N N~ 'rl
.'''Tl~~ l~WO Cli'01 ,n4t~ 11VO 4tn~rlN 'rl :n )1~ 'rlnl ;11WNirl 10
:t" )n 'nJl ;1J4t rlZ,N nliYn~ 'rl n4t~~ :"T4t )~Y 'rln rlNi :'4tn,.,~n~,
li4t~1 :c.,,~t, '''4t~4t' 48 .cnlN rlW~ :CQ4t~4t .C4t rlZ,Nrl n4t~ nliYn~1
.,z, rli4t WN U1'Tn i 4t W C4t rlZ,N :" )"T0i' 'rln rlNi )Crl 4t rllZ,NZ, W"Tn i 4t W
,Z,Z,rl :~4t-t )noi' 'rln 4t!) Z,V )C4tz,4t.1rl z,~ 4tJ~ ,Z, 1"T14t l :C4t"V~ ';""'4t'
C4t4t!)~ 114ti'4tJ~ :C4t"~' p.,~~ 49 .C 4tiVJ CV C4tJi't l'iNrl 10 'rl nN
i'''TY 4tn~t l'!)nn tN :N~ )NJ 'rln 4t!) Z,V )'rl n4t~ n~tO Z,V nlJ~ili' lZ,V4t
lW"Ti'O~ n~tOrl :t,~4t"~ n~TQ .C4t i!) ,n~to Z,V lZ,V4t tN Z,4tZ,~1 rlZ"V
nWi!)O CZ,,~ :c4t"P~ nt"o;" 50 .t"-1" ).10 'n4t rlNi )Z,Ni'tn4t Z,w
10W~ nz'o :" i"0!) :c~o~' nt"o;" .n~ i'i!) i~"TO~ i!)O~ "T4t onrl
:"T i"0!) :c4t"P~ C4t~"V ."T4t on nz'v :1 i"0!) :c4t .,4tQn .1~OJl
Crl4t~4tlN nN t;4t!)W4t Z,Nrll :c4t.,V, t,~, 51 .C4t~iVrl 14t~ ii'~~
)t'Jli4t yZ, :C4t.,V, C4t~~'~ .Crl4tiYl Crl4t NJ1W Z,V cnlN ,4tZ,0 4t l Crl 4tZ,.1iZ,
1~1 4tWO iltW lWln 4tl"TV Z,'''T.1 lrl~1 :C4t"'~' 1;'~' 52 .ro )"T 'J"T rlNi
lwn n 4t WVl :1" )n~ 'ow rlNi )Crl 4t N"n Z,V CrlZ, i!)~O C4t Olnl C4tilN
,,!)WOrl lwn Z,N nnJl :z, )n~ 'OWl ;1nN rlWvn itWO WW1 ,,!)WO
.c 4t onrl nNl C4tilNrl nN
252 CHAPTER TEN
.N27-~26 NLR Evr. I 802 4t"~ :ili'O .Np
4tZ,V N'~N ;,nz,i' NOOl

n~ n:;~~~ 4t'1 4t14t1~ ;,00i'
iZ,ii'~ ~iN ~iN~G~ iG iG iN1 / iZ,~07 V~ V~t~1 z,~ Z,~i1V7

iZ,4t,1n NZ, iZ,~N~ ~~ ~~4tiNl / -r-riVPl ~4t ;,4t~1V~ ON ONiJl
'ir;,J:I~ ~.; ;~t? 1'1' 1'1~1 / i~76 .,{t "itQ~ ~~ ~~'t~i 5
iZ,'9~ 0' O,4t~~ OJ? 04tJ?~t'~ / 0r1~~ 04t~ 04t~~1V9 INY liY1~
iZ, i~1 W, 1V1~~1 it i!~~1 / ~4tW~7 ;,~ ;'~1~1 ':(, ':(,4tt:1~
iZ,~~~ l'~n 1'~n71 ':(9 ':(~~1 / i:t~~ i 4t J? i4tJ?W~ O~ ~1 ~1~
iZ,~~t i1 i1t?~ i'ii i'iit~1 / ':(1'tJ7 ':(1 ':(,t?t1~ ~, ~1i?l;1
;,7
iZ,4t7~ n4t~ n~,011V~V 1V~V4t71 / iN ' ':(~ ':(~,01 N1 N~G~ 10
iZ, ~N1 i?~ N1~ 14t V!1i,; ~io ~i1vQ / iiJ:1t?l tiV tiVQ~ l'~i' l'~ ~~~
iZ,~17 0 4t i? 04tiPtl -rW -rW~1 / 01Jlt;1 z,~ z,~:t~ iiY iiY~1
4t
iZ, t?t! i~Y i~Y~7 i~ i~~iN1 / ':(79~ i~ it?~~7 ii~ ii~,l:l1
iZ,:t~7 0 4t Wi'in i'in1 -r, -r1~~1 / OGiil;1 nV? nV?9~1 n1 n'19tJ1
i~~~7 1~ 14t~~9 14t~ l~ Z,~1 / ~7 ii~t z,~ z,~4t,~ n~ n:;~~1 15
iZ,V?9 i 4t W i4t~~~1 i~ i~4tWQ / ~~~~ Ii? liPt17 ~~ ~~!1
iZ,;'N~
: T:
N~T ;'~1VJZ,
T: :
-riV -rivonl
: :
/ oZ,iV~ 4t~ 4t~1Vnl i~.a i~,14tl
T : : .: T:
101. Title: (What I also said in the manner of the division of (the poem
beginning with the words) Yediday day be-ah~at bat.)) Monorhyme
poem in the metre ha-merubbe based on the Arabic al-waftr metre;
this poem may well be one of the first Hebrew echo poems with
echoes only perceivable in the Hebrew original; the poem Yediday
day was probably written by one of Moses Darers contemporaries.
i 4t y!)OZ, :t,N t,N'~t, 3 .Vl-r4t NZ, -r;, i 4t W:n~ ... 4t'i''i' 2 .;'~1iO;' :t,P~QiT
.';' 4tJ!)Z,O VJ~J NZ" :,1~ ),1z, ~";,-r~ il0NZ, -rl,14tJ~ :,t"Qt, v~ v~~~, .';'~
~N~1 Vi :~'N~Q' .,Q .1Z, i01N 4tJN :.,Q'N' .~4t )-r 'i~ ;,11W;, );'ilYZ, :v~
~1N~ :-r )t'~ '~ 4t!) Z,V :,t"p~ ~'N .~4t+-r) N '~4tN ;,Ni )~1i4tYZ, .1Z,
.iONO~ ON ';' i'tn 4t :.,."vn ... eN .i01N 4tJN :eN'~' 4 .,Z,'i' fiNO
4tnown Z,N :n )t '~4t0 ;,Ni )nlowZ, ;,~4tlNZ, In4t n Z,N :,t,4t~n ... iT~4t'N'
.,14t )z, 'i4t ;,Ni );'Nl!)i~ :"'TQ~ .~Nl~1 ;,Z"n ~Nl :~N ~N~~' 5 .4tZ, 4tn~4tN
14t-r rr :tt' )~~ 'i4t ;,Ni :~~v~t, 14t " 14t.,n, .14t nlZ,no nN N!)i :'4t4tt,n .,'T
)N '~1V ;,Ni );'ilYZ, :,t,4tn~ .,1 )t 'O~ ;,Ni );'01~0 ;,Z,,1V :~~ .114t~Nl 4tJV
.4tl0Wl tlt~ OV Nl;,1 :~~ )~O 'W4t 4t!) Z,V )Z,Ni~ OV :e4to'~Q lN~ 6 .,14t
.1 )-r~ 'i4t ;,11W;, )Z,Ni~ fiNZ, 'OV nN ;,Z,v;, :e4tv,~~ e~"N~ e4t~
CV :1"4tn~ 7 .1 )~ ~";''"T ;,Ni :,t,~Q~ C., .';' i01Z,~ )CJ1'"TN :C"4t~~

iT~ .wZ,nl i 4t VY :iT~"~' 1" .4ti4tn~ 4tOV :~ ).10 'w4t 4t!) z'v )Z,NiW4t
nyo NZ" ~4tW;,z, ;,!) lJZ, 14t N :4tl'"T4tl~ 4tlYO Nl;,1 .;'~1wn nnz' :~4t~iTt,
:~.,~~, .C4tl.1~ lit!) iWN Z,NiW4t :~ )'"T 'N14t ;,11W;, :.,T "T~~' .WNi C4t i;,Z,
4tJV 4t04t z,~ :1t' )1t' 'wo ;,11W;, :,t, .,~, ~., .~ )tJ '~ ;,Ni );'ilYZ,
.CnN ;,Z,V ~i ~iV :nz, )~4t 'OW ;,Ni )C4t~i C4t~iV;' :~., ~"1' 8 .C4t Vi
.t'4t ).1 ~"O ;,Ni )t'Jli4t yZ, :"~~Q' .,4t1' .C4t iY1JZ, 4tlJ4t~ )Cl'"TN 1'iN~ :"4t1'~~
4tJ~ nN 1'nz, Nl;,1 :.1 )'"T '!)1W ;,Ni :f,nt" .z,!)WJ Z,NiW4t CV :1 Q 1Q1"
9 .Z,,~.1Z, 1'1nO :t~ );'z, 'O~ ;,Ni );,Z".1~ :,t,,~~ f,n .;'i'tn~ Z,NiW4t
P'.,T4t, .W'"Ti'0;' n4t~z, i"WV;, Z,NiW4t CV nN ~ii' :1.,.,nt, ~"pn
).10 '~ 4t!) Z,V )';'z, 4tlJ4t~ :,t,'~T"" .C4t~iV~ OiN ';' z,.,t'4t :.,.,p~ p'"
'i~ ;,Ni )C 4t 0Z,010Z, 4tlJ4t~ Nl;, lN~1 )Z,NVOW4t 4tJ~ 4tN4tWJO :~~Q' 10 .1t'
:tt' )NZ, 'n4t ;,Ni :iTt,,~~ .;,~ )t' ~"O ;,Ni )t'Jli 4t yZ, :1t,~iT' ~~ .'"T4t );,~
'i~ ;,Ni )C 4tiY1JZ, 4tlJ4t~ Nl;, lN~1 )1WV 1~Z, :~'lr't" .;,Z,NW lnN 4t'"Til;'~
nN 01i;, :,t,4tt,~ n4t~ n~~iT' .N4t )'"T 'N14t ;,Ni )i;,On :~'1' .'"T4t )1Z,
:T'1' T'1'Q, .N4t )~4t 'J'"T ;,Ni )C4tZ,4tZ,N~ ONO :f'P f~'~~ 11 .c;,4tn14tOJ~
.4t )t'0 'i4t ;,Ni )1Nl~nO nN ;,z,.1 :r'p~n ,.,no, .~ )r, 'W4t ;,11W;, )t'Jli4t yZ,
12 .'"T4t ).1 'NZ,O ;,11W;, :,t, '~"P4t ~,~ .1 )'"T~ ';,n ;,Ni :'4t~"'" .'"T~N :r'J'O
t,~ t,~~, .C4tiY1JZ, 4tlJ4t~ Nl;, lN~1 );, 4t i'4tJ!) ni4t~ nN Wl~~n :.,,~ .,,~n,
Z"t.1 :.,~ .,~~, .C4t 0Z,010Z, 4tlJ4t~ Nl;, lN~1 )z,~~ Z,V Cnin NZ, :cn.,n
:n )1Z, '14t N ;,Ni :C4t pT' .~~ )~~ 'i~ ;,Ni )C;'i~N 4tnN ilnJ l~ nN
13 .4tZ,.1i '"TO~ cwnl :t~ ).14t '14t N ;,11W;, :,t,~.,t, C4t p .C4ti't~ C4til0N
:1t,Q, .,~ .il~O 1 4ti 4t ON 4tnnz'w :N4t )t' '~t ;,11W;, :"O~~t, .,,~ .,,~~n
14 .~4tlN;' nN NZ,~;, Z,N 1Z,W;' :,t,4t~iT '~4t'~' .'"T ).1 'Wl;, ;,Ni )t'Jli4t YZ,
.Z,Ni~ n'"TOn z,~ 4t0Z" :~ )t' N"W ;,Ni )in14t~ ;'~1t';, n'"TZ" :n., n.,Qn,
z,4t!)WO :t )~ N"W ;,Ni :CQ,.,n n~ .n )'"T 4t N";,'"T ;,Ni );'ilYZ, :n~Q~'
;,Ni );'ilYZ, :.,., .'"Ti!)J :N )n4t 'wo ;,Ni );'ilYZ, :.,.,~~, .COliO t'JN
:,t,~~t, C4t~ .14t i'n nN 10N04t l :1t' )t4t ~"O ;,11W;, :p,n p,n~ .N )~4t 'Wl;,
n~;'N nN il~t :iTt, n~iT~' 15 .Z,~NZ, c~4t.1n 4tn~!);'1 :4t )n 'ov ;,11W;,
4t!) Z,V )Z,NiW4t CVz, =1~ t,~, .N )t'~ 'W4t l ~ )~ 'i4t 4t!) Z,V )C4tZ,Wli4t )1n~
..1~ )'"T4t 'O~ ;,Ni )14t~4tlN ~ii'~ :'4t~~~Q 14t~ .Z,Ni~ 4ti~~ 4tJ~ :~~ )'"T 'OW
:~iT ~iTT' 16 .;, )'"TO ';,n ;,11W;, )Z,Ni~ 4tJ~ nN V4t Wl;'Z, ;,11Y :,t,~~t, ,~
1~~' .';' n4t~ =1P ..14t )t ';'i' ;,Ni );'ilYZ, =1pnt, .t4t )0 '~ ;,Ni )t'Jli4t yZ,
:'"T )t~ ';,nl ;14t ;,Z,N ';' '"TV Z,Ni~ ;'~1W :~ )'"T4t 'Wl;, ;,Ni :,~ '~4t~iT
17 .~4t );' N"O ;,Ni )t'Jli4t yZ, :,t,~Q "4t~ .4t4t n 4t04t Z,~ ';' n4t~~ 4tn~w
.t' )t'0 'i~ 4t!) Z,V );''"Tl;,4t :.,,~ .;, )NO ';,n ;,Ni )t'Jli4t yZ, :,t,iT~~ "'~4t'
nN i'tnn :iT~~~t, "'1' .,'1'on, .N )f4t N"O ;,Ni )N4t~J;' 1;,4tZ,N :4t~~n,
)t'Jli4t yZ, :,t,iT~~ ~~ .';' i'"TV ;'~WJ :f4t ).14t 'i4t ;,Ni )4t~W~ ni'z,JW Z,NiW4t
..1 )~z,i' ';,n ;,Ni
254 CHAPTER TEN
.N27 NLR Evr. I 802 4t"~ :ili'O .~p
NO~ lNOJNZ,N Z,Nn lNOZ,~ N'~N nz,i' "i"

rlnN!)1 C14tZ, rlnN4t n Z"t' rl~ W4t N'"
rl,iO 4tW~~1 z,~W 4t~~ z,~ ~J/-4tt~tI C7iV~ C,~ 4t~~ li4t9'1
rl1tli !1 CiZ,QtI rl~~0l;11iW7~ / CiZ,Q CJ:l9~Jt;1 z,~ C4t ~~ ~01~
rli.aJ c 4tt'niwrl 4t.,4t Z,N CZ,/-lil ~~z,~~ ~!)ti)~N C4tZ,ilJin iN
T T -: - : ... T : -: : . : .: :-
5
rl1iYi?~ lii~ Vl! i~~ iOQ / rl!1 i'4t1 14t~'t rlt ':(~ C4tl?1it iN
rl,int?~ lirl~ ':(~irl rltl W1 rlt / i,~ i'i"t11 ciPltl 4t11Jio iN
rli~~l~ tiV~ CZ,~N4t 4t.,D ~~~ / NZ" C!).,ii 4tiNrl c4t1v~~ ~N iN
T n,~iU> ,~~. nv? :;~1l'l1~J:l1 ,~~ ~ 't,~ ~wbo c~ \~1lt1 iN
rl19 4t~~iW1 rli?J:1~ 4t~tiV iN / rl~~; 14t1t!~1 n~iJ 4t~~iN iN 10
rl1~'~ N4t;:11 ~J:liN C4t~QiNv / Z,;f n1~~9 rl97~ 4ti?'in iN
rl'~l:'G ':(in~ C~t1 4t11i4t iN / ':(iZ,Q; c4t~~nl C4tii n~01 z,~ iN
rl1~:t7 ~Vt?~ ii?~~ rl7~; / rll~~ i:ti?:t ~JO C4tt:11iN iN
102. Title: (And (what) I also said as a description of man)s condi-

tion in view of what it resembles throughout.)) Monorhyme poem in
the metre ha-shalem based on the Arabic al-kamil metre. This poem
employs simile in order to remind people of their mortality.
C.,Nrl 4tJ~ C4t Ol., rloZ, :Ct,'V~ 1,4tQ., 3 .iYli'0 cZ,Wrl :t,P~QiT
'14t N rlNi )1VOW :'~4tT~iT .rl4tiN~ lJ4t O., :~4t )f4t 'rln rlNi =1,4tQ., ?Crl4t4tn~
C4t Ol., Crl :C4t~~4t ,Q.,4t 4 .C4t4t OW 4t4tNi 4t l c4to~n z,~ :iT."Q t,~ .~ ).,z,
.nll0rl 11WZ, :iTn,Qn l'~t" .., )1 'WO rlNi )cnJW :cnQ,~n .C 4t O.,iJZ,
lN~ 5 .1nN 14tN in!)1 4tnoz'n clZ,n :1t' )NO 'i~ rlNi :iT.,n,~ c,t,niT
rlZ,4tO~ z'4t nno ilt' z,~ rl~1 )i4t Wrl z,~ 1ilNZ, n~WOJrl rlNllWrl rlZ,4t nno
cnlN C4t!)01NW C4tZ"lJinZ, C4t Ol., Crl :~,t,~~ '~o'~ C4tt,,~~.,n .'1N)
)rlilYZ, :'~o'~ .t~ )rl 'i4t rlNi )CnlN t',nwZ" Crl4t Z,V il0WZ, rl~4tn~
rlNi )rlilYZ, :c4t~n'~iT .N4t )lO 'rln rlNi :iT"~~ Ct,~." .4t )4t 'Wlrl rlNi
.,nNrl Viltrl :p4t., ,4tV.,T itT .C4t ViltZ, C4t Ol., Crl :C4t V.,'T ,~ 6 .rl )tJ '~
:iT"'~P4t itT' .C~Vit i'4tiZ, CnVitl :tt' )1~ 'i'4t l 4t!) Z,V )nZ,Yl0 NZ, Nlrl
rlJi~ rlVO"~ C4t Vitrl :rl )1~i' 'rln 4t!) Z,V )nZ,Yl0 inNrl Viltrl Z,~N
.,nNrl inl0rl :iT."no, itT .N~ )rl~ 'rln rlllWrl :"~'4tiT' c,niT 7 .1iYi'4t
.WNi .,nNl i 4t WV .,nN :N )~4t ~"W rlNi )i4t WV inNrl inl0rll 4tJV Nlrl
.cnlN Z,~1Nl Crl 4tinN t'J."i rl 4tiNrlW C4tW~~z' C4t Ol., Crl :Ct,~~4t '~ 8
C4t Ol., Cl Crl :C4t 4t~~'" ,~ 9 .t4t )4t 'rli' rlNi )t'Ji'1n~ :iT"'~~' T'V~
4t~ :t'4t )1t' 'OW i"0!)rl nN i4t~tO lN~ ~"~i Z,Vl!)~ Wl0 4t Wrll .c4t nz'oz'
;,t,~0;' 10 CJ V!)W,;,W 1:Jn~~, .C~:1 '~W'!):1' ,:1:J,:1 ;,V'!) 0'0 N:1

:j1'pn... t,v .n':1wno c~ :~~MO c~ .';'J~!)O' n'VOWO:1 ~.r n~:1'V;'
-r:1Nn VW' C-rN n'O:1 :t )N~ '1210 ;,N' :j1'~'~ ... .,~, .;"'i'n nJ~!)O:1
CJ C;, :n~,~ ~t,~'N'N 10 .tt, ):J :1";,-r ;,N' )~,,~~t, :j1,~'~ ~~N .;"i'n
C~t,:J'N c;, 1:J0 ,nNt, t,:1N :j1~Vt, '~,MN' .W:1-r C~t,:J'N;' C~WJNt, C~O,-r
t,V :j1pnO ~~T'V 'N .;'JVt, cn'N t,~:JNO ~JJ;' :,~ )J:J ',~ ;,N' ),0 no~
.'n'i'~nO' n~t,t,:J;' ,n'VOWO:1 1N:J' .;'i'nOO 'VO~, :~:J )Jt, '0:1 ~!)
n~t,t,:J;' ,n'VOWO:1 1N:J' .;,,0:1 'Jn~, :n )Jt, '0:1 ~!) t,V :j1,O ~~~,~,
.C~':1J nt,~,i';' ;'~N ~:1;"Nt, C~O,-r C;, :j1n'N ... 'N 11 .'n,,~,o'
C~O,-r c;, :1,t,j1t, ... 'N 12 .;"NWJ;' :Nt, )tt, 'W~ ;,N' );",~t, :j1,N~~
.,t,0;' ,:1-r:1 c~!),n-r 'N~ C~Yi;' :,~ )J 'ON ~!) t,V )C~Yit,
C~;, ~-r,,~ :J:J )ti' ';,n ;,N' )c~nt,ot, C~O,-r CJ C;, :j1'~VO ... ~.",~
:t~ )Jt, '0:1 ~!) t,V :j1'Nn ... C~M,'N 13 .;'J~ I' ;,J~!)O :j1,~VO .n,~IN:1
)C,:1i' t,N C~VO'J C~WJN;' '1',:1:1 :j1,N~t, 'VO~ .;"Nn;, n":1i':1 'Jn~,
);,J ';,n ;"'121;' /,:11" n'VOWO:1 1N:J .;,'N:1 cwo, :ro )N:J '0:1 ~!) t,V
.nnw 'N:1t, c-r~"n :-r:J
.:127 NLR Evr. I 802 ~":J :"1'0 .~p
;,t, 1':JN 1N ;,t,t,N 10 t,N'Ot,N ~!) N'~N ;,nt,i' NO N'-r;"

-r~'N NO:J :1, ~t, ;,IN NO:J -r~,~ NO:J -r:1V
':T~~ ~ ~;~ c~i:;L~ ,~~':T'1 1-=t~ ~J:1i~':l~ -ri:1~ ~7 ~1

':T~iN~~ ~Q~ t,~ 1i-r~ 1 ~7 ':Tl;1i~':':;L 1t1 ~7 ~1 C~
':T~iY1:P ':T1=t~ C~W ~~i~/-1~ 1i-r~ t;l~ iOt~ N~~ 5
103. Title: '<And this is what I also said as a request to God that I
might be a servant to Him exactly as He desires) just as He is a Lord
to me exactly as I desire. Monorhyme poem in the vowel metrel
mishqal ha-teni/ot; though it has no liturgical function) a religious
world-view inspires this poem addressed to God.
';,n ;,N' ),-r:1V n,~;,t, -r,:1:J;, ~t, ~-r :1"~V ... ~" 3 .n'V'Jn;, :t,P~Oj1
,,'1210;' t,W '0121121 C~i" O!)t, to" CJ, .,-r:1V ~ IN ~:J ';' ;,IN :t~ )ro I'
~t,V C'~~' .';,t, ~'J~:J :,,~ .';' -r:1V ;'1210 :J~ )N 'W';'~ 1'J:J )C;,:1 ':JtJ
';,n ;,N' =1M ~t, ~., 4 .,~t,V ~J~V nN C~WN' :-r )0 ',~ ;,N' )~,,~~t, :1~~V
:1~'N~~ .~ J,-rN ;,nNW ~ J!)O =1,.,N ~t, 1n'~j1~ .';' 1n~ -r,:1:J, 1n ::1~ )-r!)
~~t,V ,t,:1i'O ~ JNW 'O:J :1~'~'~ ... 'O~' 5 .';' 1'NJ:1 :-r~ )-r:J 'W~ ;,N'
CnN' C~;,t,Nt, C:Jt, ~ n~~;" ::1~ ),:J 'i'~' ;"'121;' )-r:1V:J ~ Jt,:1i' C~ ;"t,Nt,
256 CHAPTER TEN
.tIWO' ;4t",Z,N "nN 4t:J 1J'Yi n,wvz' 4tJ-rOz, :4t )JOi' '"n, ;CVz, 4tz, ,4t"n
.,J,Yi:J 1J'Yi "W~W 4t-r:J 1J'Yi:J ,J,Yi "WV :-r )::l n'::lN
.N28-::l27 NLR Evr. I 802 4t":J :i'i'0 .'p

"n4t!)Ni'::l t!)Z,N N'-r" 4t!) 4tJi'::lO to 4tZ,V "ni'nz,nON NO N'-r",
[m~o] ilTTl' / M {-riV} Nl" iWN / ~JN tri::l:Jz" / 1rnnN Z,N" Cw:a
c,
"itJTOJ ,,~Tn, / c4t-::l:Ji~ niZ,l'::l~" 7c 4t ::l~iu> "z,4t~.~~ / c4t~i N 4t~i
M1iti~~ c~ri M~~ / 1:t7 :170
~1 /'l~~~ 6~~ l~~ 0t,~*T ;iOu /
"i~~ C4tJ:J'" / ::l~~ NZ, WON' / ::l~J4t z'4t n", / ::l~t4t JJi'i'" 5
M1~~ lVN'1 nit,p'/-;i~~ t1~~~ / M~~7~ P"1 t,~7 i n~T:l c,~ rm
"ion inl'-r, / t;:J0 4tn:J'" / tj:J 4t O Z,~NW n::l~ / t;:JN4t ::ll'i'"
T T : -: - T .... - : -. T - - T T:
"1i:J~ "tt~ii? / t~1Q ttl~ n~~ / t~t:;L "9 in ;:'1 / t~3:'~~ C~G~
"1i"t~ "~Wt! / C~G3:';1 ci4t z,~~ / C~G'Q Z,t?1 / C~G 1'1J1~~~
tW~W;] / Wii1Wt:1~ n~:J7Q~ / wiV1;1Q ::lj 4t'J~ / Wiit:l~ n~ iiw;:11 10
. .. . . . . ["i4t :a,;
M1iN P1~?1 / "T'Jl 0~~?1 / "T~l?~ :1? 01;71 / "T~7~Q n~~~-l
'"'1iv1~ ~t:1~ / ~v=t'? ii0t:l1 ~~1 / ~3i1~ n.~ i4t~n / ~vt?~ n~ tN~01
"1t?~0 ;in~ / l'lJ ",i4t n'i?l / l'lJii in~1~ / 1'1J1~~ C1~1
N1i?~1 '4t~~7 / i~1~~ i~Ql / i~i?~ n~01 / i~t:' z,~~ w4t~l
"1~i?:;L iN oi:J~ / t~~ nin~? ::lit'l / t~~7 ::lit' iiNl / t~i? z,~,:, n~l 15
"1~'?; ni~1Jl / n~~ ti~W~ ~~1 / n~w~ "'Ji::l~ / n~!t1l'~ C~l
mi~:a C4tJ-r, / C4t o4t o C4t~l' t,1" / c4to~o ni'iN::l~ / C4tO~::lN:a c4tiion
M19 ri~3;'~~r / piriQ tt~~O OW; / pi; ~i~ ;i~Q~ / p'it;l~ I,~~ ~~1
"1~t' i?~ "1'?~ / t,~~ C01=t~1 / Z,~9 W1J4t ~ 4tQ ~ / z,~~ iiVO t~~
"i4t n ~"l'i' / nit ::IN ,,-r~,,4t / ni!)4t ion", / nit4t WOW", 20
M1~ C~7 oOniwp, /-hG~ t,~ ~inl / Trni~T:l~~~1 / ~iiN n~i
"i4t ni4t c 4t won/-" z,1' "N~'" / ""ii "l'in", / ""J4t -r!)iti)'"
M1~!1 Ti~=t'J OW; / ui~i~ -l~ liVi~l / V>7t;1~ OU~ ~Q~ / ,z;'6~Q" IlJ~~
"1i? NZ, i-r~l / ::lj i"V Z,~Ol / ::l1i?~ Cin7? WiJ~ / ::l'':'=t~ t~1W~
'""'1'0 "7i~ CiN7 / ;,?~ ::lit' t1i?\l1 / ;~;"N z,~~W1;l / ;91f? e,~ nt?t1~ 25
"19t ::It?4tG ~7 / C~17t1 ~J3:'~l / C4t~~~~ CG 4t W1;l / C4t17~ ;7 ;~~1
104. Title: (And this is what I wrote in the footsteps of one who pre-
ceded me in this art of rhyming.)) Monorhyme poem in the metre
ha-arokh based on the Arabic al-tawil metre; this poem with internal
rhyme was apparently written as part of a literary duel on tautologies.
1'"Tl~~1 lOW ni~trl~ nn!)N :t,4t"~~ c~~ 2 .iYli'0 "iNrl :t,P~QiT

'rl :iT"~Q ,n.,v t,4t~Q .rlilWrl Z,VO rl4t lZ,n rl~4tnrl 4t"~~ .'rl Z,W :"'1'
:C4t~" c.,~ 4t~~ 3 .t' )'"TJ 'rln rlNi )t'Jli 4t yZ, .rliYO Z,Ni~ n'"TV z,4tyO
'OV ~~W4t :1t' )z, 'i~ rlllWrl :C4t~~'~ iTt,4tt,~, .rlt CV rlt C4t~i C'"TN 4tJ~
'"TV inWrl nlZ,vO :1t' )'"T 'nJ rlllWrl )rlZ,4tZ,~ :C4t~~'~ n,t,v~, .rlZ,4tZ,rl
14t Nl :t )t'4t 'rln rlllWrl )t'Jli4t YZ, .rlZ,4tZ,~ :iT.,no~ iTQn, .C4t~~1~rl nNY
14t4tJ~ =1~~~ 14t~~' .t'4t )t'4t '!)1W rlllWrl =1~n t,~~4t ."Qn 4 .1nOnO inOJ
iT~~ .1~Z, ~t,n nlJnlJ nlilnw C4tW~~ C,1 :iT."n~, ~4t' .C4tJ~NO 4tlJ~
:~,t' ~~'''iT' 5 .rl )N W"rlW rlNi )rlilYZ, :iT."n~, .~z, )z, 'i~ rlNi :c,n
)~O 'rln rlllWrl )t'Jli4t yZ, :~'~4t t,4t niT' .OOJ .1Jl'"T~ 4t~z, :1t' )~~ 'rln rlllWrl
)t'J1Yi!) :iT"'~ .~1W4t NZ, i~VW rlZ,4tz,rl :~'~4t ~t, ~Q~ .~1J4t 4t~ z'4t n :N4t
.~1t'1 ViZ, :iT~~t" V., t,~t, 6 .1nJl~nl n4t~rl nilY :N4t ),10 'n4t rlllWrl
rlNi )VZ"y, :no~' .irl n,10!)z, nlZ,vZ, Z,,~4t lJ4t N VZ"Yrl :it.,itit ... no~'
)'"T 4t 'O~ rlllWrl :iT.,iTiT ~~., n,t,v .14t Z,,1i 4tnw no!) Nlrll :,14t )t' ~"W
n~, .rl )rl '14t N rlNi )t'Jli4t yZ, :t,~~4t ~V"iT' 7 .irlrl WNi Z,N nlZ,vZ, :'"TO
Z,i'1 Z,4t0~ Nlrl 4tn!)rl :it., on 4tn~iT' .~ )n 4t N"W 4t!) Z,v :t,~4tQ t,,~~
lNJW4t C4tZ,4t0~1 4tn!) 1~rlNn C4t n!) 4tno '"TV :~~ )N 'wo rlllWrl )nv'"T
)n4t~ N4t rl rlOln =14t~ iTQ,niT' .rl~ ),1 ~"O rlNi =14tVQQ C4t Q, 8 .nv'"T
v~W 14t'"T0 lrl~Z" :tt' )~ 'OW rlNi =1 4t .,Q liT~ n~, .1t' )~ 'Wlrl 4t rlllWrl
.C 4t O ~ 1'niOrl n4t~~ :C4t Q yn"Q~' 9 .N~ )~ 'OW 4t!) z'v :iT"'~~ .nlJ~
.rlWl'"Ti'~ ~1n~~ :C4tQV~ c,4t t,~~ .n~ )t~ 'i~ rlNi )t'Jli4t yZ, :C4tQ~Q t,~,
rlllWrl )t'Jli4t yZ, :~,.,n4t nv "'~iT' 10 .~~ )~ 'J'"T 4t!) z'v :iT"'iT~' iT~~n
.'"T 4t )'"T~ N"W rlNi :~'V"~Q ~., 4tjT4t .C4tii'~~ Wlin4t :~4t )1 'ov
)N4t ' !)1W 4t!) z'v :.,vt,~Q nn~4t' 11 .~ )N 'ON 4t!) z'v :iT"4t~iT n,~t,Q'
c~~t, .'"TV04t W1JN ~~Z, cnZ" :1t' )'"Ti' 'rln 4t!) z'v :.,vo4t ~t, cnt" .N
p.,~t" .C4t OW,1rlOl i~'"Trl z'v C4t '"T4t ViO :t' )4t 'tV rlllWrl )t'Jli4t yZ, :"1'"
:,vo4t nv l~~iT' 12 .CVirl Z,'i' VOWJW 4tJ!)z' i'4trl~O i'i~rl ilN :iT"'~
.Z,~N4t ii'~~ i 4t yn :1t' )0 '14t N rlNi :y"~ "4t~n .~ )4t '~t rlNi )t'Jli4t yZ,
)n '~'"T rlNi )t'Jli4t yZ, :iT"'V~' iT~n~ .1t' )N4t '~'"T 4t!) z'v :iT"'V~' ~4t~'
rlNi :n~p' .1!)1,1 :,n4t'~ .9 ilt' rlNi :yn,., c.,~, 13 .rliVWl rlt'n :n
4tJNl :~ )~ N"W rlNi )t'Jli 4t YZ, :iT"~QiT iT.,,4t .nwi' rl~i :~ )N~ 'i~
4t!) z'v :.,~n t,V4t ~4t~' 14 .rlit'OZ, 4tz' nz'wz' rlilN rl'"TY c4tynrl nwz'w
.i~i'~ IN no~ :n4t )t'4t 'O~ rlllWrl )t'Jli4t yZ, :"~p~ nQiT' .t4t )'"T '!)1W
n~, 15 .i~'"TO~ i!)OZ, WOln~ C'"Tli' Nlrl Nii'4t l i!)O :~"P4t' .,~o,
C4t rlZ,N Ni4t l :'"T )N 'i~ rlllWrl =14tVt, ~,~ .,,~, .~ )'"T 'i~ 4t!) z'v =1 4t p t,~iT
nnz'y~ IN 01~~ 14t4t nlnwZ, ~1t' :iT"VP~ ,~ o,~~ .~1t' 4t~ ilNrl nN
.C4tYli'rl 4tJ 4t OO '"TnN )n4t wo rll~,1 in14t n 4t trl 1'V :n4t~Q yv 16 .rli"0V
17 .nliVO~ c 4t4t nrl 4tZ,V~1 c4tn~~ C4t i,1 C'"T Nrl 4tJ~ :iT"VQ~ ~4t~'
:c4t o,o n".,~~, .14tZ,v~ 01~N il0nl :,1 )N 'W4t rlNi :c4to'~~~ c 4t."Qn
258 CHAPTER TEN
C4til!)4ty;, :C4t 04t O C4t~1' t,1" .C4t Ol0 nliN t'}Z,N C4tV~iN :1 );' N"O ;,Ni
~4t~' 18 .iN4t~ iWN ;'.1"T;'1 :n4t )t 'OW ;,Ni :iT"'~4t~ C4t~'" .C4tYV~ nli.1
.4t )z, '14t N ;,Ni );,!);, i 4ti :p'" .i'in4t 14tJW :4t )~4ti' ';,n 4t!) Z,V :p.,n4t '4t~~
iT~1't,iT' .C4t!)1Y n!)Jl W~"TO C4t i',nO' :N4t )t'4t ';,n ;,11W;, :p,nQ r'J'~ C1'~'
n14t lWV C4t4tZ,VJ :t,1'~ "'1'iT l Q, 19 .;'JVz,~ ;,iO :"T );' 'WO ;,11W;, :iT.,Q
);,~ 'i~ 4t!) Z,V :iT"'~p' CiT"~~' .C4t"T.11~ C4tJii'W :t,1'Q ~n4t~ .ilVO
;,Ni )t'}1i 4t YZ, :n.,tt ~Q~iT' 20 .;'ilt'i' ;,OWl ;,WN ni'4t l C;'i~N t'}0 4t l :N
Z,V :n.,T ~~ iT."iT4t ..14t )~Y ';,n ;,Ni )t'}1i4t yZ, :n"~4t .,QniT' ."T ).1~ ~"W
;,11W;, :n.,,~ r.,iT' 21 .~4t )nz, 'i~ 4t!) Z,V :iT.,4t n ,iT1'''' .z, )nz, 'i~ 4t!)
:iT"~ ~,n, .i'V1Y ~N~ wnw 4t0 :n.,,~ ~~~~, .niN fliZ, :1 )t'4t ';,n
:iTiT~4t "~'OiT' 22 .il~4tYZ, n 4t .14t.1n ;'''T1VO nlwvZ, noww 4t0 Z,V ;'~1n
.z,~w;, 1i"T0 ;,Vln C"TN :tt' )N~ 'wo ;,Ni :iT1',niT' ."T4t!)00 "T!)10;,1
in14t Z,'''T.1 ;,NOl :iT.,4t n,4t iT~QiT' .n )"TO 'W4t ;,Ni )"Tnl!) :iTiT,.,
'~ ;,Ni )lW4t :C'~4t 4tQ, .Z,'''T.1 4tOiN wnJ 1n!) :~n~Q ln~, 23 .c4tw4t ono
)t '!)1W 4t!) Z,V :iT"'~ '''~1' C~' .t'~ )1 '!)1W 4t!) Z,V :~~'4t 1~ 1'1'''~' .t~ );'
i.1n4t l .1'4t iW lnN W~Z,4tl :t'z,-nz, )t4t N"W ;,Ni :~"P4t 14t"~~ 24 .N4t
4t!) Z,V :iT"~P ~t, ,j4t, . .1 )10 ';,n 4t!) Z,V :~., 'T'1' t,~iT' .1~in nN "Tl"T
CZ,W;,1 W"Ti'0;, n4t~ nN 14toni~ ;'J~ :1Qt,,~ 1.,on~ 25 ..1~ )N4t 'O~
iTt,,~ c,~t, .1i~"T nN ';' C4t i'4t :"T )~ N"O ;,Ni :1Q~~ ~,~ c4tpn, .1nlN
26 .;'il0l ;,z,.1 :N~ )t'0 '~ ;,Ni );,Z".1;'0 Z,NiW4t CV nN N4tYln :iT.,'O
Nl;,;, C14t~ ';' Z,N C4t~i C4t l.1 l1Z,Jl :1t' )~ '~t ;,11W;, :C4t4t'~"' 1Q1"
:iT.,QT ~~4tQ .C4t lZ,;, lJVl :"T4t )t~ '~"T ;,Ni :C4t,t,iT '~1'4t' .CVz, 4tz, 14t ;,1
.Z,NiW4t nliOt C4t VJl :N ).1~ ~"W ;,11W;,
.N28 NLR Evr. I 802 4t"~ :ili'O .iTp
iN;,JZ,N 4t!) 14t VZ,N 101n NO 1N N'~N ;,nz,i' NOOl

iN't'nJNZ,N 4t!) z,.,Z,Z,N i'iN 10 NZ,N
C4tO~Z,D 4tniNZ,n ~J~O~ / 4toi4t~ 4tO~J "TD~ Z,Niw z,~z,

C4tO~itl -~JO c4t~tiJ -i\'o~ / ~z,\o~ 4tJ4tD ~PlU>~ i~4tU>N
c4tb4t~ i04tPl~lz:;n nit.)4t~;'1 / ~niU> ~"Ti "T.~~4t 4tni!;YS 5
tJ'Qi"1f~\1t!~1 ~Q~i' "mf i -0'1'1:'9 ~7 tJ~~t'~b '~~i~l
105. Title: (What I also said (about the fact) that the eye is not sleepy
during the day except as a result of insomnia at night because of a
sense of expectation.)) Monorhyme poem in the metre ha-merubbe
based on the Arabic al-waftr metre; insomnia is a conventional motif
in this love poem ending with a quotation from the book of Job.
1W4t 4tJN ;,Oz, nv'"Tz, Wi'~OW 4t0 z,~z, :4tQ'4t~ t,~t, 3 .;'~1iO;' :t,P~QiT
.1Z, ;,JVN :'~4t~~ 4 .1JOO nloZ,VJ 4t4tnliY :C4t Q,t,V 4tn,~t,n '~QQ' .C14t~
)n 4t 'i4t ;,Ni );'ilYZ, :C4tt,T'~ .nlVO'"T ;'~i;' nlZ,4t tO 4t4tJ4t V :C4tQ.,'T' 4tn~,
)11W4tZ, 4tnZ,,~4t NZ, :4tn~~ iT"~ .i~n ili'4t~Z, 4tn4t4t!J4tY~ :.,4t.,4t 4tn,~~t, 5 .'"T 4t
nlZ,4tZ,;, :C4tQ4t~ 'Q4tn~~n n,t,4tt,iT' .,Z,O;' nJW ;''"T'"TJ :N )1 'ON ;,11W;,
;''"T'"TJW Z,V C4t'"T4t VO C4t OW;, 4t~~1~ :C4tQ'''Q~ 4t~~'~' 6 .C4t04t~ 4tz, lWVJ
.C4tOliO~ 4t'"T;,Wl 4t'"TV C4tOW~ :"4t )t" '14t N 4t!J Z,V )4t nJW
.N28 NLR Evr. I 802 4t"~ :ili'O "P
N;,JV 04tZ" ;'04tJ.1 ;,N4t nZ,N 1N 4t!J N'~N ;,nz,i' NOOl

;,~4t'~1 ON4t Vt'i'1 ;,~4tYO nNooZ,Nl ;,04t i'
;",~ C~~~~ i~~ ;in/-7~ z,~lj C~iJ z,~ C4t~tiV

;''"Tin~ ~Jn~1 i!JW
T T : - e: e:
/ i;,O
: - - -
~VOJ
:
c4tDOiJ ~0'"T4t
T .: :
106. Title: (What I also said (about the fact) that life is a worthless
prey and death is a calamity which cuts off desperation and frustra-
tion.)) Monorhyme poem in the vowel metre/mishqal ha-teni{ot; this
pessimistic poem reminding people of their mortality is an interest-
ing case of Moses Darers literary play with shibbu~im.
C4ti~'"T;' z,~ nN C4t~tlV;' c 4t no;, :t,~n C4t~T'V 3 .nlV1Jn;, :t,P~QiT

1~tVl z,4tO~ '"Tn4t lnl0 4t c4to~n :N4t )"0 ';,n ;,11W;, )CZ,'V~W C4t 0 4t VJ;,
4 .i!JV 4t'"Ti14t z,~ :z, )~~ ';,n ;,Ni )1i~i'J :iT.,.,4t "nt" .cz,4t n c 4t inNZ,
1N~1 );''"Tin~ lJn 4t l i!JW i;,O lV0 4t l :'"T~ ).1z, 'O~ 4t!J Z,V :iT.,.,n~ 'VO~
.N~ )"0 'i~ ;,Ni )CV1J i;, :i!JW i;, )i01Z,~ .n4tz,z,~;, CnlVOWO~
.'"Tn!J :;''"Tin
.~28-N28 NLR Evr. I 802 4t"~ :ili'O .Tp
4t!J Z,''"TZ,N ;'O!JJ ~O~4t NY'~W 4t!J N'~N ;,nz,i' NOOl

Z,NnnoNZ,Nl i 4t4t.1nZ,N V4tiO CNV" 10 N;'V~W~ Z,Nnl NJ4t n z,~
C4t~~"~ "~9~ ~;,~~ ;'J;1,~~ / z,~~Gt 14t~' i1t! ~4t7t:1~ i~~

C4tW~~ 14t~ ~~"9 N1.i?~1 / t;;1V?1 nw 14tJ:liO~ z,~ i'"Ti~f
C4tW~Nt~ C4t~~~ 1lJ ~4t7t:1G~ / i~~t CJ;l~ C4t,~iO ;'G1~1 5
C4tW'"TD;, '"T4ttJ~~ cnz' n!J~ / ;'ii~~ i~O iWN lWD ~Nl
tJ'~n n1~~ ,~ 07o/~Y t,~~ 'I 'i(lP~~~ t,ili;9~ n;9~lJ"t,~~
260 CHAPTER TEN
C4tW~:Lf 4tt) ':fliV~ ':f7~W Z,iV~ / c 4t W ~1'r c~ ':fV?~~ iN~~1

C4t1U'W~;' l;'JO~ '1D~ WiJN / NOYl :LDi nD~ Z,NWPl Z,Nl
C'~~On ~~\; i'i9n' r,i-I~'fN "1~' / c'ry-r;~ r,~~~ ii~~~~~ r,:t-~ 10
C4tW~~tI ni4tt:1t17 C~1 4t~f / ci4t ~~~ i:L~t' C~i'~' OGiV1
C4tWln '1iV C4t'i?~; 14t1l:'G~ / 1iY17 '1~ 4tl} Z,~7 t"!l}i!)~
C4t Wi'1Wtl C~i N:t 14t~ Wli?~1 / ;'91~ niN:t 4t~~ ':f~i:t iO'
107. Title: (What I also said about a person who degrades his soul at
every opportunity and in every situation by satiating it with food) (a
habit) which can quickly be altered and changed.)) Monorhyme poem
in the metre ha-merubbe based on the Arabic al-waftr metre; this
poem rebukes gluttony and preaches ascetism.
:Li Z,~1N:L 1'11:L~ nN t'J4tz,no ;, :iTn~Q, .,~~ 3 .;':LliO ;, :t,p~QiT

;,Ni );,N4t :LOOl ;,z,4tz,tO C4t Vli!) 14t;,4t 14tJ!) :C4t~'~~ ~VQ~ 'iT4t~ .;,4t4tnWl
4 .C 4t nWl C4tZ,~N fiN;' z,~ 4tJ!) Z,V C4tWt'J ;,J;,1 :tt' )z, N"W
;,11W;, )t'Jli4t YZ, :t,~~, M~ .Z,!)Wl0 1'11:L~ N;,4t 14t4t n z,~ :t,~~, ,.,,~~
5 .Z,Nll0 Nl;,W :L1Wn4t '1nN z,~ :C4t~~~ ~"P4t' .t' ):L '~
C4t :LJV t'J4tZ,noZ" i!)V nil0n :L;,t i~10Z, ;'01'1 Nl;, :C4t~'~~~ iTQ.,4t,
.C4tWN:L WV 4t l C4t :LJV nlwvZ, li'4t l ::L );' '~ ;,Ni )t'Jli4t yZ, .C4t:Lli'i:L C4t :Llt'
'14t tJ '11:LV ;'il~:L;' nN ;,f4t:L iWN lWVZ, ;'01'1 Nl;, :C4t~"ViT t,~, 6
Z,N i:Ll'1;' ;,Jl!) 1N~ :C4t~~" t,~~ 7 .'1Z,-lZ, );,~ 'i:L 4t!) Z,V )C 4t lVlV
.1:L N4t;, t'1Z,Wn z,:Lz, 1Z,W C4tWln;, nllNn nN 10il 1Z, iOW4t;, :l4t tNO;'
8 .1W!)J iOWl 1Z, iOW;, :t' )'1 ':L'1 ;,11W;, :1~~~ t,'~Q' iT"Q~iT
)1nO~n nitV:L 1 4t n'i"Wn Z,Vl 1 4t nl:LWnO Z,V t'1Z,W :C4t~'~~ .,~,~,
)NZ, ':L'1 ;,Ni :4tM 1"'V~ .1iN1Y Z,V z,n:L Z,V 1nJl :no )n~ ':L'1 ;,11W;,
)Wi':Ln Z,N NOynl :LVin iWN~1 :C4t~4t~4tiT t,~, 9 .4t n 4tJ'11V:L :t~
)no 'i:L ;,Ni :iTJ,~~niT 10 .11i'~1 11Z,4t~N4t C'1N 4tJ:LW )C4tJi't;, l;'JO~
c4t'10n ;,W1V;, "N;,O Wi':L :C4tiTt,~ t,~~, .i'!)Nn;,Z, t'J014t z,~4t NZ" :N
:C4t~~~iT OQ,V, 11 .';' nNO 4tnZ,NW nnN :'1 )t~ ';,n ;,11W;, )C 4t :Li
)CW!)J n14t n;,Z, 4t'1~ inl;,1 4t'1 )C14t z,~:L CZ"V 4tN:LZ, :Llt' V!)W N4t :LO iWN
)t'Jli4t yZ, :C4t~~~iT n,4tMiTt, .1JZ, OOV4t C14t C14t ';' 11i:L :~ )no ';,n 4t!) Z,V
Z,V )4t n il~ z,~z, 11Yi:L ;,nln!) 1'14tl =1'~"t, Mn,~, 12 .t'4t )t'4t 'i:L ;,Ni
:C4t~"M '4t~VQ' .11Yi 4tn z,~z, V4t :LWOl 1'14t nN nnl!) :tt' );,0i' ';,n 4t!)
.C4tii':LZ, C4t lVln :l~ )l '~4tN 4t!) Z,V )1014t :L C14t 4t'1 4t 0 c4tW'1nno 14t'10nl
.C4tJ14tZ,Vl C4tJlnnn 4t!):L W'11i'01 1il:L0 lOW :C4t~'''PiT 'Q~ 13
Z,Vl CliO:L CliO;' N:LY Z,V ';' '1i'!)4t :N~ )'1~ '~ ;,Ni :C,., n,~~~
.;'0'1 N;, Z,V ;'0'1N;, 4t~Z,0
.~28 NLR Evr. I 802 4t"~ :ili'O .Mp
t'Ni!)NZ,N i'4t it' 4tZ,V rlnZ,i' NO N''1rll

rl NrlJ rlJOnz, NO ~4t~n t'JYl 4t!) rl 4t NlnZ,Nl
4t
niNYOJ nioiZ,w~ niN!)/-i~ nz'w~no~ rl4t nN ~z,

niN1i~' ntt 'lJQ Of. '/ :Lii:l~~ iJ't?~ ~7 ;,~~ O~
niN1iJ ~J:liN 1'1~ n1)1:1 / O~G~~ 04t~~~ i4t1~ 5
niN7~~0 i'tlW 4tG'~ / 0~t:11 O~ 0~1~ ni~~9~
niN1iJ;:J Z,~7~ ni!)~i'/-J:1~ nii~t?~ i 4t ;:1Q 4t~~1
niN~;:J 14tJ:li';~ t'JiO~7 / iN 4t1i'; ttl ii!1t;'7 '1i?iW
niNZ,OJ ~4trl4t rl~4tn~~ / 4tni~lO~ 4t~n ~z,~4t
i
niN~ z,~~ ~in~:G O~ C~~,~ -nin1N C~~i?~~ 10
niNG WGt:19 t~n~ '1ry~ / '1i,; t1JG O~ i;1tr~ N~
108. Title: (This is what I said by means of exaggeration and hyper-

bole about the description of a beloved whose beauty is endless.))
Monorhyme poem in the vowel metre/mishqal ha-tenl1(ot; in this love
poem) Darci uses hyperbole to stress beauty; the poem is exceptional
as part of its imagery reflects a passage from the Babylonian Talmud.
04t~1iN o 4t4t n 4tz, 14t rl 4t ON Ol :Mt,~,nQ~ jT4tM~'t, 3 .nlV1Jnrl :t,P~QjT

nlN4ti~ ~YO~ :n,~~.,~ .t~ )rl 'i~ 4t!) Z,V )11Jn t~ nZ,WlnO 4t4tn 10~
.01Z,W nNY10~ :4t )n W"rlW rlllWrl :n'~~Q~ n'Q't,~, .l4t )z, 'i4t rlNi )~1t'
Z,V iWN 0 4t nOYrl i!)OO~ 0 4tt'V rl~irl 4tz, 14t rl 4t ON Ol1 :n,~.,~~ ,4tjT4t 4
C4tQ4t~ '4t'" 5 .14t nnJ rl'1Wrl noY~ rl~~i :t )tt' 'n4t rlllWrl )rlO'1Nrl
14t rl4t ON :N"V N4t n~w ~"n 4t!) Z,V )04t04t~ ~i 14t'1 4tz, rl4t rl4t ON Ol1 :"~'
t4t N riZ,~Z, O'1N 4tJ~ Z,~1 nl~i4t 0 4t OWl 0 4t O,0Z"i' 0 4t OlNl 14t'1 0 4t 0 4t rl z,~
nN 04tNW1Jrl 04t0~ :n,~~,~ C4tQ~' .nlWi Z,W rlZ,z,rl ~1n~Z, 0 4t i'4t!)OO
nlZ,4t lO 4tz, 14t rl4t ON Ol1 :n,~t,~~jT n,t,~Q' 6 .t' )N 'i~ rlNi )fiNrl
rlNi )t'Jli4t yZ, :PM~ 4tQ~~ .04t~lWJrl 0 4t OWrl nl'14tO~ nl~nil nl~1iN
t'V 4tJ1WZ, :~ )rlO 'rln rlNi )t'Jli4t yZ, :n,.,~o~ .,4tjTQ 4t~~' 7 .1~ )lZ, '~'1
rlZ,4tO~ nlVOWO~ 'rlnOl0' tN~ i 4t rlO nz'4t o nlVOWOl .i4t rlO i!)10
rlNi )rlilYZ, :n'~"'~jT .4t l,Z"it'ON 4tlt'4t~ :t,~t,~ n'~'pn~ ...Jb~ n4t~iVrl
Z,V 4tJN '1i'W :~4t )N 'i4t rlNi )f4titl iV rl 4t rlN ON Ol1 :"P'~ 8 .N~ )4t '~'1
, 4t n,.,Q r'PO~t, .4t~1rlN Z,W 14t !)14t nN nlJoZ, :4t"'" 1M "'~Ot, .1nwvZ, 4ti~'1
lZ,~ :N4t )NZ, 'rln rlllWrl :4t4tM ,t,~4t 9 .nl!)4t rl 14tnlJl~n nN t'Jl0NZ, :n'~~jT
.rl4tZ,N n~n~1 i!)O nZ,lO :~ )1Z, 'i4t rlllWrl :n,~t,Q~ 4tn,t,~Q' .4t4t n tll4t~
04tJ!) rl~1n~ N4t rll i!)O nZ,lO :4t-t' )~ 'n4t 4t!) Z,V :"'M~Q C4tQP"~ 10
262 CHAPTER TEN
11 .1~ );,~ 'OW ;,Ni )04t'1'1Y;' z,~0 :n,~~ t,~Q .n14t nlN :n,n,~ .ilnNl
.~1;'N;' 4t!)14t 0 :."., lMQ .4t4tnlZ,4t,10~ :C~ .~4t )~z, 'i~ ;,Ni :"~04t ~t,
W!)J '1nN :n~ )NZ, 'O~ ;,Ni )0 4t i"0!) 4tJW Z,W ;'~~i;' :n'~Q "M~
.o4twon;, 10 tnN '1nN :z, )NZ, '0~1 ;nlNO;, wono
.~28 NLR Evr. I 802 4t"~ :ili'O .~p
iON z,~ VO iO'~Z,N ~i~ NZ, 1N N'~N nz,i' '1i'1
V1~~ ~~~~ iW1V? n~ / OJ? O~ 4t~ ;~4t~ ;'J;l'l:1 z,~

Vi4t Vi &;1' ~t'4t4t ~it' Z,1' / ii~1'4t ON n~i~ N~;' 4t~
"... - - -. - :-. - T
109. Title: (And I also said that one should not drink wine with every
simpleton.)) Monorhyme poem in the vowel metre/mishqaI ha-teni{ot;
this poem employs simile in order to compare wine to a man)s soul.
.14t4t ;,nwn NZ" :1t' )1 '~4t0 ;,11W;, :1~4t4t iTn~n t,~ 2 .nlV1Jn;, :t,P~QiT
.,1 );' W";'W ;,Ni )"Z,~Z,O :r'J~~Q .~z, il;,t' O'1N OV NZ,N :V"~~ 4t~
.O'1N;' W!)Jz, ;'01'1 14t4t;, :M'''~ ~'iT 3 .N4t );' 'OW ;,Ni );'ilYZ, :V"~~
;,4t;,4t ~1t' O'1NZ, :V"4t t,V .N~ )tz, '14t N ;,Ni )~1i4tYZ, :"'~V4t M'''~
.Vi ;,4t;,4t Vi O'1NZ, Z,~N )~1t'
.N29-~28 NLR Evr. I 802 4t"~ :ili'O .4tp
;,no;, niYi" ;,noz' nZ,Nt' NZ,',1i 4t!) nz,i' '1i'1
;'7~l:l1 ;,t? 14t~7 Z,4tJ?i;, 4t7t / ;'O~it? in:tW1124t1 4t71

;'74t;1~1 ;'1i i'1 N4t;:1 ;'~~i~ / 4t~ 14tJ:l~0 n;4t~7 4t7 ;'~1t;1
110. Title: (And (what) I said about a man whose misfortune was
protracted and whose ambition was reduced.)) Monorhyme poem in
the metre ha-merubbe based on the Arabic al-waftr metre; this poem
employs simile in order to lament old age.
4tz,~ :t,4tV,iT 4tt,~ .'11NO 1i't i~n 4tz, W4t :iTM'.,O 4tt" 2 .;'~1iO;' :t,P~QiT
';,n ;,Ni )~1i4tYZ, .~10 4tz,~ :iTt,~n, iT~P 14t~t, .n )t 'i4t ;,11W;, )nZ,Vln
.N4t )~ W";'W ;,Ni )~iln z,4tz,z, ;'01'1 lnJi't :,4t nOiT iTQ.,n 3 .1Y )t' 4t i'
'i4t 4t!) Z,V :~4tiT iT~'''~ ."Wn, ii'1 "iN ~iln z,4tz, :iTt,4t~~' iT~'''~
.n~ )t'~
.N29 NLR Evr. I 802 4t"~ :ili'O .~4tP
1NZ,;,~ IN~ NO~il IN 4t!) N'~N ;,nz,i' NOOl

NZ,;,'lZ,Nl 0 4t nNJoZ,N ;,VO NZ,'~~Z,Nl CNZ,Z,N
C4t1!7 C74t 1Jl C4t~7 C~4t~~ / C4t~tiV1 '"T~ C4t~ii' '"T~t Z,~iW7
c 4tiion;, nio~ C~~t'l C4t~z,~/-;, n~4tn 4t~ ;'1''"Tn NZ,;, l4t n 4tJ1'
-: - : T : T: - -:. T : -: -:
111. Title: (What I also said (about the fact) that the death of wicked
and greedy people may bring wealth to ill-fated and ignorant people.))
Monorhyme poem in the metre ha-mitqare~ based on the Arabic
al-mutaqarib metre; in this poem) Moses Darci scorns the rich people
of his day.
;,Oz, nv'"Tz, lVi'~O ;,nN CN :C4t~t,t, t,~,~t, 3 .~ii'nO;' :t,P~QiT

'~'"T ;,Ni )C4tJY0i' :1' C4t~~'P .C4tz,4tO~z, ClVl~i nN C4t lV4til0 C4tJY0i';'
)t'z, 'l4t N ;,Ni )t'}li4t YZ, :CV4t~4t C4t~T'V' .14t nNO 1'"T4t nN l'!)i'n NZ" :t )It'
)~ ~"lV ;,Ni )c 4t4t n :n,4tM .V'"Tl4t 1J4tN;, :iTv.,n ~t,iT .1Z, 4tn4tJV :'4tn4t~v 4 .N4t
.C4tJYOi'z, tOli :C4t."QMiT .C4titZ" c4tyz,z, tOli :C4t~t,~iT .l
.N29 NLR Evr. I 802 4t"~ :ili'O .~4tP
;,JN4t lt' ;,~ '"TNt INOJN 4t!) N'~N nz,i' '"Ti'l

;'JN1'~N 4tZ,N ;,~ NO 4t~n~ iNY 4tnn
C7Jt~ z,~ 121i4t z,~ i'1 / ;~~~ ~~ 4t~:t7 '"T~~ z,~

cZ,NJ Win Z,N '"T4t.a~;, / ;'O'"T4t W4tN Z,N '"T4t.a~;, 4t~
Tc~ ~9 :l~~ .~~~ I ,~ ~O,.~ C;lP'~ ~~,~ 5
c7i V ;79 z,~ i~iNtG / '"T4t~~0 4t~t:1~ c~ 4t1,~
112. Title: (And (what) I also said about a person whose oppression
became so unbearable that he started to complain about his situation
to his friends.)) Monorhyme poem in the vowel metre/mishqal
ha-teni{ot; in this poem) Moses Darci reminds people of their mortal-
ity and advises to take only God into one)s confidence.
;,Ni )14t nliY Z,V C4t lVJNZ, IJ1Z,nn Z,N :1V~~ t,~ 3 .nlV1Jn;, :t,P~QiT
,';, Z,N i'i IJ1Z,n;, :Ct,V~ P" .l~~Z, VlJ lV4t N I'V'"T4t ilVN :nz, )n N"O
CN cZ,VJ z,~ Z,V t'!)lVO~ N~4t C4t;,Z,N;, ;,lVVO z,~ nN :'"T4t )~4t ';'i' 4t!) Z,V
264 CHAPTER TEN
:.1" )'"T 'ov ;,11W;, )C"WJNZ, lJ1Z,nOW "0 :~,,~ t,~ ""~QiT 4 .Vi CNl ~1t'
-Win Z,N lJ1Z,no;, W"NZ, ;,01'"T :ct,~~ ... iTQ.," .1nw ;'0 C'"TNZ, '"T".101
:ct,~ ... ,Q.,,, .'"T )n 'wo ;,Ni )C'"TN;' "J~ :c"~"~ 5 .N" )'"T 'OW ;,Ni )CZ,"N
.W~"1 Z,Z,,0" ~iVZ, t'}Z,nl f'Y" ii'~~ :1 )y ';,n ;,11W;, );,nl0n 1~ C'"TN;,
i'i lJ1Z,no;, C'"TN;, "i~ :ct"v... ".,~~ 6 .t' )'"T" 'O~ "!) Z,V :ct,~ ,,0
." )" 'i" "!) Z,V ,';,z, "1J"~ :ct"v ,t,Q .';' Z,N
.N29 NLR Evr. I 802 ""~ :ili'O .~"p
't'!)Z,nZ,N rl'.1" NZ, IN "!) N'Y" N ;,nz,i' NOOl

NZ,'y!)Z,Nl No~nZ,N 1"~ NO "!) NZ,N CZ,VZ,N~
NZ,;".1Z,Nl CN1VZ,N ;'i'Yn~ ;'i~'" 10n" NZ, IN NO~
"~ii~1 ciV1 "l!~~~t;1 / n~ ':fi1v1J~ i~:;~ l'~ z,~~~

"~i!)7t:1G "~,~ ~7~ Z,~1 / "G!~ lJ:ltt i"TQ t'}~ z,~ &':;7 5
"J:liZ,~,~ C"~~t!0 CJ? "'~/-t:lJ:l0~ "7 ,,;;z,~ i''';J~ "1~
"~~' t'}it9l:1 iio~ 1"~ c,i~~ / "~~71 CJ:l'~1J~ C~t:1~ r~1
"niiYiN iY~O~ c~nn C.11 / '"TiV ";''' o~o~ ~"O~O "~~1vl
;J;liiJ;lQ r,~b~' ~6 tJ;i?1.~ / "7~~' :Jio rW~Q~ '~iS io~
113. Title: (What I also said (about the fact) that speaking about
knowledge is only possible among wise and learned men; similarly)
one ought not to talk about it in the presence of common and igno-
rant people.)) Monorhyme poem in the metre ha-merubbe based on
the Arabic al-waftr metre; this wisdom poem cast in the first person
is characterised by regular phrases from the book of Proverbs.
;,o~n;, Z,V i~'"TZ, 00;'0 ''IN :"n,.,~., ... t,~Q' 4 .;'~1iO;' :t,P~QiT
5 .nv'"T V'"Tl" 1"iON ,Wln :r~ )t" 'wo ;,Ni )C"z,,,O~ ni~n~
i"rn t'}N~ t'''w~n~ nZ,NJ~ ii''';' ~~ivn" NOW :"n,~t,nQ ... t,~t,
;,WN i"rn t'}N~ ~;,r CrJ :~~ )N" 'wo ;,11W;, )~z,~ nlli!) Z,V t'1W"i'1
nZ,NWO nN Z,N;, C"W.1" iWN '"TV :"n,t,~~Q ... P"~" 6 .CVt' niOl ;'!)"
7 .,"nlZ,NWO z,~ ';' NZ,O" :1 )~ ';,n ;,11W;, )c"o~n CV i~nn;,Z, ,,~z,
'i'''!)'' C;'''J!)Z" ;,o~n t'}"01N c"o~n;, ni~n~ nl!)!)1nO;'~1 :"n~~ ... T~'
8 .c~nl c"o~n nN "Z,;, :~ ).1" 'wo ;,11W;, );'J"~ "i~'"T ""n!)w
"n~ 1.1101 il.10 z,,,0~;' "J!)O i"nON "z,~W nNl :"n,.,~,~... "t,~~,
."niY1N~ Clnn "'"TOV Oo~ Nl;, NZ,;, :'"Tz, )~z, '~'"T "!) Z,V )""nliY1N iY~O
NOt'N NZ, 1~ )1Z, "N~r;, C'"TNO ~1t' VJON NZ,W 10~ :"n,~nQ ... 'Q~ 9
:,,,t,V~Q ... ~t, .C""1Ni "nZ,~1 C"i'''i C"WJN CV n"w~ "no~n nno nN
'n4t ;'11121;' :4tn,~nQ t,t,MN Nt, .14tZ,V~0 ~1t' VJOn Z,N :t~ ).1 '1210 4t!) Z,V
.C~4tnlJnO~ '"T1V ,Z,Z,nn NZ, 4tW'"Ti' cw nNl :t'z, )~
.~29-N29 NLR Evr. I 802 4t"~ :ili'O ..,4tP
It''~ 10 4tZ,V NV'"T N'~N ;,nz,i' NOOl

;,JNOt N!)V'Y 4tZ,V ;,JNOZ" ;'iN04t~
CJiN.1~W / C4tN.a iW~~

T : : -:e
/ C4tN~ z,.,n C4tW / C4tNi~J i~Y
-T.. -T:e
C~J:1 101 clJ / ~~4t,~ '"TiV / ~~'0 1i;,:t~ / ~~4tJ:1'0 ;,~
114. Title: What I also said in order to invoke evil upon those who
with their left hand and their tongue oppress the weak people of their
time.)) Monorhyme poem in the vowel metre/mishqal ha-tenu(ot; in
this poem with internal rhyme and ending with a biblical quotation
from the book of Proverbs) Darci scorns the rich people of his day.
nN WWli :C4tN~ C4t~ .';'z, 4tlJ4t~ :C4tN"~~ .,,~ 3 .nlV1Jn;, :t,P~QjT

CWl .C4tN~Z,n 14t01YV~ Z,!)Jl :4t )4t ';,n ;,Ni )4tJ1V :C4tN~ t,4tM .C4t i 4t WV;'
:.14t )n '1210 ;'11121;' )t'}1i4t YZ, :C~'N~~~ C4tN~ .i4tW~~ nl~4tn 4tnw~ 4tii';'
)tJ 'W4t ;'11121;' )t'}1i4t YZ, .C4t4tJVz, 1.1VZ, C4t i 4t WV;, :'~4tM"jT jT~ 4 .11N.11 ;'N.1
;'~iO :n )n~ '1210 ;'11121;' )t'}1i4t YZ, :'~"jT l'jT~' .;,!) 1~4tnin 4t0 Z,V :'"T
:~., CV .CJn C'"TN CV ~4tin Z,N :z, ).1 '1210 t,N '"Tl.14tJ~ :C~M '~4t"4t .1Jl;'
..1 )~!) ';,n ;,Ni )4tJV CV
.~29 NLR Evr. I 802 4t"~ :ili'O .,top

NONli'N 4t!) N'~N ;,nz,i' NOOl
NJ'~Z,N C;,~ lZ,i' 4t!)1 NJOZ,NZ,N 14t OZ,O
C:tiNt~~ C4t~~1~ ni~/-7 ;':1J9~ Cii9 l~iw

C~~z,~ ;,Dil C;,4tD/- 4ti CD ciZ,w 4ti~i1 '"T~N
T T :. e:..
T TT T : -
115. Title: What I also said about people with smooth tongues) but
in whose hearts there is indecency.)) Monorhyme poem in the vowel
metre/mishqal ha-tenu(ot; this poem ending with a biblical quotation
from the book of Psalms implores God to destroy hypocrites and evil
doers.
266 CHAPTER TEN
iT4t MQ, .;, ).r, 'W4t 4t!) r,V ,';,r, 4tlJ4t~ :C,.,Q 1~'~ 3 .nlV1Jn;, :t,P~QiT
:C~~t,~ .,~~ 4 .C4tN~-rJ ~r, n,4t n;,r" :1t' )tJ '~ 4t!) r,V :C4t~~"~ n,~t,
.). )n~ ';,n 4t!) r,V )tlN 4tr,Vl!)1 C4t VlVi -rOW;'
.~29 NLR Evr. I 802 4t"~ :ili'O .T~p
4tr,V 'l'ivnr,N to i'-rnr,N -r4t~Nn 4t!) nr,i' -ri'1

i'ti4t NOO i'tJ4t Nr, N-r~V i~Wl i-ri'r,N c~n
c4t1:t1 ;'~1~ r,~7 iG';:11 / -riV ~7 tl:l~J i~~ t'~9~ ;'T1

C4t'9' 14t94tG ~;,~ ~4tt?i4t n~1 / n~ 4t0~ iJiit?~t tilZ,h~ i~1V1
116. Title: (And (what) I said about emphasizing the need to beware
of resisting the decree of Fate) and (about) praising the servant who
is not careless with what he is endowed.)) Monorhyme poem in the
metre ha-merubbe based on the Arabic al-waftr metre; didactic poem
with a reference to the biblical river Pishon (Gen 2: 11) as the Nile.
.1r, W4tW t'VO~ i'!)nO;, :"'1'... iT~" 3 .;'~1iO;' :t,P~QiT

)4t ';'i' 'C4ti~-r ;'~i4t r,~O;'1' ;,11W;, )C4ti~-r ;'~in r,N :C4t"~" "Q~iT'
.;'Nil :.,,~, 4 .r )N nl~N ;,JWO 'Nt'n N4t~O C4ti~-r ;'~iO;' r,~1'1 -r4t
tOli tN~1 .N4t )~ 'i~ ;,Ni )t-rVO lN~W nli;,J;, nV~iNO -rnN =1'~4t~
.t )-r '~4tN ;,Ni )1t :M~ .ilN4t;, r,w r,!)W;' nv~ :'~'''OM~ .C4t iYO ilN4tr,
,4tQ4tQ ,iT4t .n4t )N ';'i' ;,Ni );'ilYr, .ilN4t;, r,w nlN).;' nv~ :r'J4t O,4t n1"
.1 );,~ '~ ;,Ni )t4t4t~W C4tiOW~ C4til~V ilN4t;, r,w 14t 0 4t 0 :C4t"Q~
.~29 NLR Evr. I 802 4t"~ :ili'O .T4tp
-rN'). -rN'). tN tNOJNr,N tN 4t!) N'~N ;,nr,i' NOOl

Cli~O ONJr,N to ;,-rl'). 4tr,V tN~1 ;'O!)Jr,
Cl0'-r0 ONJr,N to ;'VJO~ tN~1 ;,O!)J tV VJO VJO tNl
;7~!?~ ~i~~ ~~ r,~ C~ / ;7 ~it' V~9l:1 -r~ l'i!1i?l:1 c~

;7 ~4tt?l} 4t~ ~~-ri4t c~ / t~!) ;7 ~:t1~J:l;:1:t~ 5
117. Title: (What I also said (about the fact) that if a person is gen-
erous) he is generous to himself) for due to his generosity he will be
honored among the people) whereas if he acts like a miser) he acts
like a miser to himself) for due to his miserliness he will be censured
among the people.)) Monorhyme poem in the vowel metre/mishqal

ha-teni{ot; this poem ending with a biblical quotation from the book
of Psalms combines the themes of generosity and miserliness.
:t )It' '~'"T 4t!) Z,V )lY0i' ;,nN CN :.,4t r'~pn C~ 4 .nlV1Jn;, :t,P~QiT
.t~ ),1 'WO ;,llW;, :1t, ~,~ V~Qn .14t nNO 1'"T4t nN l'!)i'n NZ"
';,n~ il0NZ, '"Tl,14tJ~ )1nlJY0i' z,z,,1~ 1nlN z,z,i'4t C'"TN z,~ :1t,V~Q t,~
;,nN CN :1~.,~niT~' 5 .1'"T 4t ,14t 14tnil~,1l 1 4t WVO n~w4t il'"TZ, il'"T :'"T );,0i'
C'"TN Z,~l :1t, 1,.,,4t .~lt' z,~z, ;,~tn =1'~~ 1t, .~ );' '!)1W ;,Ni )~4t'"TJ
.t'4t )t'0 ';,n 4t!) Z,V )1nl~4t'"TJ z,z,,1~ 1nlN z,z,;,4t
.~29 NLR Evr. I 802 4t"~ :ili'O .M4tp
4tONi' 1N~ 10 4t!) N'~N ;,nz,i' NOOl

4t~iWZ,Nl Z,~NZ,N Nl0 ;,no;, NZ" 4t~Z,i'Z,N
/
V;~~ ;~4t~4tl ;~7 C4t~1 l;n~~ l;li?t1!
Vz,~ 4ti~1 -z,~ Pl~;'N / 4t~ n 4tJDnl C;Y NJivPll
V7~lJ tt~ 'i[i~ tJ~~ t,~ j M~~~ u;~ ~;i:I-1W~~ 'i[~7~~ 5
118. Title: (What I also said about someone who was stern-hearted
and who was only interested in eating and drinking.)) Monorhyme
poem in the vowel metre/mishqal ha-teni{ot; this poem ending with a
biblical quotation from 1 Samuel criticizes a miserly and gluttonous
person.
'OW ;,Ni )t'}li4t YZ, .1~Z, nN n 4t Wi';' :.,~t, npTM 3 .nlV1Jn;, :t,P~QiT
n,wvZ" C4t4tJV;, Z,V cniZ,O :C4t t,., l'M~Q .;'Vi!) ~z, nN 4tni'tnl :'"T )'"T 4t
4 .~4t'"TJ 1J4tN :Vt,O~ 1~4tQ4t' .C4tz,'"T 1JlnZ, :n )n~ 'wo 4t!) Z,V )COV '"Ton
~;'1N ;,nN Z,~N :vt,~ n~iT~ .C1YZ, NJ1W ;,nN :n4t~vn, C'~ ~~~n,
:1~~~ 1't,~t, 5 .1 )~J ';,n 4t!) Z,V )1!)l,1Z, ;'i'WO IN Z,~NO 04tJ~;'z,
)z, '~ ;,Ni )CJ4t;,4t,1~ WN nil'"TO 1lnZ, :iTn~n ~~ 1,n .10YV nN i'litZ,
W!)J nNl :t'~ );,~ N"W 4t!) Z,V :vt,piT 1,n .;,n!)n 1liV 4t~ :,1z,
.vz,i';' t'}~ 1ln~ ;'Jvz,i'4t 1 4t ~4tlN
.N30-~29 NLR Evr. I 802 4t"~ :ili'O .~p
10 ~Z,t'Z,N 4t!) N'~N ;,nz,i' NOOl

;,NOON nO'"Ti'n ;,NZ,NZ,N
268 CHAPTER TEN
l;l'O~ ~~ ;11 "~1/ -i;, n1iN z,~~ i~Y N~~

;'l;lt:197 "7 ;':~l:1 z,~ c~ I ;,~ ;,:~tt z,~ ;l;l7~7~
;,~~ -r~ ",iVG ;l:t~ I VW~ ;'':'91:1 ~"9':11~~ 5
;,~V? C~ "~ ;,~ ;,:~~ I C"~it90 "WltG 1iit?~~~
;'l;l~ VW11';10 z,~ NZ, I "~ "l?'! i~V ;~~~~
119. Title: (What I also said about entreating God) whose names are
sanctified.)) Monorhyme poem in the vowel metrelmishqal ha-tenit(ot;
this poem addressed to God and ending with a biblical quotation
from the book of Psalms is clearly inspired by a religious world-view.
)n10""i';' C"~i-r;, z,~0 )';' NJN :n.,n~ ... ~~~ 3 .n1V1Jn;, :t,P~QiT
"Ji1;, :N" )t~ ';,n ;,11W;, ),J1Yi nN n1wvZ, ;'J1~J;' ,i-r;, nN "z, ;,Ni;,
;,Ni )t'}1i"YZ, :n.,n~ iT~ ,.,., .;,~ )n"i' ';,n ;,Ni :.,,~ ~~~ .'~i-r ';'
,z, i'i'tJ ;,";,NW :,.,~~ ... ,nt,~t" 4 ."nin~ ;,J10N ,i-r :z, )t'''i' ';,n
,nz'~ 1"N :~ )~ N"W ;,Ni )C"inN C";,1Z,N Z,N ;,J!)N NZ, CZ,'VZ" -r~z,~
5 .r )t" 'i" "!) Z,V )"J-r"n!)n Z,N :iTnnQt, ... t,~ .1J";,Z,N~ i1Y 1"N1
)NJ ';,n ;,Ni )t'}1i"YZ, .,oni~ "Nt'n i'i01 "z, nz'o :'''~V 1'Qn.,~, ...
.1t' )no 'i~ ;,Ni )""n "0" z,~ :iTnv ... ".,'VQ ."VW!) ;,no ,"oni ~i~ :.1
,~~ iT"iT" .C"~1t' C"WVO ;,W1V "J"NW nV~1 :C"~'~iT "~VQ 1,.,on~, 6
.,-r.1Jz, 1J"nJ1V nw :n )Y ';,n ;,Ni :iTn~ .t'z, )1 '!)1W ;,Ni )""Z,V oV~ :"~
in1W Z,N ,,~ :iTn~ ... "~ ."VW!) nN ;,no 'J1Yi~1 :"V~" "OiT ,~~n~, 7
.;, );' ';,n "!) Z,V )VlVi NZ" ;,nN ~1t'
.N30 NLR Evr. I 802 ""~ :i1i'0 .~p
10 t1!)" NZ, ~noZ,N 1N "!) N'~N ;,nz,i' N001

~"i'V 1N!) ;,Z,NonnN~ NZ,N ;,Z,NY1~ ;,~"~n
i~'.11 N'Y1V i~Y z,~
wiil ;,~lt; ;'J;11l:l ii'':111-G ~z, ;1 i'; z,~ i'.1~J:l0

Wii"l:l ~J~~ V~'r iJ/-~~ it?i:a z,~ i'.1~J:l~"~ 5
120. Title: (What I also said (about the fact) that the lover will only
succeed in being together with his beloved by tolerating him and as a
result of patience) sacrifice) and perseverance.)) Monorhyme poem in
the vowel metrelmishqal ha-tenit(ot; this love poem instructs that
patience is an important virtue for lovers.
Cl :~,." ,t, .'~1rlN nN Z,'~O :,."., t,V p~NniT 4 .nlV1Jnrl :t,P~QiT

:~,." iT~Vt, .N~1-r0 rl4t rln )C 4tiO C4ti~-r rlnwn lnli'ninrlO lZ,4tN
nN Z,'~NZ, NZ,W i'!)NnOW 4t0 :,~~~ p~NnQ 5 .-r4t )t' 'i4t rlNi )t'Jli4t yZ,
V~~4t .1iO~ l!)l~ oon 4t :lZ, )1t' '14t N rlNi )nlZ,W~ 1J4tN 14t4t-rVW~ 14t~JV
CnV~Wl Wli 4t nrll :t'4t )~ 'N14t rlNi )~1t' 14t4t nlnwZ, rl~t4t :~'''4tn '~QQ
.1nN
.N30 NLR Evr. I 802 4t"~ :ili'O .N~p
rlilY rl~ nOi'Nl rlnZ,i' NOOl

rlilVNJ Z,Nn 1NOZ, 1V
-r~t?~:t~ ~1 4t~:t~ ;~ rlQ / 4tl:17~V? C~G n~~l7~

-r~~~ c4ti?'in;:J z,~ ~~ / iV9~~ ;~~~ 4tt1Q7~
;7
-r~0 4tl}iN-,ii' ;~ 4tl:1t:1~/ -iPl~ ~1 4t~~l:'l:l1 5
-rGin 14t~ii ~~ z,~ i4t~~ / rl11 1~ ;iPl 1'~ 4tl:l4t~~
-r'1t:1 it1~ ii1z/Q 4t;~ / t'J4t~;:J n4tt:1'G 4t;~ N~ -r~
-r~iO 4t;~ N1i? 4t~ii/-:tW7~ rl"t' 4t~G4tW~1
-rt?iw Z,9~:t~ ii?:t 4t~/-~~ 4t~ -rirl t'JiZ,t:1~1
-r~~ z,~~ iZ, n~N~ 4t~J/ -l? il~Jl? ; ;1~~ 4t~ e,~ 10
121. Title: (What I said on the basis of the silent language of a water-
wheel, by which I created a picture.)) Monorhyme poem in the vowel
metre/mishqal ha-teni{ot; this poem addressing a water-wheel is an
innovative example of Moses Darers use of direct speech.
)C 4t O Z,lZ,lZ, )nZ,lZ,lZ, 4tnZ,NW :4tnt,N~ C4t Q nt"~t,, 3 .nlV1Jnrl :t,P~QiT

?nZ,~NnOl rl~1~ nN rloZ, :"~OQ~' iTQ .~rltrl nZ,l :1 )~4t 'rli' rlllWrl
,4t4t~~ z,-rn4t 4tno :"~N4t 4tnQt" 4 .l )-r 'ONl ~4t )~ 'N14t rlllWrl )t'Jli4t yZ,
4tnoz' :rl )n 'OW rlNi )rlilYZ, .4t no :4t nQt" ?'4t4t~rllN ~z, 4twni nl~i'V~
i04t4t Z, z,-rn :4tnn~,nQ ,t, ~., .C4t Orl Z,lZ,l 4tz, rlJV :4t~~vn, 5 .,z, i 4t nVN
.rltrl i~-r~ -rlV 4tZ,N i~-r t'J0ln Z,N ,z, ~i :1~ )l '~-r rlllWrl )4t nlN
1'V 4tn4t4trl :.,Q,n 4tn4t4tiT 6 .4tz, lii'W C4ti~-rrl nN NJ i!)O :"~iT 4tn'N.,'p
1~ .rlNiOZ, -ronJ 1'V z,~ C4t rlZ,N 'rl Vt'4tl :t' )~ 'i~ rlllWrl )-rlNO rl!)4t
nil~ Z,w lNl~ -rv :n4tn~Q .,v 7 .N4t )nJ '~ rlllWrl )t'Jli4t yZ, :iT,.,
n-rJz, rlYV nN n 4t nwn NZ, :t'4t )~ '~-r~ rlil0Nrl rlllYOZ, -rll4tJ~ )C4tyv
nN rnWrl :.,.,n .1t' )4t '~ rlNi )t'Jli4t yZ, :"'~Q 4tt,V r'J4t~iT .1til 14tZ,V
:.,V,Q ... 4t~'''~~t" .-r4t )-r0 'rln rlNi )t'Jli4t yZ, :iT~.,n 4t~Q4t~4t' 8 .il00rl
."iT .t'Jz,nnrl :r'J,t,n4t , 9 .4tiln~ i~WZ, -rVl0 4tZ,V Nii' :1t' )N '~4tN rlNi
270 CHAPTER TEN
'n~ ~!)Z,V )'i'~ ~z,z,.:t~ :.,p~ ~v~~~ ."T )n~ 'W~ MN' )O~!)~M ~~n,!) :~~~
.M~' M~.:t~~ :'P'~ t,~v~, .O"TNM ~z,z,.:t nnn 'i'~M ~V~!)Y nN :,~ )"T
1!)MJ :,~ )M '~~N MN' :~,~v ,~,~v 1~jT~ 10 .N )t~i' 'Mn MN' )~"~Yz,
)Z,~NnMZ, ,z, O~NnO :,~~ n'N~ .z,~O :~,~v .,n'O~VJ :,~,~v .'Jz,no Z,~NZ,
.O~'YOz, Mt "T ~~ Z,~N :N~ )J ,,~ ~!) Z,V
.~30-N30 NLR Evr. I 802 ~"~ :"1'0 .~~p
~'Ni'NZ,N 1N ~!) N'~N MnZ,i' NOO'

Mi'N!)Z,N' 'i'!)Z,N "T{'}' .:t,~ 1'~M'''T~ Ni'''TYNZ,N'
~M~n~w '~1'''Ti~ WiJN z,.:t, M"T1'/-OJ:l n1" '~W1' ~~MiN o~:a"

..: T: ...: . . . . . . T -: :. : T -: -:
N~M ~1J O~l n~~ ~'J~ iJiM M1=tI-N~ O~l 01tt ~,~ 1iO~t11
~M~ N'OZ, ~~:aJ z,~t; ~'O N I ~ S O~ niZ,~ oi~ ~~~MN ~"T 1':a
: - : - -: : T : - : - -: .:-
5
~M~NJi
:
w, ~nN'
T -: -
w, T
~'O/-
:
N
T
~"T~"T~
-. :
O~O ~:a ~M
-:
~ J:lOJ
.:-
122. Title: What I also said (about the fact) that relatives and friends
will take leave when discovering poverty and neediness.)) Monorhyme
poem in a metre close to the metre ha-merubbe based on the Arabic
al-waftr metre; this poem ending with a biblical quotation from the
book of Proverbs considers fair-weather) friends who stop being
friends in times of trouble.
.M"WM Z,VO M~,Z,n '''~'M ~"~~ :,"~,~ 2 .M~"OM 1~VO :t,P~~jT

jT'V~n nv, .o~~, '~WV ~~MN' :~ )"T~ '1210 ~!) Z,V :.,~~V ~~jT'N C~~'" 3
:"T~ )z, ',~ M"WM :'jT,n~~ ,~V,,~ .M )~~ "~N MN' )M'Y nvz' :t,~.,
'1210 M"WM )'~Z,V~ nN 'N!)O 1'MM :C'N ~'V l'~~jT' 4 .1,n~W 1~~MNO
:.:t~ )NZ, 'Mn MN' :n~~ ~jT~ ..1 )~~ '1210 MN' )~,,~yz, :'~'jT jT'~N~ .t~ )~~
N'M MWVOZ, ON ~N :N,jT ~n CN' ."T~N ~z,~~ ~n~~M ~Z,O no~ ~nn~WJ
t,~t, .~~Z,V ~~,~n ',ON )~J'M z,~ nN ~n"T~~NW~ :'''~N ... ~~'jTN 5 .~n
~n'ON :~n~~ 6 .'MN'O Z,N ~~n Z,N :t )ro N"W ~!) Z,V :'~N"~t, ~~~
.~'i'~ NZ, 0'0 ,~ 'WN W~N z,~ :n~ )N~ 'i'~' MN' :C'~ ~~ ~~jT .~~,~nz,
~!) Z,V :'jT'N~~ ~., ~nN' ..1 )~!) 'Mn MN' )~JV MnN :~., .~~,~n ,JV :'''~N
.t )~~ '1210
.~30 NLR Evr. I 802 ~"~ :"1'0 .)~P
z,t.:tnZ,N ~!) N'~ N MnZ,i' NOO'

Z,N'''TVZ,N z" I' z,,~I' 1V Z,N"TVNZ,N'
O~4ti nN 0,11 oPln~inZ, o4t~tiV / ~;,4t 04t~4tiOZ" o4tn4t~ioZ, ~iON

T CT:t,~ -~iO~Q- nit"p, ~~t~ I C~l cQ~i ;iWiPQ '1Z>1b~ ,~~
0~1i? i~~ ;int i'~1J 4t~Q~~ / ~!J11~ 4t~~1 4tt1i4t7~1 4tt:1~i 5
0~7 12ii i? ~-r90 4t!~ -r~ 4t~/-~Yi? z,~ ~;,~tt!: ~~ i~~ 4t~ z,~
123. Title: (What I also said about love and about refraining from
accepting the words of rebukers.)) Monorhyme poem in the metre
ha-shalem based on the Arabic aI-kamii metre; this love poem) end-
ing with a reference to amputees which may refer to a passage in the
Koran (Sura 12:30-31) deals with the love rivals and (rebukers)) who
call upon the lover and his beloved to end their relationship.
;,11W;, )i010 04t!J4t t'0z, 1iON :c4tn4t~'Qt, '''Q~ 3 .iY1i'0 oZ,W;, :t,P~QiT
n4t~1;'Z, 1Z,-rn :C~4t., ,jT4t .4t )~ N"W ;,11W;, :C4t~4t"Qt" .;,~ )-r~ 'WO
;,Ni );'i1YZ, :C~4t" .t4t )4t 'WO ;,Ni )t'J1i4t yZ, :cnn~,nt, C4t~T'V .~4tiZ"
0;,4t n1!Jt';, 4t!Jz,~ 4tJtN nN1 4t~z, nN 0t'1N 4tJN :C~4t~ 4t~t, 4 .,1~ )~~ 'WO
:4t )1 'i4t ;,Ni :C~4t~ 4t~T~ .-r4t )nz, ';,n ;,Ni :CQ~~ 4t~t, .0;,4tn1n~1n1
)4t~~z, ~ii'O )4tJN :C~"p 4tn,., 5 .~4tWi';'z, 1Z,~14t NZ" OJtN ;,Z,iV ;,J;,
)~1;'NZ, :C~t, t,V 6 .1 )n W";,W ;,Ni )WN~ niV1~ ;'~;'NO Z,~10
;'i"WnO O~z, 1Vii'4t 1 0-r4t 1YYi'4t )N1;, ;,NJ ;'0 04t~;'1N 1Ni4t ON iWN
;,11W;, )t'J1i4t YZ, :C~t, V'''P .~4t )-r ~"W ;,11W;, )t'J1i 4t YZ, :,4t 4t~'~P .14t!JZ,~
.,14t )~ 'N14t
.~30 NLR Evr. I 802 4t"~ :i1i'0 .'~P
ONn~nON Z,N'-rJNZ,N 04tW to tN N'~N ;,nz,i' N001

rNi'JZ,N~ tNZ,VNZ,N1 rNy'~Z,N i'~N!JO
iJiZ,i? n~ ;,~~~ -r~ ii4t~Q / ni-r~OQ n~ i~t~t i~~01

iJ4tt:11 l,~ Z,i!1~l t'J~.a0 oin9 / z,~ ~it~~ n~ ~~~r~ in~ol
124. Title: (What I also said (about the fact) that one of the charac-
teristics of mean people is (their) concealing good qualities and
revealing shortcomings.)) Monorhyme poem in the metre ha-merubbe
based on the Arabic al-waftr metre; this gnomic epigram about an
ignorant person ends with a witty punch-line.
.Z,4tO~1 iV~ lU'N :t )~Y ';,n ;,Ni )z,4tO~;' :"V~iT' 3 .;'~1iO;' :t,P~QiT
.1i~n Z,W n1~1t';, 14t n1-r4t 0 nN i 4t noo z,4tO~;' :'''4t~n "V~iT'
272 CHAPTER TEN
:;, ).1 '1nJ ;,Ni )1i~n nlVi.10 nN nlZ,.1Z, 4t'1~ :,~,t,p "1'
~1~t;, :r'P~j1 nv .~1~tZ, ;'01'1 Nl;, :~'~T~ ,n,Q., 4 .1J1Z,i' 4tn4tZ,.11
:'~4tn~ t,'~4t' .1 )N 'W4t ;,Ni )t'}1.1~W o 4t oZ,W;' nl0li'0;, nN ~tlV
~"n ;,11W;, )t'}1i4t YZ, .n4t ).14t 'i'4t l ;,Ni )ilV~ ;,Wi' ni'z,'1z, z,!Jt'J ~1~t;'1
.14t nW ;'~10 4tJ!Jz, ;,z,!JJW :N"V '1 nl0~4t
.~30 NLR Evr. I 802 4t"~ :ili'O .j1~P
'1V~ 1NOJNZ,N i~'" 1N N'~N ;,nz,i' NOOl

;,nN!JY z,~~ ;,JV Ni~'~O ;,nN!Jl
ii:t~t z,tI n~ol 1i;, O~ lZ,h~1 I 07iV7 1i~~ n9~ i~!01

ii:ti?t ~~iw 4t0~ n~ 14t V?JtGt I i;1~O~ 14t't:1~ WiJ~V i~!1
ii'~l 14t7t:1~ ~i9N4t 01;1 0~1 I 311 4t0~ O~ ;,~ t;~t 0i?1~4t iO' 5
iitTt ;,~; t'}~Yl t'}~7 iiO f I 07i V7 ~9~ ;,~t;11~ 1~ 0~1
125. Title: (What I also said (about the fact) that the commemora-
tion of a person after his death makes all his qualities known.)) Mono-
metre; this poem stresses the transience of human life and wealth in
contrast to the everlastingness of the commemoration of righteous
people.
...
lZ,4tNl nYJz, iOWJ O'1N Z,W li~t :,.,~v~ "~Tj1' 3 .;'~1iO;' :t,P~Qj1
:'1 )'10i' ';,n 4t!J Z,V )t'}Z"n z,Y NZ,N lJ4tN )i4t WV ON 0.1 )10YV Nl;,
OZ"V i~tZ, :1 )~4ti' ';,n ;,11W;, :Ct,'Vt, "~Tj1' .i~1V z,Y~ 14t 0 4t O'1N
14t WVO 11i~4tt 1 4t WOO lnil~i' inNZ, 0.1 :'''~p~ "~T' 4 .i'4t'1Y ;,4t;,4t
i~i' 4t~~W :1 )n!J ';,n Z,N '11.14tJ~ )14tinN o 4t4t i'n;,z, O'1N Z,W 04t~1t';,
';'i' ;,11W;, )'11V i~t4t4t NZ, VlVi;, OW :1'" ... 'Q~ 5 .'11V oni~t NZ, iWN
,Z, 0 4t i'Z"n )iW4t;, 1i'1~ 1Z,;, ONl :,.,~~, c~, .;'O~4t lOW 1Wn~1 :'1 )1
01W~ ;,4t;,4tW OW 1Z, ;,WV )4t J~ )1~Z, :'''~T~ c~, 6 .;'~iV;'1 '11~~
.W~'1;' i'nO~ i',nO' ~1t';, OW1~;' Z,W ln4ti~
.N31-~30 NLR Evr. I 802 4t"~ :ili'O "~p
~Nn~Z,Nl N4tN'1;,Z,N~ 1N 4t!J N'~N ;,nz,i' NOOl

Z,'i'VZ,N, nNlioZ,N i~n'~n Z,,0iZ,N,
~;,nZ,iw nD'1~ i!JO Z,~1 I i~iD~ N4t;, ;'i~Wn N4t~O Z,~1

~;'iDi:ao :ONl N~~: OD: ~4t~; :1 ON in~iw nZ,DO:a ~D ~4ty z,;;
-: : T : : - : -: T :
~rl4t1i?in z,~ lViJ~ 14t~ ~~~~ / rI'~lVt;1 CJ? i~~1 i 4t z,~ nNt7 5
~rl4t1.tit CJ? iiO~ ~9W 4t0~ / '"T~ rl07'l:1 n~ rI'9~0 nNt7
~rlinN cZ,iVZ, '"T4t DO 4trl4t / i!)01 i 4t lV i~no z,~ 4t~ V'"Tl
~l'11~-~Q7 ~i:L~ ~!];"tJ~ll .,li>~~ tJ~ tJ~'~!6 tJ~ '~1Q~
~l'11Q't niN' ~~Q np ~~~ I ,,~ l'17~'t .,~tJQ "p ~in 1~1
~rI~'9~ it~V~ iY~t:' Z,~1 / i'"T~~ :L~ ni~T9 4t~ 1~G7 10
~rl4tW~G i;1t?~~ in9tOf / '"T~ 4t1~; lV1~i'9 iitT 4t0~
126. Title: (What I also said (about the fact) that one should exam-
ine the virtues and insights of benefactors) writers) and messengers.))
al-waftr metre; this didactic poem is characterized by the use of the
imperative form .
...
.rlnlN N4t :LOri 1iV 4t!)z, rlJnOri :'~"V~ t,~, 3 .rI:LliOri :t,P~QiT
Z,~1 :'iT"V'~Q t,~, 4 .,nZ"W no~n 4t!)z, :Ln~O z,~ :'iTnt,,~ t,~,
IN Nlr1 CVrI 4tin:LJO CN )1nlN i.14t WW W4tNrI nlJl~n Z,V '"T 4t VO n 4t z'w
14t:Ln~0:L n!)i'nWO C'"TN Z,W lnO~n :'iT4t"p,n t,~ 5 .C4tiV:LJrI 10 '"TnN
:Lz, c4tw :iTnt,~n n~Tt, 6 .rlZ,NrI C4ti:L'"Tri nN i''"Tl:LW 4t0z, 14t nlJnO:Ll
7 .il0rl 10W~ :Llt'Z, 10W i~t4t4tW 4t'"T~ :'iT4t.,~'T .,V .nZ"W rlnNW~
.C4tN:LrI nlil'"TZ, nl'"TV :Ln~01 i 4t W z,~ )iilWOri nl0 4tinN :'iT.,n~ t,~
'O:L rlNi :,~., C4t pTn .1il:L0 rl4t rl4t iW~10 i:LnO :"~'~4t '4t"Q~ 8
.1~4t!)Z, =1~' 9 .3MrI iilWOZ, 4tl:LNl 4tlN Z,:LN :'iT.,~nQt, C~' .n 4t ).14t
z,~ n14t lVt'0 lnlN il0WZ, 'riO Wi':Lz, 1 4tiY i:LnO z,~ :'iT"Q~4t ~,n
10 .4tJi'J nlinOJO 14t :L4t 4t0 nlN4t.1W :.14t )t'4t 'rln rlNi )lOtri
lnl~:L W4t l nlVi :Lz, nl:LWnO:L t'Z"W 'rlW C1WO :'iT~~Q4t 1VQt,
W'"Tli'O 'ri i~t rl4t rl4t nYJz, :'iT4t~VQ 4tiT4t 11 .nl:Llt' nl:LWnoZ, l~!)rlZ,
'ri 1 4t WVO 1:Li riO :'"T~ )'"Ti' 'rln rlNi )C 4t:Liri 14t WVOl lnO~n n14tnYJ~
.n4t WV rlO~n:L Cz,~
.N31 NLR Evr. I 802 4t"~ :ili'O .T~p
NOZ,V rlZ, rlZ,Z,N i'!)1 l"~W 4t!) N'~N rlnz,i' NOOl

n 4t z'o Ni't'JOl n 4t y!) Ni't'Jl n 4t ny N:LrI''"TOl n 4t '.1i
~4tJ;1Q~O C~ ':(~1i?:t~ / 14t~ C~ z,~W l~l:'G ,:(~7

1t11in 'Q n, "1'Q/-7T:1 nii'~7 tJn~ '=r~iw7~
~4tJ;1'9~ i'J;19 ':(~t:1/-:t~ ':(~ii~~ iTt! C4tJ?~~ 5
~4tJ;1in~w ':(iPl ltl i'~~rI / C1 ~ l~~ J:l4t ;J~~~
274 CHAPTER TEN
127. Title: (What I also said about a person whom God endowed
with superior knowledge) true faith) eloquent speech) and a hand-
some appearance.)) Monorhyme poem in the vowel metre/mishqal
of Psalms praises a person not only for his beauty but also for his
intellectual and linguistic abilities.
)t'Jli4t yZ, =14t~ c~ t,~~ .;,o~n ili'O 1~Z, =14t~ ... 1~t, 3 .nlV1Jn;, :t,P~QiT
1~'~t" 4 .-rlNO c~n ;,nN :1'nQ~n C4t 1~"P~' .~4t )~~ N";,-r ;,llW;,
:;, )~ 'WO ;,llW;, );,o~n;, C4tl z,~W;' 14t VOO C4t O n~N1W 1J1WZ, :Ct,.,.,
)t'Jli4t yZ, :n,p~t, Ct,.,., .;'Jz,-r4t ;'Jl~n W4tNl ~N ~z,~ ;,YV C4t i'OV C4tO
.;'iln;, 4t-r01Z,Z, ;,o~n ;'i'WO 1J1WZ, :1n."n ... n,p~t, .tt' )~ 'OW ;,Ni
nliOt C4t VJl :N ),1~ ~"W ;,Ni )~lt' iOt ;,nN :1~'''~~ .,QT C4tV~' 5
4t~nz, ,yZ,OJ ;'0 :,1i' )t' 4t i' ';,n ;,Ni :14tn"Q~ pnQ 1~n~, .Z,Ni~
';,n ;,Ni )-rlNO ;,!)4t ;,nN :14tn,n~~ ... n4t~4t~4t 6 .4t!)z, w~-ro 1niON
.14tnln!)W~ 1n i'Yl;, C-rN 4tJ~O n 4t !)4t!)4t :,1 );'0
.N32-N31 NLR Evr. I 802 4t"~ :ili'O .n~p
~l~no iN'-rnVN 4t!) N'~N ;,nz,i' NOOl

1V z,!),1n ;,v~n4t ;'~J'-rl ;'Nt"~ 1V ;,~noz'
nZ,Ntl nZ,~i'N 1N nZ,Nn t'JYl c'n i'4tNZ, 't'!)z,~ i'4tNZ,'~Z,N ~l4tV
iZ,~1 i'iW~7 nW~l l4t~/ -iY CJ? 4t'!?~ 4tl:1,~' ci4t

iZ,ii' 4t;~ N1~ i!1~/-:t~ 4t~ i~~~1 4t~9 O~ 5
iZ,~O -riOl?; Oii~l:l ;4t~ iN / it Z,~1 i'iW~7 W~l:1 ;4t~
iZ,~t;~~ ;i~~ z,~~/-~~ 4t~~1 iniN 4tl:1~!~
iZ,4t0~0 Ci~0 ;~ ~it' 4t~/-7 ~~ i~1WG~ 4t~ z,~
iS~4t~~ i'iNO~ 4tniU/-i Z,N i;,0 4t l wri
t'1'O~
it,1;'Q '~~ ii'~1Ury~ l1it,/-l?~ i'~n"~~ :Lin "~*1 10
iZ, c 4t nz,oJ l4t nNt'nl / ~;,iN 4t1'Y!1 C4tJONJ 4t~
it,1;'~:t~ irhii':i~T ii'/-~in :L~ 01" C~ipQ .~~~ ~~
iZ,~ 4t~i'; 14t~ 124t1 iN / C~o 4t7~~ -ri,; l'i!1t:1~ iW~1
.. iZ,4t ~ 4t~:t~ ~~;,~ it?in / i'iwO 14t~G ;,:t:1~ -r,.~
iZ,~N iZ, C~t1' Z,1' ;'~iPl / c 4t -ri,; Z,1' W4t N not'lvO 4t~ 15
I T it;;~ i~1:' C~i:t1;Q i tt'l?iT-l O~i'~~ nry7l?~
iZ,4tJ?in NZ, l4t7~ i'!~ / ~~ 124t1 1iit?~ nl4tt?~~
T z,~o i~Y / c 4t nN;, n1'i ;,nioZ,~
iZ,4tuO ;'1'i
it,~ip t,~ niN c,~ i~ 'QH~Q '~rl} C'71;'~T0 c~
iZ,4t!)4t NZ, Z,N;, iNJiW I 4t'14t~ io~o '11' 4toZ,iVZ,~ 20

,r,~O~l} M~:r" i'~1;'b~~ / 'N~t' r@Q C,r,~0 ;~
iZ, ;'l't NZ, 1i;, z,~ iV1 i4t I '1iV 4t~ it?~O V11U'~ 1~ z,~
iZ,4t73:'~ W~ ;i~ iJGt~ I ~,~ tW4t~} ntl~i~ ;7 ;,ryi?~
iZ,4t'1~~ iNt'n .14t O i~Z,I-O iO NZ, 4tn ~J'1iV~~
'~~V' 1?'1ry7~ fi n77 i ,,~~ ;'i?~l:I -P1ryV lQh 25
iZ,93:'1 i4t~~ '14t~t0 4t~ I in~i iZ, ~WV 113~ Nt,
iZ,:ttl '1~7 n7~ 1~ 1131 -~1 1iw 9W ~~ W1~~1
iZ"i~ 11~ nG1i? c1 I ;,,:t~ niY1~ iZ,4tt:1~0:t~
iZ,~~G ;'~3:"lWii C~ I 14ti?,G ;'7~1l:l 113~1
iZ,4t!)w;, i;,~~ ni~on~ I iiW1' inN i1U'ii~1 30
iZ,~o ~~i~ n{t.)~o OW:I iiN~Y C~ 10:JW 4t~1';
"~71;'O 12'' 1;1 T'~t;ltl/-'i' r,~T~~ ~1" 'N~M ~~
iZ,4t~ C~ ioi4t ii~~~ I Z,~iw C~ i'l'iy N~;' 1~ z,~
iZ,~!?~ z,~ rr707~ I VW~11i~ nl'~
iZ,~,~ C~i'~; N~G9~ I 4tt) z,~ z,~ ~it' l'.gin N~;' 4t~ 35
128. Title: (What I also said about the apology of a beloved to his
lover concerning his sin and his wrongdoing) following which is a
rebuke of human weaknesses in decorous language) followed by a
description of (the human) condition) which ebbs and flows.)) Mono-
rhyme poem in the vowel metrelmishqal ha-tenit(ot; here) Moses Darci
opens with a love theme but quickly moves on to a moralistic treatise
on the human condition and personified Time.
iWN:J :'4t~'~ ... C,4t 4 .8.6 N1~0 ;,Ni =1~ nt,~n 3 .n1V1Jn;, :t,P~QiT
i'WJz, 4tn4tyj1 4tn'1i' :,t,~., p,~~t, n~~, .14t'14t'14t ni~n~ 4t~1;'N nN 4tnw.1!)
Z,'i' 4tZ,V C4ti;, 10V:J~1 4t~ ~tJ1 4tJOO 4t~1;'N vniJ :,t"p ... O~ 5 .1Z,.1i nN
tva ;,nN 14t N :.,T ... 1'~ 6 .t )t' '!)1W ;,Ni )~1i4tyZ, :,t;,p 4tt,v ~~~ .;'i'VY
4tJ4t~ Z,'~.1;' nN l'1i!)Z, tva ;,nN 14t N :,t"Q ... 14t~ .it C'1N Z,.1i i'WJz,
nN 4tn~tV :,n,~ 4tn~TV 7 .';' Z,N 10i;,4t Z,N :N:J )t'4t 'OW ;,11W;, )1J4t~1
1:J z,v :,t,4tiT~iT ... t,V 8 .14ti~'10 Z,~Z,,~O 4tn4t4t;, :,t"t,QQ ... 4t~~' .4t~1;'N
~n 9 .4tJ'14t n!)o N1;, C14t ;, 1Z,4tN1 4tOV n1~1t' i~'1 i~VW ;,z,4tz,~ i'iW
:,t,~4t~' ''''~Q~ .4t4tJ!) i!):JZ, :4tn,~., t,~ .t'4t );' 'W4t ;,Ni )~1i4tyZ, :.,iTQ4t,
:,t,VQ ... ~,n .4tz, iON 4t~1;'N :"Q~4t' 10 .;, )1 '~'1 ;,Ni )1n1:J z,:J~
14t n1V4t.1!) 4t:J :,t, ... 4t~ 11 .cn'14t.1~ Z,v C~1;'NZ, n1Z,oZ, C4t:J 4ti Y C4t~;'1N;'
Z,V :~iT'~ ... 4t~ .14t n1.11WO Z,V ,Z, n1Z,oZ, ~1 ;,Vi 1nJ11:J 14tN ~;'1N Z,w
1N ;'i1.1n~ 14tZ,N '110Y 4t~Z, C'1 nN C4tW :,t,v~~, ... ,t, 12 .1 )t:J 'wo 4t!)
1Z,VJ~1 14tJnO~ iWN 1ni.1n~ ;,onz'o 4t0'1 1n4t1 :;, )~ N"O ;,Ni )Z,VJ~
276 CHAPTER TEN
), '0";''0 ;,N' )O~W'O :1';,N ;,~n,w "0 :,t,~N ... .,\vN' 13 .'''~J':1 ,'ON
... .,.,~ 14 .:J )) ';,n ;,N' )0'0 :.. ~,., .':1 1" N 0'0' ..n"v, ;,!).. '~:J :t
;"''0;' )t'J" .. y~ :jT"n" .,.,~ ."" "):1 :1'i':1 ;,:1;,N ,on, ",:1 :1~ :,t,.. ~
O":1';,N;, "!)~:J ;,N)W;, :,t,~N ... "~ 15 .:1'0" ,,:1 N';, :'0 )J" 'i''''
n~o" ON ~:1N :,t,.. ~ ... nn"t,o, 16 .':1Jn ,N ,n':1YV tN' ')00 0i'''n,n
17 .n" );' 'i'''' ;"''0;' )"NO no~, on':1n:1 :1~ )on,vt' ~V O":1';'N~
PT~ .,t' )N ';'i' ;,N' :l,.,on .:1 )N ',n) ;"''0;' );,N)W n,"ow :n.,,,~~,
;')"N ;,N)W n,"ow :,t.;,"v,n Nt, ., )t 'ON ;,N' )'O!);, ~N~ O,J) :,.. t,v
~W V,;, ..wvo l":J..t i'n,OW "0' :,t,.. ~o ... jTn,ot" 18 .,~ ;'~"V'O
i''''Y n,v, n':1' ::J )'~ ';,n ;,N' )3" ~:JO ,n'N ~"YO ';' ),":1,'i'
~W O;,"OJ!)O o~vno;, ~:J' :,t,~\V ... c..t,VOjT 19 .';' ,)~.. ~ O~:JO'
"ot"vt" 20 .t:J )n:J ''00 ;,N' )t'J" ..y~ :,.. ~..v c..t,VOjT .N';' o:Jn )o",nN;'
n~'t;, "0'00 l"V;, no~v;, :,t,.. ~..... '0'0 .r );'0 ''0'' ;,N' )nY)~ :"1'
,.. \VVO~' .0" Nt' n;, .. !)~ O,~W;, :'N~n 1"00 c,t,\vjT 21 .;,)':1n ~V ;" ..VO
22 .0;'''''' ;,WVO:J ';' ~'OJ O;,~ :1"wn :'0 )J ':J"N ..!) ~V :,t"o~n jT"~
V',.. W "0 :,t, ... '1'''''' .:1 )N ''00 ;,N' )t'J" .. y~ :.,0'0 V., .':J"!)~ =1~ t,v
~N ~W ,"n,!)t';,o 'O~, :,t,.. t,v~ ... jTnp' 23 .1';':1 i'!)noo ')"N ,0'0
.,0'0 n,n:J,n :J:J ), ''00 ;,N' :nn~,n .WN lW:1:J:1:J t'J'Y) '....n 1'''0'')'0
,'V ~:J' :,t,...,~, ... ,~.,'V~, 24 .;"''0;' ~VO ;,",~n ;,:1"n;, "":J:1 :\V"N
,~.,'V~, .;'~"YN n:JnO:1 ~"':1 nJ'OJo:J )Nt'n:1 ':1~ ,,;,t' O,J!) "n N';,
,:1:J t'J'YN' :;,:J )N ''0'' ;,N' :,t,.. .,~, 'N~n ~..o ., );,:J ',:1 ..!) ~V :"n
.,~V nN ''':1:J;'~ ;')'0 lOt;, :,t"v .. lOT' 25 .'''~''':1 ~:J ;""ON' ,"J"O
~V :,n,., ... Nt, .'VY;', ~:10;' ,:1,:J0 W'!)~ ,~ n")o N~ :,t,OV, ... Nt, 26
,.. ~v . . ):1" N"O ;,N' );",y~ :""~~jT ."n" :1'0;' "))n" N~ :n" )t' ""N ..!)
::1 )J" '!)'W ..!) ~V )n,)o :1'\V0\V ~N 27 .n" );,:J ';,n ;,N' )t'J" .. y~ :,t,OV,
'0:1 ..!) ~V )l'N :nt,~ 1~ .';,n,)o' n"~~:J;' ,n'VOWO:1 IN:J' )n,)o '0'0'
.'l'J'" n"~~:J;' ,n'VOWO:1 IN:J' )l:1'N' "):1 n~!) 1:1 l'N' :N )tt'
.,n~n) ~:1n ... ~n);':1 :t'-n ):1~ ':1, ;"''0;' )t'J" .. y~ :,~"n~jT~' ... ,t,~n
), ',:1 ..!) ~V ),,) =1"1' no.,p .tt' )N:J ':1, ;,N' );",y~ :,t,"n~jT~' 28
29 .'0""')' n ..~~:J;, ,n'VOWO:1 IN:J' )l'V no,i' ,,) l"N:1 :1~' :tt'
~N N":10 N';,W ;'i'WO;, nN' ~:J'N;' nN ~"3"0 lOt;, :,t,~NO ... 1n",
:jTt,v.,n .WN' "0 on"i'w;" ;,)V~ ... O~":JNO ..));, :,.. )t' " .. ;"''0;' ),..!)
'''0:J)O ,n'N ''','0 v';, lOt;, :,t,"~\vjT ... ,\V..." . , 30 .;, )0 ';,n ;,N'
~..!)WO , ..WVO, ~"o ';' :t ):1 N"W ;"''0;' )0,;, ,'OVOO ,n'N ~..!)WO'
;,N' ),:1:J ~:10 NWO:1 "N"Y ~V ,":1:J0, :,t,~o .....t,v, 31 .00,,0 t'JN
~:J :,"n,."p t,~ 32 .,'N'Y ~VO ,~V' ,O:JW ~VO '~:10 ,'0" :t:J ).. '~
;,N' )t'J" .. y~ :,t,t,VO 1',.,0 .t':J ):10 ',:1 ;,N' )'~ "i'W O..V';, 0",:1';'
34 .J )tV ';,n ;,N' )lOt;, ~:J ';':1 '''Y!)O N';, :,t,.. t, ... N,jT 33 .:J )n:J ':1,
';'0 Wi'~O :,t,1'~Q t,~ M4tt,~j1t" .t )'lz, 'OW ;,Ni )t'}li4t YZ, :1'~~' 1'1'
z,~~ l;,4t i'tn4t nZ,~l :z, )~z, ~";''l ;,llW;, )l4t WVO z,~~ ;'~i~ nz'~w
l'!)n 4t~ :n4t )t '~4t0 ;,Ni )il~ z,~z, ~l" Wil'l ';' 4t~ :4tM 4t~ 35 .l;'WVO
)Oli'4t;, z,~ Z,W l4t~iY nN i'!)OO Nl;,l :,t,~~Q C'p4tt, ~t,QQ' .Nl;' 'lon
.14t nlZ,NWO z,~ ';' NZ,04t :1 )~ ';,n ;,Ni
.N32 NLR Evr. I 802 4t"~ :ili'O .~~p
;,Z,;'N~ lNOtZ,N i~O 4t!) nz,i' 'li'l

;,z,''lJ tVOl ;,z,4tz".1 z,''l0 ;'Jl~l
NYOJ z,!)W 'l~~J W4tN 014 / Oi~;' z,~J n 4t Ni ON

Mi~ t.,~~} ~i"T-I .,~t' i C"'1~ t,i?~~~T t,.~~ 16
129. Title: (And (what) I said about the way in which Time deceives
its people) how it humiliates those who are exalted and strengthens
those who are debased.)) Monorhyme poem in the vowel metre/
mishqaI ha-teni{ot; in this witty epigram) the World is compared to a
pair 0 f scales.
;,llW;, )'l~~Jl Oi ;,WVJ z,!)W W4tN :C."j1 t,~~ 3 .nlV1Jn;, :t,P~Qj1

;,WVJ (1 )" N"W ;,Ni) 'l~~J ~N Z,~N :~~Q~ ~4t~ .;,~ );,~ N"W
.04t4tJtNO~ OZ"V;' :t,P~Q~ t,~n .;'J;' =1j1 4 .~~ )1 ~"W ;,llW;, )z,!)W
Z,~N :j1~"~ .,n,4t .,4t."n .z,~J;' i01Z,~ )1iV z,i' ~N ;,Z,VO :"OM c4t.,n
.;'ilW;' Z,VO ;,4t lZ,n ;,~4tn;, 4t"~~ :.,n,4t .'l~~J;' W4tN;, ;,z,4t!)WO
.N32 NLR Evr. I 802 4t"~ :ili'O .t,p
;'JVOZ,N 4t!) N'~N ;,nz,i' NOOl

NJ.1Z,Nl 'll'.1Z,N Z,;'N~ i;''lZ,N Z,V!)~1
z,~~ 4t7~ ~4t1~ WNil 4t;4t~ O~il / iZ, ~i"1 V,,?1 lGt 4t~7~~~
Z,D~Z,~ 'l4t nnnl
--.: - -
Wi ~z, ~4t'lJ
-: T e:
/ W4tN ~~W~: ;,&;in 'lNO ;,Di ~l
T : T T :
130. Title: (What I also said about the subject and the way in which
Time affects benefactors and rich people.)) Monorhyme poem in the
metre ha-merubbe based on the Arabic al-waftr metre; this hom-
onymic poem illustrates Moses Darers emphasis on Time)s unfair
278 CHAPTER TEN
treatment of benefactors when compared with the supposed privi-

leges granted to misers and wicked people.
v~., .10t;, z'w C4tit10;, C4tWVO;, 14t~ =1QT 4t~t,~Q' 3 .;'~1iO;' :t,P~QiT
n1NWJn;,1 :4tt,4t~ C,." .1Z, ~1t'1 VlVi :N"V t n1~i~ ~"n ;,Ni :,t; ~,~,
iON4t NZ, 4tZ,4t~Z" ~4t'1J z,~Jz, '11V Ni i'4t NZ, :;, )~z, 'W4tz, '11l4tJ~ )lY0i';'
);' ';'i' 4t!) Z,V :iTt"n ~4t' 4 .;,Z,VJ 1J4tN ~4t'1J;' Z,~N :t,lr' ~~." .V1W
:~t, ~4t"~ .4tJV ;,WVJ ~4t'1J;'W~ :~., ~,~~ .4t n 4t Ni ;,Z"n ;,Vi 1U' :~4t
C'1N :~4t )1 'wo ;,Ni )VlVi 11t'Z,W~1 :t,lr't,~ "4t nnn, .~~ );'z, 'OW ;,Ni
.Z,V4tz,~
.N32 NLR Evr. I 802 4t"~ :i1i'0 .~t,P
~it'Z,N~ C10;,Z,N VN!)'1nON 4t!) N'~N ;,nz,i' N001

~i~Z,N 'li!)OZ, i10NZ,N z,~ 4t!) cNZ,OnoNZ,N1
;,~W n~ rrGiw ;'~~l / lil~ ~itJt1 z,~ z,~ ;~,0

;,~, ii?:a;l 4t~~ / r7~ ~1t'~ lZ,h~ ;,~~
131. Title: (What I also said about trying to ward off worries with
pleasure and submitting oneself in all ways to the One who drives
away distress.)) Monorhyme poem in the vowel metre/mishqal
of Psalms advises to put one)s trust in God.
~'TV' .l~ );,J ';,n 4t!) Z,V )';'~ nt'~ :t,~ t,V 1t,~iT 3 .n1V1Jn;, :t,P~QiT
'wo ;,11W;, )1nJW~ ;,n1JO NY01 :iT~~ iT4t iT, .1~~Z,0 ;,IN'1 iO;,1 =1'~4t
;'i"YO;,' ;,nowz' 4t~~;, 1!)1;, ';' n1~t~ NZ,;, :iT~" iTQ~ 4 .'1~ )l
.1 )z, ';,n 4t!) Z,V :iT~" ~"V~ .;,Z,''1l ;,n11iZ,
.N32 NLR Evr. I 802 4t"~ :i1i'0 .~t,P
10 Z,4t O'lZ,N Z,V'ln ;"Yl~Z,N IN 4t!) N'~N ;,nz,i' N001

Nn4tZ,o ~4t~nZ,N n~i' i;"t'n ;,~noZ,N IN NO~ Nn4t~i' 1'1VZ,N
C4t~Q~~ C4t~t!N 4t~~ C~1 / nii~~~ 4t7 C4t~~iw nii'4tW~

C4tJ'10 z,~ iiiVPl ;,NJW io~ / ;,ti)~Pl z,~ C4tDW!1 ;'~;'N;'1
C'~Q! "ti~ '7 '~t}"iN 'n~i~1" / N~ilZ11 .,~ ~f "T"~ ""Ti6rytt n~i7 5
T
C4t~t?T0 C4tl?:tW~ N~Q N~;'1 / oi~ n;J' CJ:l~'~~ 4tl}~,~~

132. Title: What I also said (about the fact) that hatred makes ugly
what is beautiful about one)s enemy) just as love causes the ugliness
of one)s beloved to appear beautiful.)) Monorhyme poem in the metre
ha-merubbe based on the Arabic al-waftr metre; in the last line of this
poem with regular phrases from the book of Proverbs) Moses Darci
employs gematria on the basis of a biblical expression from the book
of Numbers ('<the seventy elders))) to refer to wine (r'\ the numerical
value of which is 70).
4t!) Z,V :C4t~Q~~ n'p4t~~ 3 .i;,'yn :4t"~~ :"iT'~n 2 .;'~liO;' :t,P~QiT

iT~iT~iT' 4 .NJ1W nli'4tWJ nlinVJl ~;'1N 4tVY!) C4tJONJ :1 )t~ 'WO
;,o~n C4t VW!) z,~ Z,Vl C4tJ'"TO iilvn ;,NJW :~4t )4t 'WO 4t!) Z,V :C4t~"Q
.4t4t~4tlN z,~0 i'nin;,Z, ;,Yli 4tJN :~~,~, "'Qn~ .,~4t!)z, :n~Tt, 5 .;'~;'N
ni~n~ nl4t ;,Z, ;,Yli 4tJN :C4t~QT n~.,p' .n );,J ';,n ;,Ni );'ilYZ, :.".,~
4t!)~ :cn~~~, 4tn~~~, 6 .~ )nJ '~ ;,Ni );'ilYZ, :n~.,p' .10t;, z,~ 4t4t'"T4t'"T 4t
14t4t NZ,O 0l~;' :C4t~PTiT ~'iT' .l~ )t N"O ;,Ni :O'~ n~~ .4t4ti~n 4t!)~l
C4tV~W Z,V ln4t l :;,~ )N4t 'O~ ;,Ni )C4tV~W 'OOz, N4t4tit'04t.1~ ;,Z"V;' )lW4t
.C4tJi't;, W4tN
.N32 NLR Evr. I 802 4t"~ :ili'O .~t,p
'"TJV ~NnvZ,N ~NJn'.1N IN 4t!) N'~N ;,nz,i' NOOl

~NlyZ,N i~~N 10 ~N~nNZ,N VNOn'.1N
i'.1~J:l~ ii'':11 z,~ 4t~~/ -, n~ 4t~l? 4t1i1 i~':1~

i';1J:' NZ, C4t l?1 nl:t~ n~ / ;'O~iPl iG~ l4tl:1':1~i;'
133. Title: What I also said (about the fact) that one of the greatest
virtues is to avoid rebuking when beloveds are close together.)) Mono-
rhyme poem in the vowel metre/mishqaI ha-tenu(ot; this poem
instructs that forgiveness is an important virtue for lovers.
;,Ni iWN~ 4t4tZ,N itn 4t~l;'N :p~~nQ .,~n~ 3 .nlV1Jn;, :t,P~QiT

t'}Ol4t z,~4t NZ" :N );'0 'i~ ;,Ni :p~~nQ .4tJOO lnli'nin;,Z, 4tnnz'ow
iTn~,n .4t~l;'N 4tz, ;,JV :"Q~ .'"T4t )t ~"W ;,Ni :'4tnn~'iT 4 .i'!)Nn;,Z,
';,n ;,Ni );,n4tz,yO ;'J4tN :p~n ~t, .'"Tn4t C4t~Wl4t C4ti~nw~ ;,n~ln :C4t V.,
.t' )Oi'
280 CHAPTER TEN
.~32 NLR Evr. I 802 4t"~ :i1i'0 ..,t,p
n'ynn NZ, IN 4t!) N'~N ;,nz,i' N001

N'"TWZ,N1 i'4t'yZ,N ni'1 4t!) NZ,N N'"TVNZ,N 10 Ni''"TYNZ,N
~;:JiN;:J V1~~ i~0 / n~ i'1 ;,~~ ;,:t~~;:J 14t ~

~~iN;:J N~;' n9~~ i'in, / ;,:~~ niit' n~ i~~1
~ti~ C'"TN z,~ iU~ iV/-4t i lUtN n~;'N Z,1' 4tPl1''"Tt;~ 5
:L!iV hi;TiY~t:' N9~ / ri~ l'~lJ ~~ ~i':r -:LryiN -,.~
~Wi4t ciPl z,~ '"TiV C4t l?1. n:;/-~~ 14t'1 n4t~ i~:t7~ 4t~ i'1
~~in ~~ N~;' 19~~ 124t1 / C4t l?1 z,~ 14t~ N'i?~ ;,:~~
134. Title: (What I also said (about the fact) that friends can be dis-
tinguished from enemies only in times of poverty and hardship.))
Monorhyme poem in the vowel metre/mishqal ha-tenit(ot; in this
poem) Moses Darci considers (fair-weather)) friends who stop being
friends in times of trouble.
p" .i1~4t'"T~ ;'J4tN ;'~;'N;' :j1~~ j1~j1~j1 14t~ 3 .n1V1Jn;, :t,P~Qj1

:'"T ),14t '~'"T ;,11W;, )4t n 4t ON;, ~;'1N;' ;,z,,1nO ;'i"YO nv~ i'i :~j1'~j1
.,~~, 4 .iY nvz' :,1~ )nz, '14t N ;,Ni :"~j1 nv .C4t~;'N C~W4t;, nv'"Tz,
:n'''~j1 nv .~4t1N ;'WVOz, N1;, ;,iY nv~ 1i~nO i'ninOW 4t0 :~4t'~j1
~1;'NZ, c4tn4tt'~o C4tWJN;, z,~ :~T'~ t,V 5 .;'iY~ n1nvZ, :N )4t ';,n ;,Ni
:~T'V 4t~ 6 .~t~ C'"TN;, z,~ :N4t )tt'i' ';,n ;,Ni );,iY nv~ Ci~n nN
i~'"T z,t'~ )i~'"T~ ;,4t 1Z,n N4t;,W ;'~;'N z,~ :tt' );' n1~N ;,JWO ;,11W;,
7 .,14t )nJ 'W4t ;,Ni )1Wi'1~0 nN z,~i'4tW~ :,~~n ~~Q4t .;'~;'N ;,z,t'~
4tn4tON;, ~;'1N;' :~~,n ... j14tj14t 8 .c4ton N1;, 4tn4tON ~;'1N i'i :~~'4t p"
.,1 ),1z, '~'"T 4t!) Z,V :~~,n r'J~ .10NJ;' i~n;, 10~ i~10
.~32 NLR Evr. I 802 4t"~ :i1i'0 .j1t,p
i10NZ,N ~N1Y 10 IN 4t!) N'~N ;,nz,i' N001

i1iOZ,N OZ,N',10 NJNtnZ,N ~NJn',1N
i~~ n~ ~4tt?iPl l~ t"!4tG/-iw 4t~~7 ~Jt~ 1131:1 z,~

i~t; nnow ;,J1'O C4t;iZ,/-N;, ;,J1'4t CN n 4t oiw 4t~
i:i'~ 1Win ~~7 ~l!'1 't T:L~ '~1~' :L~0 'i(~ 5
Ni~~ NZ, ;'09W z,~ n4t~ z,~ / ~Jt~0 z,~ 4t~N' l~ z,~
135. Title: (What I also said (about the fact) that it is virtuous for
sad people to avoid sitting in the company of happy people.)) Mono-
rhyme poem in the vowel metre/mishqal ha-tenit(ot; this philosophi-
cal poem) characterised by phrases from Ecclesiastes) may have been
intended for didactic purposes.
)now O-rN -r 4tz, ~1YV O-rN ~4tWln Z,N :,~~v ... t,~ 3 .nlV1Jn;, :t,P~QiT
)now O-rNZ, nlt4tZ,v Oill ';' :,~t, n4tQ'~ 4 .Z,,-rl;' liVY nN Z,4t-rln t!)
.,.,~ .i'nlWl -r-rl~ ~W4t ~1YV O-rN :'~4t~ ~~V~iT 5 .t'4t );' ';'i' 4t!) Z,V
t,V 6 .14tiON 1Wln :t~ )f4t 'wo ;,11W;, :'~4t~ 1~,n .10 )l4t 'i'4t l 4t!) Z,V :~~4t
;,11W;, );,now n4t~z, 1Z,4t NZ,W ~1YVW 4t0z, ~t'10 :~'~4t 4t'~" .1~4t!)Z, =1~
o4to~n ~z" Ol1 ~ )t ';'i' ';,nwo n4t~ Z,N n~z'o Z,~N n4t~ Z,N n~z,z, ~1t"
.-r )t ';'i' ';,now n4t~~ 04tz,4t0~ ~Z" Z,~N n4t~~
.~32 NLR Evr. I 802 4t"~ :ili'O .,t,p
~iN'lnZ,N~ tN N'~N ;,nz,i' NOOl

Z,N'liZ,N i 4t-rNi'0 Z,'ln Z,N'l1NZ,Nl
oniJiDl 14t Di lUtNZ, / ~z,.1J i~1Ve: iY- oi4t ~it9 ;'0-

T : - T T :
0t:'~0 ii?4t~ 1V~~ i~/-~~ ii?4t~ i~~ 1V4t~;:J 4t~

OPlOJ ~;'JO OiZ,1V~~ niN/ -Yi~~ iZ, V-riJ z,~Pl -rio 5
c~~ C'~~ C~ C'~1 ~N1/-~T:1 ~~ C~~1Q l~ t,~
136. Title: (What I also said (about the fact) that in times of tribula-
tion and fear) the qualities of men are revealed.)) Monorhyme poem
in the vowel metre/mishqal ha-tenit(ot; this poem ending with a bibli-
cal quotation from the book of Genesis instructs how to distinguish
between true friends and (fair-weather)) friends.
O-rNZ, ii~no ;'i"YO nv~ i'i :cn,~,v, iTQ 3 .nlV1Jn;, :t,P~QiT

;,Ni :.,~ C,4t .~1t' ;'0 ;,J;, :N )lZ,i' ';,n ;,Ni :~,~ iTQ .14ti~n Z,W 0~4tt'
nv~ -r~~J ~wn4t4t i~n :"P4t4t .,~~ ~4t~iT 4 .4tz, iY 014t~ :f4t )t'J ';,n
1~iVl il;,t'Z, ~;,t;, 1!)1;, li'1i'4t t 4tinNW 10~ :cn~iT "p4t4t ~~~ .;'i"YO
nv~ :cno~ "'0 5 .~4t );,~ 'wo ;,Ni )in~10;' ~;,t;, :cn~iT .;,Z"V
0 4t Vi 04ti~-rW tOt~ NZ, Z,~N O-rN;, to o 4t oZ,VJ z'~n;, nl-rl0 01Z,W
)-r '14t N ;,Ni );'ilYZ, :'iT~Q .l~ )~ 'Wl;,4t ;,Ni );'ilYZ, :n'~~'Q~ .1Z, 0 4tili'
c~ .;'i"YO;' to 1-rn!)n Z,N :'~"4tn t,~ c~n"~Q .1~4t!)Z, =1~ t,V 6 .~4t
.t'4t )~O 'i~ 4t!) Z,V )04tJONJ )04ti~n )OnN ON :cn~ C4t~~
282 CHAPTER TEN
.N33-~32 NLR Evr. I 802 4t"~ :ili'O .Tt,p
n~YnON i'WNV 1NOZ, 4tZ,V N'~N ;,nz,i' NOOl

;'i"iW' ;,ilJ N4t'Y 10 ;'i'1WVO~ NOOZ,N
C4t1i?' ;,~Jtl:l c~1 4t~ Z,13;:11;1 / c~ '"T4t1~ ~1A' n~t 4tl:11t14t~1

C4t1i?t~ c4tl:1:tWQ ';1;N ~;i7 / c4t~1~ ';~!?~ 4t1J1 ~;,4tl:l4t~~
137. Title: (What I also said from the perspective of a lover who vis-
ited his beloved in the evening because of the latter)s brightness and
brilliance.)) Monorhyme poem in the metre ha-merubbe based on the
Arabic al-waftr metre; shining appearance is a recurring motif in
Darers description of the beloved.
;,11W;, )~iV nvw~ i~n 4tnii'4t~ :"4t"4t 4tn.,n4t~' 3 .;'~1iO;' :t,P~QiT

nvw~ ili'4t~~ i~1'"T0 CW Cll .14tJ!) inwZ, 1nNii'Z, 4tnN~ :1t' )t 'wo
:c~ .C14t ~iV~ t'}WJ~ :t' )t 'wo ;,Ni );,Jlt Z,YN ili'4t~ Nl;,W NZ,N )~iV
i~'"Tnl 4t~ nz'n;, :4t )tt' '!)1W ;,Ni )t'}1i4t YZ, :C4t"P~ t,niTn .iON i~n;,
.14t4t!)14t~ V~WJ 4tJN :14t~4t 4tn, .1Z, 4tniON )1Z, 4tn4tJV :'iT4tn4t~v 4 .C4t~t~ 4tZ,N
.14t4t!)14t l 1i;,1t Z,Z,l~ C4tii'~~ 4tz, lNiJ C4t~iV;' :C4tP"~~ C4t~"V
.N33 NLR Evr. I 802 4t"~ :ili'O .nt,p
N'"TVNZ,N ;,n'"TYi' NO 4t!) nz,i' '"Ti'1

N'"T;,Z,N Z,;,N ~nNiO ;,tNnN 10
n;'"T;N 4t7:t~ 4t~7~~ 4t~/-~i'4tt:11~ ~'"T9ry C4t1! ';4t~

n;'"T~0t:1;:1 4t1~:t~ '"T4t~~ / 4tl:lt:1l:l W1~~ n1J7?7~
n;'"T;O Z,D '"T;ODZ, iD~ CD / z,4t0~z, ;,NJ NZ, 4t~ ~z,~0 5
- ni"T~ ~i~ 17r;1~
I '7 / ~~~1 ~N~ :l;"~Q c~
138. Title: (And (what) I said about the conspiring [see Blau) Dic-
tionary) 548a] of enemies to gain mastery over the ranks of the fol-
lowers of the true religion.)) Monorhyme poem in the vowel metre/
mishqaI ha-tenu(ot; this religious polemical poem ends with biblical
quotations from Deuteronomy and 2 Samuel.
?';'O 4tnlN '"T4ti!);'Z, ly!)n C4tit ;,Oz, :4t~t,QQ 1'~ 3 .nlV1Jn;, :t,P~QiT
:n,."QniT n.,~t" 4 .t )1 '!)1W ;,Ni );'ilYZ, .;,~4t0 4tz,~ :n,.,,~ 4tt,~~
niwZ, 14t nnn :z, )t'~ 'OW 4t!) Z,V ,';, nliW~ 4tOli'0 nN 01!)nZ, C4tYlil
W!t't'z, CZ,,;, NZ, :n,."o ... ~t, .C4tz,4tO~ 10~ 1.1;'J C4tit;, :,t,~o 5 .W'"Ti'~
:N )1~ 'WO ;,Ni :t,4tO~t, iT~~ ~t, .1W'"Tli' '"Tl0~ OJ~4t;,z, nv'"TO iV~JZ"
';,nl N4t )t'0 ';,n ;,Ni )t'}1i4t YZ, :.,V~ CV t,4tO~t, .'"Tl~~ z,.,0~z, ;,1NJ NZ,
;';' '"Tl0~ '"TOV 4t0 :n4t ).1~ 'i4t ;,11W;, )t'}1i4t YZ, :n,."o t,V ."QVt, .t )~Y
lZ,n;, ;,nv ;,t C4tit;, :,~~ ~'''PQ Cit 6 .4t'"Tl0~ 1'"TOV CNl :~~ ).1~ 'i4tl
Z,V )1~1i ~1i i~~ Vl'"T 4t 4tZ" :n'''4t ... 4t~~' .r )~z, '~'"T ;,Ni )14t Z,N V'"T114t ;,Z,
.,Z,O~ 4tz, nl'"T 4t iWV :'"TO )t'4t ~"W 4t!)
.N33 NLR Evr. I 802 4t"~ :ili'O .~t,p
4t~iV l'4t i'i ttl 4t!) nz,i' '"Ti'1
':f~;~N n4t~ ;,~:t~ itiG / ':f9l:'! iQO z,~~ N~~

':fQ i1~P Z,iVG 4t~ ~~~ / ;'~1~ t'~tl C7iV ':f79
':f9t?~ ':f~,i1v:t~ N~;' i'1 / 14tO~ n~~7G i:17 i:;V?
':f~l? '"Tt?t:' / in~'"T~7 4t~ / in~Z,$~ / iniN ;'~l:'0 5
':f9l:'~ z,~,~ / i'"TiN9~ 4t~ / i'"Tii ii~,~ / i'"T~ i'"r.t1
':f91~ ii'"T~~ / i 4t l?W n~ z,~ / i4tl?:ttl ':f'~ / i4tl?O ':f9l:'!
':f97iVG / iiy ;'~~J:l~ / i~y~ 4t:}4t1 / i~y1;l ill?
':f~~ z,~ c 4t W/ ~4t9iZ,,~ / ~4tGi? z,~ / ~4t9l:'!:t~
':f9~Yl:'t1:t~ / ~~4t~4t~ i~y / ~~iV~7 ~~ / ~~~ ~W~ 10
':f9~~t~ ':f~/ -i4ttt' i:;1~ / i4tt:17 ~PG / i4t~~ ;'1J9~
':f9'7 i4t~ / W10 i4t~:t~ / lU:ti?~ ;,:~~ / w,i' n4t~:t~
':fQ t:1; t~1i? / ~4t'i?G 4t;:1 4t1/ ~4tWJ:l i'"Ti;, / ~4t'J:l i~~iN
':f91t' w4t~ z,~ / ;,Q1J ':fi!),~ / ;'Qi?~~ '"TiV / ;'Q07~ ~~
':f9~n4t~t~ / z,~ ':f':t1~ / z,~''r z,~ / Z,~i.1 N4t~l;l 15
139. Title: (And I said in an Arabic dancing metre.)) Monorhyme

poem in the vowel metre/mishqal ha-teni{ot; it is unclear why Moses
Darci) in the Judaeo-Arabic heading to this religious poem with inter-
nal rhyme) refers to the Arabic (dancing metre)) (raqi~).
:1Qt,,~ ... .,iTQ .'OV~O ~1W )';' NJN :1QVT ... ~~~ 2 .nlV1Jn;, :t,P~QiT
.tt' )4t ';,n 4t!) Z,V )';'z, 4tlJ4t~ :Ct"V 1t,Q 3 .W'"Ti'O;' n4t~ nN ;'J~1 i;,O
.~~ )'"T 'OW 4t!) Z,V )Z,NiW4t :1~~ .1t' ).10 '~ ;,Ni )t'}1i4t yZ, :iT~'" ~~iT
'i~ 4t!) Z,V )1'"T~V Nl;,W Z,NVOW4t Z,W ,Z,'VO '0 Z,Ni~ :1Q ,.,~V t,'VQ
)'"T~Vz, '"T~V ;,WVJ )i01Z,~ .14t nNZ, ;,4t;,4t C4t'"T~V '"T~V tVJ~ iliN :;,~ )t'
;,Ni )t'}1i4t yZ, :,~t, .,~~ 4 .C4t'"T~V Z,NiW4t 4tJ~ 4tz, 4t~ :;,J );,~ 'i'4tl ;,11W;,
nl~Z,O i01Z,~ )Z,NVOW4t l Cl'"TN Z,W cnl~Z,O :'4tn~ n,~t,Q .N~ )t'0 ';,n
;,!)YO )Z,Ni~ CV )Nl;, i'iW NZ,N :1QO~ ... P" .C4t0Z,010;'1 C4tiY1J;,
284 CHAPTER TEN
t,N'W~ CV nN Mt,VM :,n,t,~o ,n'N j1t,Vj1 5 .Mt,'N.:tM n"w~t" ,nv,~t,

,n'N ,nt,YM MWVO ~~ :10V .,on ,n,.,~t, .t,N'W~-l"Nt, Mt".:tM to
'OV M~'M' -ronM 'M CV ~~ :r )t,i' 'Mn ~!:J t,V )-ront, ,t, ~wn~ ,~~WO
C~-r"M nN -rOWM :,."., .,,~t', .t' ), 'nJ MN' )t"J"~Yt, :,.,~ pTn 6 .n,-r!:J
nN t,N'~ CV Wi'~O ,~t, t,~~ :10V~ t,Nt'~ ''''NO~ ."N'~ CV~
10VT 7 .'M CVJ~ n,rnt, ... 'M nNO ~nt,NW :-r )r~ 'Mn MN' ),nv,~
'Mn MN' )t"J"~Yt, .,non nN 'V~M :"~V~j11~N .'OV~ nN ,,'V :"~Vj1
,-r.:t MJ~ :10"~ .".,~, .n ),t, ',~ MN' )C~'Y'J M t,V :"~Vt' n~ t,V .~~ )~
Cnt,~M :.,,~n .,.,p 8 .-r~ )~~ 'O~, M ).:t~ 'n~ M"WM )t,N'W~ CV t,V t.:tMt,
j1t,~n, .N't,~ M~M~ :"'~V ~jTt' .C~Ot,O'Ot, ~'J~~' )t,NVO~ ~J~O ),-ri' CV
... 1~OVT~' 9 .n ).:t!:J 'Mn M"WM )C~Ot,O'OM nN -rOWM :10t"VO .,,~
:1~'VOt, ... ~t'j1 10 .'OV t,V n,~,t' t"JV'M' '~~~'N t,N 'OV~ MJ!:JM :10V
:1o,~vn~, .r )r 'Mn MN' :1~~O~~ .C~t,W,,~t, t,N'W~ CV nN ,rnM
nt'~'MW ~!:J~ ,n'N cnJ :10N~' ... j1nO' 11 .,t, )no 'Mn MN' ),nOYV~
lU'Ti'OM n~~ nN tJ'~ :10t't, ... n~~~, 12 .n )M~ '~~ '~N~~J ~O'NJ~
)-rOi' 'Mn M"WM )'OWt, 'w,~ lU'Tn t,t,M "orow ~-r~ ,~ t'~Wt, ~'w,
CV ~~~'N CV cn~n :~~.,n '~~'N 13 .,t, M'~WN lU'Tn ,~w C~Mt,N :t'
l~"P ~~"pO .t,N'~ CV t,W ,,-rM nN ,~rnn :~~t'n ,."j1 .t,N'~
:10.,n ... t'~N 14 .~~'i'O N'M '~Mt,N cnt, nN :n )N~ 'i'~' MN' :10nt,
t,V )'Mt, ~'J~~ :j10nt,o t'~N .c,nt, ,J,-rJW '~~~'N~ Mrv MOn~ C'i'J 'M
t'~N ., )t'V 'Mn, M~ )~ ',~ MN' )t"J"~Yt, :j10n 1'~t" ..1 ),t' 'OW ~!:J
V~W'O N~M :1o,n~~~, ... N~~n 15 .~O )~ N"O MN' )t"J"~Yt, :10.,n
.'~N~~J ~!:J~ nnJW MOnJM ~,~-r~ ,'M )n'ONW ~!:J~ t,N'~ 'OVt,
.~33-N33 NLR Evr. I 802 ~"~ :"1'0 .Op

t,NO~ Nt,N 'N-ri'0 Nt, tN ~!:J N'~N Mnt,i' NOD'
t,NO M~NM' c,~ tNOJNt,N IN,nON} tNt,
C~3:'7 ~~O ~.;J ':fi~ ~1~/-1~ ~1iM C1) ~~iM t"Jt? ci~
C~3:'~~3:'lJ ~W3:'Q Ctl ':f~~ ~1p/-3:'Q ,~W ,tp~ ~7 V1 tQt~
C~1" ,~ci~ C~ C-rN t,~ / 01' ONOJ ~W ~~ ~JV ~~
T TT - T T T T: T
5
C~3:''? o/~ C~~ ~ '~1~1~ / t~t?Q nQ to ~; M;~r=t~
140. Title: (What I also said (about the fact) that there is no (real)
power except in wealth) because man is undone on the day his wealth
departs.)) Monorhyme poem in the vowel metre/mishqal ha-tenit(ot;
in the Judaeo-Arabic heading to this poem) which combines the
motifs of impoverishment and personified Time) Moses Darci employs

the homonymic expression mal) first as a noun and then as a verb.
J"'1ilW;' Z,VO ;,4t lZ,n ;,~4tn;, 4t"~~ :~,no~ 2 .nlV1Jn;, :t,P~QiT

1~nO;' 0,11 :C4t Vt, 4t"~'" .iO,1J 4t"Tl;' 0,1 4t!)O~ onw 014t~ :4t"'iT C,4t 3
.4t nlN i0 4t4t Vi;' lOt;, :"04t 1QT' 4 .1VZ, 4ti~"T :,1 )1 '14t N 4t!) Z,V )4til~4t"T~
:1" )4t 'i4t 4t!) Z,V )NllW 114t 0"T :c4tv,nvn 4t~VQ .4t4tWVO nN ;,Ni :4t~VQ .,,~
OV :C4t V., CV .;,t~J 4tnlN ;,WV 4tJ1V;, :O~Q~ 4t~V 5 .04t vnvn ;,WVO
"TnN t'tN :C4tVQ~~ iT4t'T~' 6 .04t Vi 4tJV 4t04t z,~ :1" )1" 'wo ;,Ni )4tJV z,~
.ro )" ';'i' 4t!) Z,V );,t~Jl 4tJV Z,W , 4t n,yvZ" 14ti~"TZ, Vl0WZ, 1~10 NZ,
.~33 NLR Evr. I 802 4t"~ :ili'O .~QP
NiOZ,N i"TY lN~ N'''TN IN N'~N ;,nz,i' NOOl

i'4t"TyZ,N i"TY 4tinNZ,Nt~}!) i'4t'~ ;'iO~
4tJ:17~t iniN i4tJ:1t?~ ':(4t ~ / 4t1io i 4t J:1t?~ NZ, 4t~7 O~

4tJ:14t~Jt1 4tl?1. ;,~4t~ ~;,/ -~N~~ NZ, O~ 4t:;ii?~
'J:1~~t,J;1~ '1P-9~ t,~ '~/ -"! .,'0 ,~~~ t,~ l~ ~~
4tJ:11t?~ NZ, 4t~~ 4t~1~ / 4t~~1 4t~1~ iio't ':(4t~ it
5
141. Title: (What I also said (about the fact) that if the heart of a man
becomes tired of keeping its secret) then how much more the heart of
(his) friend.)) Monorhyme poem in the vowel metre/mishqal ha-teni{ot;
this poem ending with a biblical quotation from the Song of Songs
advises not to disclose one)s secrets to friends or acquaintances.
3 .;'ilW;' Z,VO ;,4t lZ,n n"4t~;, 4t"~~ :4t.,n~t,~~~ 2 .nlV1Jn;, :t,P~QiT

li4t no4t 0 4tinNW ;,!)YO 4tJN ;,Oz, 4t4tnl"Tl0 nN i 4t noo 4tJ4tN ON :4t nt,'T C~
liOW4t 1 4t N )4t"Tl0 Z,V il0WN NZ, 4tOYV 4tJN ON :4t n 4t QV' C~ 4 ?OnlN
5 .4t n 4t OV i~,1 Z,Vl 4tVi Z,V :t ),14t '~t ;,Ni )t'tli4t YZ, :4t n 4t QV, 4tV., .4t4ti~n 14tZ,V
)4t OYV OV ~i 4tJN :4t~~~ t,V 4t~4t" .,14t )N4t 'wo ;,Ni )t'tli4t YZ, :4t"'O 4t't,~
6 .lJ1Z,nO 4tJN :4tn~,t,n, .4tW!)J 4t~4ti 4tJ"TN n~i :nJ ),1 '~4tN ;,11W;,
:4tn.,~~ "'Q~4t ?4t"Tl0 i01Z,~ )4tOi~ Z,V inN O"TN il0W4t 1 4t N :4tn.,~~ .,T
.1 )N W";'W 4t!) Z,V :4tn.,~~ 4tQ"~ .;, ),1 'j4t ;,Ni )t'tli4t YZ,
.~33 NLR Evr. I 802 4t"~ :ili'O .~QP
14t VNZ,N n;,tJ ~1~noZ,N lNl Z,t,1nZ,N 4t!) N'~N ;,nz,i' NOOl
~1Z,"0Z,N t't4tN'~Z,N "TJV 10NZ,N 10 '''TZ,N ;,Z,NYl lNl ~1Z,i'Z,N iliOl
286 CHAPTER TEN
lt14t~ z,~~ :L:;7~ ;,tt:1J;l / ;';:J~ l~~ 4t1i1 iiNG

'1n!1~
---
VW~;'O ~N / z,~T Z,Ne: :LiDPl
- - -Ie:
ini:Ln
T:e:
014-
142. Title: (What I also said about love and about a beloved who is
an attraction for the eyes and a delight for the heart) and whose com-
pany is more pleasant than the security sought by one who is afraid.))
Monorhyme poem in the vowel metre/mishqaI ha-teni{ot; shining
appearance is a recurring motif in Darers description of the beloved.
;,n;,~w 14t V 1Z,4t!)N )4t:L1;,N 4tJ!) 14t tO :iTTnn "'~Q 3 .n1V1Jn;, :t,P~QiT
:L1YV O'1N :LZ" :.,n4t4t ~~t" .N )t' 'W4t ;,11W;, )n1NiZ, Z,~1n ;,n4t4t Ni
.;,z,Y;';' 10 0 4t VJ in14t :L1;,N;, ni:Ln:L n14t ;,Z, :V~4tiTQ C~ 4 .no~
.n4t :LiV;' nin1~Z, ;,11W;, )l'1n!) z,~z, :.,n~~ t,~
.:L33 NLR Evr. I 802 4t"~ :i1i'0 .~QP
10 4t!) N'~N ;,nz,i' N001

4tJVOZ,N ;,nN!)1 Nl10 :LOn~N
ttl Nn1 Wi!1J:1l:l 4t7t iGN4t iW~ / l~~J?t iZ,~w '1~1 Z,ii' 04tJ?~G~
t1Ji!)~ i'1 i~71 ltiN Z,~7 / iZ,ii't :L13:': i~~ iiJ~ n~ol
143. Title: (What I also said about someone who knew a song but
ignored its meaning.)) Monorhyme poem in the metre ha-merubbe
based on the Arabic al-waftr metre; this epigram employs simile in
order to describe an ignorant singer at a drinking party.
Z,:LN :Tn~n, "4t' .n104t VJ:L iOtOW 4t0 :t"p C4tV~Q' 3 .;':L1iO;' :t,P~QiT
i1J4t~ 10~ iOt;, :IT'~ n,Q., 4 .i4t W;' n1VOWO nN 14t :L0 1J4tN iOt;,
Z,:LN :Tn,~, P" ,~~, .'14t ):L W";'W ;,Ni )t'}1i4t YZ, .14t tNO z,~z, 0 4t VJ ,Z,'i'W
.'1 )t' '!)1W ;,Ni )t'}1i4t YZ, .nv'1 z,i' N1;, ;'WVOz,
.N34-:L33 NLR Evr. I 802 4t"~ :i1i'0 ..,QP
4tJni'nVN 14t n ONWZ,N ;,:L n 4t O''1 NO N''1;,1

t'}NViZ,N1 Z,N;,ONZ,N t'}NV'YN N;,:L
i'~~1 i 4t J? / 4tl!N~ oi4t N~ / 4tl!O~~ OJ? / 4tl!~~Pl z,4tJ:1

i'W 4t17~ z,~ / 4tl:11;J1;' o,,? / 4tl:1t:1~ ~~ oi4t / 4tl:1t:1~"? :Lit'
i'~P ~~il/-4t~ 4t7 ;'~;:J / 4t~:t7~ :L1 / 4t~~ 1il4t l 5

i'tp~ Z,~~N / NZ, 4t7~1~~ / iZ,t:1G :LiiG / iZ, i~ 4t~~.a
i'Wl:1 'liV ~~ / ;9Jtt 1V~ C4t W/ ;9~yJtt17~ / ;Q'7 z,~;:J
144. Title: (Herewith I criticised Damascus) at the time when I was

afflicted therein with weakness due to diarrhea and nosebleed.))
Monorhyme poem in the vowel metre/mishqal ha-teni{ot; in this
poem) which points to the fact that his stay in Syria was marred by
illness) Darci employs internal rhyme and adheres to the Babylonian
tradition of vocalisation) rhyming words ending with segol and pataJ:z.
.N843 'ov )N11;, ;,Ni )4t OOV 1:L10 )i'WO'l :C~~t,~ 1 .n1V1Jn;, :t,P~QiT
.;,nJN1 11l4t ):LN~ 4tZ,V 1N:L i'WO'l i 4t V;, Z,N 4tN1:L C14t :L :P~Q" "4tM 3
i 4t V:L 4tn:L1U'W C14t 0 :P~ ~'~ 4 .N:Ln 4tnnJN :'l~ )l '14t N ;,Ni :4tnM~~
Z,V Z,:LN i'W :L14t N 10~ 4tnW:Lz, CW );,:L1t' ;,Wli;, 4t;,0 4tnn~w i'WO'l
'~4tN ;,11W;, :4tnM~~ ~,~ .4t'lZ,l 4tZ,V 4tni!)n i'W :1t' )ro '14t N 4t!) Z,V )4t vy!)
:P~V 4t~~t" .'l1NO Z,''ll ;,4t;, 4t:LN~ :~., 4t~~V l'~4t' 5 .;':L1t' 4tn4tWJ :t4t )l
.,~ 4t~'~ 6 .C014t 4t:L:Lz,:L 11l4t :l )l4t ';,n ;,Ni )4t :Lz,z, C4t i104t4t 10il C4t:LN~;'
.4tZ,li:L V1JZ, 4tn4t4t;, Z,,~4t NZ, ;,wZ"n :L1iO :pO~ ~'''Q .wn~ 4t!)1l :4tt,
i 4t V:L nz'w ,n1~1 'OW 1VOZ, ';' :p~n t,~iT 7 .n )t'z,i' ';,n ;,Ni :pO~
14t n!)W 1!)N iV:L :t~ )z, 'W4t ;,Ni :1QVT ~~ .,non WN nN i'WO'l
.N~ )nv ';,n ;,Ni )t'}1i 4t YZ, :p~n ~~ .nZ,~N WN~ ,J,WZ" CVt 1NZ,0
.N34 NLR Evr. I 802 4t"~ :i1i'0 .iTQP
0'liJ ;,ti'l 1NOZ, 4tZ,V Oz" lOZ,N:L :L4t :LnZ,N:L 'lNi!)JNZ,N:L nZ,i'1
4t~4tJt0 C~ ;~4t~ 4t,~t? / 4tl:19~ 1ii,,? n7Y:;t:1;

4t~4t7l?t1 NZ, 4t~@~ ;~/_4t~ 4t~ 'li,; i'i1V~7 4tl:1~;~~
4t~~J~ NZ, ~~ ;~ 1W'~/-1 4t1~~ v~i :LW~ 'l1';
4t~Jtt? :L~t9~ C4t~~ C~iJ / i'win ;'~9W 4t~~Jt~1 5
4t~l? 1~!) c4ti?'in 'liO 4t~ / ;~t:' ;1i'; i'i1V~~ i'~t1
4t~,~ i'~~ 4tt:14t1 1V~:t~ / 'liV ;,:t~~ 'liO 4tl!4t~~ C~
4t~~~ :L4t tt G 1V4t~ C~ i~t:1~ / 14t~iV n~~v~~ ;'7~ nNt
145. Title: (And (what) I said about sitting in private with (my)
beloved) from the mouth of a bunch of narcissus-flowers.)) Mono-
rhyme poem in the vowel metre/mishqal ha-teni{ot; this love poem
288 CHAPTER TEN
illustrates Moses Darers use of direct speech from unexpected speakers

like flowers.
)11iW;, nz,Y~n ni!)Z, 4tniON :4tnQ~ 1'''~ nt,~~nt, 2 .n1V1Jn;, :t,P~QiT

3 .14t4t J4t V 4tOYV :4tQ4t~ViT 4t"~O .11iW;' nz,Y~n 4tJN :N )~ W";'W 4t!) Z,V
;,i4t OO 1J4tN nNW 01WO 4t~1;'NZ, i'WJz, W1~ 4tJN :4tQ4tt,vn 4tnQt,~~
1N )O'liJ 'l4t 01 iYi' lOt 4tOV ~~ ~1;'N;' :4tQ,~n ."., 4 .4tJOO 1 4t4tJ4t V
:C4t t,Q iTVQ~ .nz,Y~n;, 4tz, ;,nJV :4t~~vn, 5 .OZ"VZ, ;'J~ 1J4tN nN
4tiON 1VOW1 :1 )NOi' ';,n ;,11W;, )0 4t 0 4t VJ;, 4t4ti~'l nN NJ VOW )4t~;'1N
)t'J1i4t yZ, :P'~~' p~n 6 .10 )t' 4t i' ';,n ;,Ni )t'J1i4t yZ, :4tQV~ ~'~Q .10VJ 4t~
:4tQV 4t~ .1~1;'N nN i'WJZ" i'~nz, ;,Yinw z,~~ :1~~n ..14t )t'~ 'i~ ;,Ni
'l10 4tn4tz,4t.1 OV!) 4tN ON :4tQ~~ C~ 7 .'l10~ ;'~;'N;' nN i01W 4tJN
nN onWN~;' :N~ );' 'OW ;,11W;, )t'J1i 4t yZ, :4t n 4t., ~~~4t .4t n 4ti 14tn~ ;'~;'N
8 .;,4t;,4t i'0 OW1~ nnn :'l~ ).1 'W4t ;,11W;, )t'J1i4t yZ, :4tQ~~ PQ4t .1Jn4ti
.4t4ti~'l nN ~n~ow 4t0 Z,v Z"nnw ;,Z,Z,i'1 ;'V1~W nNt :4tQ~~ n~T
.N34 NLR Evr. I 802 4t"~ :i1i'0 JQP
NOOO N;'~ 1;' 10 NOONZ,N 'l'YN'yn NO Ni4t'n~ IN 4t!) nz,i' 'li'1
n4tl:1t:1t1 iZ,3:':; iOii9 4t~~~ / i~ N'i?~7 ii?~ n9~ OW ;'~~1

n 4t l:1t:1 tN}4t;:11 z,~ O~ niJ~ niO,~ / Wi'll? ~9'~ n4t1~;'~ n~01~
146. Title: (And (what) I said (about the fact) that names often turn
out to be contrary to the person carrying the name.)) Monorhyme
poem in a metre close to the metre ha-marnin based on the Arabic
al-hazaj metre; epigram stating that persons often do not match up
to their names) taking as a biblical example the wife of Esau) Judith)
the daughter of Beeri the Hittite.
04tNno 1J4tN OW;' )n1~1ii' o 4t nvz' :,~ iTQ~' 2 .14tJiO;' 14t VO :t,P~QiT
OW~ Nii'J;, :n4t nnn ,t,V~ .OW;' n1001i 4t!)~ :,Q,.,Q 4t~~' .1~ Nii'JZ,
'i~ ;,Ni )1WV nWN )4t nn;, 4tiN~ n~ )n4t'l1;,4t~ :n4t nn n'Q"~ 3 .z,!)W
'~ ;,Ni :~,.,p iTQ~~ .4t nn;, 4tiN~ n~ n 4t'l1;,4t nN ;,WN ni'4t 1 :'lz, )1~
.Z,NiW4t OV n1J~ Z,W ln10W~ :t,~ n'Q~~ .10W W''li'' 01iO :1t' )tJ
.;'i1W;' Z,VO ;,4t 1Z,n t'J"Z,N;' 4t"~~ :~4tiT'
.~34-N34 NLR Evr. I 802 4t"~ :ili'O .TQP
1NOONZ,N IN N'~N rlnZ,i' NOOl

~N1Y rl 4t!)OZ,N 't'!)z, ~Nl'.1 lV
14t1:t~ ~ii1l:1 iJltG liit?t'~ / ':(~4t,~ '"T~ ':(9~~~ i$J:1~ 4t~~

''1'~ N~l'1 C7'vt? ~~ l'1f~O~ I ~7 ' ' !. l'~ n'N~iP0 n~o~
14t19'~ V~~l i:1 Z,~1~rl~ / ~1~OQ 14t~ iZ,~t?:t rlJ;1iW t11 5
14t1~1 14ti i:;l iZ, i'4tt~~Q / i'iV:t iN rl9~O:t rl~itt11
"1~P. ~fQ ~l'1; ~r, C'~7f/-0 ni?p.~Q "'~f t~"1~ ':J"~1
14t1~.11 z'~no Z, i i'7 '"TiV N14t~Q / i!11t?7 '"Tii''t n~~ t~ iG~1
14t1~' 1'~n i i?~'"T1f~ '"Tt:I~~t! / rlVi~~ rl9 in '"T~~ i~~t11
14t1i?' iN i'1 Z,4tt?f~ .1~1~t! / rl~4t~~ rlQtO 4t~~ ~i?'~ 4t~~ 10
14t14t~~1 14t~i~~ c4t19in 14t1~/-i:1 lW~ 4t~ V1 lGt rlWltG z,:t~
14t111 z,~ C~ 4t1~t~ C190~ / C4t,~~~~ 14t~11 n1i' iO f
147. Title: (What I also said (about the fact) that it is virtuous to
restrain from responding to the words of a fooL)) Monorhyme poem
in the metre ha-merubbe based on the Arabic al-waftr metre; Moses
Darci addresses this didactic wisdom poem to the rich and intellectual
people of his time.
C'"TN CV '"T'"Tl0nrlZ, rlZ,4t~rl 1i'"Trl :'4t"~~ 4tQ, 3 .rl~1iOrl :t,P~QiT

4 .Z,,~onZ, ,Z, Cli.1nlV nloZ,vnrl N4t rl 1~ nli.1nrlZ, rlOJOlV
4tlilV Nlrll N!)iO ,Z, 14tN NJi'Z, rl4t4tt'J~ rl~10lV 4t0 l~lV :'4t"4t~~ n~Q'
:'4t"Q~Q iTn'~iT' 5 .~~ )n 'i4t 4t!) Z,V :iTt, 4t"~ 14t~ .lnNJi' ~N~~ CZ"VZ,
:V~4t' .~i z,~O rlJOO Z,'~04tlV 1!)10 rlNJi'Z, rln!)no lnllV!)4tt'~lV 4t0
)i01Z,~ .nli 4tJ!)O iV4t 4tyv V1J~ 1~~Z, VJ4t l :~ )t 'lV4t rlNi )rlilYZ,
c~n :"~'V~ ...iT~'TiT' 6 .rlnlVlV C4tiOlVrl 10 i~nlVOrl il~4tlV~ '"TJ'"TJn4t
:C4t~t,~iT 1'~' 7 ?CrlZ, 1~4tN~4t 14t~4tlN 4ti~'"T CNrl :,4t.,V, P4tT~4tiT .i4t lVVl
nl~i~ ~"n rllllVrl :C4t~t,~iT npV~Q ?C4t~z,~rl nn4t~JO rl4tiN '"Tn!)4t rloZ,
:,~.,~t, "Q~' 8 .'"T )rl N"O 4t!) Z,V :'4t"~V t,~Q .C4t i'V1Y C4t~z,~ :N"V .1
:TV "Q~' .~it'4t rlJrlO NY14t rl z,~ Crl4t iV Z,V '"Ti'lV iOJ :1 )rl 'i4t rlNi
iOJ '"Tn!)4t rloZ, :'4t"'~' ~"4t4tiT .iOJ~ tV 4tlrl :~ )rl nl~N rlJlVO rlNi
rlNi )rlilY~ i4tV~ NYOJlV 4t0 :iTiT'~~ "~~~iT' 9 ?14ti 4t VYl Z"nn Z,'i'0
4tiVlVZ, 1'1nO NYOJrl ii''"TOO '"Tn!)4t rloZ, :'4t"V~ .,n~4tiT .rl ).1 '~'"T
14ti~'"TlV i'4t i lV!)4t t'O .1N'"T4t c~n CNrl :'4t"P~ 4tQ, 10 ?rlilY~rl i 4t Vrl
.C4ti4tlVV~1 c4to~n~ NJi'Z, C4tz,4tO~z, Cil.1 10trl :'4t"4t~V' t,~~ 11 ?ii'lV
c 4t4t n 1'"Ti4t lV 14t Vil 4tlZ, l~ nrli' l~ irl~ l~ nii' 10~ :C4t"'~~iT 'Q~ 12
COli'O nN nWiZ, lYilV :'4t"~' c"Qn~ ..1z, )tt' 'O~ 4t!) Z,V )rlZ"NlV
290 CHAPTER TEN
4t"T~~J C4tiW :n )l~ 'W4t ;,Ni )t'}1i4t YZ, :'4t"~' 4t"~~~ .Z,NiW4t 4tl4t;,JO Z,W
fiN
.~34 NLR Evr. I 802 4t"~ :i1i'0 .MQP
~1~i nNONi'0 to 4tJZ,NJ NO 4t!) N'~N ;,nz,i' N001

Z,NO'lZ,N1 tOnZ,N 1"'T t'}4tiWZ,N O"Ti'Z,N ;,iN4t t ~z,t'z, Z,NO'lZ,N
;,i01 ;,Z,tN nNt~ 4tnNt9n1 / 4tn4tJDJ C4t~O.a ~l 4t~~i~

~;~~;: {V~J~ ~~;i n~o~ / 4tOYD-Z,~ Cri
4tZ,D- 4tri4t~;:,
l'11!P'~ M!':itt1 nU~1-1 tJ'ry~~ .,~~ -N~T 'l!~ ci, l~ ~~i 5
;,-V~~ ;,~Jt; Z,;f 1V~1~ t'}~Y~ / 4t~t:17 t'}4t 7t:10 i~~ i~Y ;1.:t~
;,-tt:1t n4t~ C4t14tt:1~ ~4tW;;' C~l / t"!~lt;N C1 4t!~ t'}~~ Z,~1
;,,~t? t"!~i ;o~ 4t~1J~~1 / 4t~'1 ~7 4tJ?~~7 i~Y i~i?~
;,,~~~ CJ? ~;it ;~ 4t~ t;V~ / 4tl};~f'G C4ti?'t~ l;:J~~1
148. Title: (What I also said about the sufferings I endured from rid-
ing camels in an attempt to visit Jerusalem) the Exalted) endowed
with excellence and beauty.)) Monorhyme poem in the metre ha-
merubbe based on the Arabic al-waftr metre; Moses Darers attempt to
reach Jerusalem on the back of a camel was clearly motivated by a
religious desire to visit the spiritual centre of Karaism; it is unclear if
Darers pilgrimage to Jerusalem was successful.
4tnz,~o )C4tZ,Ol;' ~l Z,V 4tn~~iW~ :4tn4t~1'~ 4t~~"~ 3 .;'~1iO;' :t,P~QiT

.nZ,OJ1 4tNt'n i!)1~ 1~1 :it., 0' ... 4tn~~M' .ti' )t' 4t i' ';,n ;,Ni )C 4ti10 4t4t
:iT"~~~ 4tn4tQ." .C4tZ,Ol;' Z,V :CiT4t t,1' 4 .t )t' N"W ;,Ni );,nz,~ :iTt,T~
'1"~~ .;'!)J~ ;,4t1!)4tJ nvw~ ;'N1~n 10~ n1Z,t'Z,t' 4t O 4t4tn10YV nN 4tnwn
;,Ni )C4tZ,W1i4t Z, 3T'lN iWN~ :C4tiTt,~ C,4t 5 .t' )t' 'ov 4t!) Z,V :iT"~~~
CV;, ;,~ z,z,!)n;,W iyn;, nN ;,NiN iWN~ :iT.,T1'iT iTTM~' .;, )10 ';,n
n1i4t iO z,~ i 4t OO ';' :iT.,Q, r'J 4t t,MiT 6 ."T4t )lO 'n4t ;,Ni )lV"Ti'0;, n4t~~
';' :M~' t,~, 7 ."T~ )tt' 'wo ;,Ni )t'}1i4t YZ, :~~." r'J'~~ .n1i'4tnO~ 4tZ,W
';,n 4t!) Z,V :n4t~ C4tj4tM4t ~4t~'iT .t'~ )0 '~ 4t!) Z,V )C4t!)4t4t V;' nN i'tnO
:4t~"" "~p 8 .lV"Ti'0;' C1i'0 )C4tZ,W1i4tZ, 4t1J4t~ :iT"4tM~ n4t~ .t )no
1i"T;' nN 4tJi14t1 :iT.,1'O 4t~M~4t' .C4tZ,W1i4tZ, V4t l;,Z, 4t~i"T nN ';' iYi'4t
)n1i4t ;,0Z, 4t1t'4t~ :iT.,1'O M'., .z,-t'~ )ti' ';,n ;,11W;, )4tY!)n t1noZ, ;,i4t ;,O;,
nN C4ti'i~~ C4ti 4t ;,O Z,~14t1 :4tn'~~"Q C4tP"~~ ~iT~4t' 9 .;,~ )ti' ';,n ;,Ni
."T4t )t'!) ';,n 4t!) Z,V :iT.,,~~ ,t, .C;,4tZ,V ~~1i 4tJNW C4tZ,Ol;'
.:134 NLR Evr. I 802 ~":J :"1'0 .toQP
~:1'V tt, ~~v N'~N ;,n~i' NOO'
t~~ ':[1~~ C~i?~Wntl ~~ ttl C~ / t~i? ~t:1~ ':[~~~ ~~07 ~~i~ ~~ ~1i1
t~~Q ~~1i1 C~:;LiO ~~ :1ji? / t~~ ~~ n'191:) t;l~ ~1i1
[C~~]i~ CJ? C~iPl ~ii'7 C1f n~ niPlv!? / C~~~ niJ~'~; ~J:1~ ;'~7 ~i1
c~~Wiw Oii'771 C~~~~ niV17 / c~~in ,:[;':'7 011;J ':[in:t ~0t~ 5
~;'1.V?~ C~ ':[i?V?t:1~ nG ':[1i1 ~l:19~ / ~;'~1~ 'tlQ7 ,~~~ ,i;, ~1i1

~;'~;J n;i'~W~Q ~~i?~~ / ~;'~1G:t ~;,~~~1~1
[c~~i]V ~iPl ~~ C':'~~~ ''J~~ ni07~1 / C~~1~Q ~~~Q ~~ ~l:1~ ~ ~1i1

C~~i~,'J O~t?~G ni?1'J t~~Q / C~~~~~~ nit,~~ '~iV ~J:lV?
149. Title: '<What I also said in an Arabic metre.)) Its strophic form)
non-quantitative metre (in spite of the Judaeo-Arabic heading)) erotic
imagery and frequent quotations from the Song of Songs all point to
the fact that this poem can probably be regarded as an epithalamium
written on the occasion of a wedding.
~MN .1~~!)'~ no,v~ O!)N:J' t~N:J N';, ~!)'~ ~:J =1~p ... t,~ .~:1';'N :~."., 2
;,n'V01210:1 tN:J' ),~nN ~:1;' ~N t~i' Ci'~' :n ), ',:1 ;,N' )~:1;' =1~P
C~:1';'N;' ~:J ~121 C~~!)'~ =1~N 1M .'O!)N' )~:1;' n~~o ~121 n~~~:J;'
;,nN )~:1';'N :l~V ... ~."., 3 .".u t~N:J :r )0 '121~ ;,N' )".u:J ~O:1nO
.to ):J :1"121 ;"'121;' )121J :~.,p ., ):1 ':J~N ;"'121;' )rv ",YO, i'121n~
:C~~'~ ... ~."., 4 .:1 )N 121";'121 ~!) ~V )t~~O :1:1'1210 1~~!)'~ ~:J ;,~;, =1~~Q ~~
j1~t, ."n;, n~~o;, ~'i'~ t~~ n,n121~ :1~:1~0;' tJ;' ~N )~:1';'N )1~~ ;':1;'
O'i'~~' tJ:1 vv"n~ ),~,n~ ;'~:1~ :C~~t',t' . ~j1~' 5 .to )~ :1"0 ~!) ~V :~nN
)~:1';'N :,j1Q.,N .,j10t, 6 .:1 ), 121";'121 ~!) ~V :C~~t',t' n,v.,t, .c~n,!)
no 1:1';,N :~nn121 :'pt'M~ nQ ,."., .n,~;, "N:J N';, 1~~!) "N
,~ n~~N121 :'j1~~ 'j1V~~t'N' 7 .'~'121N :n121 :,j1.,t'N C~ .1~~N ,ni"121n:1
)N 121";'121 ~!) ~V )'~!) n, i'~121~O ~~v ~~V'~121 )'121!)~ n"N:J ~~ !)'~:1 n'tn~
n,o~v~o C~~!) n,!)~ n"v~, C~03100 ~OV 121~ )~:1';'N :c~~,v t'~ 8 .:1
~V' C~~~~Y;' no~v~ ~V ~:1';'N .uvn;, :C~~'Q"j1 ~nt' 9 .C~~'J~~:1
.0 ):1 121";'121 ~!) ~V :n,t,~N .,~,v .C~"'VO;' i'121n;, n'Ni'1210
.:1 )n 121";'121 ~!) ~V :C~~'Q"j1 1~~Q
292 CHAPTER TEN
.N35 NLR Evr. I 802 4t"~ :i1i'0 .~p
IN~ NO~i IN 4t!) N'~N ;,nz,i' N001

z,.,Z,i'Z,N VNOn'.1N z,4tz,i' z,4t t'.1 z,~ Z,YN
C4t'~~1 C~ Z,inf C~t?~;:J~ / l~~~~ t'~97 ~iO~l ni? t'~9

C4ti;,J ~Ji~lVPl i!)ON;'~/-~ t'1'O in4tlVNi~lV ClV.1~
tJ''''!~~Q .,iif r,~t;I ~~1 i T':ip t'~Q - :i~:J 'ryT:! .~~ l~ t,~1 5
C ii.10 ~;'~Ni~4t ~J~O~ / z,~~n4t i~ i~'l~ t~ 4t0 Z,~1
4t
C4tinN ~t; NZ" t~: ilV~iz, / N~;' ~z,;, in~~:tZ, ~t~4t 4t6~
tJ""!'~f ii6~tt ~71 ,ry~~ 'l!~ -; tJ'~~"f r,iQ l'1~~:! il}i!i 'r,~~
C4tiY~~ iZ,!)J~ 'l4t tO 4t'l1 / 14tilVN1 14tZ,nN nON 'lni!) Z,~1
T : - : T : - : T: -: T: - ... e: . . T :
150. Title: (What I also said (about the fact) that sometimes the ori-
gin of everything plentiful is the accumulation of small quantities.))
al-waftr metre; this wisdom poem instructs to appreciate every small
creature or thing.
i~t'~ )t'VO ~10Nn1 t'VO ni'n CN :C4t"~V' ~VQ 3 .;'~1iO;' :t,P~QiT

t"n~ .4t )t4t N"O ;,Ni )~1i4tYZ, :np ~VQ .i!)V~1 C4t Z"n~ ;'~i;'Z, t'VO;,
'i~ 4t!) Z,V :C4t"~V' .C4t;, Z"n~ 1Vit nN 4tnOW1 :~4t )~z, 'i~ 4t!) Z,V :C4t
'li1 ;,z'4t nn :C4t"iT~ C~~~ 4 .fiN;' i!)V~ 1Vit nN 4tnOW1 :tt' ).14t
4t
);'z, '14t N ;,Ni :,~.,,~n .i'tn Cit~ 'li14t N1;, )1~0 inNZ, 1N CW.1 t'VO
z,i' ;,4t;,4t NZ, :C4t"'~Q t,~, .C4tJt'i' C4ti~'l 1iV;, :~VQ t,~ 5 .'l4t
);'0 i~'l~ z,tz,tOW 4t0 Z,~1 :C4t"'~Q t,~, 6 .Ni~JW ;'0 z,~ 14tJ4tV~
7 .1Z, z,~n4t i~'lZ, t~ :.14t ).14t 'wo 4t!) Z,V )14t'ln!)1 1n~0 1N1~4t Ni'11'l 1JOO
8 .10YV nN ;'WVOz, ;,t~O ,nZ"t nN ;,t~OW 4t0 :c4t.,n~ 4tQ,
4tJ!)O 'lin ;,nNW 4t!)~ C4ti1~;' z,~o w1wnZ, 1 4tZ,V :C4t"4t~~ .,n,~
;'J11~~ Nt'1n;, Z,~1 )iW1NO Ni4t4t no;, Z,~1 :C4t"~Q~ t,~, 9 .n14tiN
.4tJ1NYO Z"NW 4tiY01 :.1 )tt'i' ';,n ;,Ni )n1iY 10YV Z,V t' 4t00
.N35 NLR Evr. I 802 4t"~ :i1i'0 .~~p
i4t'~~ ONJZ,N ''IN''lnZ,N 4t!) N'~N ;,nz,i' N001

;,n~~J 'lJV C4tNZ,Z,N Z,NO CNJn.1N1 ;,nOVJ INOt C4ti~Z,N
i~iV c.a ~lV Z,1' i,;on z,4t';/-.14t iZ, ~it' i~Y ni~i~ ~4t'lJ
. - T.,~~~,~ \;l~~ ~~ / l'191~ ti.u:t7 r,~lJ '=r~
151. Title: (What I also said (about the fact) that people take delight
in the charity of the benefactor when he is prosperous) whereas they
take advantage of the wealth of the miser when he is misfortunate.))
Monorhyme poem in the vowel metre/rnishqal ha-teni{ot; this gnomic
epigram about the difference between a benefactor and a miser ends
with a witty punch-line.
';'i' ;,11W;, )~1t' ~4t-rJz, ;'~iO ';'W~ :,t, n,~.,~ 3 .n1V1Jn;, :t,P~QiT
...
:"~'V ~~ .,nZ"t OV -ron n1wvZ, ;'~iO ~4t-rJ;' :"~'V t,4t'~4t .4t );' ...
-r1V Ni i'4t NZ, :;, )~z, '~ ;,Ni )lY0i';' :t,~~iT 4 .t );'z, 'n4t ;,Ni )t'J1i4t yZ,
4tinN i'i :"~~4t ~t, .t1lNZ, Z,WOJ 1Y0i';' :iTQ'~ T'~~t, .~4t-rJ z,~Jz,
.14t i!) nN Z,'~NZ, iW!)N )t1lN;' nN 04ti~1WW
.N35 NLR Evr. I 802 4t"~ :i1i'0 .~~p
i10~0 i010Z,N ~4tilZ,N ~z,i' 1N~ N'-rN 1N 4t!) N'~N ;,nz,i' N001
1t'1Z,N ;,4t OJ4t 1t'!)Z,N 10 ;,~0~4t NO 1~Z, i10VOZ,N ~z,i' 11~4t 4tinNZ,N~
-r~iN iJi;, i~ ~~ ;4t~ i~/-,~ i4tW~~ i~0 ~~ O~

-rGiV iOJtt? O~ i:1 O~i? / in 4t1 in~4tt?~~ iio ;~
-r~~~ 1U'~ 14t~:t~ i0t?~ / t'J1~ n~ i4t~iN ~0t~ 5
'Qin tJ",!~ "f iniJi?7 I lVttQ C?,*, nli?tt nN~:t~
-rGiZ, r~ OJ? ;'9~O n~ z,~ / in~4t7~~ ~~1V~ 1U'~ O~
152. Title: (What I also said (about the fact) that if the heart of the
rich stranger is broken (by homesickness) then how much more the
heart of the poor one) yet whatsoever he acquires of intelligence will
enable him to forget home.)) Monorhyme poem in the vowel metre/
rnishqal ha-teni{ot; this poem may reflect Darers own experiences as a
child of Western immigrants in Egypt) where they allegedly suffered
from great poverty.
Z,W~ i~WJ i 4t WV;, it;, Z,W 1~Z, ON :,~,~ C~ 3 .n1V1Jn;, :t,P~QiT

';,n ;,Ni )t'J1i 4t yZ, :.,~~~ ~t, .4tJV;' it;, Z,W 1~Z, l~W z,~ NZ, )it 1n14t ;,
OW1~W 10~ :,Q,V .. . 1~ 4 .l )t'~ 'wo ;,Ni )t'J1i4t yZ, :,~~ '~'iT .t'4t )NJ
NZ, ;,Z,'l~' :N4t )no 'i4t 4t!) Z,V )n1iOWJ 14tn14t1~4tN1 OJ 1J4tN ,nZ, )1VOO~
4tinNW 10~1 :'~~4t ~iTT' 5 .iOJ NZ, 1n4ti1 1~ 10Vt' -rOV 1~ Z,V ,z,;,
294 CHAPTER TEN
.')O:J N";" ;,N' :.,~~,~ ~jTT' .;,z"V ,:J'V' ,,;,Oz, :l;,t;, 1!)';' 'i"i'~t
1n 1:lNW 'O:J, :,o,n ... n~~~, 6 ..1 ).1 'NZ,O ;,N' )~,,~yz, :"jT~~ =-j"~~
:,o,n ... ,n,~pt, .;"on n",vo, ;"i'~ n:lwn) WN;, 1n:lO:l n,o,vw
:lW 'WN W~N 0.1 1:J :'O,t,... C~ 7 .,n'N n,)i'z, ;,y" ,nN z,:J tN
.:l, 1'~0~)' o~~n nO:J,n W:J" )z,wnno )'VOOO
ALPHABETICAL LIST OF POEMS NOS. 1-152
237 'Op ~23 NLR Evr. I 802 4t"~ +,~ '=T1:;1~ n 1Jt~ i i?4t 1:1 ti, ~
152-145 'Op ~5-N4 NLR Evr. I 802 4t"~ +~ ninow 01' "4t.1~ nin~w W1nN
210 'Op ~17 NLR Evr. I 802 4t"~ +,~ T' l~t, N~ rw J~~ -~~
283-282 'Op N33 NLR Evr. I 802 4t"~ +Mt,p 4t~~ i'4t t:11~ ~'l? ry 04t-,t '=T4t ~
168-167 'Op N9-~8 NLR Evr. I 802 4t"~ +~~ N1;'~J:1~ '=T4t~ iN O~i~ '=T4t~
217-215 'Op N19 NLR Evr. I 802 4t"~ +0 t,~~ '=Tt'~1i4t1:1t?~ '=T4t~
200-199 'Op ~15 NLR Evr. I 802 4t"~ J~ it,ii' ti~~ z,~ ~GJ:11:1 '=T4t~
280 'Op ~32 NLR Evr. I 802 4t"~ +,t,p ;,~~ ;,~~~V t4t~
264-263 'Op N29 NLR Evr. I 802 4t"~ +~~p '=T~~~ W4t~ 4t~=t7 ,~~ t,~
262 'Op ~28 NLR Evr. I 802 4t"~ +top '=T~4t~ ;'1;10/1:1 t,~
281-280 'Op ~32 NLR Evr. I 802 4t"~ +jTt,p T14tGiw 4t~~7 ~l:'~ t131:1 t,~
157-155 'Op ~6-N6 NLR Evr. I 802 4t"~ +' '=T1=t~7 '=T1;~ ;'~ti:~ 4t'J"t,~
205-204 'Op ~16 NLR Evr. I 802 4t"~ +MQ oi4t 4t17~ '=T~ ~,~~ 0 ~
187 'Op N13 NLR Evr. I 802 4t"~ +t, ~iWN ,4t!J~' o4t~n ~,on ON
294-293 'Op N35 NLR Evr. I 802 4t"~ +~~p i::ivJJ i~vJ1';i ~~;, ~; 0 N
285 'Op ~33 NLR Evr. I 802 4t"~ +~QP T4t~io i~~04t ~t; 4t~S ON
277 'Op N32 NLR Evr. I 802 4t"~ +to~p " Oi~'; ~~J n4tN~ ON
200 'Op ~15 NLR Evr. I 802 4t"~ +~Q ,i1 t,N iinn~T~MNn ON
267-266 'Op ~29 NLR Evr. I 802 4t"~ +T~P 'if7 :l'io' v~Q~ ,~ fi~~~ tJ~
164-162 'Op N8-~7 NLR Evr. I 802 4t"~ +~ '4t~~11'~i'~ io/~ W4t~7 iiO~
180-177 'Op ~11-~10 NLR Evr. I 802 4t"~ +~~ 04t14t1~'J i~tl~ tGt7 i io ~
241-240 'Op ~24-N24 NLR Evr. I 802 4t"~ +to~ '=T7 4t~ t,~13 l~ t,"~ ~il? ~
223-222 'Op ~20 NLR Evr. I 802 4t"~ +'0 4tt, iY n1' 4t~tip t,N ~iO N
271-270 'Op ~30 NLR Evr. I 802 4t"~ +~~p 0~~4t~0t,;" o~ri4t~io; ~i6 N
222 'Op ~20-N20 NLR Evr. I 802 4t"~ +jTO " ": i,:WN "nNwi ~i6N
211-210 'Op NI8-~17 NLR Evr. I 802 4t"~ +jT~ t,N 4t~i'~ T~io T4tJi~S ~i6N
284-283 'Op N33 NLR Evr. I 802 4t"~ +tot,p .. ..'ifQ~! ,,~O t,~O ~~
268-267 'Op N30-~29 NLR Evr. I 802 4t"~ +to~p 4t~1i;, n1iN t,~~ i~Y N~~
205 'Op ~16 NLR Evr. I 802 4t"~ +toQ i'iO~ 01~ t~li~~ 4t~~
221 'Op N20 NLR Evr. I 802 4t"~ +'0 ;,wn4t ~t" NiiJ 4tiN
260-259 'Op ~28-N28 NLR Evr. I 802 4t"~ +Tp t,~~Q~ ,,~~T"1n ~7~~ .,W~
227-226 'Op ~21-N21 NLR Evr. I 802 4t"~ +~v 4tlJ-, i? ;,,~~ 4t~11~ t,iOJ:l~
225 'Op N21 NLR Evr. I 802 4t"~ +V 4tW!JJ~~ i 4t1' 4tnN~
171-170 'Op ~9-N9 NLR Evr. I 802 4t"~ +T~ :n~~poS
o4t1'i - =. 4tnNi T
196 'Op N15 NLR Evr. I 802 4t"~ +,t, inlJ~ ;'o/l:'~ tG"r,=, '=T ~'J~
296 ALPHABETICAL LIST OF POEMS NOS. 1-152
197-196 'OP N15 NLR Evr. I 802 4t"~ .Tt, M~:1Y

Te:.
4tniN MV~WM M~n~
T - : . Te:-:
246 'OP :125 NLR Evr. I 802 4t"~ .n~ ;~~~ ;~t:' c~ i9~0 l~
228-227 'OP :121 NLR EYr. I 802 4t"~ .)1' z,4t;J;:J lG"!;:J c~ 4t~:;l
234-233 'OP N23-:122 NLR Evr. I 802 4t"~ .NEj C4tZ,~YN 4tJO ~M4t "4t,i1 nvi
235 'OP N23 NLR Evr. I 802 4t"~ .)Ej "n4ti:t:1~"":1iO:z,~G W~~
290 'OP :134 NLR Evr. I 802 4t"~ .n~p 4tn4tJvj c4t~O.a :1J 4t~~i~
226-225 'OP N21 NLR EYr. I 802 4t"~ .N1' Z,~"it1-f~ ii4t~~: c~ 4ti~U>~
258-256 'OP N28-:127 NLR Evr. I 802 4t"~ .'p Z,4t1 JN i,i:1~S, Z,4t nnN Z,NM cwi
236-235 'OP :123-N23 NLR Evr. I 802 4t"~ .,Ej ": - c4t~4t"0VM" ~t; z,v"" ~~Y ~t~
291 'OP :134 NLR Evr. I 802 4t"~ .~~p r.i? 'J:I~ 'i(~~: ~~07-'~i~ "f '1i,
182 'OP NI2-:111 NLR Evr. I 802 4t"~ .jJ~ ii'~t? z,~ljQ W4t~7 4t'1
256-255 'OP :127 NLR EYr. I 802 4t"~ .)p ;1~~ 4tJ:1i4t~:;l ,i:1~ 4t7 4t'1
255-254 'OP N27 NLR Evr. I 802 4t"~ .~p ~J4tt~;:J C7iP:;l C1tt 4t~~ li4t91
203 'OP N16 NLR Evr. I 802 4t"~ .,~ ;'11~ l'ii'~ ~~1 ,4tQ~ wiil
210-209 'OP :117 NLR Evr. I 802 4t"~ .)~ i4tiP~ ,?~ M9i1J M~11
229-228 'OP N22-:121 NLR Evr. I 802 4t"~ .jJ1' i:1tv z'v W4t N ci4t 4tnn~iM
: T - :-
199-197 'OP :115-NI5 NLR Evr. I 802 4t"~ .~t, i~ 1:1~' 4tJ:1iN 1G"t;:J oio TJ~ tJ
212-211 'OP N18 NLR Evr. I 802 4t"~ .T~ 4t7 ~i~tlG 4t~Gt ~~ 4t1 NZ,;j
176 'OP :110 NLR Evr. I 802 4t"~ .~ '4t9~t} lz,h~i4t lG"t7 4t1 NZ,ti
221-220 'OP N20 NLR Evr. I 802 4t"~ .)0 nN'1Jl1i~ Z,4t t?f ;7 4t1 NZ,n
202-201 'OP N16 NLR Evr. I 802 4t"~ .,~ z,:1n c.a iZ,V:J c 4ton i~UM
278 'OP N32 NLR Evr. I 802 4t"~ .Nt,p -Ii",: :iitl ~~ C;~T 'i(~~~
269-268 'OP N30 NLR Evr. I 802 4t"~ .~p ;1i1 z,~ i' ~~J:l0
272-271 'OP :130 NLR Evr. I 802 4t"~ '~p ni,~on nN i:1tv~ iV~M'
272 'OP :130 NLR Evr. I 802 4t"~ .jJ~P 07iV71b~ n9~ .,~!bi
197 'OP N15 NLR EYr. I 802 4t"~ .n" w4t~ Z,~7 Cii'Q z,~~ ~~~tl1
243 'OP N25-:124 NLR EYr. I 802 4t"~ .)~ ,4t1:1:twn z,i?~ i~~ n~ '~~1
273-272 'OP N31-:130 NLR EYr. I 802 4t"~ .'~p i~iV~ N4tM Mi~wn N4t:10 z,~,
288 'OP N34 NLR Evr. I 802 4t"~ .'~p i:l Ni~~7 .,~W n9~
i~n:1 4t!J4t cz'w4t
ow n1f~i
NZ"
242 'OP :124 NLR Evr. I 802 4t"~ .N~
270-269 'OP N30 NLR EYr. I 802 4t"~ .N~p 4tnZ,Nw" 4t n~~Jz,~
0-
Mn~i in:1u,i v4t; 4t~,
co
262 'OP N29-:128 NLR Evr. I 802 4t"~ .~p
177 'OP :110 NLR Evr. I 802 4t"~ .N~ MQ1lJ:llliM ,,~ T~~' N~~9~i
194-193 'OP :114 NLR EYr. I 802 4t"~ .,t, HlJiN1 i'~WO 14t~f M97~ MQ~
290-289 'OP :134-N34 NLR EYr. I 802 4t"~ .T~p ;:t4t,~ ,~ ;9~~~ i~J:l~ 4tQ~
265-264 'OP N29 NLR Evr. I 802 4t"~ .)~P ;i1vO~ i~~~ 1'~ z,~Q~
286 'OP :133 NLR Evr. I 802 4t"~ .)~P l~~~~ iZ,~1?J '~1 Z,ii' c4t~~Q~
278-277 'OP N32 NLR Evr. I 802 4t"~ .t,p iZ, :1i0 1 Plf11Q T4t ~7;JQ~
270 'OP :130-N30 NLR EYr. I 802 4t"~ .~~p i 4t WV 4t:1MiN C4t~i'
T - : -:
ALPHABETICAL LIST OF POEMS NOS. 1-152 297
282 'DV N33-~32 NLR Evr. I 802 ~"~ .Tt,p "T~"T~ ~iD nD~ ~~in~w,
240-239 'DV N24 NLR Evr. I 802 ~"~ .n~ ni~~~0vit,~Q~ 1~~~ 16i
246-245 'DV N25 NLR Evr. I 802 ~"~ .T~ t,;NWD C~i!)O t,N;W "t,"Tn
237-236 'DV ~23 NLR Evr. I 802 ~"~ .;t~ ;"T;O ~~~O~ Vi~N t,~ t,D ~in
169-168 'DV N9 NLR Evr. I 802 ~"~ .,~ 1~7~J;1~ ~~i:1 t,~ o~n
267 'DV ~29 NLR Evr. I 802 ~"~ .n~p C~~1 1; n1Q ~ i?"tt:'
287-286 'DV N34-~33 NLR Evr. I 802 ~"~ .'~p ~nnJN CD ~nJ~~ ~~n
232 'DV ~22 NLR Evr. I 802 ~"~ .toV :
vii~ ~t, 0~i"nD c~ri
186 'DV ~12 NLR Evr. I 802 ~"~ .n~ ltJ .;~";v ~7 n;~ry~ ~~b
223 'DV ~20 NLR Evr. I 802 ~"~ .TO ,,~~ ;;~" O;~ n;~~7 ~~~
224 'DV N21-~20 NLR Evr. I 802 ~"~ .toO ;n~~Q C~ ;~~ l;n H~
201-200 'DV N16-~15 NLR Evr. I 802 ~"~ .~~ ~!);~"
-
ni!)D
-: T
"N~
T T
C;~
285-284 'DV ~33-N33 NLR Evr. I 802 ~"~ .~p ~1;" CJ:l ~~;" t'J9 C;~
185 'DV ~12 NLR Evr. I 802 ~"~ .T~ ~~"t~
T :
~!JO~
.: -
i0T
C;~
277-274 'DV N32-N31 NLR Evr. I 802 ~"~ .n~p ,~ !);Y CD ~i!)D ~~WJ!J C;~
T
228 'DV ~21 NLR Evr. I 802 ~"~ .'V Tf~ C~,~~: I;,, ~~- ;'1~~
176-171 'DV ~10-~9 NLR Evr. I 802 ~"~ .to~ C~~; ~7=t~ 1;"11;" ~7=t~ C~17~
202 'DV N16 NLR Evr. I 802 ~"~ .;t~ ~t, N~~
T
"WDN iWN~
-::-: -::-
159 'DV N7 NLR Evr. I 802 ~"~ ., i~~ ~~!J i::'~ ~O;~
184-182 'DV ~12-N12 NLR Evr. I 802 ~"~ .,~ CJ;;; "0!)"N C~U>~N "t,~
170 'DV N9 NLR Evr. I 802 ~"~ Tto C~NnD ~~N ri;;"t, ;;Ni N;
244-243 'DV N25 NLR Evr. I 802 ~"~ .,~ ":~:'n ri~D U>~N i"V} Nt,
201 'DV N16 NLR Evr. I 802 ~"~ .~~ i";n~ c;~ ;"T;O 1~ ~~
274-273 'DV N31 NLR Evr. I 802 ~"~ .T~p 1~; c~ t,~W l~J?Q ;~7
262-261 'DV ~28 NLR Evr. I 802 ~"~ .np nt,w~nD ~ ,,~nN ~ t,
169 'DV N9 NLR Evr. I 802 ~"~ .,to .,W~~ c~ i'1~ lV~~~ ~t,
188-187 'DV N13 NLR Evr. I 802 ~"~ .Nt, ;~ C~N~" n~~" V"T~ ~t,
288-287 'DV N34 NLR Evr. I 802 ~"~ .;t~P 'T:l9~ Itl~- n7~~7
193-189 'DV ~14-N13 NLR Evr. I 802 ~"~ .~., ,,In, "t,D iWN iW ni~nt,
259-258 'DV N28 NLR Evr. I 802 ~"~ .;tp ~oi~~ T~O~J iv~ ~N;ui ~;~
247-246 'DV ~25 NLR Evr. I 802 ~"~ .to~ ~!)~" NYD~ iWN: ,,6~n "T6~
167-165 'DV ~8-N8 NLR Evr. I 802 ~"~ .~~ . , tJ'~iN~ ~'~i?1 ~Vi?~ 'Q7
171 'DV ~9 NLR Evr. I 802 ~"~ .n~ l;iJ:l~ 1;D1~':I1 ~':'NO n1~~7
161 'DV ~7 NLR Evr. I 802 ~"~ .n ~J:1~W~, ~J:11~W f?
253-252 'DV N27-~26 NLR Evr. I 802 ~"~ .Np ;t,~Dt, VJ VJ~J' t,N t,N;Wt,
263 'DV N29 NLR Evr. I 802 ~"~ .N~p ,~ a:~ib ;~~ t,~ilV7
204-203 'DV ~16-N16 NLR Evr. I 802 ~"~ .T~ 1:t;t, n~inW t,~;W7
286-285 'DV ~33 NLR Evr. I 802 ~"~ .~~p "':I~ 1~~ ~1;1 i;NG
281 'DV ~32 NLR Evr. I 802 ~"~ ,t,p ~t,JJ
: .
;~W ... iY- C;~ ~;w "0-
298 ALPHABETICAL LIST OF POEMS NOS. 1-152
206-205 'OP ::l16 NLR Evr. I 802 4t"~ .~ ;7

l~!) i~i ::liw MG
218-217 'OP ::l19-N19 NLR Evr. I 802 4t"~ .~o ;l4t,i4tl M7~~ ::l;:J~: 4tQ
182-180 'OP ::l11 NLR Evr. I 802 4t"~ .,~ ;4t~iY1 4t i?V?t:1 ~~.tl i i?~ ~~Q
215-213 'OP N19-N18 NLR Evr. I 802 4t"~ .~~ ni~~ lW~ 4tJ:1~W ~~.tl ii?~ ~~Q
292 'OP N35 NLR Evr. I 802 4t"~ .~p l~::l~1O~ '0 ~'?7 ~io ~1 ni? '0 ~'?
224 'OP ::l20 NLR EYr. I 802 4t"~ .no 4t1i, 4tl:;L1 n1i? ::liiG
208-206 'OP ::l17-::l16 NLR Evr. I 802 4t"~ .~~ i::l~M N ONO i10N i::l.a C~NJ
229 'OP N22 NLR Evr. I 802 4t"~ .'1' -,
:-Ji~~~ {in ~~~~ ~t:t~
293-292 'OP N35 NLR Evr. I 802 4t"~ .~~p i~ ::li'O i~Y ni::li:l ::l4t,J : -T
279 'OP N32 NLR Evr. I 802 4t"~ .~~p 4t~J? 4t1i'; i~t:1~
242-241 'OP ::l24 NLR Evr. I 802 4t"~ .~ ;'1t?1J ::lii ~~ i~Y 4tJ:1~7~
233 'OP ::l22 NLR Evr. I 802 4t"~ .Ej n~~~~ l~i1O t;~ ~~ ::lin ::l:t~ i;:J,?~
155-152 'OP N6-::l5 NLR Evr. I 802 4t"~ .~ Mi';MJ 4t14t ,i::l~:l i10N 1O!)J
T T : ... : . ... -: ......
158-157 'OP ::l6 NLR Evr. I 802 4t"~ .jT J;l1JW,?~ r11i4t 19~~ 1O~~
279-278 'OP N32 NLR EYr. I 802 4t"~ .~~p nii\l~~ 4t7 C4t~~iw nii'4t~t
259 'OP N28 NLR Evr. I 802 4t"~ .'p ~::lP1 C1'iJ ~~ c 4t::ltip
243-242 'OP ::l24 NLR Evr. I 802 4t"~ .~~ MJ~O N Mn 4t M n::l~ "";i"o,i:l i10TN M;b1'
161-159 'OP ::l7-N7 NLR Evr. I 802 4t"~ .T T """: U>4tTN~ ~i~tn ~Nl ~on M1Vv
213-212 'OP N18 NLR Evr. I 802 4t"~ .n~ c~7~j ~:lW '~1~~P. lQ1b
230-229 'OP N22 NLR EYr. I 802 4t"~ .T1' 4t1O!)J C1' ::l4tiN 4t~ iY n1'
232-230 'OP ::l22-N22 NLR Evr. I 802 4t"~ .n1' 0~7~n1? .t:i~~ nt?ti~ .,~~ ~~~~
245 'OP N25 NLR Evr. I 802 4t"~ .,~ i'1J!~ ~~7 P~~~ 4t~~
265 'OP ::l29-N29 NLR EYr. I 802 4t"~ .'~p C4tN~ ~4tn 4t w C4tNi~J i~Y c
189-188 'OP N13 NLR Evr. I 802 4t"~ .~., C;Q1 ~~ 0~Q7iv .,~~ 01
251-247 'OP ::l26-::l25 NLR EYr. I 802 4t"~ .p 4t
C i1'WM i.a~OO i 4t 1O n 4t iY
T : - T : -. :
165-164 'OP N8 NLR EYr. I 802 4t"~ .~~ C4t OiM i 4t1' 4t::l1Oi4t 4tn4tNi
: T
211 'OP N18 NLR Evr. I 802 4t"~ .,~ ~iON 4tn::lW 4tNii : T T
186 'OP N13-::l12 NLR Evr. I 802 4t"~ .~~ c~n4t nON:l c4to~n M1'ii
266 'OP ::l29 NLR EYr. I 802 4t"~ .T~p ~7: i~~J": ~W~ ~~Q~ ;i"~
195-194 'OP N15-::l14 NLR EYr. I 802 4t"~ .jT" c4t~4t~W~M ,nN C4t~4t6~M ,n"N ~NW
:-- -- -:- -- -T
220-218 'OP N20-::l19 NLR Evr. I 802 4t"~ .~o 'i'~o c4t1'J ,i,; NJ ::l~1O
155 'OP N6 NLR EYr. I 802 4t"~ .~ ~~4tn~J"ci~ 4t1O!)JT 4t::l~1O
266-265 'OP ::l29 NLR Evr. I 802 4t"~ .'~p l"Ii:a~ ::1:lJit~ oi';Q l~i1V
162 'OP ::l7 NLR Evr. I 802 4t"~ .~ ~in~ CN ,n!)P1 ~N 4ti4t1O
238-237 'OP N24-::l23 NLR Evr. I 802 4t"~ .TEj nio 4t1'J CD n1::li'O; ~N riiOi~li;
245-244 'OP N25 NLR Evr. I 802 4t"~ .jT~ o~w~~ r,~ ;tti:l~ .,~~o "iO~
209 'OP ::l17 NLR Evr. I 802 4t"~ .~~ C4t14t'~ CJ? ;1~' ;4t;J iiOV?
235-234 'OP N23 NLR Evr. I 802 4t"~ .~Ej MiON ~J'~J ~1' ~::lP1
T: T -
ALPHABETICAL LIST OF BIBLICAL NAMES
Abel 104: 15 (poem:verse) p. 256

Abraham 32:3) 104:19 p. 188) 256
Agur 25:6 p. 182
Ahasuerus 104:10 p. 256
Amaleq 19:39 p.172
Ammon 19:39 p.172
Ari>el 101: 15 p. 252
Babylon 101: 12 p. 252
Baraq 19:22 p.172
Benjamin 92:2 p. 242
Bil'am 60:14 p. 216
Cain 104:15) 149:2 p.256)291
Damascus 144:3 p. 286
Eden 19:33) 51:26) 67:8) 128:28 p.172)206)223)275
Edom 19:39 p.172
Ehud 19:22 p.172
Esau 107:6 p. 259
Gideon ben Jo>ash 104:23 p. 256
Gilead 104: 11 p. 256
Gog 1:47 p.146
~aradah 106:4 p. 259
~eger 104:14 p. 256
~irah 104:20 p. 256
Israel 139:15 p. 283
Ishboshet 19:23 p.172
Judah 104:20 p. 256
Judith 146:3 p. 288
Lebanon 100:43 p. 248
Levites 26:25) 104:26 p. 183) 256
MaQlah 57:6 p. 211
MaQol 23:21 p.178
Mefigoshet 19:24 p.172
Metushela~ 108:3 p. 261
Midyan 104:8 p. 256
Mikhal 104:7 p. 256
300 ALPHABETICAL LIST OF BIBLICAL NAMES
Nacamah 57:6 p.211

Nagai 21:6 p.177
Nacomi 57:6 p.211
Nocah 57:6 p.211
Ofir 100:4) 152:5 p.247)293
Peleshet 19:39 p.172
Pelet 128:27 p. 275
Pishon 116:4 p. 266
Purah 104:23 p. 256
Qedar 1:35) 19:39) 101:9) 139:8 p. 146) 172) 252) 283
Qeturah 104:19 p. 256
QoraQ 147: 12 p. 289
Refa>im 1:73 p. 147
Samson 128:27 p. 275
Sarah 32:3) 104: 19 p. 188) 256
Saul 19:23) 104:7 p. 172) 256
Secir 1:49) 101:8) 139:7 p. 146) 252) 283
Shamgar 19:22 p.172
Sharon 145:2 p. 287
Shefer 106:4 p. 259
Shushan 104:10 p. 256
~ipporah 104:8 p. 256
~ocar 2:25 p. 153
Tishbi 1:37) 101:17 p.146)252
Yacel 104: 14 p. 256
Yiftal,1 104: 11 p. 256
Yerubbeshet 19:22 p.172
Yeshurun 1:51 p. 146
Yonadag ben Shimcah 60:14 p. 216
ZeraQ 104:20 p. 256
VARIANT READINGS
With regard to S. Pinsker) Liqqute Qadmoniyyot [Lickute Kadmoniot:

Zur Geschichte des Karaismus und der karaischen Literatur] [in
Hebrew] (Vienna: Adalbert della Torre) 1860); I. Davidson) '<The
Dzwan of the Karaite Moses Darci/) [in Hebrew] J:Iore~ 3 (1936): 28-42;
and L. Weinberger) few ish Poet in Muslim Egypt: Moses Dartt's Hebrew
Collection (Leiden: Brill) 2000) .
. 320-317 'ov ,ili~J""; 33-28 'ov ,1,t'1''1 ;'V-;,V 'ov ,ii'OJ"!) :O!)'1J.N
Co,;,o C"it, [CO,;',, C.,'1t, 14 .i i'OJ"!)~ ion 8 :i i'OJ"!)~ C"",J"'O
.1'~'O" [l~'O" .;,no'O~ [;,no'O, 24 .C"'1"lJ [C"~"'1J 19 .ion [c.,~t,o 17
['O,t,'Ot, 42 .iON~ ['iON~ 40 .n,'1~~ [n,'1'~~ 28 .C"iO' [C"'1t, 27
[C"i.,tn .,t,~N' C.,t,iV 50 .ion [i"V'O' 49 .n,~ot, [n,~o In 43 .'Ot,'Ot,
[~,'On, 56 .1"~'O'" [l'~'O'" 55 .c"~,ot, [c.,~ot, 54 .ion [c.,~t,o 52 .ion
.;'i,n [n'1 .;'i"~l~ [;'i'~l~ 74 .ii'OJ"!)~ ion 69 .~in~ [~i,n~ .~'On,
.1i~" [1i'~" 77 .c",no [c"",no 76
i'Y nv~ [it nv, 16 . CO,;,O C"it, [c0';''' C"'1t, 14 : l't'1''1~ C"",J"'O
[C"J'VO 22 .;'JVO [;'J'VO 20 .C"'1"lJ [C"~"'1J 19 .c"i'.,tno [c"i'tno 17
tV~ [t'V~ .1'0'0' [1'0' n, 25 .1'~'O" [l~'O" 24 . c"J,nJ [C"J'O, .C"JVO
[n~,o, 38 . 'ONJ~ ['ONJ~ 37 .c~,n~ [;,~,n~ 36 .n,'1~~ [n,'1'~~ 28
.,.,t,.,o~ ~O"'" [,.,t,o~ ~"O"'" .'Ot,'Ot, ['O,t,'Ot, 42 .''1~Vt, ['i~Vt, 41 .n~o,
.1"~'O'" [l'~'O'" 55 . 'O,~nJ [,'O~nJ 53 . .,t,~'N' [.,t,~N' .n"i~'" [n'i~'" 50
[C"~''1' 60 .~in~ [~i,n~ .;,~O [;,~,o .;,~o~ ~'On, [;,~,o~ ~,'On, 56
'J'l" [,J'V 70 .1'iN' [1'iV' 65 . ,t,l" [,t,'l" 64 .C"'O''1i' [C"W'"Ti' 62 .C"~'1'
.1i~" [1i'~" 77 .;'i,n [n'1 .;'i"~l~ [;'i'~l~ 74
.nv~ [nv, 16 .CO,;'O C"it, [CO,;',, C"'1t, 14 :ili~J""~ C"",J"'O

[C"J'VO 22 .;'JVO [;,J'VO 20 .C"'1"lJ [C"~"'1J 19 .c"i'.,tno [c"i'tno 17
.tV~ [t'V~ .1'0'0' [1'O,n, 25 .1'~'O" [l~'O" 24 .c"J,nJ [C"J'O, .C"JVO
.c~,n~ [;,~,n~ 36 .tV~ [t'V~ ."iY' ['''iY' 33 .n,'1~~ [n,'1'~~ 28
~O"'" [,.,t,o~ ~"O"'" 42 . ''1~Vt, ['i~Vt, 41 . 'i'1n ['i'1;' 40 .n~o, [n~,o, 38
[.,t,~N' .n"i~'" [n'i~'" 50 .'ONJ ['ONJ~ 46 .n,~ot, [n,~o 43 .,.,t,.,o~
~'On, [;,~,o~ ~,'On, 56 .1"~'O'" [l'~'O'" 55 .'O,~nJ [,'O~nJ 53 . .,t,~'N'
[C"~'O~;' 60 .''O'1i'~ [''0'11'0 57 .~in~ [~i,n~ .;,~o [;,~,o .;,~o~
.C"'O''1i' [C"W'"Ti' 62 .C"i''O [C"i''O~ 61 .C"~'1' [C"~''1' .C"'O~~;'
302 VARIANT READINGS
[n, .;'i4t~J~ [;'i'~J~ 74 .tnJ4t [tnv 70 ."iN' [,,-,V' 65 .,z,J4t [,Z"J4t 64

.'i~4t ['i'~4t .i!)~4t [i!)'~4t 77 . ;,i,n
.412-410 'ov ,iJi~J4t" ;35-33 'ov ,1'"" :O!),J +~
Z,N 9 .;,z,z"JO [;,Z,N'JO 5 .n4t4t ;, [;,n4t ;, 4 .04t;,Z,N [4t,4t 3 :l't"'~ o4t4t,J4tW

.WJV [WJ'V 13 .;'i~' [;'i~~' 10 .;'itJJ [;'itJ .;'O'NZ, [;'O'N
.nw~ [nw,~ 15 . O~ [4t~ .0'~4ti4t [;'J~4ti4t . Z,~N' [Z,~W 14 .0 4t i'n [;,~,n
.04t;,Z,N [4t,4t .,,4t~ [14t~ 27 .NZ, [Z,N 23 .;'iO'J [;'iO';' 19
;,z,z"JO [;,Z,N'JO 5 .n 4t4t ;, [;,n4t ;, 4 .04t;,Z,N [4t,4t 3 :iJi~J4t"~ o4t4t,J4tW
.;'i~' [;'i~~' 10 .;'itJJ [;'itJ .;'O'NZ, [;'O'N Z,N 9 .;'i~OJ [;'i~nJ 7
.;,'~4ti4t [;'J~4ti4t .1~N [Z,~W 14 .04t i'n [;,~,n .WJV [WJ'V 13 .n4t ;, [;,n4t ;, 12
[;'JiN'~O . ;,Z,V [;,Z,'V 18 . ;,i;"t;, [;'i;,t;, 16 . nw~ [nw,~ 15 . O~ [4t~
.04t;,Z,N [4t,4t .,,4t~ [14t~ 27 .NZ, [Z,N 23 .;'iO'J [;'iO';, 19 .;'Ji'~ Z,V
.412 'ov ,iJi~J4t" ;35 'ov ,1,t", :O!),J +~
.i'~ Z,N [i'~Z" 4 .nN~ [nN~ 3 .0,4t [4t,4t 2 :1'""~ o4t4t,J4tW
.i'~ Z,N [i'~Z" 4 .Z,N;, [4t,4t 2 :iJi~J4t"~ o4t4t,J4tW
.321 'ov ,iJi~J4t" ; 36- 35 '0V ,1,t", :0 !),J +.,

[Z,N' . ;,z,~, [;,Z,~, 8 .nWJO [n't'JO .N't'nO [Nt'nO 3 :l't"'~ o4t4t,J4tW
.04t;,Z,N [4t,4t . '4tOni~ ['Oni~ 15 . NZ"
,4tz,4t~ W [,Z,4t~W4 .n'JWO [n't'JO .N't' no [Nt' no 3 :iJi~J4t"~ o4t4t,J4tW
.0,4t;,~ [4t,4t ., 4t0 ni~ ['0 ni~ 15 . NZ" [Z,N' . ;,z,~, [;,Z,~, 8
.215-213 'ov ,iJi~J4t" ;38-37 'ov ,1'""
;!) 'ov ,ii'OJ4t!) :O!),J +M
[o,n 11 . ;,J;, [NJ;' 10 . ,n,04t [,n4to 4t 5 .1N 'V [4tno 3 :ii'OJ4t!)~ o4t4t,J4tW
.on;, [iW,4t .,WNi ['W!)J .ON [0,4t 12 .on
['i~ . ;,J;, [NJ;' 10 . ,n,04t [,n4t o 4t 5 .1N 'V [4tno 3 :l't"'~ o4t4t,J4tW
,Z,VO 13 .on;, [iW,4t .,WNi ['W!)J .ON [0,4t 12 .i~' [i'~' 11 . 'i~'4t
. ;,w~n [;,w~,n .NJ [;,4t 14 .;'0 4t0, ,z, ;'0 [;,o 4t on
,n,04t [,n4t o 4t .tV [,,;, 5 .1"V [l'V 4 .1N 'V [4tno 3 :iJi~J4t"~ o4t4t,J4tW
;,J;, [NJ;' 10 .4tZ,V' [4tZ,N' 9 .;'0 [4t 0 8 .WN' [WN~ 7 .VlVi' [;'VlVi' 6
.NJ [;,4t 14 . on;, [iW,4t .,WNi ['W!)J .ON [0,4t 12 .i~' on [i'~' o,n 11
.;,w~n [;,w~,n
.482 'ov ,iJi~J4t" ;39 'ov ,1'"" :O!),J +'

.i~WN [i~ WN 5 .i~~ [i~O 4 .i~~ [i~~ :1'""~ o4t4t,J4tW
VARIANT READINGS 303
.4t~Y~ [4t~Y' 5 .,~~ ['~O 4 .,~~ [,~~ 3 :'J'~J4t,,~ c 4t4t ,J4tW

.434 'OV ,'J'~J4t" ;40-39 'OV ,1,t"T'''T :O!)"TJ .T
[;,t,,!)~ .;,!)~4t [;,~~4t 6 . "4t~n ['4t'4t~n 5 .Nt" [t,N' 3 :l,n,"T~ c 4t4t ,J4tW
. ;,~n [;,~4tn 16 . ""T~ ['~'''T~ 14 .Nt" [t,N' 11 .14tN' [,4tN' 8 . ;,t,'''TJ
[;,~~4t 6 .;,t,"TJ [;,t,'''TJ . ,,~n ['4t'4t~n 5 .Nt" [t,N' 3 :'J'~J4t,,~ c 4t4t ,J4tW
r
.Nt" [t,N' .,t, t,t,;,n [,t,t,;,n 11 . N' [,4tN' 8 .;,t,'''TJ [;,t,,!)~ . ;,!)~4t
.;,t,V!) [;,t"V!) 20 . ;,~n [;,~4tn 16 . ""T~ ['~'''T~ 14
.451 'OV ,'J'~J4t,,; 41-40 'OV ,1,t"T'''T ;N!) 'OV ,'i'OJ4t!) :O!)"TJ .n
.c4t,w [C 4t,4tW 4 :l't"T'''T~ C4t4t,J4tW
.C4t,W [C4t,4tW 4 . OV~;' [O'V~t, 3 :'J'~J4t,,~ C4t4t,J4tW
.459 'OV ,'J'~J4t" ;41 'OV ,1,t"T'''T ;N!) 'OV ,'i'OJ4t!) :O!)"TJ .~
.;,J;, 4t~ [;,J;, .;,4t;,n [;,4t nn 6 :'J'~J4t,,~ C4t4t,J4tW

.372-371 'OV ,'J'~J4t" ; 42-41 'OV ,1,t"T'''T :O!)"TJ :~
tt4t Vt" [tt4t V t,N' 13 . 'Y~ ["T'~~ .,nNt" ["nNt" 11 :l't"T'''T~ C4t4t,J4tW
[~,,~ 21 ., 4tn'Nt,!) [,4tNt,!) 19 . C4tJ'''TJ [C4tJ'~J 18 . C~i'0' [C~i"4t, 17
.Vt,O~ [4tVt,O~ 24 .14t0~ [l4tJ~ 22 .~,~
C4tJ,"TN;, [C4tJ"TN;, 9 .tJ' [tJ" 5 .C4tJWO;, [C4tJ'WO;, 3 :'J'~J4t,,~ C4t4t,J4tW

C~i'4t4t, [C~i"4t, 17 . tt4t Vt" [tt4t Vt,N' 13 .'Y~ ["T'~~ .C4t,nNt" [" nNt" 11
.~,~ [~,,~ 21 .,4tn'Nt,!)OO ['4tNt,!) .nyi' [~VO 19 .C4tJ'~J [C4tJ'~J 18
.lU'Ti'0 [W"T'i'O 25 .Vt,O~ [4tVt,O~ 24 .14t0~ [l4tJ~ 22
.369 'OV ,'J'~J4t" :O!)"TJ .N~
4tt, C4t"T4tJOt, ;,~4tWN' 5 .'J'~J4t,,~ ,,!);, '''TO 4-5 :'J'~J4t,,~ C4t4t,J4tW

CV4t"T';'t" Ct,4t~W;'t" C;,t, "T4tJ4t ;,~ 14tN W4tN ,N [CV4t"T';'t" Ct,4t~W;'t,
.nNt ;,n4t ;, C~"T4tO [4t~ nNt C~"T4tO 6
.363-362 'OV ,'J'~J4t" :O!)"TJ .~~
.4t V' [,nv"T 8 .t,~'0 4t;,4t C~t,;'O~ [t,~,4t ,~t, ;'O~' 5 :'J'~J4t,,~ C4t4t,J4tW
.C4t"T~'V [C4t,~'V 20 .c4t"no [c4t,no 19 .N4ty,n, [N4tY'4t' .;'OJn [;'OJ4t
.c4tt"n [C4t t"n 25 .'4t,~n ['4t'4t~n .'04t O ['O,4tO 23
.413-412 'OV ,'J'~J4t" :O!)"TJ .)~
,t, "TV t,YJ / ;,O'''TO ,4t"TV t,YJn;, [;,O,JO ,t, 'v

t,YJ4t 4 :'J'~J4t,,~ C4t4t,J4tW
4t,~"T 4t~~t,~ "~tN [t,N 4t,~"T 4t~~t,~ "~tN' 6 .,t,WO [,t,W'O 5 .;'O,JO
."T'''T
.435-434 'OV :O!tTJ +,~

,'J'~J4t"
.n'JW' [nJW' 7 .~~~, [~~:J' .'1' cn~, ["1' c,n~, 5 :'J'~J4t,,~ c 4t4t ,J4tW
.390 'OV ,'J'~J4t" ;N!J 'CV ,'i'0J4t!J :O!J"TJ +,~
.,4t n,i'''TY [,4t ni'''TY 4 :'i'OJ4t!J~ c 4t4t ,J4tW
.,4t n,i'''TY [,4tni'''TY 4 :'J'~J4t,,~ c 4t4t ,J4tW
.346 'OV ;N!J 'CV ,'i'0J4t!J :O!J"TJ +T~
,'J'~J4t"
."NW~ ["4tNW~ 4 :'i'OJ4t!J~ c 4t4t ,J4tW

."NW~ ["4tNW~ 4 :'J'~J4t,,~ c 4t4t ,J4tW
.372 'OV :O!J"TJ +T~

,'J'~J4t"
.,n~w4t [,n,~w4t 3 .4t~:JN [4t~~N .4tW,J [4tJ,J4t, 2 :'J'~J4t,,~ c 4t4t ,J4tW

.~,n:J:J [~,n:J~ 5 .,nw4t [,nw .'O'N' [M'O'N' 4
.346 'OV :O!J"TJ +n~

,'J'~J4t"
W4tN 4t:J l':JJ 10NJ "TV Mt ~V W4t, 4 .4t"TW~ [M"TW~ 3 :'J'~J4t,,~ c 4t4t ,J4tW
'''T4t y 4t~V M"TW W4tN 4t:J 10NJ "TV Mt ~V W4t, [C4t~M'N ~W,4t, cn ~i'VJ M"TW
.C4t~MN ~W,4t ~i'VJ CJ
.415-413 'OV :O!J"TJ +~~

,'J'~J4t"
.M'NWJ ['NWn .M"~J~ [M"~J' 6 .nwnJ' [nw,nJ' 5 :'J'~J4t,,~ c 4t4t ,J4tW

Mn~ ,~~ 'WN [M~~M 4t~V c4tn~,~ ~N N4tM 'WN 9 .nw~~n [nw,~~n 7
~J' ~N' .i'4tn~, [i'4t n ~N' 11 .C4tJ4tONO~' [C 4tJ4t ONO ~N' 10 .4t~~M 4t~V
[C 4t O'i'4t 14 .MnO"TW [cnnow 13 .MO':J [nY O,:J 12 .nw, ~J'~' [Mun
"VM M'!JV [nWW'i'O' M~~'O "T'V M4t'!JV .nJ:Jno~ [nJ':Jno~ .M0i"
,4t~V [nW~"T ~V .1n!J [~n:J 17 .nlUl'O CJ [nlUli'O' 16 .nWW'i' ~~'04t
[nw~"4t~ .M'~i' [M~i" 22 .C4t~!J'WM [C4t~!JWM 21 .NO:J [O:J 18 .nw~
.M4t~'~J [Mn'~~J~ 27 .,4t oon [MOOn 26 .1'y-,~ [MJ,y-,:J 25 .nw~'4t~
W!JJ Mn'N"i'~ 28 .V'~ [M~ .Mn4t" [M4t n4t" .'WV M4tn!JO [MWVO M4tn'!JO
M"ON W!JJM n",i'~ [nWJNJ C~ n'N~nMO cn:Jo, M'Yi' M~ C4t"ON
.MY!Jn, [CY!Jn, .Mn'Nn [cn'Nn 29 .nWJNJ n'N~nMO cn:Jo, MYi' M~
.nwi'V M"O [nwi'VO' M"'O .M4t :J'''T [M:J'''T' .'J4t"T~ [MJ4t"T~ 31
.4t~ 1n [M~ 1n .1J~ [lJ 4t~N 33 .nwi'~ M'~W [nwi'~O' M~N'W 32
.,n,w~, ['4tn,w~, .'''T~V~' ['''T~V ~N .nNO~O' [nNO'~O' 34
.MNWJ [MNW'J 37 .tV~ [t'V~ .M4tJ'''TN~ [M4tJ"TN~ 36 .MlUli' [MW'''Ti' 35
.'''T4t -C" t'JJ~ ['''T4t CO" t'V~ 38 .MN"i' N4tM ,n~w~ [MN"i' ,n~w~,
"T'V MW'~~O [WW~, "TV~ MW~'~ 41 .tV~ [t'V~ .4t~W n~, [4t~W~ n~, 40
[nwntl Cl rlV~ ;,nil~ ;,Jo4twn ;,4tiV 1'On~ ;,4t iV Z,~01 43 .WW CVl
[14tn04t N 44 .nwnlJ Cl rv~ ;,nil~ ;,4to4twn ;,J'V 14t-rOn~ ;,4t,V Z,~01
.1Z,l;'W [1Z,l1;'W 46 .1n04t N
.415 'ov ,ili~J4tll ;N!) 'cv ii'OJ4t!) :O!),J +~
.C~i'V [C~4ti'V .CN [CV 4 :ii'OJ4t!)~ C4t4t lJ4tW
[1rlnN4t C~4ti'V 11l4t n!)~ C14t 4tJ~ CV C4tNi4t nYJZ" 4 :ili~J4tll~ C4t4t lJ4tW
.1rZ,V4t [1rlZ,V4t 6 .lrnN4t C~i'V 11l4t n!)~ C14t z,~~ Z,N 4tNi4t nYJZ"
.435 'ov ,ili~J4tll ;N!) 'cv ii'OJ4t!) :O!),J +~~
.1ill0 [14t ill0 6 :ii'OJ4t!)~ C4t4t lJ4tW

.1Vii'4t l [Vii'4t l 6 :ili~J4tll~ C4t4t lJ4tW
.348-347 'ov ,ili~J4tll ;~!) 'cv ii'OJ4t!) :O!),J +~~
nt'o~ 12 .ion [C4t'l~;' 4tt'1W!) .ion [C4t~;'N WiV 11 :ii'OJ4t!)~ C4t4t lJ4tW
.C4tWi [C4tWNi 28 .c4t,on;, [c4t,4t on;, 27 .14t lVl [l4t4t lVl 14 .ion [In
4tz,~ Z,V ;,Z,ln n,oZ,vZ" 8 .C4t'iO [C4t'in .t')V [t')N 4 :ili~J4tll~ C4t4t lJ4tW
iWN 1nlVlir i W 4tZ,~ ;,J4tZ,ln n,oZ,vZ" [C -r OY;' C~ iWN cnlVlir i 4t W
4t 4t 4t
C4tlJVO [C 4tlJ1VO 11 .C4tJ,4tZ" c 4ti,nZ" [C4tJ14t Z,Nl C4tiln Z,Nl 9 .C4t,4t OY;, 1~
.14t lVl [l4t4t lVl 14 .14t ;,4t l [14t ;'1 . c4ti'~no [C4ti'~1nO . C4ti~no [C4ti~1no 12
.noZ,NZ" [no,Z,NZ" 20 .~i~ [~1i~ 19 .iW4t [iW14t 17 .4t~Z,Z, [4t~~Z, 16
rv~ [rlV~ . In-rl~V [1nl-r~vZ, 23 .14tnlrlro [1nrlro 22 .1JO [1;'JO 21
.1;,4t n 4t [1;,4t4t n 4t 31 . lZ,~1 4t!)4t [,Z,,~, 4t!)14t 30
.322-321 'ov ,ili~J4tll :O!),J +.,~
.1Jlinl [14tJlinl 4 .n,wvZ" [4t n,wvZ" .1J1Yi [14tJ1Yi 2 :ili~J4tll~ C4t4t lJ4tW
[~1ii' .1nNt'nl [1nOWNl .;,~-ro [;'~1'0 6 .1Jnl 1,on [14tJnl 14t-ron~ 5
[14tJ,WZ" .1 4t n!)W [1n!)W .1n14t nZ, [14t n14t n Z,~ 9 .14tJllV [14tJ1V . ~ii'
[1J1Vl 13 .1JV4t [14tJV 4t 11.1J4t ONN [1 4tJ4tONN .1Z,OVO [14tZ,OVO 10 .1J1WZ,
.14tJJi 4tZ,N ~iV4t Cll [14tJJi 4ti4tW 4tz' ~ivnl .nln4tJ [nn4tJ 14 .1JllVl
.1J1Yi [14tJ1Yi 15
.416-415 'ov ,ili~J4tll ;~!) 'cv ,ii'OJ4t!) :O!),J +iT~
.il~n [il~r4t 6 .t'i'W4t [11~W4t 4 :ii'OJ4t!)~ C4t4t lJ4tW

.460-459 'ov ,ili~J4tll :O!),J +,~
[C4t4t li' .cnZ"r [cnZ,~ .Z,N 1~W [Z,N ;,~ 1~W 6 :ili~J4tll~ C4t4t lJ4tW
C4tZ"l [C4tZ,l .C4t o-ro;, [C 4tOl' C;, 11 .14t V-r14t Z,~ 4t~ [CV,,4t Z,~O 8 .C4t li'
.4t 'lz,4t nN [4t 'lZ,4t1 18 .'l1i'4t [i4t i'4t 16 .ntI0~1 [OVJOZ" 15 .ln1Jrl [04tJn1Jrl 14
Ol 04ty,yi" [04t 'lJ 04tJn1J 04tY1~i'1 21 .04t4tZ,n~1 [04t4tZ,n1 .0iWV [OiW~1 20
[4t'l4t~ .tV [t1V 25 .10tZ, [lOt~ 24 .04t~i [04t~i . 1Z,~ [rlnZ,~ 23 .Orl 0 4t'lJ
.04tJ~ [l~ .~N ~4tWO [~N ~z, ~4tWO 26 .'l4t Z,V
.436-435 'ov ,ili~J4t11 ;l!) 'ov ,ii'OJ4t!) :O!)'lJ .T~
.iYi'0 [iY1i'0 9 :ii'OJ4t!)~ 0 4t4t 1J4tW

1i'~ [1i'~4t .iY1i'0 [iY1i'0 .i01N1 [rli01N1 9 :ili~J4t11~ 0 4t4t 1J4tW
. rloZ, [4t 0Z, 10
.348 'ov ,ili~J4t11 :O!tTJ .n~
.V01W [V4t 01W 4 .i!)V [i!)1V 3 :ili~J4t11~ 0 4t4t 1J4tW
.436 'ov ,ili~J4t11 :O!)'lJ .~~
rl!)~ [i'W1J rl!)~ . "'J~ i1V [1i1l~ i1Vrl 4 .4t 0 [4t 01 3 :ili~J4t11~ 0 4t4t 1J4tW
i'WJ
.416 'ov ,ili~J4t11 :O!)'lJ .t,
[1itJ4t .'l100 ['l1001 4 .Oi1WN [1iWN .1t'4t1 [14t!)4t1 3 :ili~J4t11~ 0 4t4t 1J4tW
.1iYJ4t
.481 'ov ,ili~J4t11 :O!)'lJ .~t,

[oZ,VJ .iw~n4t [iW~n4t1 4 .1~Z, [O~ .04tN~ [04tN~rl 3 :ili~J4t11~ 0 4t4t 1J4tW
.4tt'!)1W [ 4tt'!)W 6 .11WZ, [l'WZ" 5 .l'i4t1 irlO [l'i4t4t1 irl 4t O .0rl4tZ,VJ
.323-322 'ov ,ili~J4t11 :O!)'lJ .~t,
.~N 'lV [~N OV 3 :ili~J4t11~ 0 4t4t 1J4tW
.396-394 'ov ,ili~J4t11 :O!)'lJ .~t,

.WOW~ [WOW~ .~4ti nZ,!)NO [~4ti z,4tz, Z,!)NO 5 :ili~J4t11~ 0 4t4t 1J4tW
ili~J4t11~ 13= 11 .Ol [OV .4tiY~ [00 iY 9 .1i4t yi' [14ti 4t yi' .lZ,W1 [1lZ,W1 6
.ion1 4tJV [i01n1 4tJ1V 14 .04tJ10iN1 [OJ10iN1 12 .n1Z,l OJ [n1Z,lOJ 11
.iVJ [iV1J .l~ [O~ .n1Z,NWrl z,~ n1~iVO [n1Z,NWrl n~iVO 16
[14t n 22 .114tiW~ [l4tiW~ 20 .nOi~ [n01i~ 19 .ln~1Wn [On~1Wn 17
.rliON1 [1iON1 27 .04t~l1V~ Ol [04t~l1V~1 24 .n!)J~ [n!)1J~ .i'4t n
1Z,~n1 [1Z,~rl1 31 . 1n~wno~ [1~WnO~ .rl'l'J [rl'liO 30 .~4tt'4trl1 [~4tt'rl1 29
.4tJ1'lN [4tJ'lN 40 .n!)J~ [n!)1J~ .4tNOY [4tN4t OY 36 .rlJ1~0 [rlJ1~J 32
. rlJtz,vn [rlJt1Z,vn 50 .rl'l~~ [rl'l1~~ 44 . rlJNn [rlJN1n 43
.349-348 'ov ,ili~J4t11 ;l!) 'ov ,ii'OJ4t!) : O!)'lJ .,t,
.'l1i!) ['l1i4t!) 4 .l4tP~ [l4tP~ 3 :ii'OJ4t!)~ C4t4t lJ4tW

.'l1i!) ['l1i4t!) 4 .l4tP~ [l4tP~ 3 :ili~J4tll~ C4t4t lJ4tW
.391- 390 'Op ,ili~J4tll :O!)'lJ .iTt,
.n14t ip [nllip 4 .C4tz,4t~WO;' 'lnNZ, [C4tz,4t~WO;' 'lnN 3 :ili~J4tll~ C4t4t lJ4tW
[;,n~'l .;'Yin [l',!)nn 6 .nlJl~n 'l1WO [4tnJl~n 'lWO 5 .nW~1 [nlWl~1
.1nZ,;,n [,nZ,''ll 9 .n14tip [nllip .lnp4t 'l4t [cnp4t 'l4t 8 .ion [,OZ"P . 4tn~i
l4tN [C;,4tZ,li~ l'N 12 .;,Z,~1 [;,Z,~4tl . tp~ [tlP~ .C4tplWO;' [C4tpllWO;, 10
.4t;'1Z,N [4t;,Z,N 16 . ;,Z,nl [;,Z,n4t l 13 .l;,4tZ,li~
.446 'op ,ili~J4tll ;l!) 'op ,ii'OJ4t!) :O!)'lJ .,t,
.349 'op ,ili~J4tll :O!)'lJ .Tt,
[1~wno~ 1J14tVi~ NY04t;, ;,4t~Y 4tnlN ;,p~w;, ;,4tn~ 2 :ili~J4tll~ C4t4t lJ4tW
C4tZ,Z,;,01 lnZ,~ n~w 3 . 1~wno l14tpi~ NY04t;, ;,4t~Y 'l1P ;,p~w;, ;,4t4tn~
4tnlwn z,p ~z, 4 .1~ 10~ [1~t'4t0~ .O!)NZ, 1Z,;,0 4tnz,~ n~w [4t O!)NZ,
nlJpO 1 4t Nl 01JN 4ti'wn nz,p~z, [1~in i'4t iZ, ~4twn nlJpO 1 4t N CJ ;,~4tW;,o
i~1'l0 nl'l~~Jl ;,z,i'J 1nZ,~ z,z,;,o z,~ ;'i~'l ;,z, 5 . 1~in i'4t in i'4t iZ, ~4tWN
. 1~ i~'lO nl'l~~J ;,z,i'J 1np~ z,z,;,o z,~~ ;'i~'l 1Z" [1~
.446 'op ,ili~J4tll :O!)'lJ .nt,
;,il;, il~Z, [Nil0l 'l1~~ ii'4t . t'}O~-l1;'1 [t'}O~;'1 3 :ili~J4tll~ C4t4t lJ4tW
.z,~~ [Z,~z, 4 . Nil0l
.417-416 'op ,ili~J4tll ;'l!)-l!) 'op ,ii'OJ4t!) :O!)'lJ .~t,
[i4t Wp 4t l 8 .ilN [C14t 7 .lOt;, [lOt 5 .14t~Pi [14t~4tpi 4 :ii'OJ4t!)~ C4t4t lJ4tW
. 4tn!)iWl [ 4tn!)iYl 15 .C4t OZ"pZ, [ 4tOZ"PZ, 12 . 14t~N~0 [14t~4tN~0 11 .i4t WpOl
.C4t4t i'1 [C 4t i'1 18
. 14t~Z,~ 1;'1Z,~N4tl lOt;, 4tiN [14t~Z,~ 4tJ1Z,~N4tl nN 14tiNl 3 :ili~J4tll~ C4t4t lJ4tW
lnnl0n ;,4t n ,Z" 8 . 14t~4t'lJ nN [14t~4t'lJ z,~ 6 . 14t~Pi [14t~4tpi .1JOl [1JOl 4
[1J1WW 11 . 14t~1;'N Z,N [14t~1;'NZ, 10 . 14t~4t~O lnJl0N ;,n4t ;, ,Z" [14t~4t~O
.z,~w [4tz,~w 15 .14t~N~0 [14t~4tN~0 .4tJ1WW
.426 'op ,ili~J4tll :O!)'lJ J~
.iYi'0 [iYli'O 3 :ili~J4tll~ C4t4t lJ4tW

.350-349 'op ,ili~J4tll :O!)'lJ .~Q
.350 'op ,ili~J4tll ;'l!) 'op ,ii'OJ4t!) :O!)'lJ .~Q

[tl~J,~'On 8 .,on [t,N 6 .,on, [,~on, 5 .'00 ["00 4 :'i'OJ~!)~ C~~'J~'O

.'JJ,~'On
[C~'VO 6 .Cl [,~ .,on, [,~on, 5 .~!)~n [~!),~n 3 :'l'~J~"~ C~~'J~'O

.'JJ,~'On ['J~J,~'On 8 .no, ,,!)'Ot, nn~ [no, Cl nn~ t,N .C~Vo
.418-417 'ov ,'l'~J~" :O!),J +~~
.nn!)n [n~n!)~ 4 .nJV!)O' [n~JV!)o, .t"t [t,nl 3 :'l'~J~"~ C~~'J~'O
.418 'ov ,'l'~J~" :O!),J +,~
.~~ n~ n~n~ ,'v [~~ n~n~ Nt, ,~V 4 :'l'~J~"~ C~~'J~'O
.418 'ov ,'l'~J~" :O!),J +jT~
n~n~ Nt, .VWin [VWi 4 .,on [Cl .~t,N N'~~ [~t, N~~ 3 :'l'~J~"~ C~~'J~'O
.311 i'~,~n CV n~n~ Nt, [V, n'i',~n CV ,'V
.437-436 'ov ,'l'~J~" :O!),J +,~
.~tN t,,~ [~t N ,,~ 4 .1'i'n [1" i'n 3 :'l'~J~"~ C~~'J~'O
.362-361 'ov ,'l'~J~" :O!),J +T~
,~n~ 5 .'In,t'' ,nn,i" ['Jnt" ,n",i" 4 .t~t, [t~,t, 3 :'l'~J~"~ C~~'J~'O
.~~JN tn ",ot, [~~JN ",ot, 6 .~'V ,nt, [~"V
.426-425 'ov ,'l'~J~" :O!),J +n~
,no ['V~J ,t, Cn~JtN ,nN .c,~n ~Vl!) [c,~ ~,t,~ 3 :'l'~J~"~ C~~'J~'O
t,N ~'i' [t,N ~~'i' 6 .'V~J Cn~JtN
.426 'ov ,'l'~J~" :O!),J +~~
.C'N-t~' [C'N t~, 3 :'l'~J~"~ C~~'J~'O
.482'ov ,'l'~J~" :O!),J +~
.420-418 'ov ,'l'~J~" :O!),J +N~
'~'Oi't, ['~'O'i't, 7 . '~311' [,~V~" 4 .CNJ [C'NJ 3 :'l'~J~"~ C~~'J~'O
,~nt~ [,~nt ,~ 13 .tV~ [t'V~ 12 . n'O~,~ [n'O,~ 10 . '~!)311 ot, [~!)V' ot, 9
.c~n!)o [c~n,!)o 20 .tO~ [tOtt, 19 .n,o,~v [c~o,~v 15 .,JOt [~JOt 14
,nN' [nt ~,nN' 24 .nv,t, [~nv,t, 22 .~n'O [,~n'O~ 21 .'ONJ [n'ONJ
t,Nn ['~NO .,~~t, [~~~t, 29 .nt'~' [nt~' 28 . N~'~ Nt,n [N~~ ~n~ 27 .nt
t'~~ ,~n,'Oo t,N no,~, [,~,,~ t,N ,n,'O~ no,~, .'~~Nt,O~ ['~Nt,O~ 30
[",n~~~ .,nv, [~nv, 32 .,n~,'On [~n~,'On '~'i'~ [~~'i'~ 31 .,~
.'0'0 [~O'O .,~,~on [,~,on 33 .",n~~
.437 'ov ,iJi~J4t" ;-r!) '0 V ,ii'OJ4t!) :0!)-rJ .~~
[O~'V' 4 .o4ti~n" OV i',nW [04ti~n OV -r,V i',nW 3 :iJi~J4t"~ 04t4t,J4tW

.O~V'
.420 '0 V ,iJi~J4t" :0!)-rJ .~~

.421-420 'ov ,iJi~J4t" ;-r!) 'ov ,ii'OJ4t!) :O!)-rJ .,~
.04t"t,N [04t"t,N" 3 . N'~ [N~ 2 :i i'OJ4t!)~ 04t4t,J4tW
.04t"t,N [04t"t,N" 3 :iJi~J4t"~ 04t4t,J4tW
. 372 '0 V ,iJi~J4t" ;-r!) 'ov ,i i'OJ4t!) :O!)-rJ .jT~
."0' ["O~ 3 :ii'OJ4t!)~ 04t4t,J4tW

.461-460 'ov ,iJi~J4t" :0!)-rJ .,~
.1WJ 1'WJ [1WJ 1WJ . ~i"t [ti',t .4t n~4tw [4tn~W 2 :iJi~J4t"~ 04t4t,J4tW
[t'in4t~ .t~t, [t~t,t, 5 .4tnt,~no" [nt,~o" .~4tWN [~4tWN' 4 .i'ni [i'n4ti 3
.t'in4t 4t~
.373-372 'ov ,iJi~J4t" :O!tTJ .T~
.W4ti t, [lZilt, 3 :iJi~J4t"~ 04t4t,J4tW
.447-446 'ov ,iJi~J4t" :O!)-rJ .n~
. on,n~w t~Nt, [on,v~t' 4tJ~Nt, 4 :iJi~J4t"~ 04t4t,J4tW

.352-350 'ov ,iJi~J4t" :O!)-rJ .~~
[n,ni,t .0,,4t ni!)' 04t~~ [0 ,,4t~~, 4t n~J .4tt,V' ["t,V' 5 :iJi~J4t"~ 04t4t,J4tW
.~4tWi'N [~'Wi'N 7 .-r'i!)t, [-r'i4t!)t, .04tO n,t,J [04t O n,t,'J 6 .n,ni'!)
'JnJ ['In'J .4tj' "JJVO [4t!),4t "JJ'VO .ni'~nO t4t04t , [ni'~,n 4tJ4t04t, 8
iJi~J4t"~ 16= 13 .-r,WO [iW 4t0 ."J'4t~N ["J,4t 4tiN 12 .n,-r4t!) [-r'i4t!) 11
[n'JW'W 'N .4tt,~0 [4tt,~0 .iJi~J4t"~ 11=14 .n'J-rvo [n'J-r,vo 13
,,4t V'it 4tnw~ ["n'V'it 4tJW~ 16 .OVJ~ i'~,n [OV'J~ 'i'~,n 15 .n'JW'W~
"4tn'V~~Nt,, [n'N "n'V~~Nt" 17 . n'J~t,o OJ n'4ti~' [n'J~'t,o 0J n'N4ti~'
4t nt,~ [n'J'i0n 4t nt,~o ."iiW ["iW 19 .4t iWN [4tt,nN 18 . "tn4t [Otn4t .0N
[n'J4tJJO 23 .n'Jt4tO [n'Jt,4t O .,,4t~i4t [,,4t~4ti4t .4tnw, [4tJW, 21 .n'J'iOn~
4tJJ~W4t, [4tJJ4t~W4t, 29 .WJ" [4tJJ" .,JV4t ["JV4t 27 .inN [4tinN 26 .n'JJJO
.4tn'J"V [4tn'J'V 31 . n'JOtO [n'JO,tO .'4t~"'Nt,WO ['4t~'''Nt,W
.447 'ov ,iJi~J4t" :O!)-rJ .0
VYiOt" [V4t YiOt" 7 ."Vt'J ["Vt',J .1W!)J [14t W!)J 6 :iJi~J4t"~ 04t4t,J4tW
.i'WV [i'W'V 11 .1t,Ji OJ [1t,Ji~' 10 . ,-r4t "t"nt" [1-r4t "t"n~, 9
.438-437 'Op ,ili~J"" :O!tTJ .~O
ni~'O .", [i'i' 12 .1n" [1n," 9 .,Pi [,p"i 8 :ili~J""~ O"",J"W

.,nZ,'l"WPO [,nZ,"l ;,WpO 16 .tp~ [t,p~ 15 .,niwZ, ni~O [,"niwZ,
.",n"z' [",n""Z, 17
.364-363 'Op ,ili~J"" :O!J,J .~O
."Ji'W;' ["J"i'W;' 3 . ,n~;'N~ '"TP [,n~;'N ;'~iP 2 :ili~J""~ O"",J"W

['"T"~' 15 .,z,~, [,Z,,~, ."!J'" ["!J'''' 14 ."z,p [Z,p 7 .n'N'!JiZ, [n'N'!Ji "z, 5
[n,Z,'l 24 .t'}in~, [t'}i,n~, 23 .Wip, [Oip, 21 .''''lO ["'lO 18 .'"T'i~~'
.0"pJ~ [O"PJ~ .n,Z,l
.451 'Op ,ili~J"" :O!J,J .~O
.452-451 'Op ,ili~J"" ;'!J 'Op ,ii'OJ"!J :O!J,J .,0

.tp, [t,p, :ii'OJ"!J~ O"",J"W
NZ,;, [W"N~"~ ."!J~ ["!J~ 6 .tp, [t,p, 5 .i'pt" [i'P~ 4 :ili~J""~ O"",J"W
.W"N~
.391 'Op ,ili~J"" ;'!J 'Op ,ii'OJ"!J :O!J,J .iTO

.iO'N' [iON' 3 :ili~J""~ O"",J"W
.452 'Op ,ili~J"" ;;'!J 'Op ,ii'OJ"!J :O!J,J .'0
."W"i ["Wi 3 :ii'OJ"!J~ O"",J"W
."p [Ol 6 .iWp [iW'p 4 ."W"i ["Wi 3 :ili~J""~ O"",J"W
.352 'Op ,ili~J"" :O!tTJ .TO
.0"0" ["J"O'" .~WN NZ, [~WN Z,N 6 .OW~ [OW'~ 4 :ili~J""~ O"",J"W
.421 'Op ,ili~J"" ;;'!J 'Op ,ii'OJ"!J :O!J,J .MO
['"T'OP" 4 .'"TOnn ['"T'Onn .~iO [~'iO 3 :ili~J""~' ii'OJ"!J~ O"",J"W
.'Op"
.323 'Op ,ili~J"" :O!J,J .~O
. ;,~o [;,~,O 3 :ili~J""~ O"",J"W

.369 'Op ,ili~J"" ;lP 'Op ,ii'OJ"!J :O!J,J .31
["i~J;' 8 ."iN;' Z,N Ol ~NtZ, ["iN' ~NtZ, 7 ."iY ["i'Y 4 :ili~J""~ O"",J"W
."i~JZ,
.391 'Op ,'J':lJ~" :O!),J .NV

.~'~JJ ["~JJ 3 :'J':lJ~":l C~~'J~lV
.353-352 'OP ,'J':lJ~" ;;,!) 'Op ,'i'OJ~!) :O!),J .~V
["OlVN 14 .;"0 N' [;"0 N~ 11 . ~n~:l "n [~n'J:l 7 :, i'OJ~!):l C~~'J~lV

.~JtN [~JO .'OlVN
[~n'J:l 7 .~ NlV [N~lV' 6 .~N:l [~N':l 5 .~n~, i' [~n,i' 3 :'J':lJ~":l C~~'J~lV
.n'lVN':J [n,un:J .;,'O'N' [;"0 N~ 11 . ,~n~ [,~~n~ 9 .~n~:l "n
."n~ ["n ~N 15 .~:J [~!) 14 .'J':lJ~":l ,,!);, "0 12-13
.438 'Op ,'J':lJ~" :O!),J .)V
.:lNO [:IN;, 6 .;,OJO;, n,~p:l [;,O,JO;, n~p:l 5 :'J':lJ~":l C~~'J~lV
. '~Ji't ['J~i't
.448-447 'Op ,'J':lJ~" :O!),J .'V
.373 'Op ,'J':lJ~" ;;,!) 'Op ,'i'OJ~!) :O!),J .jTV
.~nn:J';' C,~ [C,~ ~nn:J';' 3 :'J':lJ~":l C~~'J~lV
.448 'Op ,'J':lJ~" :O!),J .'V
.;,'NJ Cp [;,'NJ:l 3 :'J':lJ~":l C~~'J~lV
.421 'OP ,'J':lJ~" ;'!) 'Op ,'i'OJ~!) :O!),J .TV
. ;'lVp~ [;,lVP 5 . ~JOO [,JOO 4 :'J':lJ~":l C~~'J~lV
.324-323 'Op ,'J':lJ~" :O!),J .MV
. ~npo,' ~:J:l:l [~n,po" ~~:J:l:l 9 .~~~n~ [~~~n 6 :'J':lJ~":l C~~'J~lV
.C~~~:llV [C~~:llV 15
.422-421 'OP ,'J':lJ~" ;'!) 'Op ,'i'OJ~!) :O!),J .toV

.lVN;' [lVN:l 4 :'i'OJ~!):l C~~'J~lV
'~N" [':llV,n 'N" 4 .'P:lJ 'N [,P:lJ N';, 'N 3 :'J':lJ~":l C~~'J~lV
.':llVn
.422 'OP ,'J':lJ~" ;'!) 'Op ,'i'OJ~!) :O!),J .~
.pO'lV [P~O'lV 8 .cono [c,ono 7 .nn,lV [n~n,lV 6 :'i'OJ~!):l C~~'J~lV

.PO'lV [p~O'lV 8 .nn,lV [n~n,lV 6 :'J':lJ~":l C~~'J~lV
.439-438 'Op ,'J':lJ~" ;'!) 'Op ,'i'OJ~!) :O!),J .N~
.365-364 'Op ,ili~J"" ;'!J 'Op ,ii'OJ"!J :O!J'1J +~~
.'1'i!JO ['1'i"!JO 10 .n"Z,lJ [nZ,lJ 7 . rlP"'1 [rlP'1 5 :ii'OJ"!J~ C"",J"W

.'1'i!JO ['1'i"!JO 10 .n"z,lJ [nZ,lJ 7 .z,p ['1p 4 :ili~J""~ C"",J"W
.439 'Op ,ili~J"" :O!J'1J +~~
.448 'Op ,ili~J"" ;t!J 'Op ,ii'OJ"!J :O!tTJ +.,~
.,n~w" [,n,~w" .rlOO", [i"OO'" 5 :ili~J""~ C"",J"W
.439 'Op ,ili~J"" ;t!J 'Op ,ii'OJ"!J :O!tTJ +iT~
.W'i''' 'Pi [W"i''' '''Pi w"n" 6 :ii'OJ"!J~ C"",J"W

'1''1 z,~ [W"i''' 'p"i w"n" '1''1 z,~ 6 .'P'1"O, ['''P'1'''O, 4 :ili~J""~ C"",J"W
W'i''' 'rlVi nN
.480 'Op ,ili~J"" ;t!J 'Op ,ii'OJ"!J :O!J'1J +,~
.366-365 'Op ,ili~J"" ;t!J 'Op ,ii'OJ"!J :O!J'1J +T~
.,~ [,Z, 9 . ,n'Jn~ [,n'Jn~ 4 :ili~J""~ C"",J"W

.392 'Op ,ili~J"" ;n!J-t!J 'Op ,ii'OJ"!J :O!tTJ +n~
.'~"t'~ [,~,t'~ 10 .pl"" "0 [pl""O 8 .'~i'P ['~"i'P 3 :ii'OJ"!J~ C"",J"W

.CNJ Cpz, [CJ 'Opz, 13
Cpz, [CJ 'Opz, 13 .pl"" "0 [pl""O 8 . '~i'P ['~"i'P 3 :ili~J""~ C"",J"W
.CNJ
.449-448 'Op ,ili~J"" ;t!J 'Op ,ii'OJ"!J :O!J'1J +~~
.irlO [irl"O 10 :ii'OJ"!J~ C"",J"W

.irlO [irl"O 10 .n'!J'l [n!J'l 9 .Cl [Cp 4 :ili~J""~ C"",J"W
.324 'Op ,ili~J"" :O!J'1J +~
[,,,Z,'1l ."n"t~J ["nt~J 6 .,~ "noZ,NJ [i'Y "nNZ,J 5 :ili~J""~ C"",J"W

.,z,,,~W~ [,,,Z,,,~W~ 7 .,Z,'1l
.423-422 'Op ,ili~J"" :O!J'1J +~~
. ,z,~, "!J" [,Z,,~, "!J'" 4 :ili~J""~ C"",J"W

.354 'Op ,ili~J"" ;n!J 'Op ,ii'OJ"!J :O!J'1J +~~
.423 'Op ,ili~J"" :O!tTJ +~~

.titZ, [c.,n!)z, 4 ."~~1 ["~1~1 3 :ili~J"11~ C""1J"W

.423 'ov ,ili~J"11 ;n!) 'ov ,ii'0J"!) : O!).,J .,~
.440-439 'ov ,ili~J"11 : O!).,J .iT~
."Jl.,N ["J"N 8 . '''~~ [C.,~~ 5 ."JVl ["J1Vl 3 :ili~J"11~ C""1J"W

.366 'ov ,ili~J"11 :O!).,J .,~
.440 'ov ,ili~J"11 ;t'!) 'ov ,ii'0J"!) :O!tTJ .T~
.nZ,NW [nZ,"NW 2 :ii'OJ"!)~ C""1J"W

."z, [Nlrl 3 .nZ,NW [nZ,"NW 2 :ili~J"11~ C""1J"W
.440 'ov ,ili~J"11 : O!).,J .n~
[nl~1Yin 6 .vwn [vw"n 4 ."!)" ["!)1., .rly!)n [1y!)n 3 :ili~J"11~ C""1J"W

.nl~Yin
.441 'ov ,ili~J"11 :O!).,J .~~
.1!)JV 1N [1!)JVl 4 .W1JN "!) z,~~ [W1JN z,~ "!)~ 3 :ili~J"11~ C""1J"W
.463-461 'ov ,ili~J"11 ;Y-t'!) 'ov ,ii'0J"!) :O!).,J .p
.iON [i01N 13 .C"." [C""'" 9 .nliWl [nl.,Wl 7 :ii'OJ"!)~ C""1J"W
.C"in" [C"i"n" 41 .C"Oi~ [c"on~ 38 .iON [i01N 26 .l"~ [Z,,0 18
.lwn~ [lWln~ 52 .C"ilNOrl nV!)"1 [C"ilNOrl nlV!)"1 44
.nlZ,lo [n,Z"lo 6 .nN~J [nl~J 5 .ilOO [ill00 3 :ili~J"11~ C""1J"W

"Z,V t'V nlit'V 9 .C""W~ [C""W~ 8 rvz' l"~ l'''Y nl.,w [l"vZ, l"~ nl.,Wl 7
10~ C".,"1 CWNi "Z,V t'V nlit'Vl [C"illn 1~ Crl 1".,0 iltN~ C""." CWNi
[~ii' "i"~Nl 13 . rl"~~ rl"!)!)" [rl"'~~ rl"!)"!)" 10 .C"illn Crl 1".,01 iltN
[nWl~~ 17 .cnWnJ~1 Crl"i't~ [cnWlnJ~1 Cnli'''t~ 16 .~ii'rl i"~Nl
.rirl~ [l'''irl~ 22 .t'}Vlt [CVli 19 .l"~ [Z,,0 .1"OV~ [C.,OV~ 18 .nw~~
.C"~""J z,~ [C"~""J ~z, 28 .C"ion z,~ [C"il"rl .iON [i01N 26 .tV [tlV 23
. i'''i [i'i . nOi~ [nOli~ .tnNn [tlnNn 31 . c"z,~J lnl0"1 [c"Z,~Jrl lnOl"1
.C"Oi~ [c"on~ 38 .C"il~i' [C"i~i' .1~~W [1J~W 37 .iilWl ["WiWl 36
101nl 41 .C"i"W [Ci"W .c"Z"nrl [nlZ,nrl 40 .001 rlO.,N [COl nl0.,N 39
.C"ilNOrl nV!)"1 [C"ilNOrl nlV!)"1 44 .C"in" [C"i"n" .tV lonl [tlV
[lWln~ 52 .nZ,Orll [nZ,,0rl, 50 .1"nliYn~ [1"nliYn~1 47 .tV~ [tlV~ 45
lwn~
.326-324 'ov ,ili~J"11 :O!).,J .Np

[CJ .~'V' [~'V 8 .C~OWo [C~O'Wo 6 .~y~t, [~yv~t, 5 :'J'~~~"~ c~~,~~w

N"i' [,t, 'N'i'~ .,~w,,'l' [,~Wi''l .t'J,wnn, [t'J,wn ."no, ["no 11 .,on
.
,~w~, [,~w~~, 16 .,t,~Nt, [,t,~Nt, .i'n [I" n 14 .,t,
.424-423 'ov ,'J'~~~" ;NY 'ov ,'i'O~~!) :O!)'l~ +~p
[n!),~ 10 . tV~ [t'V~ 8 .'!)ON ['!)O'N 5 ..",n [.,"0 3 :, i'O~~!)~ c~~,~~w

.C~y-, [C~Y" 12 .n!)~
[""Yi'~ t"~ 6 t,V CO'l' [t,N Ct,J" .'!)ON ['!)O'N 5 :'J'~~~"~ c~~,~~w
.n!)~ [n!),~ 10 . tV~ [t'V~ 8 .,w~." cn., [,w,~."
c,n., 7 "'Yi'~ t'~
.'VO~ ,no, [,VO~ 'i'~' .t't,O~ ['~i'~ 13 .C~y-, [C~Y" 12
.326 'ov ,'J'~~~" ;NY 'ov ,'i'O~~!) :O!)'l~ +~p
.327-326 'ov ,'J'~~~" :O!)'l~ +"p

.N""~' N~,wn [.",.,~, .,~wn 9 ..,on, [.,on 3 :'J'~~~"~ c~~,~~w
[.,,~n,~
22 ..,'Wt, [."W~ wn~ [wn~~ 19 .,~!)O, [.,!)O, . i'"n~ [i',n~ 18
[.,"0 25 .,tV [,t,V .t'~'W~ [t~'W~ 24 .wno t~O [wn~o 23 . ."n~ N'.,
.C~~,t,., [C~,t,., 26 ..,"0'
.367-366 'ov ,'J'~~~" ;NY 'ov ,'i'O~~!) :O!)'l~ +j1P
.'1.'0 ['1.'0~ :'i'O~~!)~ C~~,~~w
.C~O [~~O 4 :'J'~~~"~ C~~,~~W

.424 'ov ,'J'~~~" ;NY 'ov ,'i'O~~!) :O!)'l~ +'P
.CVl.' [CV'~ 3 :'J'~~~"~ C~~,~~W
.441 'ov ,'J'~~~" :O!)'l~ +Tp
.t,~~ [~!)~ 13 . t'J~1.'0 [~'l.' 0 4 :'J'~~~"~ C~~,~~W
.355 'ov ,'J'~~~" :O!)'l~ +Mp
.t~n, [c~n, .t~'N [C~'N 6 . "~"N [.,~ nN 3 :'J'~~~"~ C~~,~~W
. n'NYO~ [n'Nt,O~ 9
.442-441 'ov ,'J'~~~" :O!)'l~ +~P
. t'J'~1.'0 [~l.' 0 2 :'J'~~~"~ C~~,~~W

.373 'ov ,'J'~~~" ;NY 'ov ,'i'O~~!) :O!)'l~ +~P
."'1" [""1" 3 :'i'O~~!)~ C~~,~~w

Mii'1 [MZ,4t!)N1 Mi1i'1 . M~iN [M~1iN .MO'l 4t1 [MO'ln 3 :ili~J4t11~ 0 4t4t1J4tW
. MZ,!)N1
.374-373 'Op ,ili~J4t11 ;~Y 'Op ,ii'OJ4t!) :O!)'lJ +~~p
.442 'Op ,ili~J4t11 ;~Y 'Op ,ii'OJ4t!) :O!)'lJ +~~p
.464-463 'Op ,ili~J4t11 ;~Y 'Op ,ii'OJ4t!) :O!tTJ +~~p
.Oyp1 [OY1P1 4 :ili~J4t11~ 0 4t4t1J4tW
.328-327 'Op ,ili~J4t11 ;[t4t i' i 4t W] ~Y 'Op ,ii'OJ4t!) :O!)'lJ +"~p

.328 'Op ,ili~J4t11 :O!)'lJ +'~p
.0M4tpi [OM4tp4ti 4 :ili~J4t11~ 0 4t4t1J4tW
.442 'Op ,ili~J4t11 :O!)'lJ +T~P
.1nJ [1n1J 3 :ili~J4t11~ 0 4t4t1J4tW

.443-442 'Op ,ili~J4t11 :O!)'lJ +T~P
.ili~J4t11~ ion 5 :ili~J4t11~ 0 4t4t1J4tW

.443 'op ,ili~J4t11 :O!)'lJ +n~p
.1Z,WM [14t Z,wZ, 5 .n4tJpn Ol [n4tJPn1 4 :ili~J4t11~ 0 4t4t1J4tW

.328 'op ,ili~J4t11 :O!)'lJ +~~p
[1Y!)n~1 7 .11ion~1 [11ion~1 6 .14toni~1 [14toni~1 5 :ili~J4t11~ 0 4t4t1J4tW

1Y!)n~1
.356-355 'op ,ili~J4t11 :O!)'lJ +~p
. iO~ [i01~ 5 :ili~J4t11~ 0 4t4t1J4tW

.375-374 'op ,ili~J4t11 ;~Y 'op ,ii'OJ4t!) :O!)'lJ +~~p
.1J4tJp [1l1JP 10 . t'JZ,n4t1 [t'J1Z,n4t1 9 .'llN ['llM 5 :ii'OJ4t!)~ 0 4t4t1J4tW

.'llN 4tn1i1i' ['llM 4tn1Ni1i' 5 .nZ,lZ" [nZ"lZ" 3 :ili~J4t11~ 0 4t4t1J4tW
.1J4tJp [1l1JP 10 . t'JZ,n4t 1 [t'J1Z,n4t 1 9
.449 'op ,ili~J4t11 ;lY 'op ,ii'OJ4t!) :O!)'lJ +~~p
.1MNiOZ, [1M4tNiOZ, 5 :ii'OJ4t!)~ 0 4t4t1J4tW

.1MNiOZ, [1M4tNiOZ, . 4t'lP~ 4t~1MN [4t~1MN 4t'lP~ 5 :ili~J4t11~ 0 4t4t1J4tW
.4tnOJ 4t'l4t'l4t 010 4t~ W4tM [4t 'l4t 'l4t 010 4t~ W4tM 4tnOJ 6
.356 'OV ,'J':l~4t,' ;JY 'OV ,'i'O~4t~ :O~"T~ +~~p
.tN [4t tN 6 .CON'~ [CON~ :'i'O~4t~:l C4t4t,~4t121
.367 'OV ;JY 'OV ,'i'O~4t~ :O~"T~ +"~p

,'J':l~4t"
.:ltV4t [:l,tV4t 4 .'':In [,, 4t:ln 3 :, i'O~4t~:l C4t4t,~4t121

.'':In [,,4t:ln 3 :'J':l~4t":l C4t4t,~4t121
.443 'OV ,'J':l~4t" :O~"T~ +j1~P
[Ci",4t 5 .'~04t ['~'04t 4 .nON" ,~t, [nON ,~t", 3 :'J':l~4t":l C4t4t,~4t121

.4tt,nN ['4tt,n N.:li'4t
.444 'OV ,'J':l~4t" :0~"T~ +'~p
["TV 6 .,,,4t'V':lO [''''V':lO 4 .,,,4t nt,,121 [,,,nt,,121 3 :'J':l~4t":l C4t4t,~4t121

['121'N4t 8 .,,,4t,nN [,,,,nN .,4t121" "T,on [,4t121':lno 7 ."4t,,n [4t,,4t .4t"TV
.121"Ti'O [w-r'i'O 11 . ,tV:l [,t'V:l 10 .'121N4t
.480 'OV ,'J':l~4t" :O~"T~ +T~P
.1n'ON [14t n'ON 5 .1no~n [14tno~n 3 :'J':l~4t":l C4t4t,~4t121

.358-356 'OV ,'J':l~4t" :0~"T~ +M~P
[,o,n 14 . 4t m [ 4t~,"T 13 .4tn'N n,Yi [4tn,Yi t,N 9 :'J':l~4t":l C4t4t,~4t121

V4t,,,t,, 25 .n,n~,n [nn~,n 23 .'4tN~'121 ['N~'121 20 .V" [V4t , 17 .,on,
CV 121" ["~vt,, 121" 29 .fiN "O"Ti' [t"TV no"Ti' 28 . ,t,V ~"t, [,t,'V
.l'~n [l'~,n 35 . "T:l~ ["T:l'~ 31 ."~Vt,
.425 'OV ,'J':l~4t" ;JY 'OV ,'i'O~4t~ :0~"T~ +to~P
.t,i'1210:l [t,i'1210~ 4 :'J':l~4t":l C4t4t,~4t121

.375 'OV ,'J':l~4t" ;JY 'OV ,'i'O~4t~ :O~"T~ +t,p
.444'OV ,'J':l~4t" :0~"T~ +Nt,p
.,i':l:l [,i':lt" .4t~:l:l [4t~:l 4 .no,121 [n4t o,121 3 :'J':l~4t":l C4t4t,~4t121
.358 'OV ,'J':l~4t" ;"TY-JY 'OV ,'i'O~4t~ :0~"T~ +~t,p

.C4t :l,,'N [C4t :l"N 3 :'i'O~4t~:l C4t4t,~4t121
t,~ 4t:l,,'N [C4t~Ot t,~ 4tt, 4t:l,,'N 5 .C4t:l,,,N [C4t:l"N 3 :'J':l~4t":l C4t4t,~4t121
.C4t~Ot"
. 367 'OV ,'J':l~4t" :0~"T~ +~t,p

.359-358 'Op ,i.1i~J"11 ;'"TY 'Op ,ii'OJ"!) :O!)'"TJ .,t,p

.pi [P"i 8 .1Vi [1P"i 5 :ii'OJ"!)~ C""1J"W
.pi [P"i 8 .~O" [~Wl" 7 .1Vi [1P"i 5 :i.1i~J"11~ C""1J"W

.445-444 'Op ,i.1i~J"11 :O!)'"TJ .iTt,p
.n01W [n"01W 4 .n01W [n"01W 3 :i.1i~J"11~ C""1J"W
.359 'Op ,i.1i~J"11 :O!)'"TJ .,t,p
cw;, [CnN C"J~ CN 6 .cn~o;, [cn~;, .i~" [ii''''' 4 :i.1i~J"11~ C""1J"W
.cnN
.481-480 'Op ,i.1i~J"11 ;'"TY 'Op ,ii'OJ"!) :O!)'"TJ .Tt,p
."ninWl ["nin"Wl 3 :i.1i~J"11~1 ii'OJ"!)~ C""1J"W
.452 'Op ,i.1i~J"11 :O!)'"TJ .nt,p
.329-328 'Op ,i.1i~J"11 :O!)'"TJ .~t,p
.i"PW n"~ [i"PW n~ .ip~;, [i"P~;' .ip;, [i"P;' 7 :i.1i~J"11~ C""1J"W
.'01nJ~1 ['01n"J~1 15 .ilp ['"T1P 14 .'Opt~1 ['''OPt~1 9
.376-375 'Op ,i.1i~J"11 :O!)'"TJ .QP

.i.1i~J"11~ C"ion 4-6 .C"P1Z, [C"pz, 3 :i.1i~J"11~ C""1J"W
.376 'Op ,i.1i~J"11 ;'"TY 'Op ,ii'OJ"!) :O!)'"TJ .~QP
.481 'Op ,i.1i~J"11 : O!)'"TJ .~QP
.'"Tn!)1 lOP Z,WO;, ['"Tn!)~ PW.,;,O 4 .'"Tn" ['"Tn"" 3 :i.1i~J"11~ C""1J"W
.425 'op ,i.1i~J"11 ;'"TY 'op ,ii'OJ"!) :O!)'"TJ .~QP
.1tN [ltlN 4 .w!)nn [Wl!)nn 3 :ii'OJ"!)~ C""1J"W
.i'''i [i'i .1tN [ltlN 4 :i.1i~J"11~ C""1J"W

.370 'op ,i.1i~J"11 ;.1P 'op ,ii'OJ"!) :O!)'"TJ .,QP
..,z,no [1Z,no ..,z, [1Z, 6 ."niN!)n ["ni!)n 4 :ii'OJ"!)~ C""1J"W
..,z,no [1Z,no ..,z, [1Z, 6 ."Jl.1"~ [;'Jl.1"~ 5 . 1~ [;,~ 4 :i.1i~J"11~ C""1J"W

.'"TP ['"T1P 7
.360-359 'op ,i.1i~J"11 ;'"TY 'op ,ii'OJ"!) :O!)'"TJ .iTQP
.r"v nz"v!), [r,4t,v nz"v!), . i',~n [i'~n 6 :, i'OJ4t!)~ C4t4t,J4tW

.t'N nZ,v!), [t4t4t ,V nz"v!), 8 .CVt' [CV'J 5 :'.1'~J4t,,~ C4t4t,J4tW
.376 'ov ,'.1'~J4t" :O!)-rJ .,QP
.n,o-r [n,o-r~ 3 .4tZ,V 'O,'O~, [,Z,V~ '0"0 4t!)~, 2 :'.1'~J4t,,~ C4t4t,J4tW
.Z,N'W4t~ [Z,N CV n'J~ n,ow~
.453-452 'ov ,'.1'~J4t,' ;;'Y 'ov ,'i'OJ4t!) :O!)-rJ .TQP
.-ri'W4t [-r,i'W4t 8 .Z,V";" [Z,V,,;,4t 5 .t'VO [,JVO 3 :, i'OJ4t!)~ C4t4t,J4tW
.,-r,0n [;,-r,0n 5 .,~ ;,~O, [;,~ ;,~'O, 4 .t'VO [,JVO 3 :'.1'~J4t,,~ C4t4t,J4tW
.ni'vr [ni'VYO 7 .,4t,y, ,4t,V [,4t,v' ,4t,y 6 .V.1J, [VJ4t, .Z,V,;" [Z,V,,;,4t
.Z,N;' [Z,N CV 12 .,-r W'JNO ['i',-r00 9
.370 'ov ,'.1'~J4t" ;~V 'ov ,'i'OJ4t!) :O!)-rJ .nQp
..14t;'J4t, [.1;'J4t, 9 :'i'OJ4t!)~ C4t4t,J4tW
..14t ;'J4t, [.1;'J4t, 9 .C4t;,Z,N n4t~ [C4t;,Z,N , 4t V5 :'.1'~J4t,,~ C4t4t,J4tW
.360 'ov ,'.1'~J4t" :O!)-rJ .COQP
.C4tJ,4t, [C4tJ,4t CV .n.1"Vz, [n,.1"Vz, 4 .4t!1' [4t!),4t 2 :'.1'~J4t,,~ C4t4t,J4tW
[C4tJ'O,;, .,!)V [,!)'V 9 .t;,4tJ!) [c;,4tJ!) 8 .OJ [CJ 6 .14t4t nZ, [14t nZ, 5
.C4tJ'O,
.445 'ov ,'.1'~J4t" :O!)-rJ .~p
[Z,~,n4t .,~-r~ [,~-rz, 6 .'!)ON;'~ 1N ['!)ON;'~' 4 :'.1'~J4t,,~ C4t4t,J4tW
.4tN' [4t-r, 9 . ';'N'~4t [';"N'~4t .z,~n4t
.453 '0 V ,'.1'~J4t" :0!)-rJ .~~p
Z,V C.1 [,~,V C.1 .,z, "Y n,~~ [,Z, ~,t' "Y n,~,~ 3 :'.1'~J4t,,~ C4t4t,J4tW
.,~'V
.377-376 'ov ,'.1'~J4t" :O!)-rJ .~~p

.nNr~, [nNY~' 6 .,r [,.1 3 :'.1'~J4t,,~ C4t4t,J4tW
BIBLIOGRAPHY
Abdel Haleem) M. A. S. "The Story Of Joseph In The Qur)an And The Old Testa-
ment.)~ Islam & Christian Muslim Relations 1 (1990): 171-91.
Adang) C.) S. Schmidtke) and D. Sklare) eds. A Common Rationality. MuCtazilism in
Islam and Judaism. Wtirzburg: Ergon) 2007.
Ajam~ M. The Neckveins ofWinter: The Controversy over Natural and Artificial Poetry
in Medieval Arabic Literary Criticism. Leiden: Brilt 1984.
Alfonso) E. Islamic Culture through Jewish Eyes: AI-Andalus from the Tenth to Twelfth
Century. New York: Routledge) 2008.
Algamil, Y. History ofKaraite Jewry [in Hebrew]. Ramla: National Council of Karaite
Jews in Israel, 1979.
Allony, N. "The Reaction of Moses ibn Ezra to CArabiyya." Bulletin of the Institute of
Jewish Studies 3 (1975): 19-40.
Ankor~ Z. Karaites in Byzantium: The Formative Years 970-1100. New York: Colum-
bia University Press) 1959.
Ashtor) E. "The Number of the Jews in Medieval Egypt." Journal ofJewish Studies 18
(1967): 9-42; and 19 (1968): 1-22.
Assis) Y. T. "The Judeo-Arabic Tradition in Christian Spain)~ In The Jews ofMedieval
Islam, edited by D. Fra~ 111-24. Leiden: Brill 1995.
Astren, F. "Islamic Contexts of Medieval Karaism.)~ In Karaite Judaism: a Guide to Its
History and Literary Sources, edited by M. Polliack, 145-77. Leiden: Brill) 2003.
- . Karaite Judaism and Historical Understanding. Columbia: University of South
Carolina Press) 2004.
Badawi, M. "cAbbasid Poetry and its Antecedents." In cAbbasid Belles-Lettres (The
Cambridge History of Arabic Literature)) edited by J. Ashtiany et al.) 146-66. Cam-
bridge: Cambridge University Press) 1990.
Baneth) D. H. "A Doctor)s Library in Egypt at the time of Maimonides." [in Hebrew]
Tarbf~ 30 (1960-61): 171-85.
Barber) M. The Two Cities: Medieval Europe 1050-1320. New York: Routledge) 1992.
Bareket, E. Fustat on the Nile: The Jewish Elite in Medieval Egypt. Leiden: Brill) 1999.
- . "Karaite Communities in the Middle East During the Tenth to Fifteenth Cen-
turies." In Karaite Judaism: a Guide to Its History and Literary Sources) edited by
M. Polliack) 237-52. Leiden: Brill, 2003.
- . "The Head of the Jews (ra'fs al-yahud) in Fatimid Egypt: A Re-Evaluation.)~ Bul-
letin of the School of Oriental and African Studies 67, no. 2 (2004): 185-97.
Beer~ T. "Between Spain and the East: The Poetic Works of David ben ha-Nassi." In
Jewish Studies at the Turn of the Twentieth Century) edited by J. Targarona Borras
and A. Saenz-Badillos) 379-83. Leiden: Brill) 1999.
- . The ((Great Cantor" of Baghdad: The Liturgical Poems ofJoseph ben I:Iayyim al-
Baradani [in Hebrew]. Jerusalem: Ben-Zvi Institute) 2002.
- . "cEli ha-J:Iaver ben cAmram: Hebrew Poet in Eleventh-Century Egypt.)~ [in
Hebrew] SefUnot 8 (2003): 279-345.
Beini~ J. "The Karaites in Modern Egypt.)~ In Karaite Judaism: A Guide to Its History
and Literary Sources) edited by M. Polliack, 421-22. Leiden: Brill 2003.
Beit-Arie, M. (in collaboration with E. Engel and A. Yardeni). Specimens ofMediaeval
Hebrew Scripts) vol. 1) Oriental and Yemenite Scripts. Jerusalem: The Israel Academy
of Sciences and Humanities, 1987.
van Bekkum) W. J. "Medieval Hebrew Poetry in the Muslim East (12th-13th centu-
ries)." European Association for Jewish Studies Newsletter 17 (2005): 54-60.
320 BIBLIOGRAPHY
- . The Secular Poetry ofEtazar ben Ya(aqov ha-Bavli: Baghdad, Thirteenth Century,
on the basis of manuscript Firkovich Heb. IIA, 210.1. Leiden: Brill, 2007.
- . "The Karaite Jacob al-Qirqisani (Tenth Century) on Christianity and Christians.)'
In Syriac Polemics: Studies in Honour ofGerrit Jan Reinink, edited by W. J. van Bek-
kum, J. W. Drijvers, and A. C. Klugkist, 173-92 (Leuven: Peeters, 2007).
- . "Pietism and Poetry in Thirteenth-Century Baghdad: A 'sour Poem by Eleazar
ben Jacob ha-Bavli.)' Zutot: Perspectives on Jewish Culture 5 (2008): 43-50.
- . "The Research History of the Baghdadi-Jewish Poet Efazar ha- Bavli (Thirteenth
Century).)' In Studies in Medieval Jewish Poetry, edited by A. Guetta and M. Itzhaki,
157-64. Studies in Jewish History and Culture 18, Leiden: Brill, 2009.
Ben-Sasson, M. The Emergence of the Local Jewish Community in the Muslim World:
Qayrawan, 800-1057 [in Hebrew]. Jerusalem: Magnes Press, 1997.
Ben-Shammai, J:I. "The attitude of some early Karaites towards Islam.)' In Studies in
Medieval Jewish History and Literature 2, edited by I. Twersky, 3-40. Cambridge,
MA: Center for Jewish Studies, 1984.
- . "Poetic Works and Lamentations of Qaraite 'Mourners of Zion)-Structure and
Contents.)' [in Hebrew] In Knesset Ezra: Literature and Life in the Synagogue, Stud-
ies Presented to Ezra Fleischer, edited by S. Elizur et al., 191-234. Jerusalem, 1994.
- . "Kalam in medieval Jewish philosophy.)' In History ofJewish Philosophy, edited
by D. H. Frank and o. Leaman, 115-48. London: Routledge, 1997.
- . "A Unique Lamentation on Jerusalem by the Karaite Author Yeshuca ben Judah.)'
[in Hebrew] In Mas'at Moshe. Studies in Jewish and Islamic Culture Presented to
Moshe Gil, edited by E. Fleischer et al., 93-102. Jerusalem, 1998.
- . "Karaites and the Orient-Trends in the Study of Karaites and Karaism.)' [in
Hebrew] Ptamtm 89 (2001): 5-18.
- . "The Scholarly Study of Karaism in the Nineteenth and Twentieth Centuries.)' In
Karaite Judaism: a Guide to Its History and Literary Sources, edited by M. Polliack,
9-24. Leiden: Brill, 2003.
- . "Major Trends in Karaite Philosophy and Polemics in the Tenth and Eleventh
Centuries.)' In Karaite Judaism: a Guide to Its History and Literary Sources, edited
by M. Polliack, 339-62. Leiden: Brill, 2003.
- . "On a Torah Case with Ornaments and a Bar Mizva (?) Ceremony in a Karaite
Synagogue in Egypt in the 12th Century.)' [in Hebrew] Ptamtm 104 (2005): 5-10.
Berger, S., and I. Zwiep, eds. Epigonism and The Dynamics ofJewish Culture. Studia
Rosenthaliana 40. Leuven: Peeters, 2008.
Blau, J. The Emergence and Linguistic Background of Judaeo-Arabic. Oxford: Oxford
University Press, 1965.
- . A Dictionary of Mediaeval Judaeo-Arabic Texts. Jerusalem: The Academy of the
Hebrew Language and the Israel Academy of Sciences and Humanities, 2006.
Blau, J., P. B. Fenton, and J. Yahalom. Judah Alharizi: Kitab al-Durar: A Book in Praise
of God and the Israelite Communities [in Hebrew]. Jerusalem: Ben Zvi Institute,
2009.
Bonebakker, S. "Aspects of the History of Literary Rhetoric and Poetics in Arabic
Literature.)' Viator 1 (1970): 75-95.
Brann, R The Compunctious Poet: Cultural Ambiguity and Hebrew Poetry in Muslim
Spain. Baltimore and London: The John Hopkins University Press, 1991.
- . Power in the Portrayal: Representations of Jews and Muslims in Eleventh- and
Twelfth-Century Islamic Spain. Princeton: Princeton University Press, 2002.
Brann, R. A. Saenz-Badillos, andJ. Targarona. "The Poetic Universe ofSamuel Ibn Sas-
son, Hebrew Poet of Fourteenth-Century Castile.)' Prooftexts 16 (1996): 75-103.
Brener, A. Isaac ibn Khalfun: a Wandering Hebrew Poet of the Eleventh Century. Lei-
den: Brill, 2003.
Brody, H. ((DarCi, Moses.)' Jewish Encyclopedia, 4:440-41. New York, 1903.
- . Dtwan des Abu-I-I:Iasan Jehuda ha-Levi [in Hebrew]. Berlin: Meqi~e Nirdamim,
1930.
BI BLI 0 GRAPHY 321
- . Diwa n ofEleasar ben Jaakob ha-Babli [in Hebrew]. Jerusalem: Meqi~e Nirdamim)
1935.
- . Moses ibn Ezra: The Secular Poems [in Hebrew]. Berlin: Schocken Verlag) 1935.
Brody) R The Geonim ofBabylonia and the Shaping ofMedieval Jewish Culture. New
Haven: Yale University Press) 1998.
Carm~ T. Penguin Book of Hebrew Verse. New York: Penguin Books) 2006.
Cheikho) L. Wuza"f al-Na~aniyya wa-kuttabuhafi 'I-islam, 622-1517. Jounieh) Leba-
non: al-Maktaba al-BUlusiyya) 1987.
Cohen, Mark. Jewish Self Government in Medieval Egyp t: the Origins of the Office of
Head of the Jews, ca. 1065-1126. Princeton: Princeton University Press) 1980.
- . "Jewish Communal Organisation in Medieval Egypt: Research) Results and
Prospects.)' In Judaeo-Arabic Studies: Proceedings ofthe Founding Conference of the
Society ofJudaeo-Arabic Studies) edited by N. Golb) 73-86. Amsterdam: Harwood
Academic Publishers) 1997.
- . Poverty and Charity in the Jewish Community of Medieval Egypt. Princeton:
Princeton University Press) 2005.
Cohen, Mordechai. Three Approaches to Biblical Metaphor: From Abraham Ibn Ezra
and Maimonides to David Kimhi. Etudes sur Ie judalsme medieval 26. Leiden: Brill)
2003.
Cohen, S. The Poetry ofAaron AI-<Ammanf: A Critical Edition [in Hebrew]. Jerusalem:
Meqi~e Nirdamim) 2008.
Cole) P. Selected Poems ofSolomon Ibn Gabirol. Princeton: Princeton University Press)
2001.
- . The Dream of the Poem: Hebrew Poetry from Muslim and Christian Spain 950-
1492. Princeton: Princeton University Press) 2007.
Corriente) F.) and A. Saenz-Badillos. Poes{a Estr6fica: Actas del Primer Congreso Inter-
nacional sobre Poes{a Estr6fica Arabe y Hebrea y sus Paralelos Romances. Madrid:
Facultad de Filogfa) Universidad Complutense) 1991.
Cuddon) J. A. The Penguin Dictionary ofLiterary Terms and Literary Theory) 4th ed.)
revised by C. E. Preston. London: Penguin Books) 1999.
Dana) J. "The piyyut on the Ten Commandments ascribed to Saadiah Gaon)' Jewish
Quarterly Review 86 (1996): 323-75.
Davidson) I. "The Maqama ofAlexandria and Cairo.)' [in Hebrew] Madda<e ha-Yahadat
2 (1926): 296- 308.
- . "Note on the Maqama of Alexandria and Cairo.)' [in Hebrew] Tarbf~ 2 (1930):
118-19.
- . "The Study of Medieval Hebrew Poetry in the Nineteenth Century.)' Proceedings
of the American Academy for Jewish Research 1 (1930): 33-48.
- . "The Dfwan of the Karaite Moses DarCi)' [in Hebrew] lforeQ 3 (1936): 28-42.
- . Thesaurus of Medieval Hebrew Poetry [in Hebrew]. New York: Ktav Publishing
House) 1970.
Davidson) I.) S. Assaf) and B. I. Joel, eds. Siddar R. Saadia Gaon. Jerusalem: Meq~e
Nirdamim) 1941.
Deeter) J. P. "A Myrtle in the Forest: Landscape and Nostalgia in Andalusian Hebrew
poetry.)' Prooftexts 24) no. 2 (2004): 135-66.
- . Iberian Jewish Literature: Between al-Andalus and Christian Europe. Blooming-
ton: Indiana University Press) 2007.
- . "Andalusi Poetics and Representations of Women in the Andalusi Hebrew
Lament.)' In Transforming Loss into Beauty: Essays in Honor of Magda al-Nowaihi)
edited by M. Hammond and D. Sajd~ 115-41. Cairo: American University in Cairo
Press) 2008.
Dishon, J. "Images of Woman in Medieval Hebrew Literature.)' In Women of the
Word) edited by J. R. Baskin, 35-49. Detroit: Wayne State University Press) 1994.
- . The Book of the Perfumed Flower Beds by Joseph ben Tanchum Hayerushalmi [in
Hebrew]. Beer-Sheva: Ben-Gurion University of the Negev Press) 2005.
322 BIBLIOGRAPHY
Doron, A. "New Trends in the Conception of Hebrew Poetry in Thirteenth and

Fourteenth-Century Spain in Relation to Spanish Literature.') In Encuentros and
Desencuentros: Spanish Jewish Cultural Interaction throughout History, edited by
C. Parrondo et al., 213-39. Tel Aviv: University Publishing Projects, 2000.
Drory, R. Models and Contacts: Arabic Literature and its Impact on Medieval Jewish
Culture. Leiden: Brill, 2000.
Elizur, S. Hebrew Poetry in Spain in the Middle Ages [in Hebrew]. Tel Aviv: The Open
University of Israel, 2004.
Enderwitz, S. "Die Grauen Haare: Zu Alter, Zeit und Schiksal in der arabischen
Liebesdichtung.)) Die Welt des Islams 28 (1988): 126-40.
Erder, Y. "Daily Prayer Times in Karaite Halakha in Light of the Times of Islamic
Prayers.)) Revue des etudes juives 153, nos. 1-2 (1994): 5-27.
- . "The Mourners of Zion: The Karaites in Jerusalem in the Tenth and Eleventh
Centuries.)) In Karaite Judaism: a Guide to Its History and Literary Sources, edited
by M. Polliack, 213-35. Leiden: Brill, 2003.
- . The Karaite Mourners of Zion and the Qumran Scrolls: On the History of an
Alternative to Rabbinic Judaism [in Hebrew]. Tel Aviv: Ha-qibbll~ Ha-me\J.1}.ad,
2004.
Erder, Y., and M. Polliack. "The Karaite Canon between the Ninth and Eleventh cen-
turies.)) [in Hebrew] Tifudd 23 (2009): 165-210.
Fenton, P. B. "La Synagogue QaraIte du Caire d)apres un Fragment Historique prov-
enant de la Genizah.)) Henoch 14, nos. 1-2 (1992): 145- 51.
- . "The State of Arabic Medicine at the Time of Maimonides According to Ibn
GumayC)s Treatise on the Revival of the Art of Medicine.)) In Moses Maimonides:
Physician, Scientist, and Philosopher, edited by F. Rosner and S. Kottek, 215-29.
New Jersey: Jason Aronson, 1993.
- . Philosophie et Exegese dans Ie Jardin de la metaphore de Moise Ibn cEzra, Phi-
losophe et Poete du XIIe Siecle. Etudes sur Ie judalsme medieval 19. Leiden: Brill,
1996.
- . "Judaism and Sufism,') in History of Islamic Philosophy, edited by S. H. Nasr
and o. Leaman, 755-68. Routledge History of World Philosophies 1. London:
Routledge, 1996.
- . "Abraham Maimonides (1186-1237): Founding a Mystical Dynasty.)) In Jewish
Mystical Leaders and Leadership in the 13th Century, edited by M. Idel, 127-54.
Northvale: Jason Aronson, 1998.
- . "Karaism and Sufism.)) In Karaite Judaism: A Guide to Its History and Literary
Sources, edited by M. Polliack, 199-212 (Leiden: Brill 2003).
Fleischer, E. Hebrew Liturgical Poetry in the Middle Ages [in Hebrew]. Jerusalem:
Keter Publishing House, 1975.
- . "Additional Data Concerning the Poetry of R. Erazar ben Chalfon.)) In Occi-
dent and Orient: A Tribute to the Memory of Alexander Scheiber, edited by R Dan,
137-53. Budapest: Akademiai Kiado, 1988.
- . "A Collection of Homonyms by Judah Al~arizi.)) [in Hebrew] QOQe~ cal Ydd 14,
no. 24 (1998): 177-273.
- . "A Collection of Homonyms by al-ijassan (Meir) ben Erazar.)) [in Hebrew]
Tarb~ 68 (1999): 211-71.
- . "Additions to the Collection of Homonyms by Judah A1l}.arizi in Honour of the
Honourable Members ofthe Karaite Community in Damascus.)) [in Hebrew] QOQe~
cal Ydd 18, no. 28 (2005): 199-222.
Fleischer, E., and M. Gil. Judah Halevi and his Circle [in Hebrew]. Jerusalem: World
Union of Jewish Studies, 2001.
Frank, D. "The Study of Medieval Karaism, 1959-1989: A Bibliographic Essay.)) Bul-
letin ofJudaeo-Greek Studies 6 (1990): 15-23.
BI BLI 0 GRAPHY 323
- . "The Shoshanim of Tenth-Century Jerusalem: Karaite Exegesis) Prayer) and

Communal Identity.) In The Jews of Medieval Islam) edited by D. Frank) 199-245.
Leiden: Brill) 1995.
- . "The Study of Medieval Karaism) 1989-1999.) In Hebrew Scholarship and the
Medieval World) edited by N. de Lange) 3-21. Cambridge: Cambridge University
Press) 2001.
- . ((Karaite Exegesis.) In Hebrew Bible/Old Testament: The History ofits Interpreta-
tion) edited by M. Saebo) 1: 110-28. G6ttingen: Vandenhoeck & Ruprecht) 2001.
- . ((Karaite Prayer and Liturgy.) In Karaite Judaism: A Guide to its History and
Literary Sources) edited by M. Polliack) 559-89. Leiden: Brill) 2003.
- . Search Scripture Well: Karaite Exegetes and the Origins of the Jewish Bible Com-
mentary in the Islamic East. Etudes sur Ie judalsme medieval 29. Leiden: Brill)
2004.
- . ((The Limits of Karaite Scripturalism: Problems in Narrative Exegesis.) InA Word
Fitly Spoken: Studies in Mediaeval Exegesis of the Hebrew Bible and the Qur'an pre-
sented to Haggai Ben-Shammai) edited by M. Ben-Asher) et a!.) 41-82. Jerusalem:
Ben-Zvi Institute) 2007.
Franklin) A. ((Cultivating Roots: The Promotion of Exilarchal Ties to David in the
Middle Ages.) AJS Review 29) no. 1 (2005): 91-110.
- . ((Relations between Nesfim and Exilarchs: Competition or Cooperationt)
In Esoteric and Exoteric AqJects in Judeo-Ara bic Culture) edited by B. Hary and
ij. Ben-Shamma~ 301-21. Etudes sur Ie judalsme medieval 33. Leiden: Brill) 2006.
Freimann) A. Teshugot hd-Rambam [in Hebrew]. Jerusalem: Meq~e Nirdamim)
1934.
Frenkel, M. (The Compassionate and the Benevolent" The Leading Elite in the Jew-
ish Community of Alexandria in the Middle Ages [in Hebrew]. Jerusalem: Ben-Zvi
Institute) 2006.
Freudenthal) G. ((Maimonides) Stance on Astrology in Context: Cosmology) Physics)
Medicine) and Providence)) In Moses Maimonides: Physician, Scientist, and Philoso-
pher) edited by F. Rosner and S. Kottek, 77-96. New Jersey: Jason Aronso~ 1993.
Geiger) A. ((Ausgezeichnete Handschriftensammlung: Karaische Schriften.) Wissen-
schaftliche Zeitschrift fur Judische Theologie 3 (1837): 443.
- . ((Hebraische Zeitschriften: Moses DarCt) Zeitschrift der Deutschen Morgen-
liindischen Gesellschaft 15 (1861): 813-19; and 16 (1862): 287-95.
- . Judische Zeitschrift fUr Wissenschaft und Leben 9 (1871): 172-83.
van Gelder) G. J. ((The Conceit of Pen and Sword: On an Arabic Literary Debate.)
Journal of Semitic Studies 32 (1978): 329-60.
- . ((Mixtures of Jest and Earnest in Classical Arabic Literature.) Journal of Arabic
Literature 23) no. 2 (1992): 83-108; and 23) no. 3 (1992): 169-90.
- . Close Relationships: Incest and Inbreeding in Classical Arabic Literature. London:
I. B. Tauris) 2005.
Gil) M. Documents of the Jewish Pious Foundations from the Cairo Geniza. Leiden:
Brill) 1976.
- . The Tustaris: Family and Sect [in Hebrew]. Tel-Aviv) 1981.
- . A History of Palestine (634-1099). Cambridge: Cambridge University Press)
1992.
- . ((The Origins of the Karaites.) In Karaite Judaism: a Guide to Its History and
Literary Sources) edited by M. Polliack) 73-118. Leiden: Brill) 2003.
- . Jews in Islamic Countries in the Middle Ages. Leiden: Brill) 2004.
Goitei~ S. D. ((The Title and the Office ofthe Nagid: A Re-Examination) Jewish Quar-
terly Review 53 (1962): 93-119.
- . ((The Medical Profession in the Light of the Cairo Geniza Documents.) Hebrew
Union College Annual 34 (1963): 177-94.
324 BIBLIOGRAPHY
- . A Mediterranean Society: The Jewish Communities of the Arab World as Por-

trayed in the Documents of the Cairo Geniza. Berkeley: University of California
Press, 1967-93.
Goitein, S. D., and M. A. Friedman India Traders ofthe Middle Ages: Documentsfrom
the Cairo Geniza. Etudes sur Ie Judalsme Medieval 31. Leiden: Brill, 2008.
Golb, N. "The Topography of the Jews of Medieval Egypt.) Journal of Near Eastern
Studies 24 (1965): 251-70; and 33 (1974): 116-49.
Goldberg, P. S. Karaite Liturgy and its Relation to Synagogue Worship. Manchester:
Manchester University Press, 1957.
Goldstein, B., and D. Pingree. "Horoscopes from the Cairo Geniza.) Journal of Near
Eastern Studies 36 (1977): 113-44.
- . "Astrological Almanacs from the Cairo Geniza.) Journal ofNear Eastern Studies
38 (1979): 153-75, 231-56.
Graetz, H. Geschichte der Juden vom Abschluss des Talmuds (500) bis zum Aufbluhen
der judisch-Spanischen Kultur (1027). Leipzig: Oskar Leiner, 1890.
Gruendler, B. Medieval Arabic Praise Poetry: Ibn al-Rumf and the Patron's Redemp-
tion. London: Routledge, 2003.
Habermann, A. M. "Supplement to the Maqama of Alexandria and Cairo of Moses
Dart) [in Hebrew] Proceedings of the American Academy for Jewish Research 33
(1965): 35-40.
Hakohen, E. The Poems of R. Anatoli bar Joseph [in Hebrew]. PhD diss. Hebrew Uni-
versity of Jerusalem, 1996.
Halev~ H. Sefer toledot !:layyfm [in Hebrew]. Ashdod, 1994.
Halkin, A. S., ed. Kitab al-muhadara wal-mudhakara: Liber Discussionis et Commemo-
rationis (Poetica Hebraica) [in Hebrew]. Jerusalem: Meqi~e Nirdamim, 1975.
al-l:Iarizi, J. The Book of Ta1Jkemoni: Jewish Tales from Medieval Spain, translated by
D. Simha Segal. Portland: Littman Library of Jewish Civilization, 2003.
- . Ta1Jkemonf [in Hebrew]. Edited by J. Yahalom and N. Katsumata. Jerusalem:
Ben Zvi Institute, 2010.
Harviainen, T. "Abraham Firkovich.) In Karaite Judaism: a Guide to Its History and
Literary Sources, edited by M. Polliack, 875-92. Leiden: Brill, 2003.
- . "The Karaites in Eastern Europe and the Crimea.) In Karaite Judaism: a Guide to
Its History and Literary Sources, edited by M. Polliack, 633-55. Leiden: Brill, 2003.
l:Iazan, E. The Poetics ofthe Sephardi Piyut According to the Liturgical Poetry ofYehuda
Halevi [in Hebrew]. Jerusalem: Magnes Press, 1986.
Heinrichs, W. "Literary Theory: The Problem of its Efficiency.) In Arabic Poetry:
Theory and Development, edited by G. E. von Grunebaum, 19-69. Wiesbaden: Har-
rassowit~ 1973.
- . "Rose versus Narcissus: Observations on an Arabic literary debate.) In Dispute
Poems and Dialogues in the Ancient and Mediaeval Near East, edited by G. J. Rein-
ink and H. L. J. Vanstiphout, 179-98. Leuven: Peeters, 1991.
Hesche!, A. J. Prophetic Inspiration after the Prophets: Maimonides and Other Medi-
eval Authorities. New York: Ktav Publishing House, 1996.
Hirschberg, H. Z. A History of the Jews in North Africa. Leiden: Brill, 1974.
Humphreys, R. S. "AyyUbids, MamlUks, and the Latin East in the Thirteenth Century.)
Mamluk Studies Review 2 (1998): 1-17.
Iakerson, S. "Abraham Firkovich de Karatet en zijn verzameling Hebreeuwse en
Samaritaanse manuscripten in Sint-Petersburg.) In Leeser Rosenthal/Juda Palache-
lezing 17 mei 2005, 5-39. Amsterdam: Vossiuspers, 2005.
Immermann, K. Die Epigonen: Familienmemorien in neun Buchern 1832-1835. 1836.
Reprint, Miinchen: Winkler Verlag, 1981.
Jayyus~ S. "Umayyad Poetry.) In Arabic Literature to the End of the Umayyad Period
(The Cambridge History of Arabic Literature), edited by A. Beeston et al., 387-432.
Cambridge: Cambridge University Press, 1983.
BI BLI 0 GRAPHY 325
Kahana) D. "About the Karaite poet Moses Dare!.)) [in Hebrew] ha-Shflaii~ 13 (1904):
435-42.
Katsumata) N. The Liturgical Poetry ofNehemiah Ben Shelomoh Ben Heiman Ha-Nasi:
A Critical Edition. Leiden: Brilt 2002.
- . Hebrew Style in the Liturgical Poetry of Shmuel Hashlishi. Leiden: Brill) 2003.
Kha~ G. "Al-Qirqisani)s Opinions concerning the text of the Bible and parallel Mus-
lim attitudes towards the text of the Qur)an.)) Jewish Quarterly Review 8e nos. 1-2
(1990): 59-73.
- . The Early Karaite Tradition of Hebrew Grammatical Thought. Leiden: Brill)
2000.
- . Exegesis and Grammar in Medieval Karaite Texts. Oxford: Oxford University
Press) 2001.
Kottek, S. "Medicine in Hebrew Poetry: Judah al-Harizi.)) [in Hebrew] Karat 8 (1983):
299-304.
Kraemer) J. L. "Two Letters of Maimonides from the Cairo Genizah.)) Maimonidean
Studies 1 (1990): 87-98.
- . "Maimonides: Epistle to Yemen (1172).)) In Maimonides' Empire ofLight) edited
by R Lerner) 130-31. Chicago: The University of Chicago Press) 2000.
- . Maimonides: The Life and World of One of Civilization's Greatest Minds. New
York: Doubleday Religious Publishing Group) 2008.
Kuget J. In Potiphar's House: The Interpretive Life of Biblical Texts. Cambridge) MA:
Harvard University Press) 1994.
Kunitzsch) P.) and M. Ullmann) Die Plejaden in den Vergleichen der arabischen Dich-
tung. Miinchen: Verlag der Bayerischen Akademie der Wissenschaften) 1992.
Lapidus) I. "The Conversion of Egypt to Islam.)) Israel Oriental Studies 2 (1972):
248-62.
Lasker) D. "Islamic Influences on Karaite Origins.)) In Studies in Islamic Origins and
Judaic Traditions) edited by W. M. Brinner and S. D. Ricks) 2:23-47. Atlanta: Schol-
ars Press) 1989.
- . ((Karaism in Twelfth-Century Spain.)) The Journal ofJewish Thought and Philoso-
phy 1 (1992): 179-95.
- . Karaism and Jewish Studies [in Hebrew]. Tel Aviv: Tel Aviv University) 2000.
- . From Judah Hadassi to Elijah Bashyatchi: Studies in Late Medieval Karaite Phi-
losophy. Supplements to the Journal of Jewish Thought and Philosophy 4) Leiden:
Brill) 2008.
Lev) Y. Saladin in Egypt. Leiden: Brill) 1999.
- . ((Aspects of the Egyptian Society in the Fatimid Period.)) In Egypt and Syria in
the Fatimid, Ayyubid and Mamluk Eras) edited by U. Vermeulen and J. Van Steen-
bergen) 1-31. Leuven: Peeters) 2001.
Levi~ I. ((Zeman and Tevel in Secular Hebrew Poetry in Spain (in the Twelfth Cen-
tury).)) [in Hebrew] O~ar yehude sefarad 5 (1962): 68-79.
- . The Embroidered Coat: The Genres ofHebrew Secular Poetry in Spain [in Hebrew].
Tel-Aviv) 1995.
- . The Crown of Kingship (CKeter Malkhut'? of Solomon Ibn Gabirol [in Hebrew].
Tel Aviv: Tel Aviv University) 2005.
Loewe) R. Ibn Gabirol. New York: Grove Weidenfeld) 1989.
L6pez-Morillas) C. ((Language.)) In The Literature of al-Andalus (The Cambridge His-
tory of Arabic Literature) edited by M. Menocal et al.) 41-46. Cambridge: Cam-
bridge University Press) 2000.
MacKenzie) N. Ayyubid Cairo: A Typographical Study. Cairo: The American Univer-
sity in Cairo Press) 1992.
Madelung) W.) and S. Schmidtke) Rational Theology in Interfaith Communication:
Abu-I-lfusayn al-Basri's MuCtazili Theology among the Karaites in the Fatimid Age.
Leiden: Brill) 2006.
326 BIBLIOGRAPHY
Mama~ A. "Karaite Hebrew/' In Karaite Judaism: a Guide to Its History and Literary
Sources., edited by M. Polliack, 485- 503. Leiden: Brill., 2003.
Mann., J. The Jews in Egypt and in Palestine under the Fatimid Caliphs: A Contribu-
tion to their Political and Communal History. Oxford., 1920-22. Reprint., Oxford
University Press., 1969.
- . Texts and Studies in Jewish History and Literature. 1931-35. Reprint., New York:
Ktav., 1972.
Meital., Y. Jewish sites in Egypt [in Hebrew]. Jerusalem: Ben-Zvi Institute., 1995.
Meyerhof., M. "Medieval Jewish Physicians in the Near East.)' Isis 28 (1938): 452-53.
Montgomery., J. The Vagaries of the Qa~zda: the Tradition and Practice ofEarly Arabic
Poetry. Oxford: E. J. W. Gibb Memorial Trust., 1997.
Nemoy., L. Karaite Anthology: Excerpts from the Early Literature. Yale Judaica Series
7. New Haven: Yale University Press., 1952.
- . "Studies in the History of the Early Karaite Liturgy: The Liturgy of al-Qirqisani.)'
In Studies in Jewish Bibliography, History and Literature in Honour of I. Edward
Kiev., edited by C. Ber1i~ 305-32. New York: Ktav 1971.
Neubauer., A. Melekhet ha-shzr [in Hebrew]. Frankfurt am Main., 1865.
- . Beitriige und Documente zur Geschichte des Kariierthums und der kariiischen
Literatur. Leipzig: Oskar Leiner., 1866.
Norris., H. "Shu(ubiyya in Arabic literature.)' In (Abbasid Belles-Lettres., edited by
J. Ashtiany., 31-47. The Cambridge History of Arabic Literature 1. Cambridge:
Cambridge University Press., 1990.
Olszowy-Schlanger., J. "La Lettre de Divorce Caralte et sa Place dans les Relations
entre Caraltes et Rabbanites au Moyen Age.)' Revue des etudes juives 155 (1996):
261-85.
- . Karaite Marriage Documents from the Cairo Geniza: Legal Tradition and Com-
munity Life in Medieval Egypt and Palestine. Leiden: Brill., 1998.
Ouyang., W. Literary Criticism in Medieval Arabic-Islamic Culture: The Making of a
Tradition. Edinburgh: Edinburgh University Press., 1997.
Pagis., D. Secular Poetry and Poetic Theory: Moses ibn Ezra and his Contemporaries [in
Hebrew]. Jerusalem: The Bialik Institute., 1970.
- . Change and Tradition in the Secular Poetry: Spain and Italy [in Hebrew]. Jeru-
salem: Keter Publishing House., 1976.
- . Hebrew Poetry of the Middle Ages and the Renaissance. Berkeley: University of
California Press., 1991.
Petry., C. F.., ed.., The Cambridge History ofEgypt: Islamic Egypt, 640-1517. Cambridge:
Cambridge University Press., 1998.
Pinsker., S. Liqqute qadmoniyyot [Lickute Kadmoniot: Zur Geschichte des Karaismus
und der karaischen Literatur] [in Hebrew]. Vienna: Adalbert della Torre., 1860.
Polliack, M. ((Medieval Karaism.)' In The Oxford Handbook ofJewish Studies., edited by
M. Goodman., 295-327. Oxford: Oxford University Press., 2002.
- . ed. Karaite Judaism: a Guide to Its History and Literary Sources. Leiden: Brill.,
2003.
- . "Major Trends in Karaite Biblical Exegesis in the Tenth and Eleventh Centuries.)'
In Karaite Judaism: a Guide to Its History and Literary Sources., edited by M. Pol-
liack., 363-416. Leiden: Brill., 2003.
- . "Rethinking Karaism: Between Judaism and Islam.)' AJS Review 30., no. 1 (2006):
67-93.
Polliack, M.., and E. Schlossberg. The Commentary of Yefet ben (Eli on the book of
Hosea [in Hebrew]. Ramat-Gan: Bar-Han University Press., 2009.
Poznanski., S. "The Anti- Karaite Writings of Saadiah Gaon)' Jewish Quarterly Review
old series 10 (1897-98): 238-76.
- . "The Karaite Literary Opponents of Saadiah Gaon in the tenth century.)' Jewish
Quarterly Review old series 18 (1905-06): 209- 50.
BI BLI 0 GRAPHY 327
- . "Die karaische Familie Firuz.)' Monatsschrift des Deutschen Morgenlandischen

Gesellschaft 57 (1913): 44-58) 620; and 60 (1916): 149-52.
- . "Karaische Kopisten und Besitzer von Handschriften.)' Zeitschrift fur hebriiische
Bibliographie 19 (1916): 82.
Ratzaby) Y. "Arabic Poetry Written by Andalusian Jews.)' [in Hebrew] In Israel Levin
Jubilee Volume) edited by R. Tsur and T. Rosen) 329-50. Tel Aviv) 1994.
Reichert) V. E. The Ta~kemoni ofJudah al-l:farizi. Jerusalem: Cohen Publishers) 1973.
Reif) S.) ed. The Ca mbridge Geniza Collections: Their Con ten ts and Significance. Cam-
bridge: Cambridge University Press) 2002.
Robinson, C. In Praise of Song: the Making of Courtly Culture in al-Andalus and Pro-
vence (1005-1134 A.D.). Leiden: Brilt 2002.
Rosen) T. "On Tongues Being Bound and Let Loose: Woman in Medieval Hebrew
Literature.)' Prooftexts 8 (1988): 67-87.
- . Unveiling Eve: Reading Gender in Medieval Hebrew Literature. Philadelphia:
University of Pennsylvania Press) 2003.
Rosen) T.) and E. Yassif) ((The Study of Hebrew Literature of the Middle Ages: Major
Trends and Goals.)' In The Oxford Handbook ofJewish Studies) edited by M. Good-
man) 241-94. Oxford: Oxford University Press) 2002.
Rosenthal) F. The Classical Heritage in Islam. London: Routledge and Kegan Paut
1975.
Roth) N. "Deal Gently with the Young Man: Love of Boys in Medieval Hebrew Poetry.)'
Speculum 57 (1982): 20-51.
- . "Jewish Reactions to the (Arabiyya and the Renaissance of Hebrew in Spain.)'
Journal of Semitic Studies 28) no. 1 (1983): 63-84.
Rustow) M. Heresy and the Politics of Community: The Jews of the Fatimid Caliphate.
Ithaca) NY: Cornell University Press) 2008.
Sadan) J. "Rabbi Judah al-ijarizi at the Cross-Roads ofCultures.)' [in Hebrew] Ptamtm
68 (1996): 16-67.
- . "Un Intellectuel Juif au Confluent de Deux Cultures: Yehuda al-Hariz! et sa
Biographie Arabe.)' In Judios y musulmanes en al-Andalus y el Magreb, Contactos
intelectuales) edited by M. Fierro) 105-51. Madrid: Casa de Velasque~ 2002.
Sadan) J.) and N. Basal) "Some fragments ofJudaeo-Arabic poetry.)' Jerusalem Studies
in Arabic and Islam 32 (2006): 213-46.
Saenz-Badillos) A. A History of the Hebrew Language. Cambridge: Cambridge Uni-
versity Press) 1993.
- . "Hebrew Invective Poetry: The Debate between Todros Abulafia and Phinehas
Halevi.)' Prooftexts 16 (1996): 49-73.
Sanders) P. Ritual, Politics and the City in Fatimid Cairo. New York: State University
of New York Press) 1994.
Schatzmiller) J. Jews, Medicine, and Medieval Society. California: University of Cali-
fornia Press) 1994.
Scheiber) A. "Unbekannte Gedichte von Aron ibn al-Amman~ dem Freunde Jehuda
Hallevis.)' In Geniza Studies) 273-87. Hildesheim: G. alms) 1981.
Scheindlin) R. P. "Rabbi Moshe Ibn Ezra on the Legitimacy of Poetry.)' Medievalia et
Humanistica 7 (1976): 101-15.
- . Wine, Women and Death: Medieval Hebrew Poems on the Good Life. Philadel-
phia: The Jewish Publication Society) 1986.
- . The Gazelle: Medieval Hebrew Poems on God, Israel and the Soul. Philadelphia:
The Jewish Publication Society) 1991.
- . "Ibn Gabirors Religious Poetry and Arabic Zuhd Poetry.)' Edebiyat 4 (1993):
229-42.
- . "Ibn Gabirors Religious Poetry and Sufi Poetry.)' Sefarad 54 (1994): 109-41.
- . "The Hebrew Qasida in Spain.)' In Qasida Poetry in Islamic Asia and Africa)
edited by S. Sperl and C. Shackle) 1: 121- 35. Leiden: Brill) 1996.
328 BIBLIOGRAPHY
- . "Secular Hebrew poetry in Fifteenth-Century Spain.) In Crisis and Creativity

in the Sephardic World: 1391-1648., edited by B. R. Gampel., 25-37. New York:
Columbia University Press., 1997.
- . "L. Weinberger., Jewish Poet in Muslim Egypt: Moses Darci"s Hebrew Collec-
tion.) [Review] Hebrew Studies 41 (2000): 343-47.
- . "Merchants and Intellectuals., Rabbis and Poets: Judeo-Arabic Culture in the
Golden Age of Islam.) In Cultures of the Jews: A New History., edited by D. Biale.,
313-86. New York: Schocken Books., 2002.
- . "Old Age in Hebrew and Arabic Zuhd Poetry.) In Judfos y musulmanes en al-
Andalus y el Magreb, Contactos intelectuales., edited by M. Fierro., 85-104. Madrid:
Casa de Velasque~ 2002.
- . "On the Poem '0 Lord., all my Desire is before You) by Judah ha-Levi.) [in
Hebrew] In Studies in Hebrew Poetry and Jewish Heritage in Memory of Aharon
Mirsky., edited by E. Hazan and J. Yahalom., 227-37. Ramat-Gan: University of Bar-
Han Publishing., 2006.
- . The Song of the Distant Dove: Judah Halevi's Pilgrimage. Oxford: Oxford Uni-
versity Press., 2008.
Schippers., A. "Symmetry and Repetition as a Stylistic Ideal in Andalusian Poetry:
Moses ibn Ezra and Figures of Speech in the Arabic Tradition.) In Amsterdam Mid-
dle Eastern Studies., edited by M. Woidich., 160-73. Wiesbaden: Ludwig Reichert
Verlag., 1990.
- . Spanish Hebrew Poetry and the Arab Literary Tradition: Arabic Themes in Hebrew
Andalusian Poetry. Leiden: Brill., 1994.
- . "Medieval Opinions on the Spanish School of Hebrew Poetry and Its Epigones.)
In Epigonism and The Dynamics ofJewish Culture., edited by S. Berger and I. Zwiep.,
127- 38. Studia Rosenthaliana 40. Leuven: Peeters., 2008.
- . "Some Remarks on Judaeo-Arabic Poetical Works: An Arabic Poem by Moses
Dart) In Studies in Medieval Jewish Poetry., edited by A. Guetta and M. Itzhaki.,
141-56. Studies in Jewish History and Culture 18. Leiden: Brill., 2009.
Schirmann., J. Hebrew Poetry in Spain and the Provence [in Hebrew]. Jerusalem: The
Bialik Institute., 1954.
- . "The Function of the Hebrew Poet in Medieval Spain.) Jewish Social Studies 16
(1954): 235-52.
- . "The Ephebe in Medieval Hebrew Poetry.) Sefarad 15 (1955): 55-68.
- . The History ofHebrew Poetry in Muslim Spain [in Hebrew]. Edited by E. Fleischer.
Jerusalem: Magnes Press., 1995.
- . History of Hebrew Poetry in Christian Spain and Southern France., [in Hebrew]
Edited by E. Fleischer. Jerusalem: Magnes Press., 1997.
Schmelzer., M. H. Isaac ben Abraham ibn Ezra: Poems [in Hebrew]. New York: The
Jewish Theological Seminary of America., 1979.
Schoeler., G. "Bashshar b. Burd., Abu 1- CAtahiyah., Abu Nuwas.) In <Abbasid Belles-
Lettres., edited by J. Ashtiany et al.., 276-86. The Cambridge History of Arabic Lit-
erature 1. Cambridge: Cambridge University Press., 1990.
Schorr., J. H. "S. Pinsker., Liqqute Qadmoniyyot.) [Review] He-lfalu~ 6 (1861): 56-59.
Schweizer., H. "Koranische Fortschreibung eines hebraischen Textes: hermeneutische
Oberlegungen anhand der Gestalt Josefs.) Biblische Notizen 143 (2009): 69-79.
Scott Meisami., J. Structure and Meaning in Medieval Arabic and Persian Poetry: Ori-
ent Pearls. London: Routledge., 2003.
Scott Meisam~ J.., and P. Starkey., eds. Encyclopedia of Arabic Literature. London:
Routledge., 1998.
Sela., S. "The Head of the Rabbanite., Karaite and Samaritan Jews.) Bulletin of the
School of Oriental and African Studies 57., no. 2 (1994): 255-67.
- . "The Headship of the Jews in the Fatimid Empire in Karaite Hands.) [in
Hebrew] In Studies in Jewish and Islamic Culture Presented to Moshe Gil., edited by
E. Fleischer., M. A. Friedman., andJ. L. Kraemer., 256-81. Jerusalem., 1998.
BIBLIOGRAPHY 329
Sheynin, H. "Der Literarische Nachlass des Josef ben Tanchum Ha-Jeruschalmi:

Forschungen und Texte.) Acta Orientalia Academiae Scientiarum Hungaricae 22
(1969): 245-71.
- . "An Introduction to the Poetry of Joseph Ben Tanhum Ha- Yerushalmi and to
the History of its Research: A Study Based Primarily upon Manuscripts from the
Cairo Genizah.) PhD diss., University of Pennsylvania, 1988.
Sibley, F. Approach to Aesthetics: Collected Papers on Philosophical Aesthetics. Edited
by J. Benson et al. Oxford: Oxford University Press, 2001.
Sklare, D. "A Guide to Collections of Karaite Manuscripts.) In Karaite Judaism: a
Gu ide to Its History and Literary Sources, edited by M. Polliack, 893-924. Leiden:
Brill, 2003.
Sperl, S. Mannerism in Arabic Poetry. Cambridge: Cambridge University Press, 1989.
Sperl, S., and C. Shackle, eds. Qa~lda Poetry in Islamic Asia and Africa. Leiden: Brill,
1996.
Steinschneider, M. "Mose b. Zedaka, Imran b. Sadaka, und Mose DarCL) Judische
Zeitschrift fur Wissenschaft und Leben 9 (1871): 172-83.
- . "Karaitische Handschriften.) Hebriiische Bibliographie 11 (1871): 14-15.
Stern, S., "Arabic Poems by Spanish-Hebrew Poets.) In Romanica et Occidentalia:
Etudes dediees a la Memoire de Hiram Peri, edited by M. Lazar, 254-63. Jerusalem:
Magnes Press, 1963.
- . Hispano-Arabic Strophic Poetry: Studies by Samuel Miklos Stern. Edited by L. P.
Harvey. Oxford: Clarendon Press, 1974.
Stetkevych, S. Abu Tammam and the Poetics of the <Abbasid Age. Leiden: Brill, 1991.
Stillman, N. "Subordinance and Dominance: Non-Muslim Minorities and the Tra-
ditional Islamic State as Perceived from Above and Below.) In A Way Prepared:
Essays on Islamic Culture in Honor of Richard Bayly Winder, edited by F. Kazemi
and R McChesney, 132-41. New York: New York University Press, 1988.
- . "The Jew in the Medieval Islamic City.) In The Jews ofMedieval Islam: Commu-
nity, Society and Identity, edited by D. Frank, 3-13. Leiden: Brill 1995.
Stroumsa, S. Maimonides in his World: Portrait of a Mediterranean Thinker. Prince-
ton: Princeton University Press, 2009.
Szyszman, S. Le Karafsme: Ses Doctrines et son Histoire. Lausanne: L)Age d)Homme,
1980.
Tamani, G. "La Tradizione del Canzoniere di Moshe Dari.) Henoch 6, no. 2 (1984):
205-24.
- . "Questioni di Storiografia Letteraria Ebraica: II Canzoniere di Moshe Dari.) In
Atti del IV Congresso dell Associazone Italiana per 10 Studio del Giudaismo, edited
by F. Parente, 249-60. Rome: Carucci, 1987.
Tanenbaum, A. The Contemplative Soul: Hebrew Poetry and Philosophical Theory in
Medieval Spain. Leiden: Brill, 2002.
- . ((Credit is Due to the One Who Completes It." Journal of Jewish Studies 56
(2005): 101-19.
Tirosh-Becker, O. "The Use of Rabbinic Sources in Karaite Writings.) In Karaite Juda-
ism: A Guide to Its History and Literary Sources, edited by M. Polliack, 319- 38.
Leiden: Brill, 2003.
Tobi, Y. "Poetry and Society in the Works of Abraham ben Halfon.) Hebrew Annual
Review 9 (1985): 363-72.
- . "Abraham ibn Ezra)s Poetry as a Link in the Transition of Hebrew Poetry in
Spain from its Islamic to its Christian Period.) In Abraham Ibn Ezra y su tiempo,
edited by F. Diaz Esteban, 353-62. Madrid: Spanish Association of Orientalists,
1990.
- . Abraham ben Halfon: Poems [in Hebrew]. Tel Aviv: Afikim, 1991.
- . "Sacadia Gaon, Poet-Paytan: The Connecting Link between the Ancient Piyyut
and Hebrew Arabicised Poetry in Spain.) In Israel and Ishmael: Studies in M uslim-
Jewish Relations, edited by T. Parfitt, 59-77. New York: St. Martin)s Press, 2000.
330 BIBLIOGRAPHY
- . Proximity and Distance: Medieval Hebrew and Arabic Poetry. Leiden: Brill)
2004.
- . Poetry, Judeo-Arabic Literature and the Geniza [in Hebrew]. Tel Aviv: Tel Aviv
University) 2006.
- . Kitab al-Muhadarah wal-Mudhakara by Moshe ibn Ezra Compared with
Kitab al-Badt by Ibn al- MuCtazz.)) In Studies in Medieval Jewish Poetry) edited by
A. Guetta and M. Itzhak~ 17-37. Studies in Jewish History and Culture 18. Leiden:
Brill) 2009.
Trevisan Semi) E. From Egypt to Israel: The Birth of a Karaite (Edah in Israel.)) In
Karaite Judaism: a Guide to Its History and Literary Sources) edited by M. Polliack)
431-50. Leiden: Brill) 2003.
Udovitch) A. L)Enigme d)Alexandrie: Sa position au Moyen Age d)apres les Docu-
ments de la Geniza du Caire.)) Revue de l'Occident Musulman et de la Mediterranee
46 (1987): 71-79.
- . Fatimid Cairo: Crossroads of World Trade from Spain to India.)) In L'Egypte
fa timide: Son Art et son Histoire) 681-91. Paris: Presses de rUniversite de Paris-
Sorbonne) 1999.
Vajda) G. ((Etudes sur Qirqisani)) Revue des etudes juives 106 (1940-45): 87-123; idem)
107 (1946/47): 52-98; idem) 108 (1948): 63-91; idem) 120 (1961): 211-57; idem) 122
(1963): 7-74.
Walker) P. E. Exploring an Islamic Empire: Fatimid History and its Sources. London:
I. B. Tauris) 2002.
Wasserstei~ D. The Rise and Fall of the Party-Kings: Politics and Society in Islamic
Spain 1002-1086. Princeton: Princeton University Press) 1985.
- . Jewish Elites in al-Andalus.)) In The Jews ofMedieval Islam) edited by D. Frank)
101-10. Leiden: Brill) 1995.
Wechsler) M. The Arabic Translation and Commentary ofYefet ben (Eli the Karaite on
the book of Esther. Etudes sur Ie judalsme medieval 36. Karaite Texts and Studies
1. Leiden: Brill) 2008.
- . Strangers in the Land: The Judaeo-Arabic Exegesis of Tanhum ha-Yerushalmi on
the books of Ruth and Esther. Jerusalem: Magnes Press) 2010.
Weinberger) L. Rabbanite and Karaite Liturgical Poetry in South-Eastern Europe.
Cincinnati: Hebrew Union College Press) 1991.
- . Moses Darc!) Karaite Poet and Physician.)) Jewish Quarterly Review 84) no. 4
(1994): 445-83.
- . Jewish Hymnography: A Literary History. London: The Littman Library ofJewish
Civilization) 1998.
- . Jewish Poet in Fatimid Egypt: Moses Dar(l's Hebrew Collection. Tuscaloosa: The
University of Alabama) 1998.
- . Jewish Poet in Muslim Egypt, Moses Dar(i's Hebrew Collection. Leiden: Brilt
2000.
Weiss) J. Courtly Culture and Courtly Poetry.)) [in Hebrew] In Proceedings ofthe First
Congress on Jewish Studies) 369-408. Jerusalem) 1952.
Yahalom) J. Poetry and Society in Egypt: their Relationship as Reflected in the Atti-
tude towards the Secular Poetry of Judah ha-LevL)) [in Hebrew] Zion: a Quarterly
for Research in Jewish History 45) no. 4 (1980): 286-98.
- . The Context of Hebrew Imitations of Muwashsha1).at in Egypt.)) In Poes{a Estr6-
fica: Aetas del Primer Congreso Internacional sobre Poes{a Estr6fica Arabe y Hebrea
y sus Paralelos Romances) edited by F. Corriente and A. Saenz-Badillos) 357-66.
Madrid) 1991.
- . Palestinian Vocalised Piyyut Manuscripts in the Cambridge Genizah Collections.
Cambridge: Cambridge University Press) 1997.
- . Spanish Poets between Alexandria and Cairo.)) [in Hebrew] Shevo 1 (1998):
46-48.
BIBLIOGRAPHY 331
- . Judaeo-Arabic Poetics: Fragments ofa Lost Treatise by Elazar ben Jacob ofBagh-
dad [in Hebrew]. Jerusalem: Ben-Zvi Institute, 2001.
- . "Judah Halevi: Records of a Visitor from Spain) In The Cambridge Genizah
Collections: Their Contents and Significance, edited by S. Reif, 123- 35. Cambridge:
Cambridge University Press, 2002.
- . "Andalusian Poetics and the Work of Efazar ben YaCaqov of Baghdad.) Hispania
Judaica Bulletin 4 (2004): 5-21.
- . "From the Material to the Spiritual: Scriptural Allusions and their Develop-
ment in Judeo-Arabic Liturgical Poetry.) In Prayers That Cite Scripture, edited by
J. Kugel, 101-19. Cambridge, MA: Harvard University Press, 2006.
- . Yehuda Halevi: Poetry and Pilgrimage. Jerusalem: Magnes Press, 2009.
Yahalom, J., and J. Blau, The Wanderings of Judah AI/:larizi: Five Accounts of his
Travels [in Hebrew]. Jerusalem: Ben-Zvi Institute, 2002.
Yarden, D. The Liturgical Poetry of Rabbi Judah ha-Levi [in Hebrew]. Jerusalem,
1985.
Yaron, Y. ed. An Introduction to Karaite Judaism: History, Theology, Practice and
Custom. New York: The al-Qirqisani Center for the Promotion of Karaite Studies,
2003.
Yeivin, I. The Hebrew Language Tradition as Reflected in the Babylon ia n Vocalisa tion
[in Hebrew] . Jerusalem, 1985.
Yellin, D. Introduction to the Hebrew Poetry of the Spanish Period [in Hebrew]. Jeru-
salem: Magnes Press, 1978.
Yeshaya, J. "Literary Criticism in the Judaeo-Arabic Culture of al-Andalus: Moses
ibn Ezra as a Professional Literary Critic.) In Ba<al MilUm: Liber Amicorum Julien
Kiener, edited by K. De Graef, 241-55. University of Ghent, 2004.
- . "Over de Ontluikende Lente en Toastende Rabbijnen: Aardse Geneugten in de
middeleeuwse Hebreeuwse Poezie van Spanje.) AlefBeet 17, no. 1 (2007): 29-42.
- . "Is Karaite Poetry distinct from Rabbanite poetry? Some observations on the
oeuvre of Moses DarCL) Zutot: Perspectives on Jewish Culture 6 (2009): 91-97.
- . "Your Poems are like Rotten Figs: Judah al-l:Iarizi on Poets and Poetry in the
Muslim East.) In Egypt and Syria in the Fatimid, Ayyubid and Mamluk Eras, edited
by U. Vermeulen and K. D)Hulster, 6:143-52. Leuven: Peeters, 2010.
- . "Moses ben Abraham Dart) In Encyclopedia ofJews in the Islamic World, edited
by N. Stillman et al., 2:29-30. Leiden: Brill 2010.
Zwartjes, O. Love Songs from al-Andalus: History, Structure and Meaning of the
Kharja. Leiden: Brill, 1997.
Zwettler, M. The Oral Tradition of Classical Arabic Poetry: Its Character and Implica-
tions. Columbus, Ohio: Ohio State University Press, 1978.
Zwiep, I. Mother of Reason and Revelation: A Short History of Medieval Jewish Lin-
guistic Thought. Amsterdam: J. C. Gieben, 1997.
INDEX OF NAMES AND SUBJECTS
CAbbas) Judah) 3 ben David) CAnan) 41

cAbbasid period) 31-32) 38) 59-61) 64) 93 ben David ha-Kohe~ Abraham) 54
cAbbasiyya quarter (Cairo)) 51) 142 ben Elcazar) Jacob) 68n31
cAbd al-Karim) al-Shaykh al-Shams) 55 ben Eliyah Firuz, Abraham) 27) 55n25
Abele ~iyyon. See "Mourners of Zion)' ben Firuz) Moses ben al-Shaykh al-Ascad)
Abulafia) Todros) 83 55
Abu I-Bayan al-Sadid b. al-Mudawwar) 55 ben Halfon) Abraham) 74) 83
Abu Nuwas) 59 ben Halfon) Eleazar) 69) 75n57) 141
Abu Tammam) 59 ben Joseph) Aaron) 76-77
cA4id) al- (caliph)) 32 ben Joseph) Anatol~ 37) 70
Aleppo) 1n1) 3) 15n27) 73-74 ben Judah) Aaron) 76
Alexandria) 33) 35- 36) 43; Moses Darci ben Judah ibn Simeon) Joseph) 72n48
in) 48-49) 51, 52n 17; Judah al-Barizi ben Judah) ~edaqa) 72n48
in) 1n1) 73-74; Judah ha-Levi in) 69 ben Judah) Solomo~ 72n48
Algamil) Yoset 17 ben Labrat) Dunash) 66
Algeria) 31 ben Levi) Moses) 72n48
Andalusi) Moses bar Sheshet al-) 74 ben Mar Saul) Isaac) 70
Arabian Peninsula) 60 ben Michael, Menahem) 76
Arabic: calligraphy) 22; culture) 4) ben Moses) Gamlie( 72n48
60-61) 63) 67) 74; language) 30) 34) ben Moses) Tobias) 76
61) 66-68) 119n3) 120-121) 135-137) ben ~addiq, Joseph) 3
142 ben Samuel, Eliyah) 52
arabisation) 31, 61, 63) 65n23) 66 ben Samuel ha-Haver) Nathan) 72n48
<arabiyya) 61-62) 248 ben Sason of Fu~tat) Isaac) 56
cArish) 43 ben ~edaqa) Moses; 13-14) 55
astronomy) astrology) 57) 86) 126-127 Ben-Shammai) Bagga~ 7) 27n13) 76n60
atbash) 88n 17 ben Zabara) Joseph) 3
atlal) 60 Bible) biblical language) 118) 124n9; and
Ayyubid period) 32-39) 44) 47 the Karaites) 40-42) 75-78) 119; and
Moses Darci) 119) 121) 131-135; the
Babovich) Tuviah Simcha Levi) 51n16 Andalusian poets) attitude towards)
Babylonian: community) 35-36) 41; 64-67) 119
Exilarch) 38) 41; Talmud) 40) 52n17) bilingual poetry) 19n45) 26) 48n7) 71) 74)
78) 115) 244) 261; vocalisation) 129) 99) 129n18) 136) 142
287 Blau) Joshua) 135-136) 282
badz style) 59-64) 67) 122) 142) 248 Brody) Heinrich (Bayyim)) 6) 15
Baghdad) 3) 32) 38)66) 73-74 Byzantium) 17n36) 43) 45n49) 63) 76
baqqasha) 15) 70) 156) 231) 241
Bareket) Elinoar) 38 Cairo) 32-33; the Jewish community of)
Bar misva) 7) 53 35; the Karaite community ot 23) 43)
Basra) "74 51-54) 56) 142; Moses Darci in) 48-49;
Ba~li) Eleazar ha-) 6) 72-74) 83) 86n10) Judah al-Barizi in) 69; Judah ha-Levi
97) 109n19) 141 in) 74
Bekkum) W.J. van) 6) 238 Cairo Geniza) 35nn 13-14) 36) 71 n44)
ben Aaron Kohe~ Solomon) 47n1 135n33) 143
ben Afida Cohen) Solomon) 23 Canaa~ 131
334 INDEX OF NAMES AND SUBJECTS
Christianity) Christians: 33-34) 36-37) Finkel, Joshua) 23

39) 56; DarCi)s polemical remarks Firkovich) Abraham) 9-11) 15) 17) 27 n13;
towards) 13) 77n64) 135) 147) 173 manuscript collections) 6) 9-11) 17-18)
Cohen) Mark, 38 22-24) 47nl) 71n44) 135n33) 143
Constantinople) 76 Firuz family) 21) 27) 55
Coptism) Copts) 63 Frenkel, Miriam) 36
courtly culture) 60) 65n23) 69 Fustat) 31-35) 43) 48-49) 51-54) 56
Crimea) 9) 22) 24) 43) 51n16) 76
Crusades) Crusaders) 32) 42 Geiger) Abraham) 9) 12-14) 24) 55
ghazaliyya t) 61) 93
Damascus) 32) 52) 55-56; Moses Darci Gil) Moshe) 38) 41
in, 14) 48-50) 88) 142) 225) 287; Girona) 3
Judah al- J:Iarizi in) 1- 3) 74 Goitein) Shlomo Dov) 34) 38) 66n25
Damietta) 33n6) 43 "Golden Age)': of Andalusian-Hebrew
Darca) 2) 26) 48 poetry) 4-5) 12) 15) 66) 75n57) 140-141;
Darci) Abraham ben Jacob) 37n17) 48 of Karaite literary actiVity) 42
Darci) Abraham ben Samuel, 48 Graetz) Heinrich) 7) 12-13
Darci) Isaac) 48
Darci) Moses ben Abraham: in the history Habermann, Abraham M.) 16
of research) 1-19; MS tradition) 21- 30; Hadith) 62
biographical data) 47-58; and poetics) haftara) 53
62-63) 70-72) 75-78; secular genres in, ijakim) al- (caliph) 34
79-99; motifs and themes in) 101-118; hapax legomenon) 119
language and style in, 119-137; the Hariri) al-) 72n49
significance ot 139-143 ijariz~ Judah al-) 58) 68) 97-98) 141; in
Davidson, Israel) 6) 16-17) 23) 30) 51 the history of research) 13-16) 49) 55;
dhamm (blame) 88 attitude towards Eastern poetry) 1-4)
dhimmi status) 37 72-75
Dishon) Judith) 4n7) 5 Harkavy) Abraham) 75
diwan (poetry collection) 5-9) 13) 16-19) Hebrew language) 3) 41) 66) 119-122)
21) 24- 30) 47-49) 52) 55) 70) 77) 83) 131, 133-136) 142
88) 91, 101, 103) 120-123) 131, 136) hija' (invective) 19) 60) 80) 88) 163
139) 142) 147 ijijaz) 32
Drory) Rina) 3n6) 135 homoerotic poetry) 61) 95) 186
homonymic poetry: by Moses ibn Ezra)
echo poetry) 134) 142) 173) 252 97; by Moses Darc~ 26) 97-99) 122)
Egypt) 1-7) 31- 34; the Jewish community 137) 142) 159) 199) 229) 232) 277) 285;
ot 23) 34- 39; the Karaite community by Judah al-ijarizi) 97-98; by Joseph
ot 15) 39-45) 53-54; Tobias ben Moses ben Tanl}.um ha- Yerushalmi) 5) 97
in, 76) Moses Darci in) 9) 26) 47-49)
52n 17) 293; Judah ha- Levi in) 68-72) ibn al-cAmmani) Aaron) 56) 58) 69) 141
141; Joseph ha- Yerushalmi in) 74 ibn al-MuCtaz~ 61) 67
elegiac poetry) 19n45) 26) 49n 10) 54- 55 ibn Burd) Bashshar) 59) 61
epigonism) 5) 69) 140-141 ibn Ezra) Aaron, 21) 25-26
epithalamia (wedding poetry) 19n45) ibn Ezra) Abraham) 1) 13n15) 68) 69)
26) 54) 130) 219) 291 83n5
Eupatoria) 22-23 ibn Ezra) Isaac ben Abraham) 69
Europe(an) 4) 12) 17n36) 36-37) 43) 68) ibn Ezra) Moses) 63-68) 74) 114) 119)
76 242; homonymic poetry by) 97) 101;
in the Karaite prayer book) 76;
jakhr (self-praise) 60) 87-88) 162 al-ijarIzls appreciation for) 1-3
Fasi) David ben Abraham al-) 43n41 ibn Gabirol, Solomon, 11) 64) 66) 111)
Fatimid period) 31-39) 43-44) 47) 55 119; in the Karaite siddur) 76;
Fe~ 14) 26) 43n41) 49 al- ijarIzls appreciation for) 1- 3
INDEX OF NAMES AND SUBJECTS 335
ibn Ibrahim al-Tustari, Hasan, 39 Kitab al-badf, 61, 67

ibn Jacfar, Qudama, 65 . Kitab al-mu/:laqara wa-'l-mudhakara, 2,
ibn Jumay\ 56-57 63-64,66-67
ibn Khalfun, Isaac, 65 Kohen, Abraham, 15-16, 23
ibn Killis, Jacob, 39 Kohen, Ibrahim, 51n16
ibn Saydham, AI-Najib Joseph, 55 Koran, 62,117-118,271
ibn al-Shacar al-Mawsili, Mubarak, 72n50 Kraemer, Joel, 48
ibn Shaprut, l:Iasdai: 65n23
ibn al-Shaykh, Al-Thiqa, 55 Lasker, Daniel, 56
ibn al-Shaykh al-Sadid, Al-Najib, 55 Leningrad, 23
Ikhshidid period, 31 Lev, Yaakov, 32
"inclusio). See "return) Levi, Isaac ha-, 72n48
Iran, 36, 42 Levi, Judah ha-, 58, 66, 119; influence
Iraq, 3, 35n 12, 36, 40, 43, 65, 66n24 on Moses Darci, 15, 19, 23, 68-72,
Iskandari, David ben Moses al-, 53 141; al-l:Iarizi)s appreciation for, 1-3;
Iskandari, al-Shaykh Moses al-, 54 polemic with the Karaites, 41 n34; in
Islam, Muslims, 31-41,56,59-64, 69n34; the Karaite siddur, 76
DarCts polemical remarks towards, 13, ha-Levi, Moses, 52
77n64, 135, 147, 173 ha-Levi, Zeral)ya, 3
IsmacUi Islam, 31 n3, 33 Libya, 31
Israel, 23, 43, 173, 183, 224 Liqqute qadmoniyyot, 10-11, 23
Israeli, Isaac, 34 liturgical (religious) poetry, 6, 11 n8, 15,
Istanbul, 51 n16 17n36, 19,24, 26, 29, 52-53, 57,65-66,
<itab (rebuke), 88 69-71, 74n55, 75-76, 79-83, 118, 121,
130, 135n33, 142, 155-156, 163, 231,
Ja1)i~ al-, 61 241, 255
Jawhar, 31 Lune!, 14
Jerusalem, 10, 13, 32; Karaites in, 42, 76;
Moses DarCi)s attempted pilgrimage Macarrah, 3n5
to, 48-51, 290; Judah al-l:Iarizi in, 74 madf/:l (praise), 60, 83, 85-86, 178
Judaism, Jews, 2-4, 12, 19, 23, 28-29, Maghribi, Isl)aq al-, 55
33-45, 48, 54, 56, 58, 63-68, 72-76, Maimonides, Abraham, 37
85,87,119,135-136,142-143 Maimonides, Moses, 4, 14, 37, 39, 45,
Judaeo-Arabic: language, 6, 10-11, 25-29, 48, 56- 57, 68n30, 69, 72n48, 72n49,
42, 48n7, 72, 74n56, 135-137, 142; 142n7
poem headings, 6-7, 18-19, 29- 30, Maman, Aharon, 119
54, 59, 62,88-89,98, 101, 114, 128n14, Mamlllk period, 34
129-130, 134n30, 135-137, 143; Mann, Jacob, 5nll, 35n13, 38-39
poetry and poetics, 6-7, 18, 19n45, maqama, 1-2, 15-16, 47-49, 51-52, 72,
26, 49, 69, 71, 74, 99, 102, 135-137, 74; maqama of Alexandria and Cairo
143; rhymed prose, 24, 26, 28-29, 63, (attributed to Moses Darci), 16,47-49,
120, 129, 135-137, 142, 147 51-52
medicine, physicians, 4, 13-14, 34, 37,
Kahana, David, 15, 16n28, 26n 10, 134n30 39, 49, 52, 54- 58, 69, 168
Karaism, Karaites, 7, 9-11, 14-17, 21-24, Melammed, Samuel Hazzan, 55
35-36, 39-45, 47, 50-56, 75-78, 82, Melammed, Uri, 7, i9n45, 28n15, 47nl,
119-121, 136, 141-142, 202, 243, 290 99n38, 139n2
Katib al-<Arab, 21nl Mesopotamia, 32
Kazas, Elias, 22 metaphor, 67n30, 120, 124n9, 125, 127-128,
Keter malkhut (Solomon ibn Gabirol), 111 187, 190
khamriyyat, 61, 93 Mishna, 52n17,78
kharja, 64n 19, 71 Morocco, 2, 14, 43n41, 47-48, 49n7,
Khorasan, 63 72n48
kinnuyfm (circumlocutions), 134 Mosul, 3
336 INDEX OF NAMES AND SUBJECTS
"Mourners of Zion)) 42) 76 Proverbs) Book of) 89-90

MS NLR Evr. I 802) 6) 9-13) 15) 18-19) Psalms) Book of: 75
21-22) 24-29) 48-50) 53-55) 70-71)
79-117) 124-129) 132-137) 143) qafiya (rhyme)) 129
145-294 qa~fda) 19) 21) 24) 60) 83) 85) 101) 147)
MS NLR Evr. I 803) 9-10) 15n27) 21) 24) 178
49nl0) 55) 70n42) 77n64 Qayrawan) 35n12
mu(araq,a t (formal imitations)) 69-70 Qirqisani) Jacob al-) 40-41) 75) 77
mubalagha (hyperbole)) 115n28 qi(a) 60n4
M~ammad (the Prophet)) 31n3) 63 Qumisi) Daniel al-) 42) 77
M u~dathu n) al- (Moderns)) 59 Qumranites) 40
Mucizz) al- (caliph)) 31-32
mujuniyyat (libertine poems)) 61 Rabbinic Judaism) Rabbanites) 11) 14) 16)
muluk al-tawa'if (Party Kings)) 64 35-36)41-45) 52n17) 54-56) 66)75-78)
Muslim East) Inl) 3-7) 36) 42) 44) 64-65) 113) 118-121) 141-142) 198) 207
68-75) 139-143 rahfl) 60
Mutanabbi) al-) 71n43 Rao'fs al-Yahud) 37-39
MuCtazilitism) 40-41 RamIe) 23
muwashsha~) 19) 64) 69 "return)) 70-71) 74) 109n19) 153) 155)
157) 180) 231
Nagid) Samuel ha-) 65n23) 66 riddle poetry) 19n45) 26) 94) 102) 193
Nahawand~ Binyamin al-) 42 Rtfi al- (the Province)) 33) 35
nasfb) 60) 85-86) 93) 141) 178 ri~alat (travel accounts)) 73
Nemoy) Leo~ 11) 16) 47n2 Rofe) Abraham) ha-) 54
Neoplatonism) 109) 111) 153 Rofe) Isaac ha-) 52
neslfm) 43 Rofe) Samuel ha-) 52) 55
Neubauer) Adolf: 7) 13-14 Rofe) Samuel ha-Kohen ha-) 52
New York) 10) 23 Romance language) 64n 19
Nil~ 14n2~ 1~33n~4~6~8~266 Russia) 9-10) 21-22
North Africa) 31-33) 36) 43n41) 64-65 Rustow) Marina) 36
Odessa) 10 Sadducees) 40
Ottoman period) 17n36) 43) 51n16) 76 ~al~ al-Din (Saladin)) 32) 56
Ovadia) Gamil) 19 Samaritan Judaism) 35- 36) 39
saqf (cupbearer)) 95
Pact of cVmar) 37 Scheindlin) Raymond) 18-19) 53n20) 70)
Pagis) Dan) 140) 141n6 75n57) 19n1
Palestine) Palestinia~ 14) 35- 36) 38) Schippers) Arie) 7) 83n6
41-42) 66n24) 68 Schirman~ Jefim) 16) 70) 139-140
Persia) Persia~ 42-44) 55) 61) 63) 130 Schorr) Joshua H.) 13-14) 55
Pinsker) Sim~ah) 6) 10-13) 17) 23) 30 scripturalism) 39-42) 77
piyyut. See liturgical poetry SeCadya Gao~ 34) 41) 65) 135n33
Poetry) poetics) poets: Andalusian- secular poetry) 6) 18-19) 24) 26) 29) 65)
Hebrew) 2-7) 12) 15) 17) 63-77) 83) 67) 69-7C 74-75) 78-83) 97) 128-13C
86) 93n25) 97) 114) 119-120) 129-130) 140-143) 155) 165) 222
139-143) 242; Arabic) 5) 59-67) Sefer ha-(linaq) 97) 99) 101
70-72) 77) 83n6) 87) 102) 129) 140) Sefer ta~kem6nf) 1- 3) 13) 16) 73-74
142) 210; Eastern) 3-4) 12) 64) 71n34) Sefer zera~, 9) 24
74) 77) 83) 97) 119) 139n2) 140-143; Sela) Shulamit) 38) 44n48
Karaite) 17n36) 75-78) 82) 109n19) Sere~) Judah) 22
142; pre-Islamic) 59-62; Yemenite) shibbu~fm (quotations)) 131-134) 259
5) 74 Shti Islam) 31-33) 39-40
Poznanski) Samuet 55 shu(ubiyya) 61) 63
INDEX OF NAMES AND SUBJECTS 337
Sicily) 31-32 Tarfifi) al-Shaykh al-) 54

simile) 125-126) 128n15) 238) 247) 254) Tarfifi) Samuel ben al-Shaykh al-) 54
262)286 tardiyydt) 61
Sinni) Samuel ben Eliyah ben) 52 tautologies) 129) 142) 256
Sinni) Samuel ben Moses) 52n 19 tiferet ha-petl/:ld) 129
Song of Songs) 93) 95) 126) 130) 132 Tinnis) 43
Spain) 3) 5n 11) 1 C 16) 31) 36) 43) 58) 69; Toledo) Inl) 72
Christian Spain) 1n 1) 5) 67-68) 72-73) TUlunid period) 31
83) 140; Muslim Spain) 4) 29) 36) 48n7) Tunisia) 31-32) 35n12
56n3C 64-68) 11 C 140 Tustar) 44
Steinschneider) Morit~ 2n3) 14) 23n6) 55
St. Petersburg) 9-10) 21-24) 47nl Ukraine) 9) 51n16
strophic poetry) 64) 66n25) 69) 95) 130) Umayyad period) 59-60
219) 291
Sufism) 37) 61) 113 Weinberger) Leo~ 6) 17-19) 25) 56) 76
Sunni Islam) 31-34) 39) 41n33 Wissenschaft des Juden tu ms) 75
synagogue) 7) 43n43) 51) 53) 65) 142
Syria) 32) 34n9) 36) 49) 63 Yahalom) Joseph) 6) 74
Yaqut) 48n3
Tabaristan) 42 Yemen) 14) 32) 74
taj n IS (paranomasia)) 97) 122) 137) 159 Yerushalmi, Joseph ben Tan1}.um ha-) 5)
takhallu~ (transition)) 85) 178 72) 74) 75n57) 97) 141
Tamani) Giuliano) 9n2) 17) 22
Tanenbaum) Adena) 77 zajal) 64
tanwln) 136 zuhdiyydt) 61) 113
PLATE SECTION
Plate I MS NLR Evr. 1802 fo1. Ib (Courtesy of the National Library of Russia).
342 PLATE SECTION
Plate II. MS NLR Evr. I 802 fo1. 4a

PLAlE SECTION 343
Plate III. MS NLR Evr. I 802 fo1. 44a

344 PLATE SECTION
Plate IV. MS NLR Evr. I 802 fo1. 13Sb.

PLAlE SECTION 345
Plate V. MS NLR Evr. I 802 fo1. 136a

(Joachim J. M. S. Yeshaya) Medieval Hebrew Poetry

Uploaded by

Document Information

Original Title

Copyright

Available Formats

Share this document

Share or Embed Document

Sharing Options

Did you find this document useful?

Is this content inappropriate?

Copyright:

Available Formats

(Joachim J. M. S. Yeshaya) Medieval Hebrew Poetry

Uploaded by

Copyright:

Available Formats

Medieval Hebrew Poetry

The Secular Poetry of the Karaite Poet

Library of Congress Cataloging-in-Publication Data

Copyright 2011 by Koninklijke Brill NV, Leiden, The Netherlands.

All rights reserved. No part of this publication may be reproduced, translated,

Authorization to photocopy items for internal or personal use is granted by

Chapter One History of Research 9

Chapter Two Manuscript Tradition 21

Chapter Three History of Fa~imid and Ayyiibid Egypt 31

Chapter Four Moses ben Abraham Darci 47

Chapter Five Poetics and Poetry 59

Chapter Six Secular Genres 79

6.3 Poetry of Complaint 88

Chapter Seven Motifs and Themes 101

Chapter Eight Language and Style 119

Chapter Nine The Significance of Moses Dar'i 139

Chapter Ten Edition: Poems Nos. 1-152) on the Basis of

Alphabetical List of Poems Nos. 1-152 295

and University Library (including the Institute of Microfilmed Hebrew

Genesis) n4tWNi~ = 'i~ Nahum) ClnJ = '1nJ

Towards the end of his chapter on the poets of Damascus) in maqama

In Damascus there was a certain Egyptian who composed poems forbid-

Judah al-ijarizi) a native of Toledo in Christian Spai~ arrived in Alexandria in

n'Vl'7V?;:I ;,7.p~;:IJ / 00'?~ o'Qi"1;:1J P'1 l~ tt9i' "J Nlr,p l~ ;'Wb

as epigones lO or imitators of the Golden Age poets. ll Fortunately)

10 Epigone (Greek 1ttYOVTt) "ofI"spring/' "posterity))' or "successors)') is a term used

15 H. Sheynin, '(Der Literarische Nachlass des Josef ben Tanchum Ha-Jeruschalmi:

The present edition includes the Judaeo-Arabic headings and thus

1.1 Nineteen th-Century Scholarship

Western scholarship first noted the poetical collection of Moses Darci

A. Geiger, "Ausgezeichnete Handschriftensammlung: Karaische Schrifte~)' Wis-

insignificant in proportion to the overall authenticity and importance

3 See s. Iakerson, "Abraham Firkovich de KaraIet en zijn verzameling Hebreeuwse

Judaeo-Arabic works. Leon Nemoy (1901-98) author of the epoch-

Nearly one hundred of Moses Darcrs poems can be found in those

7 L. Nemoy, Encyclopaedia Judaica (Jerusalem, 1972), 13:548-49; idem, Karaite

Pinsker)s dating ran contrary to the prevailing views about the

15 A. Geiger) ((Hebraische Zeitschriften/) 818-19: ((Thus for Darci we cannot give

the city.19 Neubauer also pronounced harsh judgments on Moses Darci

1.2 Twentieth-Century Scholarship

No progress was made on Darers biography during the final decades

Judah al-I:Iarizts Sefer ta1Jkemonz) and) therefore) a clear indication

In 1981) Yosef Algamil published about ten poems by Darei) some of

1.3 The Edition by Leon Weinberger

In 1998 Leon Weinberger partially responded to Tamanfs call by

introduction) which recapitulates Weinberger)s 1994 article. 37 This

More than five-hundred of Moses Darers poems have been preserved

2.1 List of Available Manuscripts

A. St. Petersburg, National Library of Russia (NLR), MSS Evr. I 802

from Eupatoria to the library of the Institute of Oriental Studies

With the exception of the fragmentary manuscript NLR Evr. II A 203

6 M. Steinschneider signalled an additional fragment, consisting of 74 folios con-

of another complete copy has confirmed this uniformity; the copy is

1. According to the table of contents) the first part of the collec-

2.2 Manuscript NLR Evr. I 802

7 A. Geiger) Wissenschaftliche Zeitschrift fur judische Theologie 3 (1837): 443) nos.

amendments to Weinberger)s edition) as the following selection of

Weinberger MS NLR Evr. I 802

2. Poem 311: 17 (p. 362) 2. Poem 12: 20 (fo1. 8b)

" ~nJ=?~ '7=?~ ~nJ=?~

7. Poem 446: 2 (p. 446) 7. Poem 58: 4 (fo1. 18a)

-riViQ / ;'~i:t:;1~ ~f ?'

Below is a succinct description of MS NLR Evr. I 802: (cf Plate Section)

. Pi?!91 "~ / 'nNf oi~ N~ / 'nQ / 'W~~ r,~D