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Updated: June 15, 2025
More than one passage is decidedly anti-Christian, and it would not be surprising to find that the framework of the romance had been adopted with polemic intention. The character of the framework becomes more interesting when it is realized that Zabara derived it from some version of the legends of which King Solomon is the hero.
Here, for instance, is an early form of a witticism that has been attributed to many recent humorists. "A philosopher," says Zabara, "was sick unto death, and his doctor gave him up; yet the patient recovered. The convalescent was walking in the street when the doctor met him.
In this manner, illustrative tales are introduced throughout the poem. Zabara displays rare ingenuity in fitting the illustrations into his framework. A leopard once lived in content and plenty; ever he found easy sustenance for his wife and children. Hard by there dwelt his neighbor and friend, the fox.
This devil quotes the Rabbis, and is easily convinced that it is unwise for him to wed an ignorant bride. It would seem as though Zabara were, on the one hand, hurling a covert attack against some one who had advised him to leave Barcelona to his own hurt, while, on the other hand, he is satirizing the current beliefs of Jews and Christians in evil spirits.
So, in another version, Marcolf is at once supernaturally cunning, and extremely skeptical as to the morality and constancy of woman. But it is unnecessary to enter into the problem more closely. Zabara handles the legend with rare originality, and even ventures to cast himself for the title role in place of the wisest of kings.
Hence, to those who do not read Zabara in the original, he is more easily appreciated as a conteur than as an imaginative writer. To the Hebraist, too, something of the same remark applies. Rhymed prose is not much more consistent with the genius of Hebrew than it is with the genius of English. Arabic and Persian seem the only languages in which rhymed prose assumes a natural and melodious shape.
He has the quaint subtlety of the author of the "Ingoldsby Legends," and revelled in the exaggeration of trifles that is the stock-in-trade of the modern funny man. Woman plays the part with the former that the mother-in-law played a generation ago with the latter. In Zabara, again, there is a good deal of mere rudeness, which the author seems to mistake for cutting repartee.
The story, as Zabara tells it, differs considerably from the Apocryphal version of it. The incidents are misplaced, the story of the betrothal is disconnected from that of the recovery of the money by Tobit, and the detail of the gallows occurs in no other known text of the story.
In another part of the legend, to which, again, Zabara offers parallels, Solomon, being out hunting, comes suddenly on Marcolf's hut, and, calling upon him, receives a number of riddling answers, which completely foil him, and tor the solution of which he is compelled to have recourse to the proposer.
The moral of the first section of the romance is: Put your trust in women; and the moral of the second section of the poem is: A good woman is the best part of man. But, though this is so, Zabara does undoubtedly quote a large number of stories full of point and sting, stories that tell of women's wickedness and infidelity, of their weakness of intellect and fickleness of will.
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