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Updated: May 20, 2025
The best and best-known specimens of this form of poetry in Hebrew are Charizi's Tachkemoni, and his translation of Hariri. Zabara has less art than Charizi, and far less technical skill, yet in him all the qualities are in the bud that Charizi's poems present in the fullblown flower.
Mostly, however, the Hebrew lover's tears, when they are not tokens of grief at the absence of the beloved, are the involuntary confession of the man's love. It is the men who must weep in these poems. Charizi sings of the lover whose heart succeeds in concealing its love, whose lips contrive to maintain silence on the subject, but his tears play traitor and betray his affection to all the world.
The reader of Zabara feels that other poets will develop his style and surpass him; the reader of Charizi knows of a surety that in him the style has reached its climax. That this romance is largely autobiographical in fact, as it is in form, there can be no reasonable doubt.
Similarly, Charizi, another Jewish wayfarer, who laughed himself over half the world, wrote verses as he walked, to relieve the tedium. He is perhaps the most entertaining of all Jewish travellers. Nothing is more amusing than his conscious habit of judging the characters of the men he saw by their hospitality, or the reverse, to himself.
It was the Jews, like Berechiah, Charizi, Zabara, Abraham ibn Chasdai, and other incessant travellers, who helped to bring to Europe AEsop, Bidpai, the Buddhist legends, who "translated them from the Indian," and were partly responsible for this rich poetical gift to the Western world. Looking back on such a life, Ibn Ezra might well detect a Divine Providence in his own pains and sorrows.
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