Christian Dante: the poem as a whole was planned on Charizi's Tachkemoni, a Hebrew development of the Arabic Divan. The poet is not the hero of his own song, but like the Arabic poets of the divan, conceives a personage who fills the centre of the canvas—a personage really identical with the author, yet in a sense other than he. Much quaintness of effect is produced by this double part played by the poet, who, as it were, satirizes his own doings. In Immanuel’s Machberoth there is much variety of romantic incident. But it is in satire that he reaches his highest level. Love and wine are the frequent burdens of his song, as they are in the Provençal and Italian poetry of his day. Immanuel was something of a Voltaire in his jocose treatment of sacred things, and pietists like Joseph Karo inhibited the study of the Machberoth. Others, too, described his songs as sensuous and his satires as blasphemous. But the devout and earnest
