# The First Hebrew Shakespeare Translations

# The First Hebrew Shakespeare Translations

**Isaac Edward Salkinson's** *Ithiel the Cushite of Venice* **and** *Ram and Jael*

A Bilingual Edition and Commentary Lily Kahn

 First published in 2017 by UCL Press University College London Gower Street London WC1E 6BT

Available to download free: www.ucl.ac.uk/ ucl- press

 Text © Lily Kahn, 2017 Images courtesy of Lily Kahn, 2017

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Lily Kahn, *The First Hebrew Shakespeare Translations* . London, UCL Press, 2017. http://dx.doi.org/10.14324/111.9781911307976

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 ISBN: 978- 1- 911307- 99- 0 (Hbk.) ISBN: 978- 1- 911307- 98- 3 (Pbk.) ISBN: 978- 1- 911307- 97- 6 (PDF) ISBN: 978- 1- 911576- 00- 6 (epub) ISBN: 978- 1- 911576- 01- 3 (mobi) DOI: https:// doi.org/ 10.14324/ 111.9781911307976 This book is dedicated with love to Panda.

# Acknowledgements

 I wish to express my very deepest gratitude to the Arts and Humanities Research Council for generously funding the fellowship that led to the production of this volume.

 I am extremely grateful to the staff at UCL Press, in particular Lara Speicher, Chris Penfold, and Jaimee Biggins, for their support of the volume from its inception through the writing, submission, and production process.

 My warmest thanks go to Ada Rapoport- Albert for her continual encouragement, as well as for generously giving of her time to review the entire volume and make countless positive contributions to it. I am also very grateful to the anonymous reader for providing a number of extremely helpful comments. Special thanks are due to Sacha Stern for his support of the project, and to Shai Heijmans, Tsila Ratner, Aaron Rubin, Andrea Schatz, and Riitta- Liisa Valijärvi for their invaluable discussion sessions and help with individual portions of the research.

 Finally, I am eternally grateful to James Holz for his ceaseless support and numerous insightful suggestions.

# Contents



# Introduction

# **1 The historical and literary background to the first Hebrew Shakespeare translations**

 The fi rst Hebrew Shakespeare translations are a product of the Haskalah, or Jewish Enlightenment, a hugely infl uential social and intellectual movement that emerged in Berlin in the 1770s around the German Jewish philosopher Moses Mendelssohn and his circle. The Haskalah evolved under the infl uence of the general European Enlightenment but with a specifi c focus on Jewish issues. Maskilim, adherents of the Haskalah, sought to promote greater integration of Jews into their European host societies with a view towards eventual emancipation. To this end they advocated educational reform, including engagement with science, mathematics, European languages, and other subjects that had been absent from the traditional Ashkenazic (Northern, Central, and Eastern European Jewish) educational system, which was dedicated solely to study of the canonical Jewish texts with a focus on the Babylonian Talmud. A central element of the Maskilic project was the creation of a modern literary culture in Hebrew including genres that had not previously existed among Ashkenazic Jewry. Early Maskilic literary production consisted primarily of critical essays, poetry, and some drama (Pelli 1979 ). At the time Hebrew was not a spoken language, having died out in the early centuries ce and remaining more or less solely a literary medium until its revernacularization in late nineteenth- and early twentieth- century Palestine (Sáenz- Badillos 1993 ). The Maskilim selected Hebrew as the chief vehicle of their literary project due to its central and venerable status in Jewish society as the language of its main religious, legal, and philosophical writings (Pelli 1979 : 73– 108; Shavit 1993 ; Schatz 2009 ; Eldar 2016 ). They typically expressed a preference for Biblical Hebrew over postbiblical varieties of the language, regarding the biblical stratum as the purest form (Shavit 1993 : 117– 18) – although not all early Maskilim supported a strictly purist biblical style (Schatz 2009 ). They rejected Yiddish, the Central and Eastern European vernacular, and sought to replace it with German as the Jews' spoken language (Shavit 1993 : 114– 15; Eldar 2016 : 29). Over the course of the following decades, the Haskalah spread into Galicia and then further east into czarist Russia, where it gave rise to a much more extensive body of Hebrew literature including novels, short stories, novellas, and plays (Patterson 1988) in addition to a thriving press and other forms of non- fi ction. Maskilic fi ction included both original compositions and translations of European literature, mainly German or, in the later decades of the Haskalah, Russian (Toury 2012 : 133, 162– 72). The popularity of translations during the Haskalah was a product of the desire to expand the Hebrew literary canon (Toury 2012 : 165), as in other cultures with newly emerging literary models (Even- Zohar 1990 : 47).

 Considering Shakespeare's status as one of the most highly regarded authors in the European canon, it is unsurprising that the early Maskilim became interested in his work as part of their drive to develop a new Hebrew literature based on European models. Shakespeare's particular eminence in Germany is especially relevant in this context both because of the great admiration for his work expressed by Lessing, Schiller, and Goethe – whom the Maskilic authors held in extremely high esteem – and because most Maskilim accessed and translated European literature through German intermediaries, with few of them trained in other European languages (Almagor 1975 : 721– 6; Toury 2012 : 162– 72). The early decades of the Haskalah saw the fi rst attempt to translate Shakespeare into Hebrew, a rendition of fi fteen lines of a speech by King Henry IV from *Henry IV Part Two* (via German) that appeared in a book on biblical poetics (Levisohn 1816 ). The translated excerpt was intended to serve as an example of the concept of the apostrophe (Toury 2012 : 171).

 Following this initial eff ort, there was a gap of twenty- fi ve years before any further Shakespeare extracts appeared in Hebrew. Between the 1840s and 1870s, a small number of Maskilic writers produced half a dozen fragmentary translations, mostly monologues and all via German versions. These fragments include three excerpts from *Hamlet* ; the fi rst, by Fabius Mieses, was composed in 1842 but remained unpublished until 1891; the second, by Naphtali Poper Krassensohn, appeared in the Maskilic periodical *Kokheve Yiṣḥ aq* in 1856; and the third, by the prominent Hebrew literary fi gure Peretz Smolenskin, consists of four short extracts embedded in his novel *The Joy of the Godless* , which was published in the literary journal *HaSha ḥ ar* in 1872. There were also two excerpts from *Macbeth* ; the fi rst appeared in an article by Joshua Steinberg published in 1868 in the Maskilic periodical *HaKarmel* ; the second was translated by an S. Medliger and published in the periodical *Ha*ʽ*et* in 1871. Finally, an extract based on Herder's version of a song from Cymbeline was translated by Simon Bacher and published in *Kokheve*  *Yiṣḥ aq* in 1862.1 As Toury ( 2012 : 171– 2) observes, these fragments did very little to familiarize Maskilic readers with Shakespeare's work or to establish a position for him within the nascent Hebrew literary library: with the exception of Peretz Smolenskin, the translators were all minor or unknown literary fi gures, the translations were typically published in relatively peripheral journals, and some of them (such as those of Smolenskin) were further obscured by appearing embedded within novels or articles.

 This early period of marginal Hebrew Shakespeare translation ended with the publication of Isaac Edward Salkinson's Hebrew version of Othello, *Ithiel the Cushite of Venice* (Vienna, 1874). Salkinson's *Ithiel* marked the beginning of a new era in the story of Shakespeare in Hebrew because it was the fi rst rendition of a complete play to appear in the language and the fi rst to gain widespread critical attention in Maskilic literary circles. In addition, it was the fi rst Hebrew Shakespeare version to be translated directly from the English original, constituting a departure from the earlier practice of indirect translation via German. Salkinson's translations were thus the fi rst to bring the English and Hebrew texts into a direct dialogue with each other, in contrast to the previous versions, which were shaped by the interpretive fi lter of the German intermediary. This is signifi cant not only in the immediate context of early Hebrew Shakespeare translation, but in that of translated nineteenth- century Hebrew literature in more general terms, as throughout this period English literature in Hebrew was typically mediated via German, and the distinction between direct and indirect translation was relatively unknown (Toury 2012 : 165– 73). Salkinson's pivotal role in the history of Hebrew Shakespeare translation is rooted in his singular biographical circumstances, which will be discussed in Section 2 .

# **2 Isaac Edward (Eliezer) Salkinson's life and works**

 Biographical information on Salkinson, in particular his early years, is relatively scant. He is believed to have been born in 1820 as Isaac Eliezer Salkinson in a small village near Shklov, a town in present- day Belarus that was then part of the Russian Empire. His father is thought to have been a poor scholar who was unsuccessful in securing a rabbinical post but served for a time as a judge in a rabbinical court in Shklov (Zitron 1925 : 37– 8); while some sources (e.g., Lapide 1984 : 92) identify him as the Hebrew poet Solomon Salkind (1806– 68), there does not seem to be any clear basis for this. Salkinson's father was married twice. He had three children with his fi rst wife, of whom Salkinson was the youngest. He and his fi rst wife

 <sup>1</sup> See Almagor ( 1975 : 769– 71) and Toury ( 2012 : 171) for bibliographic details of these early fragmentary Hebrew Shakespeare translations, and Almagor ( 1975 : 737– 9) for a short discussion of them.

**Figure 1** Isaac Edward (Eliezer) Salkinson (1820– 83)

were divorced sometime during Salkinson's childhood; he subsequently remarried and had another two children (Zitron 1925 : 38). According to the only booklength biography of Salkinson (Cohen 1942 : 12), his family life was unhappy and he was cruelly treated by his stepmother. The same account states that Salkinson's mother died when he was seven and his father may have died around ten years later; by contrast, according to the short biographical sketch appearing in Dunlop ( 1894 : 373), his father died seven years before his mother. Salkinson received a traditional Jewish education, which included study of the classical sources (the Hebrew Bible, the Mishnah, and especially the Talmud), and gained a reputation as an *ilui* , an outstanding scholar (Zitron 1925 : 38). Like other Eastern European Jews of the period, his native vernacular was Yiddish.

 When Salkinson was sixteen or seventeen he is believed to have left home and settled in Mogilev, a larger city in present- day Belarus, where he continued his studies of the traditional Jewish sources until he was forced into hiding at the house of an innkeeper in a nearby village in order to avoid being conscripted into the czarist army (Zitron 1925 : 39– 41). While in the village, the innkeeper introduced him to a man who exposed him to the Maskilic principle of secular education in addition to Torah study and encouraged him to study medieval Hebrew literature as well as the Talmud (Zitron 1925 : 42– 3). The innkeeper wanted Salkinson to marry his granddaughter, and when Salkinson refused his host attempted to prevent him from leaving the village. Salkinson's Maskilic friend helped him to obtain a travel permit and escape the village (Zitron 1925 : 43– 9). He travelled to Minsk and from there to Vilna, where he was introduced to Chayim Zalman Eliashevitz, a Maskil who took him in and introduced him to key Maskilic ideologies and texts. Under Eliashevitz's guidance he studied Hebrew grammar, Moses Mendelssohn's influential Judeo- German Bible translation, and the German and Russian languages. While Salkinson did not take to the study of Russian and abandoned it after a short time (Zitron 1925 : 49), he immersed himself in the study of German language and literature with the intention of travelling to Germany to pursue further education (Cohen 1942 : 18). While in Vilna he fell in love with Eliashevitz's daughter, but she did not return his affections, preferring a rabbinical student who used to frequent Eliashevitz's house (Zitron 1925 : 50). According to Zitron, the rabbinical student would write Hebrew poetry for her, which impressed both her and her father. Apparently jealousy of his competitor spurred Salkinson to make his first attempt at literary translation into Hebrew, a rendition of the first act of Schiller's drama *Kabale und Liebe* called ואהבה נכלים' Deceit and Love' (Zitron 1925 : 50), which does not seem to have survived. While Eliashevitz and his Maskilic associates were impressed with the translation, it did not have the desired effect of winning over Eliashevitz's daughter, and the rejection caused Salkinson to leave Vilna (Zitron 1925 :50). Lacking a foreign travel permit, he crossed the Prussian border illegally and made his way to Königsberg (present- day Kaliningrad), from whence he planned to continue on to Berlin (Zitron 1925 : 52– 3). The subsequent turn of events is somewhat unclear. According to Zitron ( 1925 : 53), while working at the Königsberg port in order to make money for his trip to Berlin he met a converted Jewish ship's captain who offered him free passage to London and persuaded him that it would be easier for him to continue his studies there. By contrast, Dunlop ( 1894 : 373) states that he decided to go the United States in order to train under a 'celebrated rabbi' and stopped off in London on the way.

 Regardless of the circumstances of his journey, it is clear that Salkinson arrived in London in the late 1840s. According to Zitron ( 1925 : 53– 4), the ship's captain arranged for him to be taken to the London Missionary Society, an organization that was engaged in, among its many international missionary projects, converting London Jews to Christianity. At some point following this initial encounter Salkinson converted to Christianity, allegedly under the infl uence of an elderly converted Jewish couple who took him in, showed him hospitality, and encouraged him in his educational ambitions (Zitron 1925 : 60– 5; Cohen 1942 : 21– 3). Salkinson is one of a number of Eastern European Jewish translators and scholars to convert to Christianity under missionary auspices in this period.2 Following his conversion, Salkinson completed a four- year course at the college of the British Society for the Propagation of the Gospel among the Jews, subsequently becoming a missionary of the British Society in Scotland while training as a Presbyterian minister in Edinburgh and Glasgow. He received his ordination in Glasgow in 1859 (Dunlop 1894 : 373).

 Around this time Salkinson began to engage in earnest with his interest in Hebrew translation. In an autobiographical sketch published in Dunlop ( 1894 : 373), he recalls how upon fi rst encountering the New Testament – in a Hebrew translation – he felt the need for 'a version in idiomatic Hebrew'. Having acquired Greek language skills as part of his seminary training, he translated the Epistle to the Romans into Hebrew (Salkinson 1855 – although Salkinson himself cites a publication date of 1853). This was followed by a Hebrew translation of *Philosophy of the Plan of Salvation: A Book for the Times* (Walker 1841 ), an American missionary tract; the translation was commissioned by Salkinson's fellow students at the United Presbyterian Seminary and was published in 1858. Dunlop ( 1894 : 375– 7) contains details of this book and Salkinson's Hebrew translation of it. At some point he married a younger Jewish woman who had converted to Christianity and the couple had two children (Kamianski as cited in Zitron 1925 : 71), but there is little additional information in this respect other than that his wife was 'his invaluable helpmate in the Mission Field' (Dunlop 1894 : 382).

 At this time Salkinson returned to literary translation, following a suggestion by his converted Jewish colleague Christian David Ginsburg that he produce a Hebrew version of Milton's *Paradise Lost* (Dunlop 1894 : 374). He began his translation in 1861 and completed it in 1870, when it was published with Ginsburg's assistance under the title of האדם את ויגרש*' So He Drove Out the Man'* . <sup>3</sup> Reverend Joseph Rawson Lumby, Norrisian Professor of Divinity at Cambridge, commented (in Dunlop 1894 : 377) that Salkinson's Hebrew translation 'sets forth Christian teaching almost as definitely as does the Apostles' Creed'. This contrasts sharply with Salkinson's later Shakespeare translations, in which he typically omits or Judaizes Christian elements, as discussed in Section 3.2.1 .

 At some point after Salkinson completed his studies in Scotland, the British Society posted him to Pressburg (present- day Bratislava), where there was a large Jewish community, in order to pursue his missionary activities there among his former coreligionists (Cohen 1942 : 23). In 1876 he was transferred to Vienna, which

 <sup>2</sup> See Dunlop ( 1894 ) for a compilation of biographical sketches of Jewish converts to Christianity in Victorian Britain; see Ruderman ( 2015 ) for a discussion of the nineteenth- century missionary activity of the London Society for Promoting Christianity amongst the Jews, focusing on the central fi gure of Alexander McCaul. See also Endelman ( 1987 ).

 <sup>3</sup> This title is a citation of the beginning of Gen. 3:24, in which God drives Adam and Eve out of the Garden of Eden after they eat from the tree of knowledge. See Dikman (in Salkinson 1874/ 2015 : 234– 5) for a brief discussion of Salkinson's translation of *Paradise Lost* .

at the time was a pivotal hub of Maskilic literary culture, serving as the home of various major Hebrew writers (mostly émigrés from czarist Russia) and journals including the infl uential *HaSha ḥ ar* , the chief forum for late nineteenth- century Hebrew literature (Holtzman 2010 ). In Vienna Salkinson met and became friends with Peretz Smolenskin, the Russian- born editor of *HaSha ḥ ar* and an extremely prominent author of Maskilic Hebrew prose fi ction. During his time in Vienna Salkinson seems to have spent a great deal of time associating with members of the Maskilic Hebrew literary circles, befriending well- known authors such as Judah Leib Gordon and Abraham Baer Gottlober; indeed, Zitron ( 1925 : 67), who met Salkinson during his years in Vienna, suggests that this activity was more important to him than his missionary work. Hebrew writers who were acquainted with him seem to have regarded him as honest and upstanding, with a true love for the Hebrew language, and to have respected him (while simultaneously holding him in suspicion) for his openness regarding his missionary activities (Cohen 1942 : 38).

 Smolenskin had a longstanding desire to see Shakespeare's plays in Hebrew, but lacked the English skills to conduct a translation from the original himself. Upon meeting Salkinson, who was a fl uent English speaker and had experience with literary translation into Hebrew, he saw the rare opportunity for this dream to be fulfi lled and commissioned him to translate an entire play, *Othello.* Salkinson's acceptance of this commission is likely to have been rooted in his longstanding passion for literary translation, as well as in his evident desire to maintain a foothold in the Maskilic Hebrew cultural world despite his conversion. His *Othello* translation, entitled *Ithiel the Cushite of Venice* , was published in Vienna in 1874 with a lengthy preface by Smolenskin. This preface is itself a remarkable piece of early Hebrew Shakespeare criticism, which makes for fascinating reading in its own right. In it, Smolenskin analyses Shakespeare's signifi cance as a playwright and provides a psychological assessment of the characters appearing in the play, with a particular focus on Ithiel (Othello), Doeg (Iago), Phichol (Brabantio), and Asenath (Desdemona); in addition, he evaluates the ways in which the play's themes are particularly relevant and instructive for a Jewish audience, and argues for his vision of good literature as a vehicle for the depiction of human nature in all its moral complexity.

 The motivation behind Salkinson's and Smolenskin's selection of *Othello* as opposed to other Shakespearean works is unclear. Scolnicov (2001) proposes that the subject matter of *Othello* was particularly appealing to Salkinson because he identifi ed with the protagonist's liminal status as a foreigner and convert. This was followed by a translation of *Romeo and Juliet* , called *Ram and Jael* , published in 1878.4 Again, there is no explicit reason given for the selection of this particular play. Gilulah ( 2013 : 50) suggests that the choice of *Othello* followed by

 <sup>4</sup> See Section 3.1 for further details of the publication and reception of these two translations.

*Romeo and Juliet* hints at a particular interest in the themes of jealousy and love. (If so, perhaps this interest was inspired by Salkinson's memories of his love for Eliashevitz's daughter and his unsuccessful rivalry for her aff ections.) During this time, Salkinson also rendered Christoph August Tiedge's early nineteenthcentury German poetic work *Urania* into Hebrew at the request of the Reverend Jellinek in Vienna (Dunlop 1894 : 374); the translation was published in 1877. Apparently he also translated Byron's 1815 volume *Hebrew Melodies* into Hebrew, but this does not seem to have survived (Oz in Salkinson 1878/ 2016 : 190).

 Despite his obvious affi nity for Maskilic cultural activity, Salkinson's autobiographical sketch and letters to John Dunlop – secretary of the British Society – predictably paint a very diff erent picture of his time in Vienna, focusing on his attempts to convert the local Jews to Christianity while downplaying his work as a literary translator. Salkinson (in Dunlop 1894 : 380– 2) describes visits to the Temple Library in Vienna, where he attended lectures on Midrash and the Hebrew Bible in an attempt to raise the issue of the Messiah with the Jewish audience, his discussions with a Jewish doctor with whom he discussed the tenets of Christianity, and a friend from Breslau who converted under his infl uence. Nevertheless, regardless of such eff orts Salkinson did admit that he felt translation to be his chief purpose in life, stating that 'Hebrew translation seemes [sic] to be the only talent given to me, and it I have consecrated to the L ord ' (Dunlop 1894 : 382). It is thus unsurprising that even within the context of his missionary work, Salkinson's most memorable achievement was in the realm of translation. The British Society, like Smolenskin, recognized his singular talent in this area and in 1877 commissioned him to produce a Hebrew version of the New Testament. In his autobiographical sketch (Dunlop 1894 : 375) he notes: 'I undertook the work with delight, the more so since many learned Jews repeatedly expressed to me their astonishment that I had not undertaken it long ago.'

 Salkinson seems to have intended to continue juggling his Hebrew literary translation with his missionary activities. In the preface to *Ram and Jael* , Smolenskin puts forth his vision for a complete series of Hebrew Shakespeare plays translated by Salkinson. However, this dream was to go unrealized. According to the Hebrew writer David Isaiah Silberbusch ( 1936 ), following publication of *Ram and Jael* a fellow converted Jew called Josephus, who had taken a dislike to Smolenskin and was off ended at his comparison of Shakespeare's work to the Holy Scriptures (made in the preface to Salkinson's *Ithiel* ), took his anger out on Salkinson by reporting him to the British Society for neglecting his missionary work and New Testament commission while instead spending his time translating Shakespeare into Hebrew. The British Society dismissed Salkinson from his post for a year and banned him from returning until he had completed his New Testament translation. While Salkinson, unsurprisingly, does not reference this incident directly in his autobiographical sketch, there is perhaps a veiled allusion to it when he says: 'Under peculiar circumstances, I was induced to translate, in my own hours of recreation, "Othello," and "Romeo and Juliet" ' (Dunlop 1894 : 374). The reference to 'peculiar circumstances' and 'own hours of recreation' may suggest a reluctance to admit to the British Society, in whose volume the sketch was published, of his close association with the Jewish literary circles in Vienna and his engagement with Hebrew translation unrelated to his missionary work. In his letters to John Dunlop from the early 1880s he mentions his progress with the New Testament translation, noting that he does not wish to sell the manuscript and copyright to the British Society but rather to give it away freely (Dunlop 1894 : 383). Whether the suspension of duty made him reluctant to return to literary translation or not is uncertain, but he did not turn his hand to further Shakespeare renditions. He died on 5 June 1883 in Vienna. At the time his New Testament translation was not quite fi nished and the British Society asked Christian David Ginsburg to complete it (Dunlop 1894 : 384). The fi nished translation was published in 1885 by the London- based Trinitarian Bible Society as 'The Salkinson- Ginsburg Hebrew New Testament'. It has since been reissued in numerous editions and remains available to the present day.

# **3 Salkinson's Shakespeare translations**

# 3.1 Publication and reception

 As discussed in the previous sections, Salkinson's translations were the product of a longstanding Maskilic interest in Shakespeare. Like the fi rst fragmentary renditions produced earlier in the nineteenth century, Salkinson's *Ithiel* and *Ram and Jael* were intended as purely literary endeavours, designed for private reading by the largely Maskilic circles with an interest in Hebrew fi ction. They were not envisioned for performance on stage, as they were composed several decades before the establishment of the fi rst Hebrew theatres (following some intermittent Hebrewlanguage performances in Łód ź and Riga towards the end of the nineteenth century, the fi rst permanent Hebrew theatres were launched in St Petersburg and Białystock in 19095 ). *Ithiel* was published with Smolenskin's support in a thousand copies (Almagor 1975 : 753) by the Viennese printer Spitzer and Holzwarth Junior as a standalone volume (in contrast to many Maskilic Hebrew novels, which were serialized in literary journals such as Smolenskin's *HaSha ḥ ar* ). According to the publication announcement printed in the leading Maskilic Hebrew periodical *HaMaggid* (10 March 1874), it was sold for eighty kopecks or three francs and could be purchased from the publishers or one of the agents selling *HaSha ḥ ar.* The title page ( Figures 2 and 3 ), which appeared in Hebrew and English, listed Salkinson

 <sup>5</sup> See Zer- Zion ( 2010 ) for discussion of the early Hebrew theatre.

only as 'J.E.S., translator of Paradise Lost', while acknowledging Smolenskin prominently as editor. (Salkinson was likewise listed only as J.E.S. on the title page of his other literary translations.) Upon its publication, *Ithiel* was very well received in the Maskilic literary circles at which it was aimed. The publication announcement in *HaMaggid* (10 March 1874: 97) described it in glowing terms, stating that its like had never before been seen, and that it was a precious jewel for the Hebrew language. A similarly positive review appeared in a slightly later issue of the same newspaper ( *HaMaggid* , 26 May 1874: 185), in which it was praised as 'one of the best and most faithful Hebrew translations that have been carried out in our days'; Smolenskin's preface to the work was also lauded. However, in the following issue ( *HaMaggid* , 2 June 1874: 193) the positive review was tempered by a notice drawing the reader's attention to the fact that the unknown J.E.S. had been discovered to be none other than Isaac Salkinson, a convert and well- known missionary. A similar review appeared in another Hebrew periodical, *HaLevanon* (10 June 1874: 338), noting that the translation was magnifi cent and had rightly received praise, but that the anonymous translator was 'not one of ours'.6

 Smolenskin did not allow the criticism of Salkinson's personal circumstances to deter him from pursuing his goal of seeing Shakespeare in Hebrew and he encouraged Salkinson to continue work on a further Shakespeare translation, supporting him in the production of *Ram and Jael* , which was published in 1878 in Vienna by the printer Georg Brög, again in a thousand copies (Almagor 1975 : 753). However, the controversy surrounding Salkinson's status is refl ected in the fact that on the title page of this second translation, Smolenskin's role in the project is played down, with his name appearing in miniscule letters under the publisher's name ( Figures 4 and 5 ). In his preface to *Ram and Jael* (which is much shorter than his preface to *Ithiel* ), Smolenskin takes pains to explain to Salkinson that this decision should in no way be interpreted as an attempt to distance himself from his friend, but rather is rooted in a desire to spare Salkinson from the damage that would be done to the volume's reputation were Smolenskin's name to appear more prominently, given the latter's many enemies in Maskilic literary circles. Perhaps surprisingly, despite the previously mentioned announcement in *HaMaggid* revealing the translator's identity and convert status, when *Ram and Jael* was published a short review appeared in the prominent Hebrew periodical *HaMeli ṣ* (11 March 1879: 190) praising the work and referring to the translator only as 'the anonymous author J.E.S.'. Another positive review appeared in the periodical *Ha Ṣ efi ra* (3 June 1879: 158), again without acknowledging the translator's identity.

 <sup>6</sup> See Cohen ( 1942 : 63– 64) and Almagor ( 1975 : 744) for further discussion of these critical reactions to Salkinson's unusual status within the Jewish community; see also Salkinson ( 1874/ 2015 : 226– 9) for the announcements in *HaMaggid* and *HaLevanon* .

 Although Smolenskin's dream of a complete series of Salkinson's Hebrew Shakespeare translations was to remain unfulfi lled, *Ithiel* and *Ram and Jael* quickly inspired others to follow suit, and the two decades following the publication of Salkinson's groundbreaking work saw the appearance of another four translations of complete Shakespeare plays undertaken by various Eastern European Jewish authors. The fi rst of these was Isaac Barb's *Macbeth* (1883), followed by Judah Leib Elkind's version of *The Taming of the Shrew* (1892), Samuel Leib Gordon's translation of *King Lear* (1890), and Hayim Yehiel Bornstein's *Hamlet* (1900– 1). With the exception of Barb's *Macbeth* , which was translated via Schiller's early nineteenthcentury German adaptation, all of these plays were (at least allegedly) translated directly from the English, a trend initiated by Salkinson. Although information on these authors is relatively scarce, Salkinson's work was undoubtedly familiar to them and most likely served as a model; an example of this may be Elkind's decision to name the Hebrew version of the protagonist Petruchio 'Peretz', which mirrors Salkinson's choice of name for the character Petruchio appearing in *Romeo and Juliet* . 7

 With the end of the Maskilic era and the rise of political Zionism in the late nineteenth century, the centre of Hebrew literary activity began to shift from Eastern Europe to Palestine. After the publication of Bornstein's *Hamlet* there was a gap of more than twenty years before another complete Shakespeare play appeared in Hebrew (although a number of fragmentary renditions, a prose adaptation, and some sonnet translations were produced in the intervening years8). The next translation of an entire play was David Frischmann's *Coriolanus* , which was published in Warsaw in 1924. Frischmann had come of age during the late Haskalah and had published his early works in Maskilic newspapers and literary journals such as *HaSha ḥ ar* and *HaMeli ṣ* (Bar- Yosef 2010 ), and as such would most likely have been familiar with Salkinson's Shakespeare translation. However, by the 1920s, Jewish society and the status of Hebrew had changed radically, with the language now established both as a fully fl edged vernacular in Palestine and as a much more widespread literary vehicle; as such, Frischmann's translation belongs to a new generation of Hebrew Shakespeare rooted in a very diff erent linguistic, literary, and cultural context from Salkinson's. Frischmann's *Coriolanus* was followed by Shimon Halkin's version of *The Merchant of Venice* (Berlin, 1929) and Saul Tchernikovsky's translation of *Twelfth Night* (Tel Aviv, 1930); a number of other plays were translated by Hebrew writers based in the United States during the 1930s (Almagor 1975 : 752– 3).

 <sup>7</sup> See *Ram and Jael* , First Part, note 359. See Almagor ( 1975 ) for a summary discussion of these late nineteenth- century works and Kahn (forthcoming b) for an analysis of Bornstein's *Hamlet* .

 <sup>8</sup> See Almagor ( 1975 : 776– 81) for a complete list.

 Salkinson's *Ithiel* and *Ram and Jael* remained the only Hebrew translations of *Othello* and *Romeo and Juliet* in this period, and his work continued to be read and referenced in the new Palestinian context. *Ithiel* was reissued in Tel Aviv in 1930, although signifi cantly, Salkinson's biblicized names for the characters9 were replaced by the English originals, refl ecting a shift in translatorial norms that had taken place since the Maskilic era. Moreover, *Ithiel* was performed (under the updated title of *Othello*10 ) in Mandate Palestine, at the Haifa Hebrew Theatre, under the direction of Benno Fraenkel and featuring the actor Avraham Shklarsh in the title role. It opened on 12 March 1936 and was reviewed by the prominent Hebrew poet Lea Goldberg in the Hebrew newspaper *Davar* (Goldberg 1936 ). It was revived as a one- man performance with Avraham Shklarsh at the HaOhel Theatre in Tel Aviv, debuting on 21 November 1946, and was reviewed in several diff erent Hebrew newspapers (Malkin 1946 ; Roeh 1946 ; Zussman 1946 ). *Ram and Jael* does not seem to have been performed.

 In the 1940s the Hebrew poets Lea Goldberg, Avraham Shlonsky, and Natan Alterman produced a new generation of Hebrew Shakespeare translations (Golomb 1998: 263– 70). This included the fi rst replacement for one of Salkinson's works, Natan Alterman's *Othello* , which was published in 1950. The translation was undertaken for Habima Hebrew Theatre, where it was fi rst performed on 6 March 1950 in Tel Aviv. Alterman (1950; also cited in Almagor 1975 : 743– 4) acknowledged his debt to Salkinson's *Ithiel* , expressing great admiration for – and indeed envy of – his predecessor's work; however, he did not mimic Salkinson's domesticating style,11 which was no longer the norm in Hebrew translation.12 In 1957 the Israeli poet and translator Raphael Eliaz published a new version of *Romeo and Juliet* . Like Alterman's, Eliaz's translation was performed on the Israeli stage; it was fi rst shown at Tel Aviv's Cameri Theatre in 1957. In the latter half of the twentieth century and the early twenty- fi rst century new Hebrew Shakespeare versions refl ecting contemporary linguistic and translatorial practices were produced by well- known Israeli poets and scholars including Dan Almagor, Ted Carmi, Ehud Manor, Dan Miron, Avraham Oz, Shimon Sandbank, Meir Wieseltier, and, most recently, Dori Parnes. Salkinson's work fell into obscurity (although certain respected literary fi gures such as the poet Ted Carmi continued to recall him with praise; Dikman in Salkinson 1874/ 2015 : 243). This fate was not unique to Salkinson, but rather was part of a more general tendency to regard Maskilic literature as an antiquated body of writing refl ecting awkward linguistic and literary conventions such as excessive

 <sup>9</sup> See Section 3.2.1.1 for discussion of this issue.

 <sup>10</sup> See the performance announcement in the Hebrew newspaper *Do'ar HaYom* , 23 February 1936: 7.

 <sup>11</sup> See Section 3.2.1 for analysis of this.

 <sup>12</sup> See Dikman (in Salkinson 1874/ 2015 : 240– 3) for a comparison of some aspects of Salkinson's and Alterman's *Othello* renditions.

reliance on biblical citations and *meli ṣ a* , a writing technique valued by Maskilim but later considered fl orid and bombastic (Shahevitch 1970 ; Pelli 1993 ; Kahn 2013 ) *.* In the mid- to- late twentieth- century Israeli context, Salkinson's translations were rarely read or studied, being viewed as 'outdated curiosities' (Golomb 1998: 261).

 This situation changed in 2015 and 2016 when Salkinson's *Ithiel* was reissued by the Israeli publisher Raav as the fi rst in a series intended to bring forgotten works of Hebrew literature back into the public eye. The volume features an afterword on Salkinson's life and work by Aminadav Dikman, a literary scholar and himself a Hebrew translator. The edition emphasizes Salkinson's contribution to Hebrew literature and Dikman describes his *Ithiel* as a shining example of Hebrew literary translation that has been unjustly neglected. Upon its release the new edition of *Ithiel* was featured in two articles in the Israeli newspaper *Ha'aretz* (Arbel 2015 ; Ashkenazi 2015 ). In 2016, Salkinson's *Ram and Jael* was published as part of the same series with an afterword by Avraham Oz, a theatre scholar and prominent Hebrew Shakespeare translator. Like *Ithiel* , *Ram and Jael* was the subject of an article in *Ha'aretz* (Almagor 2016 ). The two Raav editions and the press coverage that they have received mark the beginning of a new chapter in Salkinson's reception history wherein his pioneering contribution to Hebrew literature is once again being given its rightful recognition. It is hoped that the present bilingual edition will continue this trend by making Salkinson's remarkable work accessible to readers with or without knowledge of Hebrew and by highlighting the multifaceted signifi cance of his work. *Ithiel* and *Ram and Jael* are obviously of major importance for Hebrew literary history because they were the fi rst complete Shakespearean dramas to appear in the language and paved the way for all subsequent Hebrew translations of the plays. Moreover, they are of particular relevance for translation studies specialists in that they constitute some of the only examples globally of Shakespeare adaptations in a largely unspoken language. Finally, they have much to off er scholars and students of multicultural Shakespeare by providing a rare and invaluable insight into the reception of the plays in a nineteenth- century European minority society.

# 3.2Translation style

 Salkinson's *Ithiel* and *Ram and Jael* exhibit various noteworthy characteristics that distinguish them markedly from the Shakespearean source text. In some respects, they can be regarded as relatively close to the original in that they often preserve the line divisions, do not omit signifi cant amounts of material (with a few exceptions in *Ram and Jael* , which are indicated in the text of this edition as they occur), and usually render the overall sense of each character's lines. These tendencies can be contrasted with certain well- known earlier European- language Shakespeare translations such as Pierre- Antoine de La Place and Jean- François Ducis' French adaptations (Schwartz- Gastine 2003: 225) and Christoph Martin Wieland's German prose versions (Williams 1990: 51– 8, 69), which depart much more radically from the source text. However, Salkinson's translations are not at all literal: while he does not generally leave out lines and maintains the overall sense of individual speeches, the lines themselves are often merely paraphrases of the source text. This is due to a number of considerations, namely his domesticating translation style,13 the diffi culty of fi nding equivalents for Shakespeare's wording while relying heavily on the technique of *shibbu ṣ* (the incorporation of biblical citations into a new composition),14 and, in some cases, the need to fi nd Hebrew rhymes that echo those appearing in the source text (this is a particular issue in *Ram and Jael* , which is rich in rhyming couplets). The key features of Salkinson's translations are outlined in the remainder of Section 3.2 and are discussed in further depth in the running commentary in the bilingual edition.

# *3.2.1Domestication*

 Perhaps the most striking hallmark of Salkinson's translation is its highly domesticating nature.15 Salkinson's domesticating approach is rooted in the fact that his *skopos* , or translatorial aim (Pym 2010 : 43– 50), was a product of the Maskilic perspective on translation, which was not seen in neutral terms, but rather was an explicit strand in the ideological drive to rejuvenate the Jewish nation and was linked to the often fraught relationship between Jews and non- Jews in Europe. Smolenskin's preface to *Ithiel* off ers a striking illustration of this heavily loaded ideological attitude to literary translation, with its infamous (if perhaps somewhat tongue- in- cheek) description of Salkinson's Hebrew play as an act of 'revenge':16

 Today we get revenge on the British; they have taken our Holy Scriptures and treated them as one treats one's own property: they have translated them, scattered them to all corners of the earth as if they were their own, and so today we repay them for their deed, for we are taking the books which are as precious to them as the Holy Scriptures, the plays of Shakespeare, and we are bringing them into the treasure- house of our holy tongue; is this revenge not sweet?!

 Smolenskin's comments refl ect an attitude prevalent among Eastern European Maskilim regarding the pivotal role of the translator as an agent of Jewish cultural

 <sup>13</sup> Discussed in detail in Section 3.2.1 .

 <sup>14</sup> See Section 3.2.1.5 .

 <sup>15</sup> See Schleiermacher ( 1813 ), Venuti ( 2008 ), and Pym ( 2010 : 30– 3) for discussion of domesticating translation theory.

 <sup>16</sup> See Almagor ( 1975 : 742– 3), Golomb (1998: 255– 9), and Scolnicov (2001: 184) for further discussion of Smolenskin's statement. See the beginning of Smolenskin's preface to *Ithiel* in this edition for the full text from which this citation is taken.

renewal, and of the Haskalah as a transformative acculturating project (Pelli 1979 ; Feiner 2002 ; Schatz 2009 ; Eldar 2016 ). It is not surprising that this Maskilic attitude to translation often resulted in a domesticating approach whereby non- Jewish elements appearing in European- language source texts underwent a process of Judaization when rendered into Hebrew.17 It should be noted that domesticating translation into Hebrew is not a Maskilic innovation, but rather is a much older Jewish tradition attested as early as the medieval period (Needler 1977 ; Singerman 1988 ); a prominent example of this type of Judaizing tendency is the thirteenthcentury Hebrew version of the legend of King Arthur.18 The same approach is also commonly found in medieval and early modern translations into Yiddish, such as the Bovo- bukh, a sixteenth- century Yiddish adaptation of the English romance Bevis of Hampton via its Italian version Buovo d'Antona,19 as well as Sephardic Jewish versions of Spanish ballads.20

 At fi rst glance it may appear surprising that Salkinson adopted a Judaizing translation strategy given his extremely liminal position in Jewish society as a Christian convert and missionary. However, his domesticating approach is not actually as remarkable as it may seem, being the logical product of his own background as well as the conditions surrounding the commission of his translations. As discussed in Section 2 , Salkinson had received an advanced traditional Jewish education and as such was intimately familiar with canonical Hebrew and Aramaic texts including the Bible, Mishnah, and Talmuds (Cohen 1942 : 12– 3). Moreover, as mentioned previously, despite his conversion and missionary status he remained closely affi liated with the Jewish community, particularly during his time in Vienna. Finally, in contrast to his other translations, which were all of books with overt Christian content and designed to raise awareness of Christian tenets among a Hebrew readership, his Shakespeare translations were primarily literary endeavours not explicitly intended to deliver a Christian message to readers. Indeed, because *Ithiel* and *Ram and Jael* were commissioned by and conducted in close association with Peretz Smolenskin, a pillar of the Maskilic literary community, and were designed for a readership with a hostile attitude towards Christianity of which Salkinson would have been only too aware, it is perhaps only to be expected that he opted for a Judaizing strategy in keeping with Maskilic literary sensibilities despite his conversion and missionary status.

 Salkinson's domesticating translation style manifests itself in six key areas: his treatment of characters' names; Christian rituals, institutions, and oaths; Classical

 <sup>17</sup> See Kahn (forthcoming c) for discussion of this type of approach in a Maskilic translation of a historical text.

 <sup>18</sup> See Leviant ( 2003 ), Rovang ( 2009 ), and Valles ( 2013 : 38– 76) for details of this text.

 <sup>19</sup> See Rosenzweig ( 2016 ) for a scholarly edition of this work.

 <sup>20</sup> See Armistead and Silverman ( 1965 ) for details.

mythology; other non- Jewish cultural references; the technique of *shibbu ṣ* (the insertion of biblical verses and phrases into the composition); and foreign- language elements in the source text. The following is a brief summary of these strategies; the commentary accompanying the bilingual edition focuses on the same six areas and discusses each individual instance of domestication.

### 3.2.1.1Names

 One of Salkinson's most immediately noticeable domesticating strategies is the replacement of almost all of Shakespeare's characters' names with Hebrew equivalents, typically biblical ones. This practice is a common feature of Maskilic Hebrew translations generally (Dikman in Salkinson 1874/ 2015 : 239). Salkinson's Hebraization of characters' names conforms to three main patterns. First, in many cases he selects the biblical names wholly or primarily on the basis of a sound correspondence. Often the names belong to minor biblical characters lacking any kind of particular associations for readers. Examples include the replacement of Roderigo with Raddai (based on 1 Chron. 2:1421 ) and of Gregory with Gera (based on Gen. 46:21 and several other locations in the Hebrew Bible22).

 In other instances Salkinson chooses his Hebrew names not only on the basis of sound correspondence but also in order to indicate a particular quality relevant to the character in question. For example, he replaces Romeo with Ram, the namesake of King David's ancestor mentioned in Ruth 4:19;23 readers would have associated this name with the positive qualities of the Davidic line as well as with the romantic plot of the Book of Ruth, the classic biblical love story.

 In a number of instances Salkinson selects his Hebrew name purely on the basis of meaning without attempting to fi nd an equivalent with sound correspondence. Such a case is Romeo's father Montague, whom he renames Abiram, which literally means 'father of Ram' and therefore links neatly to the title character, but also is the namesake of one of the members of Korach's rebellion against Moses recounted in Numbers 16 and as such has connotations of arrogance and spite;24 another example is the replacement of Shakespeare's Rosaline with Shoshannah, a postbiblical Hebrew female name meaning 'rose'.25

### 3.2.1.2Christian references

 Given the widespread distrust of Christianity on the part of Salkinson's Eastern European Jewish audience, it is perhaps unsurprising that one of the main foci of his Judaizing translation strategy concerns Christian holidays, institutions, rituals,

 <sup>21</sup> See *Ithiel* , First Part, note 3.

 <sup>22</sup> See *Ram and Jael* , First Part, note 4.

 <sup>23</sup> See *Ram and Jael* , First Part, note 44.

 <sup>24</sup> See *Ram and Jael* , First Part, note 11.

 <sup>25</sup> See *Ram and Jael* , First Part, note 151.

and oaths. Salkinson has several different domesticating approaches to the translation of such terms. In some instances he simply omits them; this is particularly common in the case of Christian oaths. In other cases, he dechristianizes the reference but does not replace it with an explicitly Jewish one, instead choosing a religiously and culturally neutral equivalent. For example, in *Ram and Jael* he translates 'evening mass' as יםִבָּרְעַהָ בּיןֵ' twilight',26 which eradicates any religious connotations but preserves the temporal associations of the original. In still other instances, he replaces a Christian reference with an unambiguously Jewish dynamic equivalent (a translation that differs formally from that of the source text but serves an equivalent function in the target culture, thus making the translation more accessible to readers27 ). Like the choice of biblical names, the selection of Jewish equivalents for Christian concepts has the effect of transforming the cultural context of the play into an unquestionably Jewish one. For example, Shakespeare's 'Easter' becomes .28'Passover 'ַחג ַהַמּצּוֹת

## 3.2.1.3Classical mythology

 Another prominent area of domestication concerns Shakespeare's references to fi gures from Classical mythology. Salkinson almost invariably domesticates such references just as he adapts the Christian allusions discussed previously. However, although the technique is the same, the reluctance to preserve Classical mythological elements has slightly diff erent motivations. While explicit references to Christianity would have been seen as inappropriate for a Jewish readership, Maskilim generally professed an admiration for Classical literature, recognizing it as a central foundation of the European tradition upon which their own literary project was modelled. For example, in his preface to Salkinson's *Ithiel* , Smolenskin praises the writings of Homer as the greatest literary works in history alongside Shakespeare and the Hebrew Bible. Throughout the nineteenth century, Maskilic authors produced fragmentary Hebrew translations of Classical texts (e.g., Micah Joseph Lebensohn's 1849 adaptation of a portion of the Aeneid via Schiller's German version). However, the Maskilic admiration for Classical sources was a new development among Central and Eastern European Jews, who typically regarded Classical culture as irrelevant, or indeed antithetical, to Jewish society and did not traditionally study Greek or Latin. As such, in- depth knowledge of Classical language and literature was relatively rare even among Maskilim, and many of the mythological fi gures mentioned in Shakespeare's plays would likely have meant little to Salkinson's audience. Moreover, Naphtali Hirz Wessely, a prominent early Maskil, instructed the editors of the fi rst Maskilic Hebrew periodical,

 <sup>26</sup> See *Ram and Jael* , Fourth Part, note 11.

 <sup>27</sup> See Nida ( 1964 ) and Nida and Taber ( 1969 ) for further discussion of dynamic equivalency.

 <sup>28</sup> See *Ram and Jael* , Third Part, note 10.

*HaMe'assef* , not to mention the names of Greek and Roman gods in their Hebrew translations ( *HaMe'assef* , 1 October 1873: 7– 8). In this light, Salkinson's decision to domesticate the Classical references in Shakespeare's texts is unsurprising. His earlier translation of *Paradise Lost* exhibits the same strategy, most likely for similar reasons (Dikman in Salkinson 1874/ 2015 : 234– 5). As in the case of the aforementioned Christian references (particularly oaths), in some instances Salkinson simply omits Classical allusions, while in others he substitutes a reference to a Classical fi gure with one to the monotheistic God. In many cases, he goes further and fi nds a dynamic equivalent from within the Jewish tradition. A striking example of this is his replacement of Shakespeare's 'Venus' ( *Romeo and Juliet* 2.1.11) with 'Ashtoreth', a Canaanite goddess associated with love and fertility.29

# 3.2.1.4Other non- Jewish cultural elements

 In addition to domesticating Christian and Classical references, Salkinson has a tendency to Judaize other elements of the source text that he deemed inappropriate or irrelevant for his Hebrew translation. This includes European cultural references such as Queen Mab30 and the legend of King Cophetua,31 as well as flora and fauna lacking biblical equivalents, occupations not common among Eastern European Jews, and ethnic or geographical labels. Salkinson typically replaces such elements with dynamic equivalents familiar to Jewish readers from the Hebrew Bible, or with references to postbiblical Jewish religious culture, Eastern European Jewish realia and social conditions, and folk traditions. An example of this tactic is his substitution of Shakespeare's 'colliers' ( *Romeo and Juliet* 1.1.2) with ציםִ עֵ ביֵטְ ֹח 'woodcutters':32 woodcutting would have been widely recognized among Hebrew readers as a classic form of manual labour due to its appearance in a well- known phrase from Joshua 9:21, 'woodcutters and water carriers', as well as due to the fact that it was a common occupation among Eastern European Jews.

## 3.2.1.5 *Shibbu ṣ*

 Another prominent domesticating strategy is the phenomenon of *shibbu ṣ* , a common Hebrew literary technique whereby intact or adapted biblical verses or verse fragments are inserted into a new composition. *Shibbu ṣ* is attested in numerous types of postbiblical Hebrew literature, but is commonly associated with Maskilic authors due to the fact that it was a particularly favoured technique for them. One of the reasons for the Maskilic penchant for *shibbu ṣ* is ideological: as the Maskilic authors held the biblical text and language in extremely high esteem, incorporating

 <sup>29</sup> See *Ram and Jael* , Second Part, note 9.

 <sup>30</sup> See *Ram and Jael* , First Part, note 259.

 <sup>31</sup> See *Ram and Jael* , Second Part, note 12.

 <sup>32</sup> See *Ram and Jael* , First Part, note 7.

elements of it into their own writing served to raise the latter's linguistic and literary prestige. Another reason is a more practical one: as Hebrew was not a vernacular in the Maskilic era, drawing on familiar biblical phrases was a convenient method of aiding their creative expression in the language.33 An example of biblical *shibbu ṣ* in Salkinson's translations is the replacement of Shakespeare's 'Your son- in- law is far and 'ְוַעל ֲחָתְנָך ִהְנִני ֹאֵמר : ָקַרן עוֹר ְפֵּני ַה ִ כּוּשׁי with) 1.3.291 *Othello*' ( black than fair more regarding your son- in- law I hereby say: the skin of the Cushite's face shone',34 based on שׁהֶ֑מֹ ניֵ֣פְּ עוֹר֖ רןַ֔קָ' and Moses' face shone' (Exod. 34:35). While some of Salkinson's *shibbu ṣ* choices have symbolic meaning (which will be discussed in the commentary to the edition where relevant), in many cases he selected a given verse simply because it corresponded roughly in meaning to the equivalent line in the source text, without any deeper interpretive motivation.

 While Salkinson's *shibbu ṣ* is drawn primarily from biblical sources, contrary to common belief (as in Almagor 1975 : 743; Scolnicov 2001: 185; Dikman in Salkinson 1874/ 2015 : 243), his *Ithiel* also contains citations from rabbinic literature (the Babylonian Talmud) and a range of medieval and early modern sources well known to Eastern European Jews of his era, most typically the biblical commentaries of Rashi (eleventh century), Abraham Ibn Ezra (twelfth century), Isaac Abarbanel (fifteenth– sixteenth centuries), and Moses Alshekh (sixteenth century). Cases of *shibbu ṣ* from postbiblical sources are indicated in the commentary to the edition. An example of *shibbu ṣ* from a Mishnaic text is רהָבֵעֲ רתֶרֶגֹּ רהָבֵעֲ' one transgression brings another transgression', from Mishnah *Avot* 4:2, as a translation of Shakespeare's 'One unperfectness shows me another' ( *Othello* 2.3.292– 3).35 An can I indeed 'ֵהן ֲאַד ְמָּך ֲאַכְנָּך ְול ֹא ְיַד ְע ִתּיָך ְבּ ֵשׁם is text medieval a from *ṣ shibbu* of example imagine you and describe you, though I do not know you by name',36 from Judah the Pious' twelfth- century Hymn of Glory, as a translation of Shakespeare's 'If thou hast no name to be known by' ( *Othello* 2.3.277– 8).

# 3.2.1.6 Foreign- language material

 The final domesticating strategy evident in Salkinson's work concerns the foreignlanguage elements in *Othello* and *Romeo and Juliet.* Where French, Italian, or Latin words or phrases appear in the English, Salkinson routinely translates them into Hebrew, thus eradicating the linguistic variegation present in Shakespeare's text. As in the case of the references to Classical mythological figures, this approach stems from the fact that, while in much of Europe these languages were commonly studied and enjoyed a prestigious status, they were generally unfamiliar to Eastern

 <sup>33</sup> See Shahevitch ( 1970 ), Pelli ( 1993 ), and Kahn ( 2013 ) for further discussion of the use of *shibbu ṣ* in Maskilic Hebrew literature.

 <sup>34</sup> See *Ithiel* , First Part, note 259.

 <sup>35</sup> See *Ithiel* , Second Part, note 228.

 <sup>36</sup> See *Ithiel* , Second Part, note 223.

European Jews (including Maskilim) and would have lacked any meaningful associations for Salkinson's readers. Examples of Salkinson's treatment of such linguistic elements include his replacement of the Friar's Latin greeting ' *Benedicite* ' ( *Romeo and Juliet* 2.3.27) with the Hebrew בּאָהַ ךְבּרוָּ' ! welcome',37 and his replacement of Shakespeare's ' *bonjour* ' ( *Romeo and Juliet* 2.4.43– 5) with ךָלְ שׁלוֹםָ הֲ' greetings'.38

### *3.2.2Poetry*

 One of the most immediately conspicuous features of Salkinson's translations is that he has eradicated all of Shakespeare's distinctions between verse and prose, rendering everything into verse. Salkinson's verse is utterly free: it does not seem to exhibit either syllabic metre or a particular stress pattern; indeed, the only feature distinguishing it from prose is the formal distribution of the lines, which generally correspond more or less to Shakespeare's, and the fact that the text is vocalized, which was the convention in Maskilic Hebrew poetry (as in that of present- day Hebrew). Salkinson's poetry thus diff ers markedly from Shakespeare's in its lack of iambic pentameter or other features of an accentual- syllabic metrical system. Moreover, it diverges from the typical Maskilic poetic convention, which was a purely syllabic system consisting of a fi xed number of syllables, with stress on the penultimate syllable but otherwise free (Hrushovski- Harshav 2007 : 613– 14). The main ways in which Salkinson's poetry resembles that of his Maskilic contemporaries are his frequent use of conjoint phrases (two juxtaposed synonymous or nearly synonymous expressions), a practice that echoes the parallelism that is a hallmark of biblical poetry,39 and of course his use of *shibbu ṣ* . Salkinson's poetic style likewise diff ers from that of the Hebrew Bible, which is defi ned chiefl y by parallelism and exhibits an accentual system with free variation of numbers of stresses in a verse unit (Hrushovski- Harshav 2007 : 596, 598– 9, 605).

 While *Ithiel* and *Ram and Jael* do not resemble their English source texts in terms of metre, they do mirror them in terms of rhyme: where Shakespeare's text contains rhymes, Salkinson fi nds Hebrew equivalents for them, but he does not add rhymes where they do not appear in the original. In most cases Salkinson's rhyme schemes are the same as Shakespeare's (typically rhyming couplets, but also ABAB, ABA, and ABBA patterns) and appear in the same line. However, occasionally Salkinson's scheme diff ers from the original (most commonly ABAB instead of a rhyming couplet); such changes are generally due to diffi culties fi nding a suitable rhyme fi tting the original pattern. In cases where it is diffi cult to fi nd a suitable rhyme while preserving the source text's meaning, Salkinson typically prioritizes

 <sup>37</sup> See *Ram and Jael* , Second Part, note 125.

 <sup>38</sup> See *Ram and Jael* , Second Part, note 203.

 <sup>39</sup> See Gilulah ( 2013 : 51– 2) for analysis of some examples from *Ithiel* ; see also Oz (in Salkinson 1878/ 2016 : 193). See Toury ( 2012 : 133, 139) for discussion of this practice in Maskilic writing in general.

the rhyme, often completely changing the sense of the lines in question. He does not typically seem to have regarded same- word rhymes in Shakespeare's text (e.g., fl ower/ fl ower, wife/ wife) as such, given that he rarely reproduces them in his translation. Salkinson's rhymes could be either masculine (i.e., stressed on the ultima) or feminine (i.e., stressed on the penult). As in the case of metre, this diverges from the Maskilic standard, which generally allowed only for feminine rhymes (Hrushovski-Harshav 2007 : 613– 15; Toury 2012 : 151). This convention was inherited from earlier Italian Hebrew poetry, which was in turn based on the model of the Italian language, wherein nouns with penultimate stress were the norm. In the Sephardic (Southern and Southeastern European and North African) Hebrew pronunciation, only a small percentage of Hebrew words are stressed on the penult, whereas in the Ashkenazic pronunciation a much larger percentage of words have penultimate stress. When the Maskilim adopted the Italian Hebrew poetic convention, they allowed only words with penultimate stress according to the Sephardic pronunciation, despite the fact that their own Ashkenazic pronunciation would have given them a much larger repertoire on which to draw. This rule meant that Maskilic poets had to restrict themselves to a very marginal group of nouns, verbs, and prepositions on which to base their rhymes, with a concomitant constraining eff ect on their verse (Hrushovski- Harshav 2007 : 614). It is possible that Salkinson broke away from this convention by including rhymes based on his Ashkenazic pronunciation (with its much larger range of penultimately stressed vocabulary) because it would have been too diffi cult for him to reproduce Shakespeare's rhymes while restricting his options to the small pool of penultimately stressed Sephardic lexis.

# *3.2.3Hebrew language*

 The language of Salkinson's translations is predominantly biblicizing, which is in keeping with Maskilic authors' expressed preference for Biblical Hebrew over the postbiblical strata in the composition of fiction, particularly poetry. This is evident in the grammar of *Ithiel* and *Ram and Jael* , which favours biblical forms and constructions (e.g., the *wayyiq ṭ ol* for preterite sequences; the cohortative and jussive; and conjunctions such as כּיִ' because, that, if/ when' and שׁרֶאֲ' which, that') over their postbiblical counterparts, and in its lexis, which is typically drawn from the biblical corpus. A relatively common feature of Salkinson's work is a readiness to utilize rare biblical vocabulary including *hapax legomena* (words that appear only once in the Bible); this was a widespread Maskilic technique often employed as a means of lexical enrichment (Kahn 2013 ). He also frequently employs pausal forms (e.g., חםֶלָ 'bread' instead of חםֶלֶ ( before punctuation and at the end of lines; such forms are most commonly associated with the Hebrew Bible, in which they typically appear together with disjunctive accents (symbols marking breaks in the text, similar to punctuation) and at the end of verses (Fassberg 2013 ). The dominance of biblical structures and vocabulary goes hand- in- hand with Salkinson's predilection for *shibbu ṣ* , as he frequently imported biblical expressions and verses wholesale into his work. Salkinson's use of *shibbu ṣ* reflects an extensive engagement with the entire Hebrew Bible, with all twenty- four books represented in his text at least once. However, certain books feature much more prominently than others: the most frequently appearing biblical intertexts are Psalms, Isaiah, and Proverbs, with more than 150 citations each, followed by Job, with approximately 130. By contrast, a few books, all from the Minor Prophets, are cited only one to three times (Haggai, Jonah, Nahum, Obadiah). Most of the remaining books are cited between twenty and a hundred times.

 Despite Salkinson's preference for the biblical stratum of Hebrew, a not insignificant number of postbiblical (rabbinic, medieval, and Maskilic) elements are attested in both *Ithiel* and *Ram and Jael* (belying the common belief, as expressed in Gilulah 2013 : 50, and Dikman in Salkinson 1874/ 2015 : 239, 243, that the language of *Ithiel* is purely biblical) *.* Like the biblical elements, these postbiblical features are both grammatical and lexical. Certain grammatical features are traceable to the classical rabbinic period; for example, the possessive particle שׁלֶ' of' and sequences of *qa ṭ al* and *yiq ṭ ol* verbal forms. Constructions combining biblical and postbiblical elements are also attested (this is a common Maskilic phenomenon40 ). On occasion Salkinson employs grammatical constructions typical of nineteenth- century Eastern European Hebrew that lack precedent in the canonical sources (e.g., the *qa ṭ al* verbal conjugation to indicate a past progressive action41 ). Likewise, Salkinson utilizes numerous rabbinic vocabulary items ְפּ ָרוּצה ,'grievance 'ִדּין ְוּדָבִרים ,'shoemaker 'ַר ְצָען .,g.e (plays two the throughout 'strumpet, whore'), as well as a number of medieval terms (e.g., כוּנהָ תְּ' nature', פשֶׁנֶ דידִיְ' beloved', רעוֹתָגְמִ' flaws') and innovations of the Maskilic era (e.g., כּדוּרָ .('cholera 'ֳח ִלי ַרע ,'gun 'ְקֵנה רֶֹבה ,'bullet'

# 3.3 Salkinson's source text edition

 Salkinson did not specify which Shakespeare edition he used, and given the large number of English versions that appeared in the decade preceding the publication of his translations it is extremely diffi cult to establish this with any certainty. However, both *Ithiel* and *Ram and Jael* seem to be based on Folio rather than Quarto versions. In the case of *Ithiel* , this is evidenced by the inclusion of certain elements such as the Willow Song in Act 5. In *Ram and Jael* , this is made clear, for example, by the absence of the Prologue, which does not appear in the Folio versions; more specifi cally, the assignment of certain lines to Rezin the Priest (Friar Laurence) instead

 <sup>40</sup> See Kahn ( 2009 ) for discussion of this phenomenon.

 <sup>41</sup> See Kahn ( 2009 : 80– 3; 2015: 149– 50) for details.

of Ram (Romeo) suggests that Salkinson may have been working with an edition based on the Second, Third, or Fourth Folio.42 In addition to the English source text, Salkinson may have consulted the Schlegel- Tieck German translation of the two plays, which was very prominent and widely circulated, or perhaps another German version, but this is uncertain as he did not make explicit reference to it (in contrast to Smolenskin, who does mention consulting an unspecifi ed German version of *Othello* , possibly Philipp Kaufmann's43).

# **4 This edition of** *Ithiel the Cushite of Venice* **and** *Ram and Jael*

# 4.1The Hebrew text

 This edition reproduces the Hebrew text of Salkinson's translations as they fi rst appeared in print in the 1870s. The original spelling and vocalization have been preserved even where they diff er from what would be expected. In such cases the standard equivalent is provided in a footnote on the Hebrew side of the edition indicated by an asterisk. (Note that Smolenskin included a small number of footnotes in his prefaces to the plays, as did Salkinson in his introductory letters and occasionally in the body of the translations; these are indicated by an asterisk followed by a round bracket, as in the original editions.) The only corrections made to the vocalization consist of a handful of changes that were listed as errata at the end of the original editions of *Ithiel* and *Ram and Jael* , which I have incorporated into the text without comment. The numerous citations of biblical and postbiblical sources appearing in the translations have been marked in bold font so as to make it easier for readers to identify them. Such citations, as well as any other issues requiring comment, are indicated by a numbered footnote and explained in the running commentary to the edition.44 The original format of the stage directions has largely been preserved, but inconsistencies have been ironed out.

# 4.2 The English back- translation

 Salkinson's Hebrew text is accompanied by a facing English back- translation. The primary purpose of the back- translation is to make Salkinson's work accessible to readers without knowledge of Hebrew, whether scholars and students of multicultural Shakespeare, translation studies, comparative literature, or anyone with an interest in Shakespeare, Eastern European Jewish history, and/ or Hebrew

 <sup>42</sup> See *Ram and Jael* , Second Part, notes 94 and 99.

 <sup>43</sup> See *Ithiel* , Publisher's Note, note 2.

 <sup>44</sup> See Section 4.3 .

literature. With this in mind, I have favoured a relatively literal translation style so as to give readers as much of a feel for the Hebrew text as possible. However, I have modifi ed Hebrew phrases or expressions that would be unidiomatic or very diffi cult to understand if rendered literally into English; in such cases literal translations are provided in footnotes. The translation tends towards a somewhat formal and slightly archaizing tone, which is designed to give readers a sense of Salkinson's biblicizing language. The English translations of Smolenskin's prefaces to the two plays (which are written in a cumbersome literary Hebrew style – not uncommon during this period – likewise replete with *meli ṣ a* and biblical references) are somewhat less literal while remaining relatively formal so as to match his style as closely as possible.

 Each citation or allusion to a biblical or postbiblical textual source is marked in bold and accompanied by a numbered footnote. The English translations of the numerous biblical citations appearing in Salkinson's work are my own. However, in formulating my translations I have consulted various English Bible versions, including traditional texts (the Geneva Bible and King James Bible) as well as more recent versions (the New English Bible, New Revised Standard Version, and New International Version) in addition to the Jewish Publication Society's 1917 and 1985 editions. In most cases my translation choices are based on the King James Bible and Geneva Bible, which were felt to be the most appropriate as they lend an archaizing tone to the text that evokes the feel of Salkinson's biblicizing Hebrew while simultaneously corresponding most closely to the sixteenth- and seventeenth- century context of Shakespeare's own writing. Moreover, in many instances the particular phrasing appearing in the traditional versions is more familiar to English- speaking readers than those of the contemporary translations. However, in cases where the King James and Geneva Bible renditions are at odds with Salkinson's meaning, or contain archaic and unfamiliar vocabulary that might be confusing to readers, I have opted for a translation more closely resembling one of the modern versions. I have not usually indicated which English Bible version my back- translation is based on except in cases where the differences between them are relevant to the issue under discussion (e.g., the translation of the term כּוּשׁי ִ' Cushite'45 ). The translations of Salkinson's citations of rabbinic literature are likewise my own, but I have consulted English translations where these exist (most commonly Danby 1933 for the Mishnah).

 I have generally maintained Salkinson's punctuation except when it clashes markedly with English norms. Comparison of the Hebrew text with the facing English back- translation will make such cases clear.

 <sup>45</sup> See *Ithiel* , First Part, note 26.

# 4.3The commentary

 The bilingual edition of Salkinson's plays is accompanied by a running commentary indicated by numbered footnotes. The commentary serves five main purposes. First, it provides readers with a key to the various Hebrew textual sources (primarily biblical, but sometimes rabbinic and medieval) embedded in the translations. Second, it points out and analyses Salkinson's domesticating translation choices, comparing them with the source text and discussing the motivations behind the decisions. Third, it elucidates issues with which many readers may be unfamiliar (chiefly biblical and postbiblical figures, biblical locations, and aspects of Jewish history, law, ritual, and culture). Fourth, where possible, given the constraints of the volume, it raises points of comparison between Salkinson's and Shakespeare's texts regarding issues other than domestication (e.g., the use of rhyme, omission of lines, conversion of prose to verse, resemblances to the Folio versus Quarto versions). Finally, it discusses issues of relevance to students and scholars of Hebrew language and literature, such as Salkinson's use of particular lexical items or grammatical constructions that differ from the biblical standard (although due to space limitations and because these are not the primary focus of the edition, such issues are discussed only sparingly).

 The rich array of biblical citations in Salkinson's translations vary in length from two- word collocations to most or all of a verse. For the sake of comprehensiveness I have included references to almost all such sources, including the shorter ones, as even these may be useful to readers both because they help to highlight the extent to which Salkinson's work is underpinned by intertextual references, and because they provide an explanation for what might otherwise seem to be unexpected or awkward turns of phrase lacking precedent in Shakespeare's text. The only exceptions to this policy comprise collocations that appear so many times in the Hebrew Bible and/ or are such basic and commonly used elements of all forms of Hebrew that Salkinson's use of them is very unlikely to be directly traceable to a particular biblical source. When biblical phrases additionally appear in postbiblical Hebrew literature, these later sources are not cited in the footnotes because their ultimate source is the Bible.

 When Salkinson incorporates a Hebrew textual source into his work without altering it, only the verse number is provided in the commentary. However, he often modifi es his citations when inserting them into his translation; some such changes are intentional (e.g., changing the person or number of a possessive suffi x in order to fi t the story), but others (e.g., omitting or switching a preposition with no change in meaning) are most likely unintentional and are simply attributable to the fact that he was citing the sources from memory. When Salkinson's version diff ers from the original source, the source is provided for comparison along with an English translation of it. (In such cases the English translation of both the source and Salkinson's modifi ed version may be the same.)

 When a citation appears on multiple occasions in the plays, I have referenced it in each case. This has been done for the reader's convenience as well as to highlight the frequency of Salkinson's employment of particular biblical citations and facilitate the identifi cation of any possible patterns in his selections. Where more than one biblical verse may have informed the text in question, the most relevant is provided fi rst but the others, which may be similar but not quite as close, are listed as well.

 In many cases I have refrained from commenting on the possible motivations for Salkinson's selection of a given biblical or postbiblical source. This is both because such an extended commentary is beyond the scope of this volume, and because in many instances Salkinson's choices were most likely driven primarily or solely by the fact that the meaning of the sources in question fi t his translatorial purposes rather than due to a desire to convey any particular symbolism or deeper meaning. However, in certain instances the citation in question has clear and striking associations that would almost certainly have resonated with the target audience and play a role in shaping the sense of the Hebrew text; in such cases I have provided an explanatory note to draw the reader's attention to the signifi cance of these overtones.

 Although Smolenskin's prefaces to the two plays are likewise replete with biblical and sometimes postbiblical citations, I have not referenced these unless they are of particular relevance to his discussion or would be diffi cult to understand without explanation. Likewise, I have not referenced or commented on the biblical names for characters (e.g., Ithiel for Othello, Ram for Romeo) mentioned in the prefaces; these are discussed when they fi rst appear in the plays themselves.

 I have used the standard scholarly Arden Third Series editions of *Othello* and *Romeo and Juliet* for the English line numbers and citations. Note that Salkinson's *Ram and Jael* is based on the First Folio edition whereas the Arden version is based on the Second Quarto. Where there are diff erences between the Quarto and Folio editions refl ected in Salkinson's translation, these are indicated in the commentary.

# ִא ִית ֵיאל ַה ִ כּוּשׁי ִמִו ֶינ ְעצָיּא

# *Ithiel the Cushite of Venice*

### **Preface\* )**

 Today we get revenge on the British; they have taken our Holy Scriptures and treated them as one treats one's own property: they have translated them, scattered them to all corners of the earth as if they were their own, and so today we repay them for their deed, for we are taking the books which are as precious to them as the Holy Scriptures, the plays of Shakespeare, and we are bringing them into the treasure- house of our holy tongue; is this revenge not sweet?!

 The plays of Shakespeare in the holy tongue! If the entire Jewish people understood the language of their forefathers and loved it, and if all of those who understood the language and loved it understood the great spoil that the translator of these plays is bringing into the treasure- house of our language, then the day on which the fi rst Shakespeare play appeared in the Hebrew language would be like a victory holiday, because it is indeed a great victory for our holy tongue if such gems perfect its beauty. Such gems adorn it with grace and youth at this time, despite the desire of those who reject it, who do not understand it, who say that it is worn out, bound for the grave; who bury it, cover its face in obscurity and do not mention its name again.

### **(\*** פתח דבר

נקמות נעשה היום בהבריטאנים , המה לקחו את כתבי קדשנו ויעשו בהם כאדם העושה בשלו , העתיקום , פזרום לכל קצות הארץ כמו להם המה , וגם אנחנו נשלם להם היום פעלתם אל חיקם , כי נקח את הספרים היקרים בעיניהם ככתבי הקֹדש , את חזיונות שעקספיר ונביאם לאוצר שפת קדשנו , ואם לא מתוקה הנקמה הזאת ?!

חזיונות שעקספיר בשפת קֹדש ! לוא הבינו כל ישראל את שפת אבותם וחובבוה , ולוא הבינו כל המבינים שפת עבר וחובביה את השלל הגדול אשר יביא המעתיק את החזיונות האלה לאוצר שפתנו , כי אז היה היום אשר בו הופיע החזיון הראשון לשעקספיר בשפת עבר כיום חג נצחון , כי אמנם נצחון גדול הוא לשפת קדשנו אם אבני חן כאלה תכללנה יפיה . אבני חן כאלה יתנו לה לוית חן ונעורים בעת הזאת , למרות חפץ מנדיה אשר לא יבינוה שיאמרו : בלה היא , מטה לשחת , קברוה , כסו פניה בטמון ובשמה לא תזכירו עוד .

 \* ) לאלה אשר לא קראו את המחזה עד הנה, איעץ כי יקראו דברי אלה אחרי אשר קראו את החזיון עד תמו, כי דברים רבים יהיו להם כדברי הספר החתום.

<sup>\*)</sup> For those who have not yet read the play, I recommend that they read this preface after they have read the play to the end, because much of what I say will be like a sealed book to them.

**Figure 2** (Hebrew title page of *Ithiel* )

 The plays of Shakespeare, the greatest playwright without compare in all the languages and tongues, except for the Holy Scriptures and Homer, to whom have been revealed all the human heart's secret schemes, machinations, and wiles, who has displayed before

חזיונות שעקספיר , החוזה חזיונות הגדול מאין כמהו בכל השפות והלשונות , מלבד כתבי הקדש ָ והאמער , אשר לפניו נגלו כל צפוני חקרי לב אנוש ומזמותיו ותחבולותיו , אשר הציג לפנינו לב האדם ערום ונקרא בו כמעל ספר פתוח כל הרשום עליו בכתב החפץ והתאוה הנותנים יד לכל מחשבה , פעולה ומעשה לשבט או לחסד ,

**Figure 3** (English title page of *Ithiel* )

us the naked human heart, so that we may read, as from an open book, everything that is inscribed upon it, the desire and the lust which, for good or for ill, have a share in every thought, deed, and action, and who can show us as well as he how man behaves and

ומי כמהו מורה אותנו דרכי האדם ויצרי מעלליו למען נדע ונבין מרמות ערומים ונכלי נוכלים , צדקת צדיקים וישׁר ישרי לב למען נדע ונשכיל ולא נלך בתבל הבלולה הזאת . אשר בני 1 כבהמה בבקעה האדם ישנו פניה ויעוו דרכיה עד כי לא נדע הדרך נלך בה . כי יש אשר נראה דרך צדקה והיא – מות , דרך רשע כסל והיא בצדקה ִת ָכּוֹנן , והמורה הנאמן

הזה יוליכנו אחריו ונר מאיר הדרך בידו להגיה האפלה למען נראה ונתבונן ונשפוט ולא נכשל . אחד הוא שעקספיר ואין מלבדו , אשר בידו היה הכֹּח ובלבו ֹהאמץ להרים המסך מעל פני המשחקים בבמת משחק הגדולה הזאת , בתבל , ויצג לפנינו מעשי גוי ואדם יחד , אשר במחשך ֵיָעשׂוּ ועין אדם לא תשורם כמו .

deceit of the cunning and the duplicity of scoundrels, the righteousness of the righteous and the honesty of the honest, so that we might know and be wise, rather than walking like a beast into the valley1 on this confounded earth, where the apparent is so altered and twisted by men that we do not know which way to go. For at times what appears to be the righteous path turns out to be death, while the wicked or the foolish path is nevertheless paved with righteousness. But this faithful guide leads us, a lamp in his hand lighting the way to banish the darkness so that we would not stumble but see and consider and judge for ourselves. Shakespeare is unique; none but him has had the power and the courage to lift the veil from the faces of actors who play their roles on this great stage of ours, the earth. He exposes the deeds of nation and man alike, which take place in the dark, when no human eye would see them as they are.

the impulses that drive him so that we might recognize and understand the

 A long time passed from when his plays fi rst appeared until his methods became known and his project understood; for a long time all the hypocrites and self- righteous priests and senseless authors were angry with him as those who rebel against light fi ght the sunlight; these bats banded together against him to extinguish the light of his plays and eradicate them from the face of the earth as they sought to darken all brightness and light, but a sapphire

ימים רבים עברו מעת אשר נראו חזיונותיו בטרם אשר הכירו דרכיו והבינו פעלו , ימים רבים ִנֲחרוּ בו כל החנפים והכהנים המתקדשים והסופרים חסרי הדעה כאשר יריבו מורדי אור באור שמש ; העטלפים האלה יחד עליו התמלאו לכבות אור חזיונותיו ולהשמידם מעל פני האדמה כאשר בקשו להקדיר כל ֹנגה ואור , אך לא לעולם יתגולל ספיר בבוץ ולא לנצח יכסו עננים על פני השמש , הבוץ יוסר והספיר יראה בכל כבודו , העננים יכלו והשמש תשמח עין , וכן היה גם לשעקספיר כי גואליו קמו אחרי שתי מאות שנה ויראו ַלכֹּל את ערך האבן היקרה אשר אמרו

 <sup>1</sup> The phrase 'like a beast into the valley' is a citation of Isa. 63:14, but Smolenskin seems to be using it to denote ignorance, whereas in Isaiah it refers to eff ortlessness.

להשביתה מטהרה בהשליכם עליה שקוצים , ואם אמנם גם עד היום הזה לא כל הקוראים יבינו את ערך החוזה חזיונות גדל דעה הזה , ועוד יקומו כפעם בפעם חסרי דעה וטעם לשים בו דֹפי , אך חכמי הלב נמנו וגמרו כלם כי המגדף את שעקספיר את נפשו הוא מגדף .

ולא לפלא הוא אם רבים לא הבינו ולא יבינו עד היום לפעולות האדם הגדול הזה המורם מהסופרים , כי הרבים לא יבינו ולא ישכילו מה היא האמת , כי הסכינו מאז לקרוא לשקר אמת , ואם יראו את האמת אז לא יכירו פניה ויאמרו שקר היא ! וכל אלה באשמת הסופרים המתעים את קוראיהם בכזבים נעימים למען קחת לבם . רוב הסופרים וחוזי חזיונות מבשרם יחזו כל איש ואת אשר יכשר בעיניהם אותו יתנו לפנינו כטוב וישר ועל כל אשר לזרא הוא לרוחם ַיְרבּוּ לשליך שקוצים . ברואי חזיונותיהם אשר כטובים וישרים יציגום לפנינו ידברו וישיחו רק מעלות רוח בוראיהם , וכל מדבר או עושה לא כחפץ לבם הוא רע ובליעל . סופרים כאלה ישימו מסוה על פעולות בני איש ומחשבותיהם ויתעו את קוראיהם לבלתי ראות את אשר ֵיָע ֶשׂה באמת , אחרי כי לא פעולות בני האדם וחפציהם ַיְראוּ לנו כי אם חפץ לבם המה , ואם ישגו בדרכי לביהם אז ירימו את השפל וישפילו את הגבֹה , יצדיקו את הרשע וירשיעו את התם . כזאת יעשו גם הסופרים הישרים בלבותם רק מאשר כי לא חֹננו ברוח נאמן לשפוט את הדבר כמו , כי אם מבשרם

will not stay wallowing in mud for eternity, and clouds will not cover the face of the sun forever, the mud will be removed and the sapphire will appear in all its glory, the clouds will dissipate and the sun will make the eye rejoice, and so it was also for Shakespeare, for his redeemers arose after two hundred years and showed everyone the worth of the precious stone which they had tried to strip of its purity by besmirching it, and although admittedly until this day not all readers appreciate this brilliant playwright, and from time to time senseless and witless men still arise to malign him, nevertheless the wise men have made themselves counted and have all determined that one who reviles Shakespeare reviles himself.

 But it is no wonder if many have not understood, and to this day do not understand, the works of this great man, the most exalted of writers, for the masses do not understand and do not realize what truth is, for they have long since grown accustomed to calling lies truth. And if they were to see the truth, they would not recognize it, and they would say that it was a lie! And all of this is the fault of the authors who mislead their readers with pleasant lies in order to capture their heart. Most authors and playwrights see everyone from their own perspective, and what is fi tting to them they present to us as good and honest, while everything which they dislike, they besmirch. The characters they create in their plays, whom they present to us as good and upright, speak and converse only of the exalted spirit of their creators, and any of them who does not speak or do as their creators' heart desires is evil and a villain. Such authors mask men's actions and thoughts, misleading their readers so that they cannot see what is really being done, since they do not show us men's actions and desires but rather their own hearts' desires, and if they succeed in following their hearts, then they raise up that which is low and lower that which is high, acquit the wicked and condemn the innocent. Authors who are honest also do so, only since they cannot be trusted to judge the matter as it is, but rather see everything from their own perspective, they corrupt justice and lead their readers astray by showing them perversions, not maliciously but rather in error. But there are authors even more evil than these (and they are the majority), playwrights who do not prevail on earth for the sake of truth and knowledge, but rather only in order to make a name and money for themselves, and they maliciously destroy all sense of morality and love of truth, for they attempt to present to their community of readers only that which is pleasant to them; they sing in their ears songs that are pleasing to the ear and extol with their tongue indecency and desire, speaking lustfully of everyone who prevails on earth by means of their wanton schemes and the impulses that drive them; they present to us as heroes men who violate law and morality, who mock truth and hate innocence, and every innocent man is like a powerless creature in their eyes, and as such the plays are of little dignity, and the places in which they

יחזו הכל והמה יעותו משפט ויתעו את קוראיהם לחזות תהפוכות , לא בזדון כי אם בשגגה . אך ישנם סופרים עוד רעים מאלה ( והמה הרבים ), חוזי חזיונות אשר לא למען האמת והדעת יגברו בארץ , כי אם רק למען עשות להם שם וכסף , והמה ישחיתו כל רגש מוסר ואהבת האמת בזדון לב , כי המה יבקשו לתת לפני קהל קוראיהם אך את אשר ינעם להם , המה ישירו באזניהם שירים ערבים ֹלאזן וירוממו תחת לשונם זמה ותאוה , ועגבים בפיהם לכל אשר יגברו בארץ במזמות תאותיו ויצרי מעלליו , כגבורים יציגו לפנינו אנשים אשר יפרעו חֹק ומוסר , אשר ילעגו לאמת וישנאו ֹתּם , וכל תם דרך ֹכגלם אין ידים לו בעיניהם , אשר על כן דל מאוד כבוד החזיונות ובתי המשחק , מקום אשר יציגו לעינינו גבורי המחזות האלה , אשר תכליתם היא להורות את העם דעת מוסר והשכל , היו כמערות פריצים , כבתי ספר להורות את בני הנעורים איך לרדוף אחרי זמה ותבל . present to us the protagonists of these plays, the playhouses, whose purpose is to instruct the people in morality and wisdom, have become like thieves' dens, like schools for youth to instruct them in how to chase after indecency and disgrace.

 Not so is the lot of Shakespeare (and like him, so too all honest authors who have eyes to see what is in front of them, even if their spirit is not as great as his); he sits at the seat of judgement like a god judging the exalted; before his seat of judgement stand both king and slave, both nation and individual, and he considers everything, investigates everything, does not show partiality to anyone and does not favour his protagonists; no one is loved by him and no one is hateful in his eyes; he weighs everyone's deeds on the scales and tells each man of the righteousness within him, even if he is a rogue and a villain, and he does not show partiality to the honest by ignoring their fl aws, for no one is blameless in the land of the living. He does not refrain from pronouncing judgement for fear that hypocrites would rage at him, he does not pay heed to his audience for fear that the scene may displease them when they choose an opulently dressed lie over the naked truth. It is not in accordance with his own heart's desire or others' inclinations that he sets out a path for his characters and determines their end, but rather in accordance with the course, the rules, the accidents, and the circumstances of life, and therefore his plays contain a righteous man who perishes by his righteousness as he falls

לא כאלה חלק שעקספיר ( ֹ וכמהו כן גם כל הסופרים הישרים אשר להם עינים לראות נכחה , אף אם כי לא כרוחו הכביר רוחם ); הוא ישב לכסא משפט כאל שופט רמים , לפני כס משפטו יעמדו כמלך כעבד , כגוי כאדם , והוא יתבונן לכל , יחקור הכל , לא ישא פנים לאיש ולא יכיר פני גבוריו , אין אהוב לנפשו ואין שנוא לנגד עיניו , את מעשי כלם ישקול בפלס , ויגיד לאיש צקדתו אשר תמצא בו , אף אם הוא ַעָול ובליעל , ואת פני הישרים לא ישא ממום , כי אין נקי בארץ החיים . הוא לא יירא בדברו משפט פן יזעמוהו חנפים , לא ישים לבו לשומעי דבריו פן לא ינעם להם המחזה , כי יבחרו בשקר לבוש מכלול מאמת ערומה . לא לפי חפץ לבו או לרוח אחרים ַי ְתֶוה דרך לברואיו וישים קץ להם , כי אם על פי דרכי החיים ומשטריהם ומקריהם ומסבותיהם , אשר על כן יש בחזיונותיו צדיק אובד בצדקתו בנפלו בפח פועלי און ורשע מאריך ברעתו כי לו נתכנו עלילות , ויש אשר יד המקרה תנחת עליהם וצדיק ורשע יחד יסופו יתמו , כי כן המה דרכי החיים . into the snare of evildoers, and a villain who lives long by his wickedness, because he is destined for great things, and there are those upon whom the hand of fate lands, when the righteous and the wicked together come to an end and meet their demise, for such are the paths of life.

 On the paths of life we see each morning that the earth belongs to the mighty man, and the man who plots evil rules over everything, over the spirits of the innocent and their bodies, and in his cunning he makes even them into a weapon of destruction. On the paths of life we see that not only honesty triumphs over injustice, and the pure- hearted man does not always eat the fruits of his deeds. On the paths of life we observe that not all wrongdoers are brought to justice, as they know how to put a shield and buckler around themselves in their cunning, and justice is not powerful enough to punish many wicked men who have caused much suff ering and ruin, even if their treachery is known in the community. Indeed, what is the punishment that should be borne by one who slanders his fellow with lies and deposes him from his position with the breath of his mouth, or brings him to the gates of death? The guileless man is led astray and falls, while the one who led him astray rises up and rejoices because he has accomplished his desire, or if a villain entices the innocent with a fl attering tongue to do evil and spill blood, and the innocent man who commits the evil is judged and punished for his sin, whereas the villain who led him astray

בדרכי החיים נראה בבֹּקר בבֹּקר כי איש זרוע לו הארץ ובעל מזמות ישלוט בכל , ברוח תמימי לב ובגויתם ויעשן גם אותן לכלי משחית ביד ערמתו . בדרכי החיים נראה כי לא רק היֹשר על עול יתגבר , ולא כפרי מעלליו יאכל תמיד טהר לב . בדרכי החיים נתבונן כי לא כל עושי עול יובאו במשפט , בדעתם לשים עליהם צנה וסוחרה בערמתם , וידי המשפט תקצרנה מענוש רשעים רבים אשר הרבו עמל ושוד גם אם נודע מעלם בקהל . הן מה הוא העֹנש אשר ישא מלשין רעהו בשקר וממצבו יהדפנו ברוח פיו , או יביאהו עד שערי מות ? הפתי נתעה ויפול והמתעה יקום וישמח כי חפצו הצליח בידו , או אם ידיח נבל את תמים , בחלקת לשון לעשות עול ולשפוך דם , התמים העושה העול ישא חטאתו במשפט והבליעל המתעהו בשוא , יעמוד ויראה בכרוע הנדח לטבח , ואם איש זרוע או אוצרות הוא המתעה אז ינחל גם כבוד חכמים ובסוד יועצים יחד כבודו , כי איש דעת הוא . מה יהיה משפט חנפים העובדים בכרם האמונה וממנה לחמם נמצא אם בשמה יעשקו עֹשק , או אם בסתר אהלם יעשו כל זמה ותועבה וילעגו לאמונתם ואלהיהם ? אלה ישבו ספונים בטירותיהם ויד לא תגע בהם , ואם יקום איש דעת לחות משפט נגד האמונה אז עונו ישא . – במה ִיָו ְסרוּ גוזלי ארצות ועמים בלי יֹשר ומשפט וידכאו רב אדם תחת רגליהם ? משפטם הוא כי יהיו לאדירי ארץ ומפניהם ֵיַחתוּ אלים ושמם ינשא על כל שפתים , ואם ישלח רעב את ידו בפת לחם רעהו , גנב ופושע הוא וכל העם יראו את המשפט אשר יעשו בו ויצדיקו עליו את הדין כמו המה טהורים ונקיים וכל עמלם אך בכשרון וצדק ויֹשר בא להם . – מה הוא המוסר אשר ינחל אב אכזר with a lie stands and watches as the one who was lured kneels for slaughter, and if the one who led astray is a mighty or wealthy man, then he will be greatly honoured by the sages and will be counted among the wise counsellors, as a knowledgeable man; what will be the judgement of godless ones who toil in the vineyard of faith and earn their living from it, even if they exploit others in its name, or if they commit every indecency and abomination in private and mock their faith and their God? These men sit sheltered in their castles, and no hand can touch them, and if a knowledgeable man arises to make a judgement against the faith then he will be punished for his iniquity. – What is the punishment of those who rob lands and nations dishonestly and unjustly, who trample many men under their feet? Their sentence is that they become mighty men of the land, feared by gods, and exalted upon all lips, but if a hungry man helps himself to his fellow's piece of bread, he is a thief and a criminal, and the whole nation sees the judgement which is brought against him and they consider it just, as if they were pure and blameless, and everything they do is achieved only through skill and justice and honesty. – How would the judges chastise a cruel father for ruling over his off spring like a cruel lord, reining in their spirit with a bit and bridle as if they were livestock bought with his money rather than his own fl esh and blood, and for dealing with them in whichever way he fancies, forcing his son to take a wife not after his own

מאת השופטים על רדותו בפרי בטנו כאדון אכזר וישים מתג ורסן לרוחם כמו מקנת כספו ולא עצמו ובשרו המה , ויסחר בהם כהעולה על רוחו , יצוה במפגיע על בנו לקחת לו רעיה לא כלבבו כי אם כחפץ האב , אשר אל יחש משפחות או הון עתק יביט , יאסור ידי בתו אשר נפשה כלתה לאיש כלבבה ויתנה לאשר תבחל נפשה בו ויגזול אשרה וחייה , ויכביד עליה אכפו לסבב בכחש את אלוף נעוריה אשר ירכיב לראשה ואשר רק ידה לא לבה תתן לו ויביא רעות עליה ועל אהוב נפשה ושנוא נפשה אשר היה לבעל לה כאחד , כי הכבוד או הכסף עורו עיניו , ולא ישיב אל לבו כי נפשות הוא חומס , נפשות נקיות , נפש פרי בטנו יחבל , ואם יש משפט אשר ייסר כפעולתם אכזרים כאלה אשר לרגעים נראם ? – או היש עין צופיה למעשי בעל אביר לב אשר יענה נפש אשתו באכזריות לב , יונה בדברים וימרר חייה בלי רגש חמלה אשר גם לעבדו לא יעשה כזאת מיראה פן יתפרץ מפניו , ולא לכלבו פן יעלה אפו וישכהו בשניו , בדעתו כי היא רפת ידים ותשא מכאוביה ? הכֹּח הוא היֹשר , זאת יאמרו לנפשם כל בעלי הכֹּח , ואלה המה דרכיהם ולא חרב המשפט עליהם . הן אלה המה דרכי החיים , ואם לפלא הוא כי מספר הישרים מעט מעט מאוד והזדים יגברו ויעצמו בארץ , כי כל סר מרע משתולל הוא בעיני כל יודעיו ואיש אשר הצליח , לו כביר כֹּח לב ֵיָאֵמר , ואם נשתומם עוד אם נראה צדיק אובד בצדקתו , אחרי כי עוזריו המה אך מעטים , ואוהבי העול , או היראים מפניו , המה כמעט כל בני האדם , ואם כן אם נחפוץ לתאר בעט אמת את דרכי בני האדם אז עלינו להציב יד למחזות מדאיבי לב כאלה , ואם אין , נעשה שקר בנפשנו כי רק חזון לבנו ולא מראה החיים נראה לקוראי דברינו . ואם אמנם נראה לא לעתים רחוקות כי גם רשעים בחבלי חטאתם יתמכו , כי ערומים ילכדו בערמתם ובפח טמנו תלכד רגלם המה , אך גם זאת נדע כי לא יד המשפט , ולא צקדת בני האדם אשר יבקשו אך צדק תעשינה זאת כי אם יד המקרה , אשר לא תכיר פני איש אם צדיק או רשע , ומה יועיל להתמימים אשר מרגשת פועלי און נכחדו אם לעת קץ תמלא גם heart but rather in accordance with the wishes of the father, who is thinking of family pedigree or great wealth; who binds the hands of his daughter who yearns for a man after her heart, giving her to someone who repulses her, robbing her of her joy and her life, and leading her to deceive the husband he has forced on her, for she gives him only her hand and not her heart. He thus brings evil upon her, upon her beloved, and also upon the one whom she despises, who has become her husband, for glory or money blinded his eyes, and he does not notice that he is violating lives, blameless lives, the lives of his off spring, which he is ruining, yet is there a judgement which will appropriately rebuke such cruel men whom we see at every moment? – Or is there an eye watching over the deeds of a hard- hearted man who cruelly humiliates his wife, deceives her with words and embitters her life without any compassion, such things as he would not do even to his servant, out of fear that he might run away from him, nor to his dog lest he grow angry and bite him with his teeth, as he knows that she is weak and will endure her pains? Power is right, this is what all powerful men say, and this is how they behave, and the sword of justice does not hang over them. Indeed, these are the paths of life, and is it a wonder that the number of honest men is extremely small, while the wicked prevail and grow powerful on earth, for anyone who turns away from evil is regarded as a madman by those who know him, and it is said of a successful man that he has great

סאת הרשעים ויהיו עדי אובד , האם יחיו מתיהם ברדתם המה דומה ? האם ירימו הנדכאים ראש עת אשר ָי ְשׁ ְפּלוּ משפיליהם ? אך לא ! נקל מאוד לעשות רעה , לבלע ולהשחית , להוריד רב אדם עד דכא אך ברוח פה , אבל לא לעשות טובה , לסמוך נופלים , להרים קרן אלה אשר השכינו לעפר כבודם . אם תוציא דבה על איש אז יאמין לך כל שומע כרגע מבלי בקש חשבונות רבים ואוזל לו יוסיף עליה כהנה וכהנה , ואם טוב תדבר על רעיך אז לא על נקלה תמצא אזנים קשובות ולב מאמין , אשר על כן תרבה הרעה מהטובה , כי לעשות רע לא דרוש כֹּח ועֹז וחכמה רק לב רע , ולעשות הטוב דרוש לא רק לב טוב , כי אם רוח נכון ֹ ואמץ ודעת ויגיע רבה . strength of heart, so should we still be astonished if we see a righteous man perish in his righteousness, since his helpers are only few, and those who love evil, or who are in awe of it, comprise almost all men. Thus, if we desire to depict men's character with a true pen, then we must acknowledge such painful sights, as otherwise we deceive ourselves, for only the vision of our hearts and not that which is seen in life will be visible to our readers. Now admittedly we see not infrequently that wicked men are also caught in the bonds of their sin, for cunning men can be trapped in their cunning and their leg can be caught in the snare that they themselves set, but here too we know that it is not justice, nor the righteousness of men who seek only justice, that do this, but rather circumstance, which does not show partiality to anyone whether righteous or wicked, and how does it benefi t the innocent who have been destroyed by the throng of evildoers if in the end the wicked get their just desserts, and they perish; will their dead live as they go down to the grave? Will the oppressed lift up their head when those who humiliate them are humiliated? Why, no! It is very easy to do evil, to annihilate and destroy, to reduce a multitude of men to dust with only a single breath, but not to do good, to support those who are falling, to exalt those who have surrendered their own honour. If you spread libel against a man, everyone who hears will immediately believe you without asking for much evidence, and will go on his way adding to it here and there. But if you speak well of your fellows, you will not easily fi nd attentive ears and a believing heart, and therefore you will do more evil than good, for in order to do evil power and might and wisdom are not required, only an evil heart, whereas in order to do good not only is a good heart required, but a willing spirit and courage and knowledge and much toil.

 On account of which, every man of sense will understand that those who describe for us how only pious and righteous men become great, whereas wrongdoers are scattered, are lying; they are fl attering their readers and leading them astray with lies, and everything that they do is only wickedness or grievous harm, for it does not cause men to do good or consider their conduct or understand the paths of life.

 Many may ask: what is the lesson of a play that presents us with wicked men who succeed in their deeds, and what is the moral that we should take from the sight of righteous men perishing in their righteousness? Indeed, if we see that the wicked prosper, then we shall envy all traitors and refrain from seeking to learn to do well. Not so if we are shown the chastisement and punishment of the wicked; in that case we shall learn to fear doing evil – so say many who preach morality without knowing what it is. Truth endures forever; it stands above all, higher than any feeling, even honesty and justice and morality, for without truth these are all meaningless. Such feelings change their appearance from generation to generation and from era to era, and אשר על כן יבין כל איש לבב כי אלה אשר יתארו לפנינו כי רק חסידים ותמימים ירימו ראש ובני עולה יתפרדו , כי אלה מכזבים המה , חנופה יעשו לקוראי דבריהם ויתעום בשקר וכל פעלם אך רעות רוח או רעה חולה , כי על ידו לא ייטיבו בני האדם מעלליהם ולא יתבוננו לדרכיהם ולא יבינו דרכי החיים .

רבים ישאלו : מה הוא הלקח הטוב אשר יצא מאת חזיון המציג לפנינו רשעים מצליחים במעשיהם , ומה הוא המוסר אשר נקח ממראה צדיקים אובדים בצדקתם ? הן אם נראה כי דרך רשעים צלחה אז נקנא בכל בוגדי בגד ולא נבקש להשכיל להיטיב , לא כן אם יראונו מוסר הזדונים וענשם אז נקח מוסר ונירא מעשות רע – כן יאמרו רבים אשר הסכינו לשאת מוסר על שפת לשונם מבלי דעת מה הוא . האמת לעולם תעמוד , היא נעלה ונשגבה מכל חפץ , מכל רגש גם מיֹשר וצדק ומוסר , כי באין אמת כל אלה הבל . רגשות כאלה תמירנה פניהן מדור לדור ומעת עד עת , ויש אשר לפנים לו צדק , יֹשר ומוסר קראו ועתה הוא כמעשה תעתועים או רשע כסל , ויש אשר עתה נעריצהו ונכבדהו כמוסר נעלה ואם נשאל לימים ראשונים ונכונן לבנו לחקר דורות קדומים נראה כי לפנים בחלה נפש אוהבי מוסר בו , רק האמת לעולם תעמוד , היא לא תשנה פניה וגם יד בני האדם תשלוט אך לשים מסוה על פניה , there are things that previously were called justice, honesty, and morality, but now are considered acts of delusion or foolish wickedness, and there are such things which we now admire and honour as high morality, but if we enquire as to the earliest days and resolve to investigate previous generations, we see that previously lovers of morality found them distasteful, but truth endures forever; it does not change its appearance and men are powerful enough only to put a veil over its face, to cast dust on it until it cannot be seen by the eye, or to besmirch it until it becomes repulsive, but they cannot strip it of its purity; the day will come when the curtain will be lifted from its face and its beauty will be visible to everyone. The point of all morality is to seek the truth, and those who speak untruths hate morality or do not know what it is. What is to be gained from us leading the readers astray with plays that are false, where catastrophe is brought upon the wicked and the moment of punishment upon all evildoers, while the truth stands and cries out: it is a lie! for this is not what is done to them? What would be the lesson of such plays that do not depict the paths of life, but rather visions drawn from a heart that devises falsehood? Why, such plays delude their viewers, so that they do not examine their conduct and do not investigate and turn away from it, for they say to themselves: surely punishment follows on the heels of iniquity, and if we have not been punished, it is a sign that we have not sinned. What is the benefi t of the fear generated by such plays, which depict only the punishment of the wicked; after all, it is pointless,

לעפר בעפר לעומתה עד כי לא ֵתָרֶאה לעין , או להשליך עליה שקוצים עד כי תהיה ֹלגעל נפש , אך מטהרה לא ישביתוה , יבוא יום ויגל את המסך מעל פניה ותראה יפעתה לעין כֹל . תכלית כל מוסר היא לבקש אמת , ואלה אשר לא אמת שמיעונו המה שונאי מוסר המה או לא ידעו מה הוא . מה בצע כי נוליך את הקוראים שולל בחזיונות שוא , כי נביא על רשעים אידם , ועל כל עושי עול רגע פקודתם , אם האמת תעמוד ותצעק : שקר הוא ! כי לא כן יעשה להם ? מה הוא הלקח הטוב אשר יצא מחזיונות כאלה אשר לא דרכי החיים ַי ְתווּ לנו כי אם חזיונות מלב הוגה שקר ? הלא בחזיונות כאלה ַי ְשלוּ את נפש רואיהם לבל יחפשו דרכיהם ולבל יחקרו וישובו מהם , כי ישיבו אל לבם : הן בעקב העון המוסר ילך ואם לא נוסרנו אות הוא כי לא עוינו . מה היא התועלת אשר תצא מהפחד אשר יביאו חזיונות כאלה אשר יתארו אך מוסר רשעים , הלא פחד שוא וכעבור רגע ואינו . הפחד הזה הוא כהפחד אשר יפילו על ילדים כי יקראו קריאת שמע2 ואם אין יבוא שד או מת וישים מחנק לנפשם , והילד יאמין ויפחד , אך אחרי אשר נסה לישן מבלי קרוא שמע ושנתו ערבה והמתים לא לו , השדים לא עזבו מדורת שאול<sup>3</sup> התנערו מעפר אז יחדל מהאמין בכל , וכל אשר הורוהו לעשות ביראה ופחד ישליך אחרי גוו . וכן היא כל תורה אשר יקבלו רק אחרי אשר יכפו על המקבלים הר כגיגית , כל עוד שאת ההר תבעתם יחזיקו בה ועבר הפחד ישליכוה ככלי אין חפץ בו , וכן הוא המורא אשר יביאו חזיונות כאלה המתארים עֹנש רשעים , תמימי לב יאמינו בו עדי הפקח עיניהם ויראו כי האמינו בשוא נתעה כי לא כן חלק הרשע בארץ , כי לא כל פגע רק עליו יסל ארחות אידו , כי לא כל צרה רק אותו תקראהו לרגלו , ומה הוא המוסר אשר יקח ממראה עיניו ? אז יאמר : "כל האדם כוזב , וגם חוזי החזיונות אשר אמרתי אלהים המה , גם המה כאדם יחמדו כזב ושקר ירבו" . לא כן פעולות החוזים גלויי העינים אשר יקראו כל מעשי אנוש ותחבולותיו ומזמות לבו ויצר מחשבותיו כמעל ספר פתוח ואותם יציגו לנגד

and it vanishes in an instant. This fear is like the fear put into children that they must recite the Shema2 or else a demon or corpse will come and strangle them, and the child believes and fears, but after he has tried to sleep without reciting the Shema and has slept well enough – the demons did not leave the fi re of Sheol3 and the corpses did not shake themselves out of the dust – then he stops believing in anything, and he abandons everything that he has been instructed to do out of awe and fear. And so it is with any instruction that is accepted only after it has been forced like a burden upon those accepting it; as long as bearing the burden scares them, they will hold onto it, but when the fear has passed they will throw it away like an unwanted vessel; and it is such fear that is generated by this type of play, which depicts the punishment of the wicked; innocent men believe in it until their eyes are opened and they see that they believed in misguided falsehood, for this is not the lot of the wicked on earth, and not every injury lands directly upon him, not every woe aff ects only him, and so what is the moral which he should take from what he sees? Then he says: 'Every man lies, and even the playwrights whom I said were gods, even they, as men, covet falsehood and lie often.' Not so for the works of playwrights with open eyes, who read all of man's deeds and thoughts and impulses as from an open book, and present them before our eyes naked as the day they were born; they do not turn evil

עינינו ערומים כיום הולדם , לא יהפכו רע לטוב ומר למתוק , אז יצא לנו מדבריהם מוסר נעלה , כי נראה את האמת ונתבונן כי אנשים ישרים אך מעט מזער המה והמה הבחירים במין האדם , ואם נפשנו תתאוה להיות מן הבחירים אז לא עלינו לשית לב להבלי ההמון , כי רעיון רוחנו יאמצנו , והדעת כי נעשה טוב היא היא המשכֹּרת היותר גדולה אשר בידי בן אנוש למצוא , עינינו תפקחנה לראות יצרי לבבנו אשר המה כראשית חטאת , ואם נטה אך מעט מהדרך הטוב , כי אז נלך מדחי אל דחי , כי ראשית כל חטאת היא כחוט השני4 ואחריתה כעבותות העגלה , 5 זאת נראה ונבין ונדע להזהר אם נחפוץ , ואלה אשר לא יחפצו , להם לא יועיל כל מוסר וכל מטיף . והתועלת היוצאת מחזיונות נאמנים על פי דרכי החיים היא רבה ונכבדה מאוד , כי המה יעשונו לאנשי לב . לא ביד כל האדם לדעת ולהכיר ארחות אנשים לאלפים בחליפות תאותיהם ובהשנות מקרי הזמן , כי חיינו קצרים , ועיננו לא תחדור על הרוב עד משכיות לבב אנוש , כי על כן הסופרים הנאמנים המה לנו לעינים , המה יחזו בעיני הרוח ואת אשר יראו יגידו לנו ונדע , וספרים כאלה יהיו לנו למורים היותר טובים ונאמנים , כי ינהלונו בדרכי החיים בעינים פקוחות לבל נכשל . והמורה הגדול בכל המורים היה שעקספיר ; הוא יראנו בחזיונותיו שלשלת הפעולות אשר תמשך לפעמים מאת מקרה קל , מאת תאוה קטנה מלב איש קטן והיא תרחב ותגדל מעת לעת ְב ִהָלוֹת עליה מקרים שונים עדי תהי לכלי משחית לחבל רב אדם . הוא יורנו ארחות התאוה איך תובילנה אל ירכתי בור את הנלכדים בשחיתותיה ואיך ימשכו אחריהם אלה הנלכדים גם תמימי דרך אל אבדון הפתוח לפניהם , איך ֹכמהו אשר ידע לשקול בפלס כל מקרה קל , כל חפץ אשר בראשיתו היה כמהו כאין ובאחריתו היה לקטב ישוד צהרים . נביט נא אל החזיון הזה שלפנינו אשר הוא אחד מהיותר

 <sup>2</sup> A central Jewish prayer consisting of the biblical passages Deut. 6:4– 9, 11:13– 21, and Num. 15:37– 41. The Shema is recited at the morning and evening daily prayers and at bedtime.

 <sup>3</sup> The biblical abode of the dead.

into good and bitter into sweet, so high morals emerge for us from their words, for we see the truth and observe that honest men are but very few, and they are the choicest of the human race, and if our soul longs to be one of the choicest, then we must not pay heed to the delusions of the masses, for our own ideas should strengthen us, and the knowledge that we are doing good is the greatest reward that a human can receive; our eyes will open to see the impulses of our heart, which are like a gateway to sin, and if we deviate even a little bit from the good path, then we will go from bad to worse, for the beginning of every sin is but a scarlet thread,4 while its end is like the heavy cords of a cart;5 we see this, and we understand and know to be careful if we want to, and as for those who do not want to, no instruction or preacher will benefi t them. And the benefi t that emerges from plays faithful to the paths of life is very great and weighty, for they transform us into men of sense. Not every man is able to recognize the ways of men in the thousands with their changing desires and with the shifting circumstances of time, for our lives are short, and for the most part our eye does not penetrate the imaginings of the human heart; therefore

טובים אשר הוליד ברוחו הכביר , וננסה נא לדבר משפט על כל ברואי דמיונו הבאים בו .

 <sup>4</sup> There are several biblical references to a scarlet thread, i.e., Gen. 38:28, 30, in which a scarlet thread is tied to the wrist of one of Tamar's twin sons as he is born to identify him as the older one; Josh. 2:18, 21, in which Rahab, a resident of Jericho who shelters Joshua's men from danger when they come to scout out the city, ties a scarlet thread to her window as an identifying sign so that they will know to avoid harming anyone in her house during their subsequent invasion; Song of Songs 4:3, in which it is used romantically as a simile for lips; and various locations in Exodus, in which it is one of the materials used to make the priestly garments. Smolenskin seems to be referring to the warning function of the scarlet thread as it appears in Josh. 2:18, 21, but is focusing on it being only a thin thread, as the mere possibility of sin fi rst emerges.

draw that those to woe '֛הוֹי ֹמ ְשֵׁ֥כי ֶ ֽהָע֖וֺן ְבַּח ְבֵ֣לי ַהָ֑שְּׁוא ְוַכֲע ֥בוֹת ָהֲעָגָ ֖לה ַחָטָּ ֽאה 5:18, .Isa to reference a is This 5 iniquity with cords of falsehood, and sin as with the ropes of a cart'.

reliable authors become our eyes; they see with the eyes of the spirit and what they see, they tell us so that we might know, and their books become the best and most reliable teachers for us, for they guide us on the paths of life with open eyes so that we do not stumble. And the greatest of all teachers was Shakespeare; in his plays he shows us the chain of actions that sometimes unfolds from a trifl ing event, from a small desire of a small man's heart, which expands and grows from day to day accompanied by various events until it becomes an instrument of destruction annihilating many men. He instructs us in the ways of desire, how it leads those trapped in its corrupt snares to the depths of the pit, and how the trapped ones also pull innocent men after them into the destruction that has opened up before them; there is none like him who knows how to weigh on a scale every trifl ing event, every object that at fi rst was as nothing but in the end became a disaster that lays waste at midday. Let us look at this play before us, which is one of the best that he brought into existence with his great spirit, and let us try to make a judgement about each of the characters created by his imagination that appear in it.

 'Shakespeare sought to depict jealousy for us in this play, just as he depicted for us in *Hamlet* a man at his wits' end, in *Romeo and Juliet* love, and in *The Merchant of Venice* revenge.' Many of those who speak about him and his books have expressed their opinion in this manner, but in truth Shakespeare's power is not one thing, he does not show us one desire, but rather his power is in

"שעקספיר בקש לתאר לפנינו את הקנאה בחזיון הזה כאשר תאר לנו בהאמלעט איש אובד עצות , בראמעאָ ויוליעט את האהבה ובהסוחר מוויניציא את הנקמה" כן השמיעו דעתם רבים מהמדברים אודותו ואודות ספריו , אבל באמת יד שעקספיר לא דבר אחד , לא תאוה אחת תראנו , כי ידו בכל , ובכל אשר יתאר נראה תאות האדם ורגשותיו בכל מראיהן ומסבותיהן . בחזיון הזה נראה לא רק יד קנאת איש לאשתו , אשר תכה בעורון ותוליך שולל גם ישרי דרך לעשות מעשה everything, and in everything that he depicts we see the desire and feelings of man in all their manifestations and circumstances. In this play we see not only the power of a man's jealousy over his wife, which strikes one with blindness and leads even upright men astray, causing them to commit acts of delusion, but also a man's jealousy of his companion, which, like a maggot, eats the heart of its master and leads him astray on the paths of death; the love of false honour, which hardens the heart against even one's own off spring and turns a loving father into one as cruel as ostriches in the wilderness;6 innocence, which at fi rst gives rest to the one who possesses it, for it instils within him trust in his fellows, but can change its shape like clay under a seal, and when the one who possesses it falls into the trap of a fl attering tongue, then it turns into a raging staff , destroying honest men; faithful love that does not depart even if it is not repaid in kind; we see all of these together in this play, and upon all of these is the hand of fate, which weaves things of trifl ing worth and makes them like the ropes of a cart, pulling into a trap everyone whose leg is caught in them. A thing of trifl ing worth that most readers may not notice becomes here the thread that ties together the whole play from beginning to end, and is the driving force for many deeds, uniting the events that follow it, and making them together into a tall and steep mountain. This trifl ing thing is the curses with which Asenath's

תעתועים כי אם גם קנאת איש מרעהו , אשר כרמה תאכל בקרב לב בעליה ותתעהו בדרכי מות ; אהבת הכבוד ַה ְמֻדֶמה , אשר תקשיח הלב גם מפרי בטן ותהפך מאב אוהב לאכזרי כיענים במדבר ; 6 ֹתם לב אשר תתן בתחלה מנוחה לבעליה , כי תתן בקרבו האמונה ברעים , אך תתהפך כחֹמר חותם , ובנפול בעליה בפח חלקת לשון אז תהיה גם היא כמטה זעם להכחיד ישרים ; אהבה נאמנה אשר לא תמוש גם אם לא ְיֻשַלם לה כפעלה כל אלה יחד נראה בהחזיון הזה , ועל כל אלה יד המקרה אשר תארוג דברים קלי ערך ותעשה אותם כעבותות העגלה למשוך אחריה בחרמה כל אשר נלכדה רגלו בהמה . דבר קל ערך אשר רוב הקוראים אולי לא יתבוננו בו הנהו פה כחוט המשלב את כל החזיון מראשיתו עד אחריתו והוא המניע למעשים רבים , והוא יאחד את המקרים הבאים אחריו , לעשות אותם יחד להר גבֹה ותלול . הדבר הקל הזה הוא גדופי אבי אסנת ( דעזדעמאנא ) אשר ֵחְרָפהּ ביום הפרדה מעליו ויאמר לאישה , שים עליה עינך כושי פן בגוד תבגוד גם בך כאשר בגדה באביה ! הדבר הקל הזה היה לראשית חטאת לכל המקרה הנורא אשר בא אחריו . אך נשים נא בתחלה עין על הברואים ואחרי כן על המקרים אשר היו בעזרתם . נושא החזיון הוא איתיאל הכושי , אשר גם שמו נקרא עליו , ובזה הראנו הסופר כי האיש הזה הוא תכלית מעשהו , אף כי דואג ( דיעגא7 ) הוא הפועל היותר גדול בכל החזיון והוא המניע לכל המעשים אשר ֵיָעשׂוּ בו , כי ראשית חפצו היה להראות בחזיון הזה איך תם דרך ִיָכּ ֵשׁל בהטותו ֹאזן לחלקת לשון בוגד ואת יד הקנאה העורת , אשר תהפוך שה תמימה לנמר אכזרי לבלע ולהשחית גם אהובי נפשו ביום תוכחה . איתיאל הוא איש גבור חיל במלחמה , לו ֹאמץ לב ורוח כביר מאין ֹכמהו , אך רק למען התיצב נגד לוחמיו במלחמת תנופה אשר יראם בעיניו ויתבונן לכלי מלחמתם , לא כן נגד איש מזמות אשר בדרכו ֹבאפל יתהלך ולא יראהו . אנשים ֹכמהו העומדים

 <sup>6</sup> This is a direct citation of Lam. 4:3. Ostriches were associated with cruelty in the Hebrew Bible as they were known for neglecting their eggs and young (Job 29:13– 8; Berlin and Brettler 2004b: 1599).

(Desdemona's) father condemned her on the day she left him, when he said to her husband, 'Keep your eye on her, Cushite, lest she betray you too as she betrayed her father!' This trifl ing thing was the starting point for the whole terrible event that followed. But let us fi rst turn our attention to the characters, and afterwards to the events they triggered. The subject of the play is Ithiel the Cushite, after whom it is also named, and in this the author has shown us that this man is the protagonist of his story, even though Doeg (Diego7 ) is the prime mover throughout the play, and he is the driving force for all the deeds that take place in it, for his primary desire was to show in this play how an innocent man can stumble by listening to the fl attering tongue of a traitor, and the power of blind jealousy, which can turn an innocent lamb into a cruel leopard, annihilating and destroying even those who love it on the day of reckoning. Ithiel is a mighty man of valour in war, he has courage and a great spirit without equal, but only in order to position himself against his foes in an off ensive war where he can see them with his eyes and observe their weapons; not so against a scheming man who goes about his business in the dark and whom he cannot see. Men like him who stand on the most elevated heights, and who have not tried to fi ght against everyday obstacles (which do not surround him

ברום המעלה , ואשר לא נסו ללחום את פגעי יום יום , אשר לא כלוחמים כי אם כזבובי מות יעטרונו לכאיב ולא להמית , אנשים כאלה אשר רק בשאון ותרועת מלחמה בלו ימיהם ומלחמת החיים לא ראו , בסוד רודפי תענוגי התבל לא באו ולא הכירו ארחותם , איך על מרמה תחש רגלם , אנשים כאלה אשר הסכינו כי האויב יקרא עליהם מלחמה , המה כילדים פותים ויאמינו לכל אשר תשמע אזניהם , המה יאמינו , יען כי הסכינו לראות רק עבדים לפניהם , עבדים אשר יכֹפו ראשם כאגמון בדברם אתם , עבדים אשר ייחלו לחסדם , עבדים אשר יפחדו וייראו מפניהם , ועל כן ידמו כי איש לא יערב לבו להוליכם ֹבתהו , אותם , את הגבורים בעלי הזרוע אשר יתנו חתיתם בארץ חיים . ואחרי אשר בכל ימי חייהם הסכינו אך במלחמה גלויה לכן לא יבינו ערמת המורה חציו במו ֹאפל , ואחרי אשר המה לא הונו איש מעודם , כי לא אכף עליהם הזמן , וגם לחרפה יחשבו זאת לנפשם לעשות כזאת בעוד אשר זרועם מושלה להם לכן לא יבינו למרמת ערומים , ואיש כזה היה גם איתיאל . ואולם גם בזה נראה מה כביר כֹח החוזה הזה הנעלה בחוזים , \*) איש חיל מקרב ממשלת ווינעציא , כי בחר לו אשר בה היתה ממשלת העם ולא ממלכה . אם בחשבון או בלי חשבון עשה זאת לא נוכל לדעת , אך זאת נראה בעינים פקוחות כי רוחו הכביר הרימהו מעל כל שגיאה . הוא בחר בשר צבא מארץ אשר בה ממשלת העם ולא ממלכה , כי בארץ אשר בה מלך ישור , ומה גם בעת ההיא , היו הרוזנים ושרי הצבא הגדולים כעבדים נבזים לפני אדוניהם המלך , במרמה עלה איש מעלה מעלה , בשפת חנף לאהובי המלך , בחלקת לשון להשרות הרואות פני המלך , בלשון הרע , במלשינות ובמרמה פלס לו נתיב עד כי נתעלה , ושם התמים נשכח ואיש לא פנה אליו ואיש לא

 \* ) אם אמנם לא נכחד ממני כי את החזיון הזה לקח שעקספיר מספור בשפת אטאליא שבו באו כמעט כל הברואים בהמחזה כצלמם ותבניתם, בכל זאת נראה בהם למדי יד שעקספיר אשר ערך אותם במשטר ויפח בקרבם חיים חדשים ברוחו הכביר.

 <sup>7</sup> Sic.

 <sup>\*)</sup> Although admittedly it has not escaped me that Shakespeare took this play from an Italianlanguage story in which almost all the characters in the play appear in identical form, nevertheless we can see in them the hand of Shakespeare who arranged them authoritatively and breathed new life into them with his greatness.

like warriors but instead like deadly fl ies seeking to wound rather than kill), such men, who have spent all their days in the din and thundering of war and have not seen the war of life, have not been admitted to the confi dence of those who pursue perverse pleasures and are not familiar with their deceitful ways, such men who are used to the enemy calling them to battle, are like gullible children and believe everything they hear; they believe it because they are used to seeing before them only servants, servants who bow their heads like reeds when they speak to them, servants who wish for their mercy, servants who fear and are in awe of them. Therefore, they think that no man would take pleasure in leading them into the void, them, the mighty warriors who instil their terror in the land of the living. And because they have been accustomed to open war their entire lives, they do not understand the cunning of the man who shoots his arrows in the dark, and since they have never deceived anyone (because circumstance has not imposed this on them), and because they would consider it a disgrace to do so while in power, they do not understand the deceit of the cunning. Ithiel too was such a man. Indeed here too we see how great is the power of this

זכר את כשרונו וחכמתו , ועל כן לוא היה איתיאל שר צבא גדול בארץ אשר תעמוד למשפט מלך כי אז ידע כבר ארחות הרמיה ולא תמים לב היה , ולוא ידע ערמה ומזמה כי אז לא מהר להאמין בדברי איש מזמות כדואג , כי השיב כרגע אל לבו , אך משרה נכבדה יבקש ועל כן יחבל מזמות , אך שוחה הוא כורה על כשד ( קאססיא ) בקנאתו בו , כי כן יעשו כל אלה הרודפים אחרי משרה ופקודה , לא כן בארץ אשר על פי מחוקקים תשים משטרה ותקים שרים ותורידם לא על \*) יען פי עצת חנפים כי אם במשפט וחשבון, כי לא אחד הוא היושב לכסא , אשר על נקלה ימשכוהו ברשת המזמה , רבים המה ועל כן כבד הדבר מאוד לשית בחלקות לכלם , אשר על כן יצליח יותר איש אשר לו כשרון , בארץ כזאת לא ראה דרכי המזמה העקלקלות , כי הוא הגיע למעלה מבלי חנופה רק בגבורתו וישרו ותמתו ובצדק נוכל לאמר עליו את אשר אמר דואג על נפשו : לוא הייתי איתיאל כי אז דואג לא הייתי כי אמנם כן הוא לאו היה דואג איש המעלה כאשר אותה נפשו כי אז לא תחש על מרמה רגלו , ולוא היה איתיאל דואג כי אז איתיאל לא היה כי אז היה איש מזמות ולא תם , אך הוא היה איתיאל איש תם ועל כן האמין בכל איש , ולא התבונן כי תאוה נמבזה תדיח את אחד מעבדיו לשים חחים באף לויתן ֹכמהו ולשחק בו כצפור , הוא לא התבונן , יען כי איש כמהו לא יכול להתבונן לזאת , ומה גם אחרי אשר לאיש המדיחו נתכנו עלילות , דואג ידע היטיב כי נפש תמים לב כאיתיאל תשנא כל רמיה , ובשמעו שם בגד ורמיה תלהט נפשו גחלים ולא ירבה לבקש חשבונות רבים , ועל כן ידע להביא בלב איתיאל לאט לאט הספק בתמת

 <sup>\*)</sup> Although even in this republic deceit and roguery rule without end, and the hands of most of the ministers are defi led by violence, nevertheless it did have a benefi t, for there was not *one man* ruling over the land, and the rulers had some slight knowledge of how to appreciate the worth of a warrior who could save the land with his strength, which did not happen – not even rarely – in governments ruled by a king, and we can see this here as well, for even Phichol, one of the counsellors of the realm, did not succeed in his desire to bring evil upon Ithiel unlawfully.

 <sup>\*</sup> ) אף כי גם בממשלת העם הזאת שררה מרמה ונבלה לאין קץ, וידי רוב השרים נגאלו בשדד, בכל זאת יתרון היה לה, כי לא א ח ד משל בארץ, ודעת צרה ידעו המושלים ערוך ערך גבור אשר בידו להציל את הארץ בישע ימינו, אשר כזאת לא קרה אף לעתים רחוקות בהממשלות אשר מלך משל בהן, וזאת נראה גם פה, כי אף ידי פיכול אחד יועצי המלכה לא עשו חיל בחפצו להביא רעה על איתיאל לא במשפט.

most exalted of playwrights, for he chose for himself \* ) a military man from among the rulers of Venice, which had a republic rather than a monarchy. Whether he did this intentionally or unintentionally we cannot know, but we see clearly that his greatness elevated him above all error. He chose an army commander from a land which had a republic and not a monarchy, because in a land that is governed by a king, especially at that time, dukes and great army commanders were like lowly slaves before their lord the king; men advanced by means of deceit, speaking obsequiously to the king's friends, with a fl attering tongue to the women of rank who have audiences with the king; they carved a path for themselves with gossip, informing on others, and paved their way with deceit until they became exalted, while the innocent were forgotten, with no one turning to them and no one remembering their talent or wisdom. Therefore, if Ithiel had been a great army commander in a land ruled by a king, he would already have been familiar with deceitful conduct and he would not have been innocent, and if he were familiar with cunning and schemes, he would not have been so quick to believe the words of a schemer like Doeg, for he would have stopped and said to himself, surely he wants an eminent position, and to this end he is devising schemes; why, he is digging a pit for Chesed (Cassio) because he envies him, for that is what those who pursue position and offi ce do. Not so in a land which bases its government on lawmakers, appointing and dismissing ministers not according to the counsel of hypocrites, but rather by law and accounts, \*) because there is not just one

אשתו , ואחרי כן הראהו באות נאמן כי היא בוגדה היא , כי היא סבבה גם את אביה בכחש , ובדבר הזה היה די להטות לב איש כאיתיאל להאמין כי אמנם בוגדה וסוררה היא ֹמנער . הן גם את אביה רמתה בערמת ערומים באהבתה אותו , את איתיאל , ומי זה לידו יתקע אם לא תלכוד גם אותו בפח הרמיה באהבתה את איש זר ? - פה הציצו הדברים הרעים אשר דבר אבי אסנת באכזריות לבו ויעשו שֹרש פרה ראש ולענה . אביה העיד בו ביום עזוב בתו אותו לאמר : שים עינך עליה כושי פן תבגוד גם בך כאשר בגדה באביה , ודואג הבליעל ידע לעשות את הדברים האלה לכלי משחית בידו בהזכירו את איתיאל כי אשתו בגדה באביה , ובכן היו דברי אביה לרשת פרושה ליד מעגל בתו ואישה , אשר בה נוקשו ונלכדו ויחד למות ָה ְכָרעוּ . איתיאל הוא צלם דמות כל פתי מאמין לכל דבר , אשר יהיה משחק לכל זד ובליעל , וכן המה כל אלה אשר לא ידעו ארחות התבל ומזמות אנשי מרמה כי יהיו לכלי משחית לחבל נפשם ונפש ישרים באולתם , אולת כזאת תסלף דרך תמימים כרשעה ותאוה , רק כי הרשע ברשעתו ירשיע והמה ברשע אחרים יאשמו . man sitting on the throne who could easily be drawn into a web of schemes; there are many. Therefore it is very diffi cult to treat them all obsequiously, and as such a man who has talent will be more successful; in such a land he has not seen the crooked paths of schemes, for he has advanced without fl attery, only with his greatness, his honesty, and his innocence, and we can justly say of him what Doeg said of himself: 'If I were Ithiel, I would not be Doeg.' For indeed it is so; if Doeg were the elevated man that he wanted to be, he would not have hastened to act deceitfully, and if Ithiel were Doeg, he would not be Ithiel, for he would be a schemer and not an innocent man; but he was Ithiel, an innocent man, and therefore he believed in everyone, and it did not occur to him that a loathsome desire might drive one of his servants to put hooks in the nose of a leviathan such as himself and toy with him like a bird. It did not occur to him because such a thing cannot occur to a man such as he; especially since the man who was deposing him was destined for great things. Doeg knew well that an innocent soul like Ithiel would hate all deception, and when he heard the words treachery and deception, he would blaze with fury and he would not really take stock, and therefore he knew how to put doubt gradually into Ithiel's soul regarding his wife's innocence, and afterwards he showed him reliably that she was unfaithful, for she had deceived her father as well. This was enough to lead a man like Ithiel to believe that she had indeed been unfaithful and wayward from her youth. Why, she had deceived even her father with great cunning by loving him, Ithiel, so who could guarantee him that she would not also trap him in the snare of deception by loving another man? – here the terrible things that Asenath's father had cruelly said sprouted and formed a root bearing poisonous fruit and wormwood. Her father had warned him on the day his daughter left him, 'Keep your eye on her, Cushite, lest she betray you as well, as she betrayed her father', and the villain Doeg knew how to make these words into an instrument of destruction in his hand by reminding Ithiel that his wife had betrayed her father. Her father's words thus became a net spread out on the path of his daughter and her husband, in which they were ensnared and trapped and together were doomed to die. Ithiel is the very image of every gullible person who believes everything, who becomes a game for every rogue and villain, and so are all of those who are not familiar with the ways of the earth and the schemes of the deceitful, for they become an instrument of destruction, annihilating themselves and honest men with their folly; such folly corrupts the path of the innocent like wickedness and lust, except that the wicked man condemns others in his wickedness, while they are found guilty by the wickedness of others.

 The second character in the play, who is the fi rst in every deed and the one who makes the whole play revolve, is Doeg. Through him, the very image of a man's envy of his companion and the symbol of treachery is displayed before our eyes. There are very many men among the living with hearts like Doeg's, half of them and perhaps even

השני בהחזיון אשר הוא הראשון בכל מעשה והמסבב את כל החזיון , הוא דואג . בו יציג לעינינו צלם דמות קנאת איש מרעהו וסמל הבגד . אנשים אשר לב להם כלב דואג רבים המה מאוד בין החיים , מחציתם ואולי עוד יותר , אנשים אשר יבקשו להיטיב מצבם בקנאתם ברעיהם ולא יסוגו אחור מפני כל מעשה רע , להלשין , להעיד שקר , לשלוח מדנים בין אחים ובין איש לאשתו , להרבות כזב על כזב אך למצוא more; men who try to improve their situation out of envy of their companions, and who would not hold back from any wicked deed, informing, bearing false witness, sowing discord between brothers and between a man and his wife, acting with ever greater deceit, only in order to achieve their desire, or at least to bring down their companion who is too great for them to endure, for every man who is greater than them is hateful to them, and they regard him as an enemy, and therefore they wage war against him, but since he is greater than them, and hence more powerful, they hide like ambushers on his way to set snares at his foot. Such men are extremely numerous, most of the traders and merchants of the earth, most of the ministers and dukes of the land, nor is their number few among the sages and teachers of law and judgement, but not many are as clever as Doeg at making every trifl ing event into an instrument of destruction, and not many have the fortune to be given an instrument of destruction such as they desire, and therefore they do not gain a reputation. By contrast, those who have been trapped by circumstances gain the reputation of the most deceitful men on earth. Conversely, if circumstances are favourable to them from when they fi rst set out on their corrupted path until they achieve their goal and attain all their desires, they do not acquire the reputation of evildoers, for if a man is successful and becomes wealthy and holds a position, then has he not gained his desire by his righteousness and honesty? So say all who

את אשר אותה נפשם , או למצער להוריד את רעם הגדול מהם משאתו , כי כל גדול מהם שנוא נפשם הוא וכאויב יחשבוהו ועל כן יערכו אתו קרב , אך אחרי כי הוא גדול ואם כן גם כחו רב , לכן יתחבאו כאורבים עלי דרכיו לשים מוקשים ברגלו , אנשים כאלה רבים המה מאוד , רֹב כנעני התבל וסוחריה , רֹב שרי הארץ ורוזניה , גם בחכמים ומורי דת ודין לא מעט מספרם רק לא רבים יחכמו כדואג לעשות כל מקרה קל לכלי משחית להם , ולא לרבים יאיר המקרה פניו לתת להם כלי משחית כאשר תאוה נפשם ועל כן לא יצא להם שם , לאלה אשר המקרה סך בעדם , כשם אנשי רמיה הגדולים אשר בארץ , או כי תהיה להפך כי המקרה יאיר אליהם פנים מראשית צאתם לדרכם הנשחתה עד ֹתּם דרכיהם כי השיגו מטרתם וכל חפציהם בידם המה , גם אלה לא ינחלו שם בני עולה , כי אם יצליח איש ויעשיר וישא משרה על שכמו אז הלא בצדקתו ויֹשר לבבו מצא חפצו , כן יאמרו כל יודעיו , ומי יחפש אחרי הדרכים העקלקלות עד הגיעו למחוז אשר בהן תחת שואה התגלגל<sup>8</sup> חפצו אם ראשית הדרך ואחריתה נסתרות מעיני כל חי ? ואחרי אשר השגה חיל הלא אז אין חפץ לו עוד במרמה כי אם ביד רמה יוכל לעשות חפצו בכֹּל , וכל יודעיו יודוהו ויאמרו כי הגדיל לעשות , וגם לוא הצליח בידי דואג ויהי לשר גם אז היה נכבד מאוד , ואיש לא העז פניו לקרוא לנדיב הזה נבל , לא כן ַהעָול אשר המקרה הביא בידו להוציא עלילותיו לפעולות ואחרי כן בטרם יבוא לחפצו ישבור עליו חק ויסכל עצתו ויגלה ַלכֹּל עונו , אותו יכירו וידעו כלם כי בוגד היה ובאחריתו יהיה נבל בפי כל יודעיו . הוא אשר אמרתי כי לב רבים כלב דואג , רק לא מרמת רבים תצא ֹלפעל ידים ואם תצא ֹלפעל לא תודע תמיד בקהל . רבים המה המקנאים ֹבאשר רעיהם וגדולתם , וראשית הקנאה הזאת היא העצלות ; האיש אשר יאהב עבודה ועמל כפים בלב נאמן הוא יפלס לו נתיב בחיים על פי דרכו וישמח בעבודתו , עד כי לא יחפוץ להמירנה באחרת , ועל כן הוא שמח בחלקו , אף אם עמלו רב , כי אין נותן מנוחה לנפש ושלום בקרב ולב כהעבודה ביד חרוצים , ואלה לא יקנאו ֹבאשר know him, and who would search for the crooked paths along which he rolled in the midst of the ruins8 until he achieved his desire, if the beginning and end of the path are concealed from the eyes of every living being? And since he has acquired wealth, why, is it not the case that he no longer has any desire for deceit, for instead he can boldly do whatever he wants, and everyone who knows him praises him and says that he has done great things. Thus, if Doeg had achieved his desire and had become a minister, then he too would have been greatly respected, and no one would have dared to call this nobleman a scoundrel. It is not so for the fool whom circumstance allowed to realize his ambitions, but afterwards, before he had achieved his desire, brought him to justice and foiled his plans and revealed his iniquity to everyone; everyone recognizes that he was a traitor, and in the end he is called a scoundrel by all who know him. As I said, many have a heart like Doeg's, but not many manage to carry out their deceit, and if they do, it is not always made public. There are many who are envious of their fellows' happiness and greatness, and the starting point for this envy is sloth. The man who loves hard work makes his way through life in good faith, and rejoices in his work, so much so that he does not yearn to exchange it for another. Therefore he is

רעיהם ולא יחבלו מזמות להדיחם משאתם למען רשת מקומם , כי לבם מלא מחפץ עבודתם , אך אנשים כאלה לא רבים המה , ולעמתם העצלים אשר בלי כל עמל ועבודה יבקשו טוב הארץ רבים המה , ואחרי כי נרפים המה מעבודה ולבם ריק מחפץ המעשה וידיהם לא תעשינה תושיה לפלס להם ֹבפעל כפיהם דרך טוב בחיים , לכן יתבוננו בקנאה רק ֹלאשר רעיהם ויהגו מזמות כל היום עליהם כמו גוזלי טובם המה . אנשים כאלה ישנאו תכלית שנאה כל עשיר ונכבד , אנשים כאלה לא יכירו טובה להעושים טוב להם , כי את הטוב אשר יקבלו יחשבו רק כחלק קטן ִשׁלוּמים מכל אשר גזלו מהם , באנשים כאלה לא נוכל לבטוח כי יאהבו אותנו על אשר הרבינו לעזור אותם ( צלם דמות אנשים כאלה לכל משפטיהם וחקותיהם ויצרי לבבם הרע , השכיל לתאר לנו ביד חרוצים מאין כמהו הסופר הנפלא דיקענס בספרו "האוהב לכלנו" בהציגו לפנינו את האיש המשחת סילאס וועגג ), כי יבקשו וימצאו בכל עת תֹאנות לנו כי לא יצאנו ידי חובתנו בהטיבנו להם , אנשים כאלה נראה בדור הזה למאות , כי העצלים אשר בעצלותם ָה ְשׁ ְפּלוּ יאגדו אגודות ויקראו עצרות לבלע ולהשחית כל איש אשר בידו טובו , ומי ימנה מספר לאלה אשר רק בסתר אהלם ישנאו את כל ֻמאשר מהם ויעוללו עלילות להביא עליו שואת פתאום . ועצלים כאלה אשר ידיהם תרפינה מעבודה לשונם לא תדע עצלות , היא תעבוד כל היום עבודתה , להפיח מדנים ולסכסך איש ברעהו ולהכות ישרים ברוח פיהם , כמעשה הנחש אשר אין לו ידים להלחם ולא קרנים לנגח כי ימחץ בלשונו לאין מרפא . ואחד מהאנשים או הנחשים כאלה הזוחלים על גחון למען מחץ פעמי העובר בטח , היה דואג ; במלחמה לא רמה ידו ועל כן לא רמה קרנו , בעבודה ועמל כפים מאס ועל כן תחש על מרמה רגלו למצוא את אשר לא עלתה בידו למצוא בכשרון מעשהו . הוא חרש

 <sup>8</sup> This expression is a slightly modifi ed citation of Job 30:14. The Hebrew in the biblical verse is somewhat enigmatic and has been translated in various ways, including 'in the desolation they rolled themselves' (King James Bible), 'amid the ruins they come rolling in' (New International Version), 'amid the crash they roll on' (New Revised Standard Version).

happy with his lot, even if he has a great deal of work, for nothing gives rest to the soul and peace to the heart like toil in the hands of the industrious. These men do not envy their fellows' happiness, and they do not plot to depose them from their high position and take their place, for their heart is full of love for their work. However, there are not many such men, and in contrast to them there are many slothful men who seek the good of the land without any toil or labour. Since they shy away from labour, have no desire to work, and are unsuccessful in forging a good path through life by means of their own toil, they look with envy upon their fellows' happiness, and all day they contemplate schemes regarding them, as if they were the ones robbing them of their prosperity. Such men have a passionate hatred for every rich and respected man; such men are not grateful to those who are good to them, because they consider the good things that they receive to be only a small fraction of the payment for everything of which they have been robbed. We cannot trust such men, for they love us because we have often helped them (the very image of such men in all their conduct, behaviour, and wicked inclinations has been described for us with incomparable diligence by the wonderful author Dickens in his book *Our Mutual Friend* when he presented us with the destructive Silas Wegg), for at every occasion they seek and fi nd excuses to say that we have not fulfi lled our obligation to be good to them. We see such men by the hundreds in this

רע על כשד אשר לא עשה לו רעה מעודו , וכל עונו היה כי הטבע חנן אותו בתֹאר הפנים ֹ ואמץ לב וכשרון כי על כן הצליח למשרה נכבדה על פי פעולתו . הוא שנא תכלית שנאה את איתיאל אף כי הרבה להיטיב עמדו , על כי לא הרימהו למעלה גבֹהה , ועל כן חרש מזמות להצמית שנואי נפשו אלה . אבל גם בזה נראה כביד כֹּח לב שעקספיר וטהר עיניו לחפוש חדרי בטן , כי לא הציג לפנינו את הבליעל הזה , אף כי בליעל היה , כעושה מעשים רעים בעינים פקוחות , לא ! גם הרע והנשחת הזה בקש חשבונות להצדיק נפשו בעשותו העול הנורא , הוא אמר לנפשו כי יצדק במעשהו בכרותו שוחה לאיתיאל , כי לפי דברת רבים חלל איתיאל את יצועו ולכן לו הצדקה לעשות בו נקמות , ואף כי לא האמין בדבה הזאת , ומי יודע אם לא מלבו הרה והגה הדבה הזאת למען השלות נפשו , בכל זאת די היה לו להשקיט בה מוסר כליותיו , אשר יתעורר לפעמים גם בלב נשחת . וכמהו כן יעשו כל חורשי רע כי יכזבו בתחלה לנפשם ויתעו לבם במשאות שוא עד כי ישענו אחרי כן בכזב אשר הוליד רוחם למען התעות אחרים בדברי שקר . "היה נאמן לנפשך ותהיה נאמן לכל אדם" – יאמר פאלאניוס ללאערטוס בנו בחזיון האמלעט . ואמנם זאת היא תורת האדם ; האיש אשר לא יעשה שקר בנפשו , אשר לא ישלה את נפשו בחזיונות שוא הוא לא ישקר גם לרעיו , אך זאת היא ראשית חטאת לכל אלה המתעים אנשים באמרי פיהם כי בתחלה יכזבו לנפשם , האחד יתברך בלבו כי הוא באמת נעלה על כל רעיו ואחרי כן יחפוץ להטות אותם לחפצו ; השני ישיב אל לבו כי לא כגמול ידיו ולא ככשרונו ְיֻשַׁלם לו , ועל כן יחשוב כי לו הצדקה לעשוק גם אחרים , והשלישי יבקש להאמין כי אמנם הוא הנבחר לשופט רמים לנהל רב אדם בשבט ממשלתו וידכא רב אדם תחת רגליו , ואם יתפרץ איש מפניו ויבקש לפרוק עלו מעל צוארו יחשבהו כמורד בשופט רמים אשר מידו לו המשרה והגדולה , וכאלה רבות הנה הדרכים העקלקלות אשר בהן ילכדו המכזבים לנפשם למען יתעו אחרים בשקריהם . וכה השקיט גם הבליעל הזה מוסר כליותיו בתחלה ואחרי כן generation, for slothful men who have been humiliated in their sloth gather together and unite to engulf and destroy every prosperous man; who can count the number of men that secretly hate all those happier than them, and hatch plots to bring sudden disaster upon them. Yet such slothful men who shy away from work have tongues that know no sloth; they do their work all day, stirring up quarrels and provoking one man against his fellow and striking honest men with the breath of their mouth, like the case of the serpent who had no hands for fi ghting and no horns for goring, so instead he infl icted irreparable wounds with his tongue. And Doeg was one of this type of men or serpents who crawl on their belly to wound the feet of the trusting passer- by; he was not mighty in battle, and therefore he did not become exalted; he despised work and manual labour, and therefore he rushed to achieve through deceit that which he had not succeeded in achieving through talent. He plotted evil against Chesed, who had never done him ill; his only iniquity was that nature had graced him with a handsome face and a courageous heart and talent, inasmuch as he had succeeded in achieving a respected position based on his actions. He hated Ithiel passionately even though he treated him very well, because he had not promoted him, and therefore he concocted schemes to destroy these men that he hated. But even in this we see how great Shakespeare's power is and how pure his eyes are in searching out the innermost depths, for he has not presented כאשר כבר הרבה מזמות חמס אז חדל עוד מבקש חשבונות נפשו ויחשב רק דרכי מזמותיו עד כי בצע את אשר החל ַוָיֵבא רע על כל אנשי עברתו , אך גם הוא בערמתו נלכד ובעת קץ נודע מעלו ועל כן היה לאות לכל בוגד ופושע . דואג הוא צלם דמות העצלות אשר תוליד קנאת איש מרעהו ומרמה ובגד . this villain to us – although he was a villain – as one who commits evil deeds with open eyes, no! Even this evil and corrupted man took stock, justifying himself in doing the terrible wrong; he told himself that he was justifi ed in his deeds as he dug a pit for Ithiel, for according to what many people said, Ithiel had desecrated his bed, and therefore he had the right to exact revenge upon him. Even though he did not believe this libel – and who knows if he did not conceive and plot it on his own in order to delude himself – nevertheless, it was suffi cient to silence the warnings of his conscience, which sometimes stirs even in a corrupted heart. And all those who plot evil do as he did: fi rst they deceive themselves and lead themselves astray with false visions, and afterwards they come to rely on the deceit which they themselves had invented, so that they might lead others astray with lies. 'Be faithful to yourself and be faithful to every man' – Polonius says to his son Laertes in the play *Hamlet* . And indeed this is man's teaching; he who does not deceive himself, and does not delude himself with false visions, will likewise not lie to his fellow; indeed, this is the gateway to sin for all those who delude men with their speech, for fi rst they deceive themselves; one boasts to himself that he is truly more exalted than all his fellows, and afterwards he desires to mould them to his will; a second one says to himself that he is not being paid as he deserves and in accordance with his talent, and therefore he thinks that he has the right to exploit others as well; and a third one wants to believe that he has been selected as a judge of elevated men to lead the multitudes with his authority and trample many men under his feet, and if a man breaks away from him and attempts to remove his yoke from his neck, he regards him as a rebel against the judge of elevated men who has dominion and majesty because of his power, and so numerous are the crooked paths upon which those who deceive themselves in order to lead others astray with their lies are caught. That is how this villain initially silenced the warnings of his conscience, and afterwards, when he had already concocted many violent schemes, he ceased taking stock of himself and he thought only about the practicalities of his schemes, until he fi nished what he had started and brought evil upon all the objects of his wrath. However, he too was trapped in his cunning and in the end his betrayal was revealed, and therefore he became a symbol for every traitor and criminal. Doeg is the very image of sloth, which begets envy of one man against his fellow, as well as deceit and betrayal.

 The third character in the play is Phichol (Brabantio), Asenath's father, who was the starting point for all the evil that befell his daughter and her husband. Through him we are given a description of the love of false honour, which hardens the heart and blinds the one who possesses it until he cannot distinguish between good and evil or between truth and lies, and he does much evil, even if he has an honest heart, like all evildoers.

השלישי בהחזיון הוא פיכל ( ַ ברא ַבאנטיא ) אבי אסנת אשר היה ראשית חטאת לכל הרע אשר בא על בתו ואישה . בו תאר לפנינו אהבת הכבוד ַה ְמֻדֶמה , אשר תקשיח הלב ותכה בעורון את בעליה עד כי לא יבחין בין טוב לרע בין אמת לשקר וירבה ַהֵרַע , אף אם לב ישר לו , ככל המרעים .

 Phichol, Asenath's father, was a great and wealthy minister, respected in his city and his country, and a counsellor in the government; as such, it goes without saying that since he had a daughter he intended to give her to a man as exalted as himself, and for such men, an exalted man is not one who has made a name for himself by his wisdom, courage, or talent; they honour and respect such men when they fi nd them pleasing, but what nobleman would give his daughter to such a man? For the daughters of noblemen, a man from among the noblemen is required, whoever he may be: an unsuccessful man, a villain, someone who chases intoxication and lewdness, or is empty- headed; it does not matter, if only he has hereditary pedigree, for those with pedigree do not consider all these sins to be iniquities. Indeed, a man is called a drunkard only if he gets drunk on beer, but not if he gets drunk on champagne; in that case he is only called a lover of life, and there are many sins like these for which only men lacking a title are condemned, but not members of the elite, for ancestral pedigree purifi es every impurity, cleanses all grime and makes the wise man who was clever enough to be born to noblemen privileged from the womb. So how great is the pain of Phichol, the minister and the counsellor, when he fi nds out that his daughter has given her heart to a man who acquired all his honour only by means of his toil and courage; consuming rage burned within him, and he forgot that he was his daughter's father, pushing her away with both hands and פיכל אבי אסנת היה שר גדול ועשיר , נכבד בעירו וארצו ויועץ בממלכה , ואם כן מובן הדבר מעצמו כי אחרי אשר בת היתה לו חשב מחשבות לתת אותה לאיש המעלה כערכו , ואדם המעלה בעיני אנשים כאלה הוא לא איש אשר בחכמת לבו או ֹאמץ רוחו או כשרון ידיו עשה לו יד ושם , את אנשים כאלה יוקירו ויכבדו בעת אשר ימצאו חפץ במו , אך מי מהאצילים יתן את בתו לאיש כזה ? לבנות האצילים דרוש איש בן אצילים , יהיה מי שיהיה : גבר לא יצלח , או בליעל , רודף שכר וזמה או נבוב הלב , אחת היא , אם רק יחש משפחות לו , כי לבני היחש לא יחשבו כל החטאות האלה לעון . הן רק אם ביין - דגן ישכר איש אז לו שכור יאמר , אך לא אם יסבא יין שאמפניה לשכרה , לו רק אוהב החיים יאמר , וכהנה רבות הנה האשמות אשר רק על בני בלי שם תשלכנה שקוצים , אך לא על בני המעלה , כי יחש האבות תטהר כל טומאה , תנקה כל חלאה ותעשה את החכם , אשר השכיל להולד על ברכי אצילים , לנבחר מבטן . ומה רבו מכאובי פיכל השר והיועץ בהודע לו כי בתו נתנה את לבה לאיש אשר כל כבודו קנה לו רק בידיו ֹ ובאמץ לבו , חמתו בערה בו עד להשחית וישכח כי אב הוא לבתו וידחפנה בשתי ידיו ויאמר לה לעין כל : לא בתי את . הנה זאת היא אהבת רֹב האבות לבניהם , רק כל עוד אשר יעשו חפצם כעבדים נאמנים , רק כל עוד אשר ישלטו בגויתם גם ברוחם אז ינטלום וינשאום ויעמלו להם ויתפארו באהבתם , אך אם יעלה רגע רעיון על לב הבנים כי גם המה אנשים המה וגם להם לב ורגש ויחפצו לחיות על פי חפצם , אז לא יכירום האבות הרחמנים האלה ולא אבותיהם המה . כן יעשו רֹב האבות וכליותם לא ייסרום על העול הזה , כי זאת נחלו מאבותיהם ואבות אבותיהם . הן לוא השיב פיכל אל לבו מה צדקה יש לי על בתי למכרה כשפחה חרופה לאיש אשר נפשה תגעל בו ? מי נתן לי המשפט לגזול את מחמד נפשה מאתה ולמרר חייה עד עולם ? הן נפשה ולבה לה המה ותוכל לתתם לאשר ישר בעיניה , לוא בקש חשבונות כאלה כי אז השיב אל saying to her in front of everyone, 'You are not my daughter.' Indeed, such is most fathers' love for their children; only as long as they do their bidding like faithful servants, only as long as they rule over their bodies as well as their souls, do they exalt them, elevate them, toil for them, and glory in their love, but if for a moment the idea enters the children's mind that they too are people and that they too have a heart and feelings and want to live in accordance with their desires, then these merciful fathers do not recognize them and are not their fathers. Most fathers act in this manner, and their conscience does not rebuke them for this iniquity, because they inherited it from their fathers and their fathers' fathers. Indeed, if Phichol had said to himself, 'What right do I have over my daughter to sell her like a contemptible maidservant to a man whom she reviles? Who gave me the authority to rob her of her heart's desire and to embitter her life forever? After all, her soul and her heart are hers, and she can give them to whomever she pleases'; if he had taken stock in this way he would have said to himself that indeed a daughter only spends a quarter of her life in her parents' house, but must spend three- quarters of her life in her husband's house, and if she is given to a man who is alien to her, why then all her days will be pain and anger, and she will prefer death to such a bitter life; if he had said such a thing to himself, perhaps he would have repented, regretted his thoughts, and had mercy on his daughter, and would not have pushed her away in anger. But like most

לבו : הן אך החלק הרביעי משני חייה תבלה הבת בבית הוריה ושלשת חלקי החיים עליה לבלות בבית אישה , ואם תנתן לאיש זר לרוחה , הלא אז יהיו כל ימיה מכאובים וכעס וייקר בעיניה המות מחיים מרים כאלה , לוא השיב כזאת אל לבו , אולי שב ונחם ממחשבתו ורחם את בתו ולא הדפה בזעם אפו , אך לא חשב כזאת כאשר לא יחשבו זאת רֹב האבות , ואהבת נפשו הדיחתו להקשיח לבו מבתו כמו זרה היתה לו , ואת כל רחמיו ואהבתו אליה לא זכר ביום העברה ההוא : אין לי עוד בת – קרא בעברתו – ולא שב מדברו . אמנם לוא רק זאת עשה , לוא רק התנכר לה , כי אז לא רבה רעתו , אך לא ! הוא העמיק ִשֵׁחת עוד הרבה יתר מבלי חשוב מה הוא עושה . הן לוא היתה אסנת זרה לו , האם העיז מצח לאמר לה קבל עם כי תהיה בימים הבאים לזונה , פרוצה ? האם הרהיב עֹז בנפשו לאמר לאיש אשה נכריה לו : שים עינך עליה כי בגוד תבגוד בך ! – כזאת לא עשה , ולוא עשה כזאת כי אז נשא עונו , או חרפתו שבה כפלים לחיקו , אך האב הרחמן הזה אשר לפני רגע אמר : אין לי עוד בת ! ואם כן חשב את אסנת לזרה לו , ובכל זאת לא כלא זעמו ויוסף להתגרות בה ולחרפה לעין כֹּל , יען מה ? יען כי אביה ה י ה ויחשוב כי עוד לו צדקה ומשפט עליה אחרי כי אביה היה שנים אחדות . ובמשפט הזה הביא עליה הרע אשר הצעידה לבור צלמות , כי הדברים אשר דבר באפו עשו פרי לענה על תלמי לבב איתיאל , אשר גם הוא ככל האדם לא הרבה מחשבות רבות , ולא השיב אל לבו , כי שקר בפי פיכל באמרו כי בתו בגדה בו , כי היא לא בגדה בו , ולהפך הוא בגד בה ויתנכר לה . אם לבבה בחר לה איש , בזה לא בגדה כי אם עשתה כחֹק הטבע , ואם בה העון אשר ביום הבראה נתן לה במקרה לב אשר בו היה חדר פתוח למשכן האהבה ? היא לא בגדה באביה כי היא לא אמרה לו : לא אבי אתה , כי אם הוא בגד בה ויאמר : לא בתי את ! ובכל זאת לא התעורר עליו איתיאל בשמעו מפיו גדופי אשתו , יען מה ? יען כי גם הוא נתעה בשוא ככל האדם לחשוב כי אמנם יש ויש להאב המשפט והצדקה לעשות בבתו כחפצו , ואחרי כי נתעה לחשוב כזאת , לכן fathers, he did not consider such things, and his selfi shness made him harden his heart against his daughter as if she were a stranger to him, and he did not remember all his mercy and love for her on that day of wrath; 'I no longer have a daughter' – he called out in his wrath – and did not repent. Indeed, if he had only done this, if he had only acted like a stranger to her, then his evil would not have been so great, but no! He wrought much more profound destruction without considering what he was doing. Indeed, if Asenath had been a stranger to him, would he have dared to tell her in public that she would become a whore, a strumpet in the future? Would he have had the nerve to tell a man that he had an adulterous wife? – 'Keep your eye on her, for she will surely betray you!' – he would not have done such a thing, and if he had done such a thing he would have been punished, and his disgrace would have returned to him twofold; but this merciful father who a moment previously had said, 'I no longer have a daughter!' and as such regarded Asenath as a stranger to him, nevertheless did not contain his fury, continuing to scold her and curse her in front of everyone, because of what? Because he *was* her father and he felt that he still had right and authority over her, since he had been her father for some years. With this judgement he brought the evil upon her that drove her to the grave, for the words that he spoke in his anger spawned a poisonous fruit in the furrows of Ithiel's heart, who, like any man, did not think much either, and did not tell himself that

חשב אותה כבוגדה באביה , ואחרי כי כבוגדה היתה בעיניו , לכן הטה אזנו לקול המלשין אשר הכה אותה בלשון לאמר : בגדה אסנת באישה כאשר בגדה באביה . זאת היא פעולת המשפטים המעקלים אשר מצאו קן בלב בני האדם וימאנו להרחיקם ממנו . המשפט המעקל הזה כי הצדקה להאבות לעשות את הבנים כחפצם השחיתה לב אביה לבל ירחם וידיח הרעה על בתו האהובה , ועל נפשו כי גם הוא מת מעֹצר רעה ויגון על בתו אשר ֲח ָשָׂבהּ לבוגדה , ואת לב אישה לבל יחוס עליה ביום זעמו , ולבל ישיב אל לבו כי לא בגדה באביה , ולוא גם בגדה בו , אין עוד אות נאמן כי בגדה בי , כי לא כהאב האיש , את האב לא בחרה לה כחפצה , ואת האיש בחר לבה ולא תבגוד בו , אך אחרי כי המשפט המעקל הכה גם אותו בסנורים לכן שמע בקול מלשין בסתר ויורד דומה את הנקיה החפה מכל עון . פיכל הוא צלם דמות אהבת הכבוד המדמה אשר על משפטים מעקלים תחיה ותמית את בעליה . Phichol might have been lying when he said that his daughter had betrayed him, for she had not betrayed him; on the contrary, he had betrayed her and alienated himself from her. Choosing a husband for herself did not constitute a betrayal; rather, she was acting in accordance with the law of nature. Was it her fault that on the day she was created fate gave her a heart which had an open chamber for love to settle in? She did not betray her father, in that she did not say to him: 'You are not my father'; rather he betrayed her, saying: 'You are not my daughter!' but nevertheless, Ithiel did not oppose him when he heard him insulting his wife, because of what? Because he too had been misled like every man to think that indeed the father has the authority and the right to do as he pleases with his daughter, and since he had been misled to think thus, he saw her as a traitor to her father, and since he saw her as a traitor, he paid heed to the informer who destroyed her with his speech, saying that Asenath had betrayed her husband as she had betrayed her father. This is the outcome of the perverted ruling that has become rooted in men's hearts, from which they have refused to distance themselves. This perverted ruling – that fathers have the right to do as they please with their children – corrupted her father so that he did not have mercy upon her and brought evil upon his beloved daughter, as well as upon himself (for he too died from affl iction, evil, and sorrow over his daughter, whom he had considered a traitor), and her husband, so that he did not have mercy upon her on the day of his fury, and did not tell himself: 'Indeed she did not betray her father, and even if she had betrayed him, there is no other reliable indication that she has betrayed me, for a husband is not like a father; she did not choose her father of her own free will, whereas she chose her husband, and she would not betray him.' Instead, since he too had been blinded by the perverted ruling, he listened to someone who slandered in secret and brought about the death of this blameless girl, innocent of any iniquity. Phichol is the very image of the love of false honour, which lives on perverted rulings and kills those who possess it.

 The rest of the men who appear in the story are not honourable in their actions; Chesed is a naive man who fell into the net of cunning unwittingly; Raddai is an empty- headed man chasing after desire who is trapped by his desire and goes to the grave because of his desire and folly.

 But Asenath is the very image of pure and faithful love, which knows no limits and sees no obstacles on its path; her love leads her to follow a man who has won over her conscience and heart; her love also sustains her to endure pain infl icted by her beloved, and her love does not abandon her even in death, and she blesses the name of her lover who destroyed her in his anger.

 This is the power of Shakespeare, for all the women who appear in his plays do not speak much and do not perform great deeds, but in few words we see them as if they were living before our eyes. Ophelia (in *Hamlet* ), יתר האנשים הבאים בהספור לא נכבדים המה במעשיהם ; כשד הוא איש תם אשר נפל ברשת הערמה מבלי דעת ; רדי הוא איש נבוב לב רודף תאוה אשר בתאותו נלכד וירד שחת בתאותו וסכלותו .

אבל אסנת היא צלם דמות האהבה הטהורה והנאמנה , אשר לא תדע כל מעצר ולא תראה כל שטן בדרכה , אהבתה תוליכנה ללכת אחרי איש אשר קנה כליותיה ולבה , אהבתה תסמכנה גם לשאת ולסבול מכאובים מידי אהוב נפשה , ואהבתה לא תעזבנה גם במות ותברך את שם אוהבה אשר טרף נפשה באפו .

זה הוא הכֹּח לשעקספיר כי כל הנשים הבאות בחזיונותיו לא תרבינה ַדֵבּר ולא תגדלנה לעשות פעולות גדולות , כי אם במעט מלים נראה אותן כמו חיות לעינינו . דברי ַ אפעליא ( בהאמלעט ), ַ יוליא ָ ברא ָ מעא ויוליא9 , ואסנת ( דעזדעמאנא ) באיתיאל תדברנה אך מעט , ובכל Julia in *Romeo and Julia* , <sup>9</sup> and Asenath (Desdemona) in *Ithiel* speak only little, but nevertheless we see the power of their limitless love. Even in death she did not abandon her love, and before her soul departed, she even tried to clear her beloved of any blame, saying, 'My hands did this', and these few words were potent enough to depict the power of love for us much better than entire books intensely praising its greatness and worth.

 Many have regarded Asenath's love as exaggerated, and now too many regard it as impossible, that this wretched girl who was murdered by the bridegroom of blood10 not long after her wedding, that this wretched girl should still continue to love him and should take such great blame upon herself as her soul departed, saying, 'My hands did this to me!' But they do not understand women's hearts. Almost all women and children – as well as many men – who are not used to waging war with the vicissitudes of circumstance, feel desire only as long as it is far from their reach, whereas if it is given to them without toil they do not rejoice in it. So too with their love: if they obtain it without obstacles or misfortunes, then they do not value it. Only with a multitude of obstacles in their way does their love grow, does its intensity increase without them searching out schemes to achieve their desire. Instead, they sit and quarrel with their circumstances, feeling angry זאת נראה עזוז אהבתן עד בלי די . גם במות לא עזבה אהבתה , וטרם נפחה נפשה עוד בקשה להסיר כל אשמה מעל ראש אהובה ותאמר : ידי עשו אלה , ודי כֹּח בהמלים האחדות האלה לתאר לנו כֹּח האהבה הרבה יתר מספרים שלמים המרבים להלל גדלה וערכה .

רבים נמצאו אשר חשבו את אהבת אסנת כנפרזה , ורבים ימצאו גם עתה אשר יחשבו זאת לנמנע , כי העלובה הזאת אשר זמן לא כביר אחרי נרצחה מידי חתן הדמים<sup>10</sup> חפתה , כי העלובה הזאת עוד תוסיף אהבתו ותאשם אשמה גדולה כזאת כרגע אשר נפחה נפשה לאמר : ידי עשו זאת לי ! אבל המה לא יבינו לב הנשים . כמעט כל הנשים כהילדים ורבים מהאנשים , אשר לא הסכינו לערוך מלחמה את הפגעים אשר ישלח בהם המקרה , המה ישגו בחפץ רק כל עוד אשר הוא רחוק מהם , ואם ינתן בידם מבלי עמל לא ישישו בו , וכן גם באהבתם , אם ימצאו ֹאתה בלי שטן ופגע רע אז לא תיקר בעיניהם , ורק ברבות המכשולים על דרכם כן תרב אהבתם , היא תגדיל כֹּחה בלבם מבלי אשר יבקשו תחבולות להשיג חפצם , כי אם ישבו ויריבו בהמקרים ויאנפו בהפגעים ונפשם עליהם תאבל , ואחרי אשר לא הסכינו ל ע ש ו ת לכן יגבר הרעיון כֹּחו ויקח כל הלב לעבד לו , עד כי לא ימצאו און להסיר מחשבת אהבתם מלבם אף רגע , לא כן אלה אשר נסו לערוך מלחמה את מקרי החיים , אותם יעוררו הפגעים ל פ ע ו ל ה , להרים כל מכשול , להסיר כל שטן מעל פניהם , ואם יצלחו בדרכם ישישו בו ,

 <sup>9</sup> Sic.

 <sup>10</sup> This is a reference to Exod. 4:25. See Fifth Act, note 73.

with their misfortunes and mourning over them, and since they are not accustomed to *act* , the idea grows more and more powerful, becoming master over their whole heart, until they cannot fi nd the strength to stop thinking about their love even for a moment; not so are those who have experience waging war against the vicissitudes of life; misfortunes spur them to *action* , to do away with every stumbling block and remove every obstacle from their way. And if they are successful they rejoice, but if they see that they have been ineff ectual, and all their toil has been in vain, they say to themselves: there's nothing for it, and toiling to no end is utter futility, and in this way they fi nd some comfort and relief. But women, who for the most part are not accustomed to physical battle, are always intoxicated in their love. And each stumbling block and misfortune stirs them not to obtain their desire by practical means, but rather to desire more intensely. Because of this, if a man shows his beloved frequent signs of love, he does not cause her love to intensify; conversely, if he treats her like a stranger and appears not to seek her love, then the love is ignited in her heart like an infernal blaze, and a woman will bear everything calmly, even condemnations and abuse, even blows from her lover's hand, especially if she sees that he did it out of jealousy, for jealousy in her lover's heart – even if it treats her very badly and embitters her life and forces her to sit at home like a bird in a cage and not to speak a word to anyone – even brings joy to her heart, as she thinks: indeed he is only

ואם יראו כי אזלת יד , וכל עמלם שיעמלו עוד יהיה לריק אז ישיבו אל לבם : הדבר הזה אין להשיב עוד ולעמול לשוא אך הבל ורעות רוח הוא ובזאת ינחמו וימצאו מנוחה ֹבפעל כפים , הנה תשגינה באהבתן תמיד , וכל מכשול ופגע לא יעוררו אותן למעשה למצוא חפצן כי אם להגדיל את החפץ בלבן ביתר שאת , אשר על כן אם ירבה איש להראות אותות אהבה לאהובתו אז לא יגדיל האהבה בלבה , לא כן אם יתנכר לה ויתראה כמו לא יבקש אהבתה , אז תצת האהבה בלבה כמדורת שאול , ואת כֹּל תשא אשה במנוחה גם חרפות ונאצות גם מכות מידי אוהבה , ומה גם אם תראה כי מקנאה עשה זאת , כי הקנאה בלב אוהבה , אף אם ָתֵרַע לה עד מאוד ותמרר חייה ותכביד עליה אכפה לשבת בית כצפור בכלוב ולבלי דבר דבר את איש , בכל זאת תתן הקנאה הזאת גם שמחה בלבה בחשבה : הן רק מאהבתו יקנא , והרעיון הזה די לה להשקיט רוחה , וגם אהבת אסנת לא רפתה בהדיח אותה אישה , ולהפך כי גברה עוד בלבה ביתר שאת , ומה גם ְב ִהָו ְכָחה כי מקנאה עשה זאת , אז סלחה לו על כל אשמתו ותהי נכונה גם לנשק את הידים אשר עשו קץ לחייה , ולא לפלא הוא כי בקשה להסיר כל אשמה מראש אישה אהובה בחשבה כי רק למען אהבתה עשה זאת , והשקר אשר דברה היה כאמת וצדק בעיניה , כי בו חפצה להציל את אישה מחרפה או עֹנש . jealous because of his love, and this idea is enough for her to silence herself, and so too Asenath's love did not weaken when her husband struck her down; on the contrary, it grew even more intense, especially as she was convinced that he had acted out of jealousy, so she forgave him for all of his wrongs, and she was even prepared to kiss the hands that had brought an end to her life. It is no wonder that she tried to clear her husband of all blame, her beloved, as she thought that he had acted only out of his love for her, and the lie that she told seemed to her like truth and justice, because through it she sought to save her husband from disgrace or punishment.

 But she did not tell a lie, for indeed her hands had done this to her: she had failed because of her great love and innocence; she trusted in her love too much, and because of that she pressured Ithiel to restore Chesed to his position, and it never even occurred to her that what she was saying might be a burden to him, that she might be asking something of him which should not be done even for love – namely, issuing a corrupt ruling and desecrating his honour. Only senseless youths follow love with closed eyes wherever it leads them and do everything that it commands them, performing strange deeds and uttering perversities. Not so for men who have made their mark on the world by their might and uprightness, and whose honour, which they have obtained with great toil, is more precious to them than all of life's pleasures, even more than love, even more than life. A sense of honour is extremely precious to those who understand its value, and they will forcibly remove everything from their

אולם היא לא שקר דברה , כי אמנם ידיה עשו זאת לה , כי היא ברב אהבתה ֻותמת לבה נכשלה ; היא בטחה באהבתה יתר מדי , ועל כן הציקה לאיתיאל בדברים להשיב את כשד על כנו , וגם שמץ מחשבה לא עלה על לבה , פן יהיו דבריה עליו למשא , פן תבקש ממנו דבר אשר גם למען האהבה לא ֵיָע ֶשׂה , והוא לעות משפט ולחלל כבודו . רק נערים חסרי דעה ילכו אחרי \* האהבה אל אשר תוליכם בעינים עצומות ויכשו ככל אשר תפקוד עליהם , יעשו מעשים זרים וידברו תהפוכות , לא כן אנשים אשר בכח ידם ויֹשר לבם הציבו להם יד בתבל , ואשר בעיניהם כבודם , אשר ברב עמל השיגוהו , יקר מכל חפצי החיים גם מהאהבה וגם מהחיים . רגש הכבוד יקר מאוד בעיני אלה אשר יבינו לערוך חין ערכו , וכל דבר אשר בידו לחלל כבודם אף במעט יסירו מעל פניהם בחזקת היד אף אם לבם ידוה מאוד על המעשה אשר יעשו . שופט נאמן אשר יצא לו שם בצדקתו לא יהפך למכיר פנים לחלל שם כבודו אף אם האהבה תצוהו לעשות כן , גבור מלחמה אשר בעזוז רוחו קנה לו שם גבורים לא ישבית מלחמה בעוד אויבו לנגדו גם אם האהבה תבקש זאת ממנו , איש הולך ברעיון לבו אשר התעורר לדבר אמת בשער להוכיח לנתעים אולתם ולחוטאים חטאתם על פניהם לא ישוב

> \*יעשו

path that has the power to tarnish their honour even slightly – even if the deed that they must do sickens them greatly. A faithful judge who has gained a reputation for his righteousness will not become biased, desecrating his honourable name, even if love commands him to do so; a warrior who has gained the reputation of a hero through his strength of spirit will not stop a war while his enemy is before him, even if love asks it of him; a man who has followed his conscience and stood up to speak the truth in public, rebuking misguided men for their folly and sinners for their sins, will not act deceitfully again, not even for love. Thus, no man who is sustained by a sense of honour and who found his path in life before he knew love will abandon his path for it, for the sense that had inspired him for a long time and had been like a light illuminating his path does not dim quickly; even if its voice is hidden for a day or two by the roar of love's voice, it will grow stronger in the end and will make itself heard with greater force. Only those who lack any noble yearnings in life wander after love like a beast into the valley,11 going so far as to commit strange and perverse acts, for they would commit strange and perverse acts even without love, since they have not chosen a sound path for themselves. Many women fail to understand this and place too much trust in the power of love, asking of their lovers things that it is inappropriate for them to do; in this way they do themselves ill, for if once or twice the lover disregards and overrides his honour, the power of love is indeed thereby weakened, and woe to love if its

לעשות חֹנף גם למען האהבה , וכן כל איש אשר רגש הכבוד יחיהו ויפלס לו נתיב בחיים בטרם אשר הכיר דרכי האהבה לא יעזוב דרכו בעבורה , כי הרגש אשר מצא בלבו מסלות ימים רבים ויהי לו כאור מאיר בדרכיו לא יועם עד מהרה , וגם אם יום או יומים ֵיָחֵבא קולו משאון קול האהבה , יגבר לאחרונה חילים וישמיע קולו ביתר עז , רק אלה אשר לבם ריק מכל חפץ נעלה בחיים המה אחרי האהבה לעשות גם יתעו כבהמה בבקעה<sup>11</sup> זרות ותהפוכות כי המה יעשו זרות ותהפוכות גם בלעדי האהבה , אחרי כי לא ברו להם דרך סלולה , וזאת לא תביננה נשים רבות ותבטחנה בכח האהבה יתר מדי ותשאלנה מאת אוהביהן דברים אשר לא נאוה להם לעשות , ובזאת תרענה לנפשן , כי אם פעם אחת ושתים ימחול האוהב על כבודו ויעבור על מדתו , אך בזאת ירפה כֹּח האהבה , ואוי לה להאהבה אם כחה רפה אך מעט , כי אז תלך הלוך וחסור עד כי תסוף מלב ולא לעתים רחוקות תהפך לאיבה בהיותה למשא , אך נשים רבות לא תדענה זאת ותכרינה בידיהן קבר לאהבתן , קבר עולמים . וזאת היתה גם לאסנת , היא לא השכילה עשות בהציקה לאישה בדברים לעשות את אשר ֵמֵאן לעשות , ולוא גם לא בא בעצמותיו רקב הקנאה , אשר זאת לא ידעה , גם אז לא בחכמה בקשה זאת ממנו , ולה היה לדעת כי לא לאשה להתערב במשטרי המדינה ומשפטי צבא המלחמה , לה היה לדעת זאת לוא ידעה ארחות התבל ולב הגברים , אך היא ֹבתם לבה לא הבינה זאת , ועל כן היו לה תמתה ואהבתה לפח ולמוקש , ודואג הבליעל עשה גם אותן לכלי משחית לחבל נפשות זעומי נפשו ביעצו את כשד להרבות תחנה לפניה , ובדברו על לבה , כי תרב אמריה לאישה , ובהראותו לאיתיאל כי אך מאהבתה לכשד תעשה זאת , ועל נקלה מצאו דבריו הרעים מסלות בלבב איתיאל , אחרי כי דבריה היו לו למורת רוח גם בלעדי הקנאה , ולוא גם שמע לדבריה בפעם הזאת , כי אז בלי ספק קצף עליה לוא נסתה שנית לעשות כזאת . ובדברי אסנת המעטים השכיל שעקספיר מאין כמהו להורות דרך להנשים כי תדענה איך ללכת

 <sup>11</sup> See note 1.

בעקבות האהבה לבל תכשלנה , לבל תרבינה לבטוח בכח האהבה יתר על המדה ולבל תכרינה בידיהן לה קבר , אשר עליו תבכינה כל ימי חייהן מבלי אחרית ותקוה .

power is weakened even slightly, for then it continues to diminish until it disappears and not infrequently turns into enmity, being a burden. However, many women are ignorant of this and dig a grave – an eternal grave – for their love with their own hands. This was the case for Asenath too; she did not act wisely in pressuring her husband to do what he had refused to do. Even if the rot of jealously had not set into his bones (which she did not know), it still would not have been wise of her to ask this of him; she should have known that a wife must not interfere with state governance and military judgements. She would have known this if she had been familiar with the ways of the world and men's hearts, but in her innocence she did not understand this. Thus her innocence and love became a trap and a snare, and the villain Doeg made even them into an instrument of destruction to obliterate those with whom he was angry by advising Chesed to plead repeatedly to her, convincing her to speak repeatedly to her husband, and showing Ithiel that she was only doing this because she loved Chesed. His evil words easily made inroads into Ithiel's heart, since what she was saying would have caused him grief even without the jealousy, and even if he had listened to her the fi rst time, he would have undoubtedly grown angry at her if she had tried to do such a thing a second time. And through Asenath's few words, Shakespeare managed like none other to show women how to follow love without stumbling, without trusting too much in the power of love and without digging a grave for it with their own hands, over which they would cry all the days of their lives without a future or hope.

במלכה הציג לפנינו אשה במעלה שפלה מאסנת , אשה אשר תאמר בפה מלא , כי לא תסוג אחור מחטא אם שכר הרבה תקח , ולא באשמתה , כי אם באשמת אישה הבליעל אשר התעמר בה , כאשר נשמע דבריה אודות האנשים , ומספר נשים כאלה אשר באשמת בעליהן תשחתנה ותשכחנה אורח יֹשר לא מעט הוא בתבל , והוא יגדל הרבה יתר ממספר נשים כאסנת .

ענה היא אשה במדרגה היותר שפלה בין הנשים כמדרגת רדי בין האנשים , אשר אין לדבר אודותה הרבה , ובשלש אלה נתן לפנינו ציור נאמן כמעט מכל הנשים לפלגות דרכיהן ויצרי לבהן .

מכל אלה נראה כי החזיון הנעלה הזה יהיה כאור מאיר , כמורה דרך נאמן לרב אדם , להורותם דרכי התבל וארחות לבב בני האדם , תאותיהם , מזמותיהם ויצרי לבם . כי החוזה הזה לא חוזה לעם אחד או לארץ אחת הנהו , הוא חוזה לכל העמים ולכל הארצות , כי לא דרכי בן עם אחד או אנשים פרטיים ַיְרֶאה לנו כי אם דרכי האדם בכלל , ועל כן יהיה כמורה לכל בני האדם , וגם לנו בשפתנו לא כזר יחשב , כי אם נתבונן אך מעט אז נראה כי גם בנו יש ויש אנשים באיתיאל ופיכול ודואג ודומיהם .

אם אמנם שרי צבא גדולים כאיתיאל אשר יראו עזוז רוחם ֹ ואמץ ידם על שדי קטל אין לנו , אך תחת זאת יש ויש בקרבנו בני המעלה תמימי דרך , רבנים , מורים , ראשי העדה וגבירים בעם תמימי לב , אשר יטו ֹאזן קשבת לדברי מלשינים

 In Milcah he has presented us with a woman on a lower level than Asenath, a woman who says decisively that she would not shy away from sin if she were to receive a great payment, and that it would not be her own fault, but rather the fault of her husband, the villain who had mistreated her (as indeed, according to her, all men do). The number of such women on earth, who are corrupted by their husbands and forget the honest way, is not small; indeed, it is much bigger than the number of women like Asenath.

 Anah is a woman on the lowest level among women, equivalent to Raddai's level among men, about whom there is not much to say, and in these three we have been given a reliable portrait of almost all women, with the diversity of their characters and inclinations.

 From all these, we see that this exalted play becomes like an illuminating light, like a faithful guide for the multitudes, instructing them in the ways of the world and the desires, schemes, and inclinations of men's hearts. For this playwright is not a playwright for one people or one land, he is a playwright for all peoples and all lands, for he does not show us the conduct of a member of a single people or individual men, but rather the conduct of men in general. Therefore he is like a teacher for all men, and should not be considered a stranger even to us in our language, for if we observe just a little, we see that among us too there are men like Ithiel and Phichol and Doeg and their ilk.

 Although admittedly we do not have great army commanders like Ithiel, who display their prowess and courage on the battlefi eld, instead we have in our midst members of the elite who are innocent in their conduct, innocent rabbis, teachers, community leaders, and rich men who turn an attentive ear to the words of those who slander in secret, to crooked- hearted men who would guide their leaders into oblivion in order to acquire money or a position, corrupting justice, pursuing blameless men who have done no wrong, and spreading quarrels and strife in each and every community. And the Jewish people are not at all lacking in men like Doeg; in almost each and every town, in each and every community, there are men like him by the dozens, who with their lying and deception set cities afl ame, sow discord, and cause destruction. One calls on the name of faith and puts a Godfearing veil over his face in order to destroy many followers of the Haskalah by making judgements against those who have forgotten God, while another carries the banner of the Haskalah on his shoulders in order to oppress those whom he considers to be fools and simpletons, as they draw water from the well of faith in order to sustain themselves; and together they all surround the great ones with their deceit and the lesser ones with their fear or their intellect, and they cause a great deal of failure wherever they go. Indeed, all such men are Doeg's friends, and they camp under his banner.

 But men like Phichol, who are blinded by the desire for power, are perhaps even more numerous among the Jewish people than among all other peoples. There is almost no people on earth which regards its sons and daughters as livestock bought with its money, doing what it pleases with them, like the Jewish people do. Among all peoples we see that only their great men and leaders are

בסתר , לנעוי לב אשר למען מצוא כסף או משרה יטוּ ֹבתּהו ראשיהם לעות משפט ולרדוף נקיים על לא חמס עשו ולהרבות ריב ומדון בעדה ועדה , ומאנשים כדואג לא אלמן ישראל מכל וכל ; כמעט בכל עיר ועיר ובכל עדה ועדה נמצא אנשים ֹכמהו לעשרות , אשר בשקרותם ותרמיתם יפיחו קריה , ישלחו מדנים וישימו שמות , זה יקרא בשם האמונה וישים מסוה יראת אלהים על פניו למען ירבה חללי ההשכלה בשומו שפטים בשוכחי אלהים , וזה ישא דגל ההשכלה על שכמו למען דכא האוילים והפתאים בעיניו , אשר מבאר האמונה ישאבו מים להם להחיות נפשם , וכלם יחד יסבבו את הגדולים בתרמיתם והקטנים ביראתם או בדעתם וירבו כושל על כל דרכיהם . הנה כל אלה חברי דואג המה ועל דגלו יחנו .

אבל אנשים כפיכל אשר תאות הכבוד תעור עיניהם רבים בבית ישראל אולי גם יתר מאשר בכל העמים . כמעט אין עם בארץ אשר יחשוב את בניו ובנותיו כמקנת כספו ויעשה בהם כחפצו כעם ישראל ; בכל העמים נראה רק כי אדיריהם ומושליהם לא יפנו אל רגשות לב פרי בטניהם ויתנום לאשר ישר בעיניהם למען ינחלו כבוד ולהרבות כבוד משפחתם , ובישראל כמעט כלם מקטניהם עד גדוליהם , ממשכיליהם עד אויליהם כלם יחד בני מלכים הם וכבוד המשפחות ויחש הם המה המזוגים זוגים להם . אך שקר יתפארו כי מרחמים על בניהם אין ֹכמהם , וכי כל ימי חייהם יעמלו רק למען יצליחו את בניהם , כי באמת לא לבניהם כי אם למען נפשם , למען הרבות כבודם יעשו זאת . לוא הביטו אל הצלחת בניהם באמת , כי אז שמו לבם לפלס להם דרך סלולה בחיים , ללמדם עבודה ומלאכה אם לא יצלחו לדעת , ולא זכרו לרגעים את יחשם אשר יחלל על ידי הדבר הזה , לו חפצו באמת להצליח את בנותיהם , כי אז לא ביד מלאכים ושדכנים בחרו להן אנשים , כי אז לא הביטו אל כבוד משפחות , אל רב אוילי אשר יאציל מהודו על כל המשפחה כלה , אל גביר אשר גזל חיל זרים ויעשה חיל ויאציל מברק זהבו על כל בני משפחתו .

הן מה הוא יחש רוב משפחות בני ישראל ? האחד עשה עֹשר ברמיה וידו מצאה לקנות שנים רבות ולעמוד בראש בבית ששי ומפטיר<sup>12</sup> וכהנה ויהיה לפנת התפלה ולקנות ספרי תורה<sup>13</sup>

deem suitable in order to gain honour and increase their family's honour, whereas among the Jewish people almost everyone, from the most insignifi cant to the greatest among them, from the wisest to the most foolish among them, are all the sons of kings, and family honour and pedigree are the things that make matches for them. But they falsely boast that no one is as merciful towards their children as they are, and that they toil their whole lives only in order to grant their children success, but in truth it is not for their children but rather for themselves, in order to increase their honour that they do so. If they were really thinking of their children's success, they would take care to make a path for them in life, to teach them a trade if they are not suited for study, and they would not constantly think about how this would ruin their pedigree. If they really wanted to grant their daughters success, they would not choose husbands for them by means of messengers and matchmakers, they would not consider familial honour, or a foolish rabbi who bestows his glory upon the whole family, or a rich man who has robbed strangers of their wealth and has become successful and bestowed the radiance of his gold upon all the members of his family.

 Indeed, what is the pedigree of most Jewish families? One has become rich through deception, and has managed to buy the sixth Torah portion and *maftir*<sup>12</sup>

indiff erent to their off spring's feelings, marrying them off to whomever they

 <sup>12</sup> This refers to the practice of dividing the Sabbath Torah reading in synagogues into seven portions and giving diff erent members of the community the honour of being called up to recite the blessings over each portion. The sixth portion is particularly esteemed and is often assigned to learned members of the community. The *maftir* portion follows the seventh portion; it consists of the last few lines of the seventh portion followed by the *haftarah*, a selection from the Prophets with links to the Torah reading.

for many years, to occupy a leading position in the synagogue, and to buy Torah scrolls 13 and so forth, and he becomes a precious cornerstone for his entire family and all of his descendants derive their honour from him and mention his name with great pride. Another has borrowed money without repaying it on multiple occasions, yet nevertheless he is considered generous, for he is a friend of the burial societies and gives of his stolen money to charity; a third one acted corruptly and committed every indecency in his trading with partners from other lands in the days of his youth, and yet in his old age he sits in a prayer- shawl and phylacteries for two hours a day in the studyhouse and is called a righteous man, and all his sons and daughters boast of his honour; a fourth one made his wealth through deceit overnight on the stock market and became respected by all, and this man has a rabbi or *dayyan*<sup>14</sup> or ritual slaughterer in his family, whose honour is as naught in his eyes, and when he speaks to them he lords it over them because he is rich and they are poor, but on the day when it comes to discussing a marriage match for his son or daughter, he puff s himself up like a frog and mentions the name of the exalted man, because he too is illuminated by the light of his honour. And they all (except a small number of people, and they are very few, who with their hearts as well as their mouths seek only their children's happiness) see their sons and daughters only as a way of increasing the family honour, and even if the girl cries out bitterly: 'I have no desire

יקרת לכל משפחתו ותלו עליו כל הצאצאים ובשמו יזיכירו וילבשו גאות כמדם . השני לוה ולא שלם פעמים ושלש ובכל זאת לו נדיב ֵיָאֵמר כי חבר הוא לחברות קדושות ויעניק מכסף הגזל לצדקה , השלישי שחת דרכו ועשה כל זמה בסחרו אל ארצות לרגלי מסחרו בימי עלומיו ולעת זקנותו ישב בטלית ותפלין שתי שעות ביום בבית המדרש ולו צדיק יאמר ובכבודו יתימרו כל בניו ובנותיו , ורביעי עשה עֹשר ברמיה בין לילה על ֶ הבארזע ויהי לנכבד לכל , ולזה רב או דין<sup>14</sup> או שוחט במשפחתו , אשר כבודם כאין בעיניו ובדברו אתם יגדיל עליהם עקב כי הוא עשיר והמה עניים , אך ביום ֶשְיֻדַבר בבנו או בבתו אז יתנפח כצפרדע ויזכיר בשם הגבר הוקם על אשר יפיץ מאור כבודו גם עליו . וכלם כאחד ( מלבד מתי מספר והמה מעטים מאוד , אשר בלבם כמו בפיהם יבקשו רק ֹאשר בניהם ) ישאו עיניהם אך להגדיל כבוד המשפחה על ידי בניהם ובנותיהם , ואם גם נפש הנערה מר תשוע : אין חפצי אל שנוא נפשי , יקר בעיני המות מתת חיי בידי איש אשר רוחו זרה לי , ואם גם יתחנן הבן : נפשי קצה בבת הגביר או המיחש הלז אשר תארה משחת ולבה ריק ואיכה אשליך חיי מנגד לבלות ימי באנחה ? תצעקנה ותהמינה הנפשות הנענות האלה כהעולה על רוחן ושומע אין להן מאת אבותיהן מ ר ח מ י ה ן , אשר רק למענן יחיו ולמענן ירבו עמל ועבודה , ולמענן יעשו עֹשר ברמיה ונלוז . פה איש חסיד נבער מדעת ְיַלֵמד בתו שפה ולשון ולפרוט על פי הנבל ולצאת במחול משחקים והיא תלמד ותעשה חיל ותקנה לב ובאחריתה תהיה לאשה לנבל חסר דעת , חסיד ממשפחה מיחסת ונפשה תשוע : למה עכרתני אבי בתתך אותי ללמוד דעת ולפקוח עינים למען אראה שברי ? לוא כאחת חסרות הדעת הייתי כי אז הייתי מאשרת , כי אז לא ידעתי תפארת אנשים כי אז לא הכרתי ערך האדם המעלה מן בזוי אדם ואתה הבאת שבר ברוחי בהביאך דעת בלבי ועתה תוסיף לגזול אשרי וחיי בקשרך אותי אל בול עץ ! – תצעק תהמה כחפצה ואזני אביה הרחמן אטומות , כי

 <sup>13</sup> Sponsoring a scribe to produce a Torah scroll for the community is an extremely costly endeavour that is considered a great honour in Jewish society.

 <sup>14</sup> Judge in a rabbinical court.

for a man whom I despise; I would prefer to die rather than to give my life to a man who is alien to me,' and even if the son begs, 'I am repulsed by the daughter of this rich or pedigreed man who has a corrupted character and a hollow heart, so how can I endanger my life and spend my days groaning?' These affl icted souls cry out and howl how they feel, but there is no one to listen to them among their *merciful* fathers, who live only for them and toil intensively for them, and gain wealth for them through deceit and dishonesty. In one case a pious and ignorant man teaches his daughter languages, and how to strum on a harp, and how to go out to merrymakers' dances, and she studies and is successful and acquires knowledge, yet in the end she is to become the wife of an ignorant fool, a pious man from a pedigreed family, and she cries out: 'Why did you bring trouble upon me, father, by letting me acquire knowledge and open my eyes, so that I might see my destruction? If I were like one of the ignorant girls, then I would be happy, for I would not know the glory of men, I would not know the worth of an exalted man compared to a despicable man; but you have brought destruction upon me by giving me knowledge, and now you continue to rob me of my happiness and my life by tying me to a block of wood!' – She cries out and howls how she feels, but her merciful father's ears are closed, because he is doing this for her happiness. In another case a man befriends Maskilim and appears to be an enthusiast of the Haskalah in order to gain honour, and his daughter has learned since her youth to honour Maskilim and the Haskalah, seeking not wealth,

למען אשרה יעשה זאת . שם יתרועע איש את משכילים וכחובב השכלה ֵיָרֶאה למען ינחל כבוד ובתו למדה ֹמנער לכבד משכילים והשכלה ולא תבקש עֹשר ומרכבות מרקדות והיכלי עֹנג כי אם איש אשר קנה כליותיה ולבבה , וביום שידבר בה יבחר אביה באיש אוצרות אף אם לא דעת ולא תבונה ולא תֹאר אדם לו , ולרגלי החמור הזה ישליך את בתו כי ידרוך עליה ברגל גאוה , כי איש עשיר תאוה נפשו וצרת נפש בתו לא תרך לבו כי לאשרה והצלחתה יתן כ ס ף לה . לו קבצו הדמעות הנובעות מעיני נפשות נענות כאלה למקום אחד כי אז היו לנחל שוטף , לוא התאחדו כל האנחות היוצאות מלבות נשברים כאלה כי אז היו לרוח סערה נוראה מאוד , אך איש לא יספרן ולא יקבצן ולא ישים לב להן , וימכרו את בניהם ובנותיהם כעבדים למען מלא תאות נפשם לכבוד , ובכן ירבו האמללים , ושלום אמת בבית איש ישראל ( ומה גם בעת הזאת אשר נפלגו לבות בני ישראל למפלגות היראים והמשכילים ) הוא דבר יקר מאוד ; בארצות אשר עוד לא החזיקו בכל דרכי העמים נשמע מצה ומריבה בין איש לאשתו , נראה יום יום באים לבתי הדינים לתת ספר כריתות לאשתם אשר נתנו אבותיהם להם , גרושות אמללות , עגונות שוממות נראה על כל צעד , ובארצות אשר שם בוש יבושו לשלח את אשתם , כי חרפה היא , יפנו איש לדרכו , אחרי עיניו ולבו , ונשותיהם גם הנה תלמדנה ארחותיהם , וזאת היא ההצלחה אשר על במותיה ירכיבו האבות הרחמנים אשר יעמלו רק למען פרי בטנם , את בניהם ובנותיהם . יראו תלמידים פיכל אלה מבני ישראל הבוחרים בדרכיו , את דרכיהם ועלילותיהם בהמחזה הזה כבראי מלטש , ואולי יבינו לאחריתם , יראו תמימי לב כאיתיאל את דרכי הנוכלים הבוגדים וידעו להזהר מהם , יראה כל העם את דרכי הבוגדים כדואג ולא יזנו אחריהם . אחת היא על כן אמרתי , כי החזיון הזה גם לנו הוא כמו לכל העמים , ועל כן עלינו להכיר טובה להמעתיק הזה בהביאו אל אוצר שפתנו כלי חמדה כזה , כלי חמדה אשר לתפארת ולחפץ יהיה לשפתנו . ומה מאוד ישמח לבי בזכרי כי אני העירותי את רוח המעתיק לעשות המלאכה dancing chariots, or palaces of pleasure, but rather a man who has won her mind and heart. But on the day when her match is arranged, her father chooses a wealthy man, even though he is devoid of knowledge, intellect, and manly qualities, and he throws his daughter at the foot of this ass in order for him to trample on her with a prideful foot, for he desires a rich man, and his daughter's distress does not soften his heart, for he is giving her *money* for her happiness and success. If the tears welling up from the eyes of these affl icted souls were gathered into one place, they would become a fl owing stream; if all the groans emanating from such broken hearts were united, they would become a very fearsome storm wind, but no one counts them, no one gathers them, no one pays attention to them; they sell their sons and their daughters like slaves in order to satisfy their own desire for honour, and therefore wretched people proliferate, and true peace in a Jew's home (especially at this time, when the hearts of the Jewish people have been divided into the camps of the God- fearing and the Maskilim) is a very precious thing. In countries where the Jews have not yet adopted Gentile ways, we hear of strife and quarrels between a man and his wife; on a daily basis we see men going to the courthouses to grant bills of divorce to their wives whom their fathers had given them; we see miserable divorcées and desolate abandoned wives at every step. Meanwhile, in the countries where men are ashamed to get rid of their wives, because it is a disgrace, each man does as he pleases, following his eyes and heart, and their wives also learn their ways, and this is the success upon whose altars

הזאת , ועל משפטי נשען להוציא פעולתו לאור , כי ימים רבים כלתה נפשי לראות פעל ידי ראש החוזים לובשים אדרת שפתנו , ימים רבים בראותי כי סופרינו , כאלה אשר להם יאות שם סופרים כן אלה אשר יקחו להם השם הזה בלי כל צדקה , יפנו איש איש לספרים זרים להלבישם בלבוש שפתנו , ספרים זרים לעמנו , לרוחנו ולשפתנו , ספרים אשר לא יביא כל ֹתּעלת ודעת , ספרים גם אשר אין שוה להדפיסם בשפה אשר נכתבו ואף כי להעתיקם לשפה אחרת , בספרים כאלה יבחרו סופרינו להעשיר בהם אוצר ספרתנו , בראותי כזאת אמרתי תמיד : האם בשגעון ֻהכּוּ כלם לבחור רק רע ומשחת ואין מתעורר לתת לנו דברים טובים ומועילים . מי יתן וימצא איש מעתיק חזיונות שעקספיר לשפתנו ועליו תבוא ברכת כל אוהבי שפתנו אשר יבינו פעלו – כן אמרתי תמיד לאוהבי , והנה זה נמצא היום גואל לשפתנו אשר החל לנסות כחו במלאכה הזאת , נסה וגם הצליח במאוד מאוד , כאשר תחזינה עיני הקוראים , ומי יתן והיה את לבבו להוסיף במלאכתו זאת להאדיר קרן שפתנו , ולקרב לב רבים מקוראיה , אשר עוד לא יבינו משפט מה טוב ומה רע , לשים עיניהם ולבם אך לספרים טובים ונעלים כמו אלה , ופעלו הטוב יהי משכרתו , כי למשכרת אחרת לא ייחל ולא יקוה , כי אם להגדיל כבוד שפתנו ולהאדירה , וידעתי נאמנה כי לא יבוש משברו , כי כל הקוראים יודוהו על פי פעלו כאשר אודהו ואברכהו אני על הטוב אשר עשה .

> וויען תשיעי לירח שבט שנת תרל"ד . 15 פרץ בן משה סמאלענסקין .

the merciful fathers who toil only for the benefi t of their off spring place their sons and daughters. These Jewish students of Phichol who choose to follow in his footsteps will see their conduct and their actions in this play as if in a polished mirror, and perhaps they will understand what lies in store for them; innocent men like Ithiel will see how traitorous scoundrels behave and will know to be wary of them; the entire people will see the behaviour of traitors like Doeg and will not go chasing after it. It is all the same; therefore I say that this play is also for us just as it is for all peoples, and therefore we must be grateful to this translator for bringing such a precious object into the treasurehouse of our language, a precious object that will be a beauty and a delight for our language. And it gladdens my heart very much when I recall that I spurred the translator on to perform this labour, and that he relied upon my judgement to bring his work to light, because for a long time I had yearned to see the work of the greatest of playwrights dressed in the mantle of our language; for a long time, when I saw that our authors – those deserving of the title of author as well as those who take this title for themselves without any justifi cation – were all turning to foreign books and dressing them in the garment of our language, books foreign to our people, our spirit, and our language, books that bring no benefi t or knowledge, books not even worth printing in the language in which they were written, let alone translating into another language, our authors were choosing such books with which to enrich the treasure- house of our literature; when I saw such things, I always said: 'Have they all been stricken with madness, choosing only what is evil and corrupt, with no one stirring to give us good and benefi cial words? If only a man could be found to translate the plays of Shakespeare into our language, he would receive the blessing of all lovers of our language who understood his work' – I always said this to my friends, and look, today someone to redeem our language has been found, someone who has begun to try his hand at this work; he has tried it and has succeeded most greatly, as readers will see. If only he should desire to continue with this labour of his, to glorify the prestige of our language, and to draw in many of its readers, who do not yet know how to judge what is good and what is bad, paying attention only to good and exalted books like these! May his good deed be his wages, for he does not wish or hope for any other wages, other than to increase and magnify the honour of our language, and I know with certainty that he will not be put to shame in his hope, because all readers will praise him for his work just as I praise him and bless him for the good that he has done.

> *Vienna* , the ninth of the month of Shevat, 5634.15 *Peretz ben Moses Smolenskin* .

 <sup>15</sup> This date on the Hebrew calendar corresponds to 27 January 1874.

# **Letter from the translator to the publisher**

 I have fulfi lled your desire, my friend, and translated *Othello* from English into Hebrew. I have also obeyed you and called it *Ithiel* in Hebrew, which resembles *Othello* only in pronunciation, and not *Athlai*<sup>16</sup> as I had called it in the beginning, and which is its correct translation. But after I fi nished the work, I was disheartened, for while reading the original, each and every utterance chimed in my ears with a voice full of power and glory, like the voice of a living man emerging from Shakespeare's throat, but my translation was not like this, for its voice issued like a ghost from the ground, and my words spoke from the dust. And even though I knew well that I had translated the author's ideas faithfully and had not strayed from his thoughts to the right or the left, nevertheless the road is long between the living language emerging from the mouth of the greatest man among the Anakim17 and the Hebrew language twittered by a man such as myself. It is in no way lost on me that the man contemplating the work of his own hands resembles a woman looking at her face in a polished mirror; she cannot know whether she is beautiful or not if she has not heard so from someone else's mouth; and thus is man; he should not be judge of the work of his hands or testify about it either for good or for ill, because the judgement is for others. Therefore

# מכתב המעתיק אל המוציא לאור

מלאתי רצונך ידידי, והעתקתי את אָטעלא מאנגלית לעברית וגם שמעתי בקולך וקראתי שמו בישראל איתיאל , הדומה רק במבטא אל כאשר קראתי לו בתחלה, אטעלא ולא ַע ְתַלי , 16 ואשר הוא תרגומו הנכון . אך אחרי אשר כליתי את המלאכה, נפלו פני , כי מדי קראי במקור הספר , כל מאמר ומאמר מצלצל באזני בקול עז והדר , כקול איש חי היוצא מתוך גרונו של שעקספער , לא כן העתקתי , כי כאוב מארץ תתן קולה ומעפר תשח אמרתי . ואף כי ידעתי מאד , כי רעיון המחבר העתקתי באמונה ולא נטיתי ממחשבתו ימין ושמאל , בכל זאת רב הדרך , בין לשון חיה היוצאת מפי האדם הגדול בענקים<sup>17</sup> ובין לשון עברית אשר יצפצף איש כמוני . אפס לא נעלם ממני , כי האיש המתבונן במעשה ידיו , דומה הוא לאשה , אשר תראה את פניה בראי מלוטש , היא לא תוכל לדעת , אם יפה היא או \*, אם לא שמעה כן מפי זולתה , וכן הוא האיש , לו אין לו להיות דיין ועד על מעשה ידיו , לא לטוב ולא לרע , כי המשפט לאחרים הוא . ואשר על כן הנני שולח לך בזה את ההעתקה , ואתה תחרוץ כטוב בעיניך : אם תאמר , כי בריאת בשר היא וגלגול הנפש מענגליש לעברית נעשה כהוגן , אז בידך היא להוציאה לאור ולהביאה בקהל ישראל , ואם תמצא כי טעם שעקספער לא עמד בקנקני , וריח שפת קדשנו נמר בהעתקתי , הגד לי כן בפה מלא , ואני הנני נכון לאבד מעשה ידי ונתתי את עמלי למאכולת אש , כי למה אני מכניס צפרדעים למצרים והעתקה רעה למחנה העברים ? המעט להם העתקות רעות ונשחתות אשר שרצו סופרי ישראל כיאור מדור דור ? או האין לי מלאכה אחרת בעולמי , בלתי להתעלל באשת יפת תאר ולתעב את יפיה , עד אשר תגעל בה נפש הרואה ונמצא שם שעקספער מתחלל

 <sup>16</sup> This minor biblical character, mentioned in Ezra 10:28, was a Judean who had intermarried but was infl uenced by the scribe Ezra to send away his foreign wife. See First Part, note 94. Apart from this brief statement and one editorial comment at the end of the play (see Publisher's Note, note 1), there does not seem to be any documented indication as to the extent of Smolenskin's changes to Salkinson's translation, nor as to how Salkinson might have regarded such alterations to his work.

 <sup>17 &#</sup>x27;The greatest man among the Anakim' is a citation of Josh. 14:15; the Anakim or Anakites were a race of primordial giants mentioned on various occasions in the Hebrew Bible.

I am hereby sending you the translation, and you must decide as you see fi t: if you say that it is healthy and that the reincarnation from English to Hebrew has been conducted appropriately, then it is in your power to publish it and introduce it to the Jewish community, but if you fi nd that Shakespeare's fl avour has not remained in my jar, and the scent of our holy tongue has been altered in my translation, tell me so decisively, and I shall be prepared to destroy the work of my hand and to hand over my toil as fuel for the fi re, for why should I bring frogs into Egypt and a bad translation into the camp of the Hebrews? Do they have too few bad and corrupted translations, with which Jewish authors have been swarming like the Nile for generation after generation? Or do I have no other work to keep me occupied, other than mistreating a beautiful woman and defi ling her beauty, to the point where the viewer would be repulsed by her and Shakespeare's name would be desecrated at my hand? Indeed, it is true that I translated *Paradise Lost* and printed it and took it upon myself to ensure that it would see the light of day, without taking advice from knowledgeable people, but there were two reasons for that; the fi rst reason is that this great and important book is constructed from beginning to end on the foundation of the Holy Scriptures, and because of my great love for the books of the L ord I determined to present this voluntary off ering upon the altar of our language for the good of the Jewish people; and if they scorn my off ering, I shall not take it to heart because the L ord , who sees into the heart, knows that I did this for His honour. \*) And the על ידי? הן אמת הדבר כי ספר Lost Paradise העתקתיו והדפסתיו על אחריותי שלי כי יצא לאור עולם , בלי קחת עצה מפי יודעי דת ודין , אך שני טעמים היו בדבר ; הטעם הראשון , כי הספר הגדול והנכבד הזה , בנוי מתחלתו ועד סופו על יסוד ספרי הקדש , ומרוב אהבתי לספרי הꞌ, אמרתי להגיש מנחת נדבה זו על מזבח שפתנו לטובת עם ישראל ; ואם הם יבעטון במנחתי לא אשים לב כי השם הרואה ללבב , הוא יודע \*). והטעם השני כי הספר כי לכבודו עשיתי זאת Lost Paradise איננו נודע כל כך בשערי ישראל , ויש רבים מראשי חכמיו וסופריו אשר שמעו את שמעו , כי מעשה ידי אמן גדול הוא , ובכל זאת לא קראו דבריו , לא ראו הודו ולא ידעו מה הוא , ועל כן נדרשתי ללא שאלוני , והעתקתי את הספר לבני עבר , למען ידעו ויכירו מה ערך האיש מילטאן הגדול בחסידי אומות העולם ומה פעל בספרו , אשר קראתיו בשם ו י ג ר ש א ת ה א ד ם, 18 כי נפלאות יחזו בו , אשר לא נבראו בכל הגוים עד היום הזה . לא כן שעקספער , ספריו נקראים בארבע כנפות הארץ בשבעים לשון , ואת חזיונותיו יראו הרואים על הבמה בכל עיר גדולה , על כן אין לי חפץ להביא ספריו בקהל ישראל בטרם אשמע מפי איש רב ושליט כמוך כי העתקתי נכונה ומותרת היא לבוא בקהל . ואם אחרי כן יבואו המבקרים וימצאו בה ערות דבר אתה ידידי לבדך תשא , ואני את נפשי הצלתי.

> ידידך מוקירך ומכבדך *J.E.S*.

 \* ) אם הקוראים יבעטו בהמנחה אשר הביא להם בספרו "ויגרש את האדם" הוא לא יען כי לא הצליח במעשהו, כי כל הקוראים המבינים הוקירו פעלו ויתפלאו על כשרונו בהעתקה במאוד מאוד, אך ענין הספר לא ירצה לבן ישראל, ועל כן אם לא יתן לפעל המעתיק

 <sup>\*)</sup> If readers scorn the off ering that he has brought them with his book *So He Drove Out the Man*, it is not because he was unsuccessful in his work, for all understanding readers have praised his work and have marvelled very greatly at his talent

second reason is that *Paradise Lost* is not so well known among the Jewish people; while there are many among its foremost sages and authors who have heard of it, and that it is the work of a great artist, nevertheless they have not read it, have not seen its glory and do not know what it is, and therefore I responded though no one had asked me, and translated the book for the Hebrews, in order that they might know and recognize the worth of Milton, the greatest of the righteous among the nations, and what he achieved with his book, which I have called by the title *So He Drove Out the Man*, <sup>18</sup> because wondrous things can be seen in it which have not been devised in any nation until this day. It is not so with Shakespeare; his books are read in the four corners of the world in seventy languages, and viewers can see his plays on the stage in every big city; therefore I have no desire to bring his books into the Jewish community before I hear from the mouth of a great and powerful man like yourself that my translation is correct and that it is permitted to enter the community. And if afterwards the critics come and fi nd any indecency in it, you, my friend, will bear it on your own, and I shall have rescued myself.

> *Your friend who respects and honours you J.E.S.*

תעצומות ועז לא נוכל לשים אשם נפשו, לא כן בהעתקה הזאת, אשר הענין יהיה רצוי ומקבל לכל הקוראים, וגם במלאכתו השכיל מאוד, בההעתקה הזאת יוכל לבטוח, כי תהיה למנחת רצון לכל אוהבי שפת אבותם - המו"ל.

 18 The title of Salkinson's translation of *Paradise Lost* is a citation of the beginning of Gen. 3:24, in which God drives Adam and Eve out of the Garden of Eden after they eat from the tree of knowledge.

in translating, but the subject of the book is not pleasing to a Jew, and therefore, if he does not highly value the translator's work, we cannot place the blame on the translator. However, with this translation that is not the case, because its subject matter is desirable and acceptable to all readers, and moreover the translator has succeeded greatly in his work. He can trust that this translation will be a desirable off ering for all those who love the language of their forefathers – The Publisher.

# **The names of the speakers**


*Offi cers, noblemen, couriers, musicians, sailors, attendants, and others.*

*The scene in the fi rst part is in Venice, and the rest of the scenes are on the seashore on the island of Caphtor [Cyprus].*

19 Salkinson provided this English cast list alongside the Hebrew one.

 <sup>20</sup> In biblical times a city's gate served as the gathering place for its judges and other authority fi gures.

 <sup>21</sup> Sic; this appears in Salkinson's English cast list instead of the expected 'Iago'.

 <sup>22</sup> Sic; this appears in Salkinson's English cast list instead of the expected 'Roderigo'.

 <sup>23</sup> Sic; this appears in Salkinson's English cast list instead of the expected 'Clown'.

 <sup>24</sup> Sic; this appears in Salkinson's English cast list instead of the expected 'Herald'.

 <sup>25</sup> Sic; this appears in Salkinson's English cast list instead of the expected 'Emilia'.

 <sup>26</sup> Sic; this appears in Salkinson's English cast list instead of the expected 'Bianca'.

# שמות המדברים


## פקידים , אצילים , רצים , מנגנים , מלחים , משרתים ויתר העם .

המחזה בחלק ראשון בוינעציא . ויתר המחזות על חוף הים באי כפתור Cyprus

# **First Part1**

### ראשון 1 חלק


5 Jon. 4:9.

 7 2 Kings 10:6. 8 Esther 3:7.

 <sup>1</sup> Salkinson uses the Hebrew word חלק' part' rather than a more specific term for 'act', most likely because there was no widely established Hebrew theatre terminology at the time.

 <sup>2</sup> Salkinson retains the Italian place names appearing in Shakespeare's text. While this seems to deviate from his overall Judaizing strategy, it may be rooted in his recognition of the longstanding and prominent Jewish presence in Italy and could point to a concomitant decision to interpret his characters as Italian Jews (Kahn 2017 ).

 <sup>3 1</sup> Chron. 2:14. Raddai was the fifth son of Jesse and older brother of King David. Salkinson most likely selected the name primarily or solely on the basis of its sound correspondence with Shakespeare's 'Roderigo'.

 <sup>4 1</sup> Sam. 22:18, 22; Ps. 52:2. Doeg was an Edomite and chief herdsman to King Saul who carried out the execution of a large number of priests. Edom was an enemy nation for biblical Israel; in rabbinic literature, it became a symbol of the Jews' Roman conquerors and of Christianity in general. In light of these points, Scolnicov (2001: 186) proposes that Salkinson selected Doeg as the equivalent of Iago in order to highlight the character's murderous proclivities and to mark him as a Christian enemy in contrast to the Jewish Ithiel (see note 94). The partial sound correspondence with Shakepeare's 'Iago' most likely also played a role.

 <sup>6</sup> Cf. Shakespeare's 'Sblood' (1.1.3). Salkinson has neutralized the Christian connotations of this oath, a contraction of 'God's blood'. While 'Sblood' was expurgated from the text of the First Folio (Honigmann 1997 : 115), it seems to have been present in the edition that Salkinson was using (which generally corresponds to the Folio in other respects). The Hebrew term typically means 'adversary' in the Bible, but takes on the sense of 'devil' or 'Satan' in postbiblical texts. Salkinson is using it in the latter meaning.


 <sup>9</sup> Cf. Shakespeare's 'lieutenant' (1.1.8). The Hebrew word קידִ פָּ is much more general than the English 'lieutenant'; as Dikman (in Salkinson 1874/ 2015 : 239) has observed, Salkinson uses it to translate distinct English terms ('lieutenant' and 'officer'), thus obscuring the differences between them.

 16 Prov. 31:19 ךְלֶפֽ ָ מכוְּ תָּ֣ יהָ פֶּ֗כַוְ֝' and her hands grasp the spindle'. Salkinson appears to have taken Shakespeare's 'spinster' (1.1.23) to mean 'one who spins'.

 <sup>10</sup> Deut. 33:7 לוֹ֔ רבָ֣ יו֙ דָיָ' strengthen his hands', i.e., 'give him the strength'. .'him with spirit different a had he 'ָ ֽהְיָ֞תה ֤ר ַוּח ַא ֶ֙חֶר ֙ת ִע ֔מּוֹ 14:24 .Num 11

 <sup>12</sup> Lam. 2:14.

 <sup>13 1</sup> Sam. 13:14.

 <sup>14</sup> One of the sons of Abraham's brother Nahor mentioned in Genesis 22:22 (spelled Kesed in some English Bible translations). Salkinson most likely selected this name on the basis of its sound correspondence with Shakespeare's 'Cassio'.

 <sup>.&#</sup>x27;times the of understanding had who ,Issachar of sons the of And 'ִוּמ ְבֵּ֣ני ִי ָשּׂ ָ֗שכר ְ יוֹדֵ֤עי ִב ָינ֙ה ַ ֽל ִע ִ֔תּים 12:33 .Chron 1 15


.'war the for might and counsel 'ֵעָ֥צה ְוּג ָ ֖בוּרה ַל ִמּ ְלָחָ֑מה 18:20 Kings 2 17

18 Ps. 78:9; Zech. 14:3.

 19 A place- name mentioned in various places in the Bible, the precise location of which is unclear. It is referred to as an island in Jeremiah 47:4 and is typically thought to correspond to Crete, although some argue that it denotes the southern coast of Turkey.

20 Somewhat unusually, Salkinson has not replaced this place- name with a biblical equivalent.

21 Gen. 33:19; 2 Sam. 23:11; Ruth 2:3, 4:3; 1 Chron. 11:13.


24 Isa. 63:15; Ps. 80:15 (80:14 in English Bibles).

25 Gen. 49:18.

 <sup>26</sup> The Hebrew word כּוּשׁי ִ is a gentilic adjective appearing on numerous occasions in the Hebrew Bible (e.g., 2 Sam. 18:21; Jer. 13:23; Zeph. 2:12; Num. 12:1 [in the feminine form, referring to Moses' wife]; Amos 9:7 [in the plural]). It is based on the toponym כּוּשׁ , which is first mentioned in Gen. 2:13 and appears in various other places in the Hebrew Bible (e.g., 2 Kings 19:9; Isa. 11:11; Ps. 68:32 [68:31 in English


Bibles]). The location to which the toponym refers is uncertain, but is generally believed to denote a region in northeastern Africa (Koehler and Baumgartner 2001 , 1: 466– 7), possibly Ethiopia (Schulman 2007 ). This uncertainty is reflected in the English translations of both the toponym and its associated adjectives. Some translations (e.g., the New English Bible, New International Version, and English Standard Version) generally prefer the terms 'Cush' and 'Cushite', while others (e.g., the King James Bible, Jewish Publication Society Tanakh, and New Revised Standard Version) favour 'Ethiopia' and 'Ethiopian'. (Note, however, that there is internal inconsistency within individual translations; for example, the King James Bible uses 'Ethiopia' in Gen. 2:13 but 'Cush' in Isa. 11:11.) In the modern period, the adjective came to refer more generally to anyone of African descent. I have chosen the translation 'Cushite' here as it more closely resembles the Hebrew and is geographically less specific, which is in keeping with the uncertainty surrounding the meaning of Shakespeare's 'Moor'.

 <sup>.&#</sup>x27;heel s'Esau grasping was hand his and 'ְוָי֤דוֹ ֹא ֶ֙חֶז ֙ת ַבֲּעֵ֣ קב ֵע ָ֔שׂו 25:26 .Gen 27

 <sup>28</sup> Prov. 24:23, 28:21.

 <sup>29</sup> Eccles. 10:4.

 <sup>.&#</sup>x27;recompense their them repay 'ָהֵ ֖שׁב ְגּ ָ֣מוּלם ָלֶ ֽהם 28:4 Psalms 30


 <sup>31</sup> Gen. 24:32.

 <sup>32</sup> Isa. 54:6 אס֖ ֵמָּתִ כּיִ֥ עוּריםִ֛ נְ שׁתֶאֵ֧וְ' and the wife of one's youth when forsaken'.

 <sup>33</sup> Alshekh to Prov. 10.

 <sup>.&#</sup>x27;haven desired their to 'ֶא ְ ל־מ ֥חוֹז ֶח ְפָ ֽצם 107:30 .Ps 34

 <sup>35</sup> Job 16:19.

 <sup>36</sup> Prov. 11:9.

 <sup>37</sup> Num. 25:4; 2 Sam. 12:12.


 <sup>38</sup> Prov. 30:17.

the sees ord L the but ,appearance outward the sees man 'ָ ֽהָאָד ֙ם ִיְרֶ֣אה ַלֵע ַ֔ינִים ַו ָ ֖ יהוה ִיְרֶ֥אה ַלֵלָּ ֽבב 16:7 .Sam 1 39 heart'.

 <sup>40</sup> Ps. 112:3.

 <sup>41</sup> Josh. 10:6; Prov. 4:13; Ps. 138:8.

 <sup>42</sup> Isa. 32:18.

 <sup>43</sup> Ps. 6:8 (6:7 in English Bibles) יניִ֑ עֵ עסַכַּ֣מִ שׁהָ֣שְׁ עֽ ָ' my eye grows dim from grief'; also Ps. 31:10 (31:9 in English Bibles).

 <sup>44</sup> Gen. 38:11; Lev. 22:13; Num. 30:17; Deut. 22:20; Josh. 6:25; Judg. 19:2, 3.

 <sup>45</sup> Job 15:21.

 <sup>46</sup> Ezek. 3:12, 3:13.

 <sup>47</sup> Commander of Abimelech's army, mentioned in Gen. 21:22, 32, 26:26. Abimelech was a Philistine king contemporaneous with the patriarch Abraham. Salkinson may have selected the name in order to evoke associations of leadership and prowess, as there is no clear sound correspondence between Phichol and Shakespeare's Brabantio.

 <sup>48</sup> Obad. 1:5.


.(mother s'Sisera' (window the through out peered she 'ְבַּע֩ד ַהַח֨לּוֹן ִנ ְשׁ ְקָ֧פה 5:28 .Judg 49

50 1 Sam. 4:14.

 <sup>51</sup> Cf. Shakespeare's 'Zounds' (1.1.85); Salkinson has removed the Christian oath.

 <sup>.&#</sup>x27;consumed half been has flesh its and 'ַוֵיָּאֵ ֖כל ֲחִ֥צי ְב ָשֽׂרוֹ 12:12 .Num 52

 <sup>53</sup> Gen. 28:2; Num. 22:20; Deut. 10:11; 1 Kings 17:9; Jer. 13:6; Jon. 1:2, 3:2.

 <sup>54 2</sup> Sam. 6:15 שׁוֹפרֽ ָ קוֹל֥וּבְ רוּעה ֖ ָ תְ בִּ' with shouting and the sound of the ram's horn'.

 <sup>55</sup> Amos 6:4.

 <sup>56</sup> The term Azazel appears in Lev. 16:8– 10, in the description of the Yom Kippur ritual whereby the sins of the community were symbolically placed upon a goat that was sent out into the wilderness, 'to Azazel'.


The meaning of this term is uncertain: some English Bible versions (e.g., the King James Bible and the New International Version) translate it as 'scapegoat', while others (e.g., the English Standard Version, the Jewish Publication Society Tanakh, and the New Revised Standard Version) translate it as 'Azazel'. In rabbinic literature, Azazel is interpreted variously as an area of mountainous cliffs from which the goat was pushed to its death; as the name of the goat (possibly based on a fusion of the names of two fallen angels, Uzza and Azael, whose sins it was intended to atone for); or as the name of a demon (Ahituv 2007 ). The thirteenth- century Jewish commentator Nahmanides supports the latter interpretation, and the association of Azazel with a demon has remained dominant in Jewish tradition. Salkinson's translation is based on this interpretation.

.'her within confusion of spirit a mixed has ord L the 'ְי ָ֛הוה ָמַ֥סְך ְבּ ִקְרָ ֖בּהּ ֣ר ַוּח ִעְוִ֑עים 19:14 .Isa 57

 58 Deut. 33:7 לוֹ֔ רבָ֣ יו֙ דָיָ' strengthen his hands' (more literally: 'let his hands be sufficient for him'); i.e., 'give him the power'.

59 Hab. 1:3.


 <sup>60</sup> This speech is prose in the original (1.1.107– 12).

 <sup>61</sup> Cf. Shakespeare's 'Zounds' (1.1.107); as previously, Salkinson has omitted the Christian oath.

 <sup>62</sup> Cf. Shakespeare's 'Barbary horse' (1.1.110), i.e., a North African horse (Honigmann 1997 : 123, note 110). Salkinson has removed this geographic reference and replaced the horse with an ass. Scolnicov (2001: 187) suggests that this replacement serves to preserve Shakespeare's bestial imagery via a veiled doted she for 'ַ ֽוַתּ ְעְגָּ֔בה ַ ֖על ִ ֽפַּלְגֵשׁ ֶ֑ יהם ֲאֶ֤שׁר ְבּ ַשׂ ֲ ר־ח ִמוֹר ֙ים ְבּ ָשָׂ֔רם ְוִזְרַ֥מת ִ֖סוּסים ִזְרָמָ ֽתם 23:20, .Ezek to allusion upon their paramours, whose flesh is as the flesh of asses, and whose issue is as the issue of horses'.

father his leaves man a therefore 'ַע ֵ֙ ל־כּן ַֽיֲעָז ִ֔ב־אישׁ ֶא ָת־אִ֖ביו ְוֶא ִת־א֑מּוֹ ְוָדַ֣בק ְבּ ִא ְשׁ ֔תּוֹ ְוָה֖יוּ ְלָבָ֥שׂר ֶאָ ֽחד 2:24 .Gen 63 and his mother and cleaves to his wife and they become one flesh'.

 <sup>64</sup> Isa. 9:16 (9:17 in English Bibles).

 <sup>65</sup> This speech is prose in the original (1.1.114– 15).

 <sup>.&#</sup>x27;it with lie to beast a before stand not must woman a and 'ְו ִא ָ֗שּׁה ֽל ֹ ַא־תֲע֞ ֹמד ִל ְפֵ֧ני ְבֵהָ֛מה ְלִר ְבָ ֖עהּ 18:23 .Lev 66

 <sup>67 2</sup> Sam. 1:16 ךָ֙בְ נהָ֤עָ ךָפיִ֗ כּיִ֣' for your mouth has testified against you'.


 71 Gen. 4:13 אֹשֽׂ נְּמִ ניִֺ֖עוֲ דוֹל֥גָּ' my iniquity is too great to bear' (Cain speaking to God after killing his brother Abel).

 <sup>68 2</sup> Sam. 1:16 ךָ֙בְ נהָ֤עָ ךָפיִ֗ כּיִ֣' for your mouth has testified against you'.

 <sup>69</sup> Prov. 7:9.

 <sup>70</sup> Judg. 19:25 ה֙ לָיְלַּ֙ל־ה ַ כָּ לוּ־בהּ ָ֤ לְּ עַתְ יּֽ ִוַ' and they abused her all night' (as part of a gruesome incident whereby a Levite man allows the men of Gibeah to rape and kill his concubine, this reference would have had strong associations for Salkinson's readers).

 <sup>72</sup> Josh. 9:14 אלוּֽ ָשָׁ אֹ ל֥ הוה֖ ָ יְ ת־פּיִ֥ אֶוְ' but they did not ask the L ord 's counsel'.


 <sup>73</sup> Deut. 17:15; Eccles. 6:2.

 <sup>74</sup> Song of Songs 7:2 (7:1 in English Bibles).

 <sup>75</sup> Gen. 4:12 (referring to Cain's fate after killing Abel).

 <sup>76 2</sup> Sam. 6:20.

 <sup>.&#</sup>x27;inheritance my destroy I lest 'ֶפּ ַ ן־א ְשִׁ֖חית ֶא ַת־נֲחָלִ֑תי 4:6 Ruth 77

 <sup>.&#</sup>x27;me against things bitter write you for 'ִ ֽכּ ִ י־ת ְכ ֣ ֹתּב ָעַ֣לי ְמרֹ֑רוֹת 13:26 Job 78

 <sup>.&#</sup>x27;station your from you depose shall I and 'ַוֲהַד ְפִ֖תּיָך ִמַמָּצֶּ֑בָך 22:19 .Isa 79


83 Song of Songs 2:4.

.'gone is boy the 'ַהֶיֶּ֣לד ֵא ֶ֔יננּוּ 37:30 .Gen 86

87 Deut. 29:17 (29:18 in English Bibles).

\* ָ הֻא ְמָלָלה

 <sup>80</sup> Num. 4:23, 8:24.

 <sup>81</sup> Job 1:8, 2:3.

 <sup>82 2</sup> Sam. 22:6; Ps. 18:6. Sheol is the biblical abode of the dead. Salkinson has found a particularly close Hebrew equivalent to Shakespeare's 'hell- pains' (1.1.52).

 <sup>84</sup> Salkinson has generalized Shakespeare's reference to a specific inn, the Sagittary, an inn with the sign of Sagittarius (the Centaur, mythological half- man half- horse – see Honigmann 1997 : 126, note 156), which would have had little meaning to nineteenth- century Hebrew readers.

 <sup>85</sup> Rashi to Job 21:28 באתני אשר הרעה' the evil which has befallen me'.


 <sup>88</sup> Judg. 16:10.

 <sup>89</sup> In postbiblical forms of Hebrew this can also mean 'one who has lost her virginity' (Even- Shoshan 2003,

<sup>1: 191);</sup> Scolnicov (2001: 186) argues that Salkinson intended the latter meaning.

 <sup>.&#</sup>x27;woman rebellious and perverse a of son 'ֶ ֽבּ ַ ן־נֲעַ ֖ות ַהַמְּר֑דּוּת 20:30 .Sam 1 90

 <sup>91</sup> Ezek. 16:60 ךְיִעוּרָ֑ נְ ימי ֵ֣ בִּ' in the days of your youth'.

 <sup>.&#</sup>x27;charmers of voice the heed not does that 'ֲאֶ֣שׁר ל ֹ ִ֭א־י ְשַׁמע ְל֣קוֹל ְמַלֲח ִ֑שׁים (Bibles English in 58:5 (58:6 .Ps 92


 <sup>93</sup> Exod. 3:19, 6:1, 13:9; Deut. 5:15, 6:21, 7:8, 9:26, 26:8; Ezek. 20:33– 4; Ps. 136:12; Dan. 9:15.

 <sup>94</sup> This is the name of two minor biblical characters, a) one of two addressees of Agur's oracle, mentioned in Prov. 30:1, and b) a Benjaminite returning from Babylonian exile to Jerusalem, mentioned in Neh. 11:7. The name seems to have been selected primarily on the basis of the sound correspondence with Shakespeare's 'Othello'. Note that, as mentioned in his letter to Smolenskin directly preceding the beginning of the play, Salkinson originally planned to name his protagonist Athlai, after the minor biblical character the mentioned in Ezra 10:28, a Judean who had intermarried but was influenced by the scribe Ezra to send away his foreign wife. This likewise corresponds in sound to 'Othello', although perhaps not as closely as Ithiel. Scolnicov (2001: 186) argues that the selection of Ithiel, an Israelite name for Othello (as opposed to most of the other characters, who bear the names of non- Israelites), serves to highlight the fact that Salkinson regarded his protagonist as a Jew and used the name to underscore his foreignness in the Venetian context. If this was indeed the intention, Salkinson's initial choice would have made the point more vividly, since the biblical Athlai is known precisely for his status as a Judean with a foreign wife.

 <sup>95 2</sup> Sam. 4:6, 20:10.

 <sup>96</sup> Jer. 29:32 הוהֽ ָ ל־יְ עַ בּרֶ֖דִ רהָ֥י־ס ָ כּֽ ִ' for he has spoken rebellion against the L ord'.


of weary am I; ord L the of wrath the with filled am I and 'ְוֵא֩ת ֲח ַ֨מת ְי ָ֤הוה ׀ ָמֵ֙ל ִ ֙אתי ִנְלֵ֣א ִיתי ָה ִ֔כיל 6:11 .Jer 97 enduring it'.

 <sup>.&#</sup>x27;ord L the of asked have I thing one 'ַאַ֤חת ׀ ָשַׁ֣א ְל ִתּי ֵ ֽמֵא ְת־י ָהו֮ה 27:4 .Ps 98

 <sup>99</sup> Esther 1:8, 4:16.

 <sup>100</sup> Alshekh to Ps. 36:8.

 <sup>101</sup> Deut. 24:1.

 <sup>102</sup> Prov. 5:14.

 <sup>.&#</sup>x27;Jacob of loins the of out came who souls the all 'ָכּ ֶ֛ ל־נֶפשׁ יֹ ְצֵ֥איֶ ֽיֶ ר ְַך־יֲע ֖קֹב 1:5 .Exod 103

save sword my will neither ,bow my in trust not shall I for 'ִ֤כּי ֣ל ֹא ְבַק ְשִׁ֣תּי ֶא ְבָ֑טח ְ֝וַחְר ִ֗בּי ֣ל ֹא ִתוֹשׁ ֵ ֽיעִני 44:7 .Ps 104 me'. Salkinson has inverted the meaning of this citation, but the resemblance suggests that he may have had it in mind.


 <sup>105</sup> Gen. 4:12 (referring to Cain's fate after killing Abel).

 <sup>.&#</sup>x27;wander to love they thus 'ֵ֤כּן ָ ֽאֲה ֙בוּ ָל֔נ ַוּע 14:10 .Jer 106

 <sup>107</sup> Asenath is Joseph's wife. In Gen. 41:45, 50, 46:20 she is identified as the daughter of the Egyptian priest Potiphera. In some places in rabbinic literature (e.g., *Genesis Rabbah* ) she is said to be the daughter of Potiphar's wife, while in others (e.g., *Pirqe deRabbi Eliezer* ) she is said to be the daughter of Joseph's sister Dinah. See Standhartinger ( 2009 ) for discussion of Asenath in Jewish literary tradition. Scolnicov (2001: 186) suggests that Salkinson selected this name for his version of Desdemona because Asenath was a non- Hebrew married to a prominent Hebrew; she argues that this was designed to underscore Salkinson's interpretation of Ithiel as a lone Jew among Christians, an ethnic outsider like Othello. Unlike many of the other Hebrew names in the play, there is no obvious sound correspondence between Asenath and Desdemona.

 <sup>108</sup> Isa. 22:17.

 <sup>109</sup> Deut. 29:27 (29:28 in English Bibles) דוֹל֑גָּ צףֶק ֶ֣וּבְ מה֖ ָחֵוּבְ' and in anger and in great wrath'; also Jer. 21:5.

 <sup>110</sup> Neh. 6:11.

 <sup>111</sup> Responsa of Spanish Talmudic authority Isaac ben Sheshet Perfet (1326– 1408, known as Ribash), section 394. First published in Constantinople in 1546, these responsa were widely studied and would have been familiar to Salkinson.


 <sup>112</sup> Salkinson has replaced Shakespeare's 'by Janus' (1.2.33) with this expression, which lacks any

associations with Classical mythology but resembles the common biblical oath יהוה חיֵ' as the L ord lives'. 113 Cf. Shakespeare's 'general' (1.2.36); this phrase appears numerous times in the Bible; for example, 1 Sam. 17:55; 1 Kings 1:19; Jer. 52:25.

 <sup>.&#</sup>x27;command s'king the by hastened ,out went couriers the 'ָֽהָרִ֞צים ָי ְצ ֤אוּ ְד ִחוּפ ֙ים ִבְּדַ֣בר ַה ֶ֔מֶּלְך 3:15 Esther 114


 115 This collocation appears in the Babylonian Talmud *Nidda* 31a, with a different meaning, namely 'someone who has experienced a miracle' (the Hebrew word נסֵ can mean 'miracle' or 'banner, standard').

116 Isa. 33:21.

117 Esther 1:8, 4:16.



 <sup>121 2</sup> Kings 14:8; 2 Chron. 27:17 (both in the context of battle).

should years of multitude and speak should days ,said I 'ָ֭אַמְר ִתּי ָיִ֣מים ְיַדֵ֑בּרוּ ְו֥רֹב ָ֝שִׁ֗נים יִֹ֥דיעוּ ָח ְכָ ֽמה 32:7 Job 122 teach wisdom'.

 <sup>123</sup> Lit. 'mouth' (play on words with 'mouth' in the beginning of the line).

 <sup>124</sup> Gen. 34:26 רבֶי־ח ָ֑ פִ לְ' with the edge of the sword' (referring to Jacob's sons killing Shechem for raping their sister).

 <sup>125</sup> Deut. 24:7.

 <sup>126 1</sup> Kings 20:42.

 <sup>127 1</sup> Sam. 16:18 (referring to King David).

 <sup>.&#</sup>x27;you among woman delicate and tender most the 'ָהַר ָ֨כּה ְבָ֜ך ְוָהֲעֻנָ֗גּה 28:56 .Deut 128

 <sup>129</sup> Ezek. 23:6, 12, 23.

 <sup>130</sup> Jer. 20:11.


131 An indirect reference to Shakespeare's 'sooty bosom' (1.2.70).


איתיאל

 <sup>132</sup> Isa. 40:23.

 <sup>133</sup> Zech. 12:2.

 <sup>134</sup> This is a postbiblical expression first appearing in the Mishnah (e.g., *Oholot* 16:3 לדבר רגלים' the matter has substance').


 138 Exod. 34:7 אהָ֑טָּחַוְ שׁעַ פֶ֖וָ ןֺו֛עָ' iniquity and transgression and sin'; see also Lev. 16:16, 21; Ps. 32:5; Dan. 9:24 for similar collocations.

139 Cf. Shakespeare's 'duke' (1.2.14).

140 Jer. 6:7, 20:8; Ezek. 45:9; Amos 3:10.


141 Ezek. 22:30; see also a similar collocation in Ps. 106:23.

 your and one living the is son my ,says one '֣זֹאת ֹא ֶ֔מֶרת ֶז ְה־בִּ֥ני ַהַ ֖חי ְוּבֵ֣נ ְך ַהֵ֑מּת ְו֤זֹאת ֹא ֶ֙מֶר ֙ת ֣ל ֹא 3:23 Kings 1 142 son is the dead one, and the other one says no'.

143 Josh. 9:2; 1 Kings 22:13; 2 Chron. 18:12.

 144 The Hebrew epithet מהָרְתּוֹגַ' Togarmah' appears in Gen. 10:3, where it denotes one of Japheth's grandsons. It also appears in Ezek. 27:14 and 38:6, where it is referred to as a nation from the far north, possibly in a region corresponding to today's Armenia (Koehler and Baumgartner 2001 , 2: 1688). In the medieval and Maskilic periods it became identified with Turkey (Even- Shoshan 2003, 6: 1984); this is the sense in which Salkinson is using it.

 prudent the but ,everything believes man simple the 'ֶ֭פּ ִתי ַיֲאִ֣מין ְלָכ ָל־דָּ֑בר ְ֝וָע ֗רוּם ָיִ֥בין ַלֲאֻשֽׁרוֹ 14:15 .Prov 145 man considers his steps'.

*Ithiel the Cushite of Venice* 99


146 Deut. 12:10 טחַם־בּֽ ֶ תֶּבְ ישַׁ וֽ ִ' and you will live in safety'; 1 Sam. 12:11 טחַבּֽ ֶ בוּ֖שְׁ תֵּוַ' and you lived in safety'.



 <sup>149</sup> Judg. 18:27.

152 Hab. 1:9.

 <sup>.&#</sup>x27;decayed has wisdom their 'ִנְסְרָ ֖חה ָח ְכָמָ ֽתם 49:7 .Jer 150

 <sup>151</sup> Ps. 112:8 יראָ֑ יִ אֹ ל֣ לבּוִֹ֭ ךְמוּ֣ סָ' his heart is resolved; he does not fear'.


 <sup>153</sup> This is the name of three minor biblical characters, namely a son of Esau's son Eliphaz (Gen. 36:11, 15, 42; 1 Chron. 1:36, 53); Caleb's brother and the judge Othniel's father (Josh. 15:17; Judg. 1:13, 3:9, 11; 1 Chron. 4:13); and the son of Caleb's son Elah (1 Chron. 4:15). The motivation for Salkinson's selection of this name as an equivalent of Shakespeare's Montano is unclear, as there is no sound correspondence between the two and no obvious parallel in meaning.

 <sup>.&#</sup>x27;warriors the of bravest the and 'ְוַאִ֥מּיץ ִל ֖בּוֹ ַבִּגּ ִ֑בּוֹרים 2:16 Amos 154

 <sup>155</sup> Cf. Shakespeare's Marcus Luccicos (1.3.45). This is the only name in the play that Salkinson does not Hebraize (cf. Balthasar and Peter in *Ram and Jael* ; see *Ram and Jael* , First Part, note 18 and Second Part, note 210 respectively). There does not seem to be a clear motivation for his decision. Salkinson has changed 'Marcus' to 'Marcos', possibly in order to echo the second name Luccicos, which he has omitted.

 <sup>156</sup> Prov. 8:14.


 <sup>157</sup> Gen. 42:21 שׁוֹ֛ פְ נַ רתַ֥צָ' the distress of his soul'.

159 Zech. 10:11.

160 Mic. 6:7.

161 Gen. 31:39 (Jacob speaking to Laban).

 <sup>158</sup> Isa. 25:4.

 <sup>162</sup> Deut. 18:11 ברֶחָ֑ בר֖ ֵֹוחְ' and a spellcaster'; also Ps. 58:6 (58:5 in English Bibles).


 <sup>163</sup> Exod. 28:38.

\*) ְלַהצְ ִדּיק

 <sup>164</sup> Deut. 27:8.

 <sup>165</sup> Prov. 6:29; also 11:21, 16:5, 17:5, 19:5, 19:9, 28:20.

 <sup>166</sup> *Pirqe DeRabbi Eliezer* 14; Abarbanel to Exod. 22 and 2 Sam. 24 ואמת צדק שופט' judge of righteousness and truth'.


 <sup>167</sup> Exod. 4:10.

 <sup>168</sup> Isa. 32:4.

 <sup>169</sup> Isa. 32:18.

 <sup>170</sup> Prov. 22:11 תיוָ֗ פָשְׂ֝ חןֵ֥' the grace of his lips'.

 <sup>171</sup> Ezek. 16:63, 29:21.


 <sup>172 2</sup> Sam. 5:24.

 <sup>173</sup> Gen. 38:11; Lev. 22:13; Num. 30:17; Deut. 22:20; Josh. 6:25; Judg. 19:2, 3.

 <sup>174</sup> Prov. 6:14.

 <sup>175 2</sup> Sam. 12:11.

 <sup>176</sup> Num. 5:22.

 <sup>177</sup> Ps. 19:8 (19:7 in English Bibles) נהָ֗מָאֱנֶ֝ הוהָ֥ יְ דוּת֥עֵ' the testimony of the L ord is trustworthy'.


183 Num. 25:4; 2 Sam. 12:12.

 <sup>.&#</sup>x27;basis no has which 'ֲאֶ֥שׁר ֵ ֽא ֖ ין־לוֹ ָ ֽשַׁחר 8:20 .Isa 178

 <sup>179</sup> Judg. 5:6.

 <sup>180</sup> Exod. 3:19, 6:1, 13:9; Deut. 5:15, 6:21, 7:8, 9:26, 26:8; Ezek. 20:33– 34; Ps. 136:12; Dan. 9:15.

 <sup>181</sup> Prov. 30:19.

 <sup>182</sup> See note 84.

 <sup>.&#</sup>x27;Sheol to down sorrow in head grey my take will you and 'ְו ַהוֹרְדֶ֧תּם ֶא ֵת־שׂ ָיבִ֛תי ְבָּי֖גוֹן ְשׁ ֽא ָוֹלה 42:38 .Gen 184


 <sup>185</sup> Eccles. 12:10.

\* ַי ְל ִדּוּתי

 <sup>186</sup> Prov. 11:16.

 <sup>187 2</sup> Kings 6:10.

 <sup>188</sup> Gen. 25:7, 47:9; 2 Sam. 19:35.

 <sup>189 1</sup> Sam. 3:12.

his Moses not had 'ֵ֡לוּלי ֘ ֹמֶ֤שׁה ְב ִח ֗ירוֹ ָעַ֣מד ַבֶּ֣פֶּרץ 106:23 .Ps'; breach the in stand and 'ְועֹ ֵ֨מד ַבֶּ֧פֶּרץ 22:30 .Ezek 190 chosen one stood in the breach'.

 <sup>191</sup> Lam. 1:7 ד־צרָ֗ יַבְּ מּהָּ֣עַ פלֹ ֧נְבִּ' when her people fell into the hand of the enemy'.

 And was sold as a captive of the sword and how I was redeemed **from the house of bondage** . 192

 In addition to what my eyes saw on **each and every journey**<sup>193</sup>

 Huge fearsome caves and **barren howling wilderness**<sup>194</sup>

 Rock quarries, mountain ranges, rocks, and **everlasting hills**<sup>195</sup>

 Whose peaks touch the clouds. And thus **I made known that which surely was** , 196

 For I responded to what they asked me about, about **wild men in the wilderness**<sup>197</sup>

 Who eat men and each man lives on the fl esh of his fellow

 And strange men whose faces are like those of a hunchback

 And their heads are under their shoulders. These strange things

 Drew in the ear of Asenath to hear them from my mouth with eagerness

 And when they summoned her to attend to **the aff airs of her household**<sup>198</sup>

 Thus she hastily performed all of her actions and her work

 And quickly she returned like a thirsty woman to hear my words. ִמֵבּית ֲעָבִדים 192. ְוִנ ְמַכְּר ִתּי ִכּ ְשׁבוּי ֶחֶרב ְוֵאיְך ִנ ְפֵדּ ִיתי

ִמ ְלַּבד ֲאֶשׁר ָראוּ ֵע ַיני ְבָּכל ַמַסּע ָוַמַסּע<sup>193</sup>

ְי ִשׂימוֹן<sup>194</sup> ְמָערוֹת ְגּדוֹלוֹת ָנוֹראוֹת ְו ֹתהוּ ְיֵלל

ַמֶקֶּבת ִצוּרים ְרָכ ִסים ֵכּ ִפים ְוַהְרֵרי ַעד<sup>195</sup>

ֶנֱאָמָנה196 ֲאֶשׁר ִשׂ ָיאם ָלָעב ַיִגַּיע . ְוֵכן ַהוֹד ְע ִתּי

ַבּ ִמְּדָבּר<sup>197</sup> ִכּי ִנְדַר ְשׁ ִתּי ַלֲאֶשׁר ְשָׁא ִלוּני ַעל ְפָּר ִאים

ֹא ְכֵלי ֶנֶפשׁ ָאָדם ְו ִאישׁ ַעל ְבּ ַשׂר ֵרֵעהוּ ִי ְחיוּן

ַוֲאָנ ִשׁים ָזִרים ֲאֶשׁר ְפֵּנ ֶיהם ִכ ְפֵני ִגֵבּן

ְור ֹ ָאשׁם ִמַתַּחת ְל ִשׁ ְכָמם . ְדָּבִרים ָזִרים ָהֵאֶלּה

ָמ ְשׁכוּ ֹאֶזן ָא ְסַנת ְל ָשׁ ְמָעם ִמ ִפּי ְבֵּחֶפץ ִלָבּהּ

ֵבּ ָיתהּ<sup>198</sup> ְוַכֲאֶשׁר ָקְראוּ ָלהּ ָלשׂוּם ַעִין ַלֲה ִליכוֹת

ֵכּן ָע ְשָׂתה ְבּ ִחָפּזוֹן ָכּל ַמֲע ֶשׂ ָיה ְוּמַל ְאכָתּהּ

ְוַעד ְמֵהָרה ָשָׁבה ַכּ ְצֵּמָאה ִל ְשׁ ֹמַע ְדָּבָרי .

198 Prov. 31:7.

 <sup>192</sup> Exod. 13:3 and many other locations in the Hebrew Bible.

 <sup>193</sup> Leviticus Rabbah 36.

 <sup>194</sup> Deut. 32:10.

 <sup>195</sup> Hab. 3:6.

 <sup>196</sup> Hosea 5:9.

 <sup>197</sup> Job 24:5. In the biblical verse איםִ רָפְּ means 'wild donkeys'; since Shakespeare does not mention donkeys but rather cannibals and men whose heads grow beneath their shoulders (1.3.143– 6), it is more likely that Salkinson is using the word in the sense of 'wild men', which it acquired only in the medieval period (Even- Shoshan 2003, 5: 1524).


 <sup>199</sup> Ps. 69:14 (69:13 in English Bibles).

 <sup>200</sup> Prov. 25:11.

 <sup>201</sup> Lam. 3:19.

 <sup>202</sup> Jer. 4:19.

 <sup>.&#</sup>x27;faint is heart our this for 'ַע ֶ֗ל־זה ָהָ֤יה ָדֶו ֙ה ִלֵ֔בּנוּ 5:17 .Lam 203


soul his 'דבקה נפשו בנפשה 34 .Gen to Alshekh'; Dinah to clove soul his and 'ַו ִתְּדַ֣בּק ַנ ְפ ֔שׁוֹ ְבִּד ָ ֖ינה 34:3 .Gen 204 clove to her soul'.

 <sup>205</sup> Zech. 10:11 רהָ֗צָ יּםָ֜בַּ ברַ֨עָוְ' and they will pass through the sea of trouble'.

 <sup>206 1</sup> Kings 3.26.

 <sup>207</sup> Prov. 6:24.

 <sup>208</sup> Ps. 119:88 ךָפּיֽ ִ דוּת֥עֵ' the testimony of Your mouth'.


 <sup>.&#</sup>x27;one only your ,son your take 'ֶא ְת־יִ ֽח ְיד ָ֤ך ַק ָ֠ח־נא ֶא ִת־בְּנָ֨ך 22:2 .Gen 209

 <sup>.&#</sup>x27;opinions two between hobble you will long how 'ַע ָ ד־מַ֞תי ַאֶ֣תּם ֹפּ ְס ִח ֮ים ַע ְ ל־שֵׁ֣תּי ַה ְסּ ִע ִפּ ֒ ים 18:21 Kings 1 210

 <sup>211</sup> Num. 22:17, 24:11 ('honour' in these contexts refers to a monetary reward).

 <sup>212 2</sup> Chron. 14:3 (14:4 in English Bibles). This collocation also appears in various rabbinic and medieval Hebrew texts; in these postbiblical sources the first word, תּוֹרהָ , refers to the Torah (which in its narrow definition denotes the Pentateuch and in its broader definition the whole of Jewish law and tradition), while the second word, והָצְ מִ , refers to the biblical commandments as interpreted through the framework of rabbinic Judaism.

 <sup>213</sup> Gen. 38:11; Lev. 22:13; Num. 30:17; Deut. 22:20; Josh. 6:25; Judg. 19:2, 3.

 <sup>214</sup> Ps. 139:4 שׁוֹניִ֑ לְ בִּ לּהָמִ֭ איןֵ֣ כּיִ֤' for there is no word on my tongue'.


 <sup>.&#</sup>x27;child delightful 'ֶיֶ֣לד ַשֲׁעֻשִׁ֔עים 31:20 .Jer 215

 <sup>216</sup> Ps. 4:8 (4:7 in English Bibles) בּיִ֑לִ בְ חהָ֣מְ שִׂ תּהָתַ֣נָ' you (masc.) have put joy in my heart'.

 <sup>217</sup> Song of Songs 8:9 רזֶאֽ ָ וּחַ ל֥ יהָ לֶ֖עָ צוּר֥נָ' we shall enclose her with planks of cedar'.

 <sup>218</sup> Dan. 11:34.

 <sup>219</sup> Mal. 3:24 (4:6 in English Bibles) ניםִ֔ל־בּ ָ עַ בוֹת֙ ב־אָ לֵ שׁיבִ֤ הֵוְ' he will turn the heart of the fathers to the children'.

 <sup>220</sup> This and the next line form a rhyming couplet, mirroring Shakespeare's 'ended/ depended' (1.3.203– 4).


 <sup>221</sup> Job 21:25.


 <sup>222</sup> This and the next line form a rhyming couplet, mirroring Shakespeare's 'gone/ on' (1.3.205– 6).

 <sup>231</sup> This and the next line form a rhyming couplet, mirroring Shakespeare's 'sorrow/ borrow' (1.3.215– 16).


232 This and the next line form a rhyming couplet, mirroring Shakespeare's 'gall/ equivocal' (1.3.217– 18).

233 2 Kings 18:20; Isa. 36:5.

.'medicine good is heart joyful a 'ֵ֣לב ָ֭שֵׂמַח ֵי ִ֣יטב ֵגָּ֑הה 17:22 .Prov 234

235 This and the next line form a rhyming couplet, mirroring Shakespeare's 'hear/ ear' (1.3.219– 20).

236 Prov. 15:13, 17:22, 18:14.

237 This speech is prose in the original (1.3.222– 9).

238 2 Kings 18:17; Isa. 36:2.

239 Josh. 9:2; 1 Kings 22:13; 2 Chron. 18:12.

.'power in excelling and dignity in excelling 'ֶ֥יֶתר ְשֵׂ ֖את ְוֶ֥יֶתר ָ ֽעז 49:3 .Gen 240


 <sup>241</sup> Job 19:24.

 <sup>.&#</sup>x27;king the before plea my presented have I 'ַמ ִפּ ֲ יל־אִ֥ני ְת ִחָנִּ֖תי ִל ְפֵ֣ני ַהֶ֑מֶּלְך 38:26 .Jer 242

 <sup>243</sup> Gen. 38:11; Lev. 22:13; Num. 30:17; Deut. 22:20; Josh. 6:25; Judg. 19:2, 3.


 <sup>244</sup> Esther 5:3, 6, 7:2, 9:12.

the sees ord L the but ,appearance outward the sees man 'ָ ֽהָאָד ֙ם ִיְרֶ֣אה ַלֵע ַ֔ינִים ַו ָ ֖ יהוה ִיְרֶ֥אה ַלֵלָּ ֽבב 16:7 .Sam 1 245 heart'.

soul my 'דבקה נפשי בנפשך 1 Ruth to Alshekh'; Dinah to clove soul his and 'ַו ִתְּדַ֣בּק ַנ ְפ ֔שׁוֹ ְבִּד ָ ֖ינה 34:3 .Gen 246 clove to your soul'.

 <sup>247</sup> Ps. 102:8 (102:7 in English Bibles).

 <sup>248 2</sup> Sam. 20:3.

ַבֲּעבוּר ִכּי ָח ַשׁ ְק ִתּי ְלַמֵלּא ַרֲעבוֹן ַנ ְפ ִשׁי

ְו ִל ְשׁתּוֹת ִמַכְּר ִמי ֶשִׁלּי ַיִין ָחָדשׁ ִכּי ָצֵמ ִאתי ,

ֵאין זֹאת , ִכּי ִאם ְלַמֵלּא ִמ ְשֲׁא ֶלוֹת ָיה ָשָׁא ְל ִתּי .

ְוָח ִלָלה ָלֶכם ֵל ֹאמר ַכֲּאֶשׁר ֵתֵּלְך ִעָמִּדי

ֶפּן ֶאֱעזֹב ֶאת ַה ְמָּל ָאכה ֲאֶשׁר ְנַתֶתּם ְבָּיִדי .

ְו ִשׁדוֹת<sup>249</sup> ִאם ִה ְתַמַכְּר ִתּי ְלַתֲעֻנגוֹת ְבֵּני ָאָדם ִשָׁדּה

 ִמַיּד רֶֹבה ַק ָשּׁת<sup>251</sup> ָוֶא ְהֶיה ַכַּמָּטָּרה ְל ִחֵצּי ַאֲהָבה<sup>250</sup>

> ֲאֶשׁר ִיַקּח ֵלב ְבָּעָליו ְוַי ִפּיל ַע ְצָלה ְבּ ַשֲׁעֻשָׁעיו

ִל ְב ִלי ֲעשׂוֹת ַבּ ְמָּל ָאכה , ֲאֶשׁר ִתּ ְחֶיה ֶאת ְבָּעֶל ָיה ,

 ְכּ ִבוֹדי ֵיָהֵפְך ִתּ ְטַחן ְלַאֵחר ִא ְשׁ ִתּי ; 252 ְלָקלוֹן ;

 ְי ִהי ְל ִסיר ְו ַכוֹבע ְנ ֶחשׁת ַעל ר ֹ ִאשׁי , 253 ַה ְמַּב ְשּׁלוֹת !

הנשיא ְרֵאה ִהֵנּה ְבָיְדָך ִל ְבחֹר ַכּטּוֹב ְבֵּע ֶיניָך

ַאְך ַמֵהר ְבַּחר ְלָך , ִאם ֵתֵּלְך ְו ִאם ֶתּ ְחַדּל

	- But choose for yourself quickly, whether you will go or whether you will leave off

Because I desire to satisfy the hunger of my soul

 <sup>.&#</sup>x27;concubines many ,men of delights the and 'ְוַתֲע ֹ֛ נוּגת ְבֵּ֥ני ָהָאָ ֖דם ִשָׁ֥דּה ְו ִשֽׁדּוֹת 2:8 .Eccles 249

 <sup>250</sup> Salkinson has deleted the reference to Classical mythology in this translation of Shakespeare's 'light-

winged toys/ Of feathered Cupid' (1.3.269– 70).

 <sup>251</sup> Gen. 21:20.

 <sup>252</sup> Job 31:10.

 <sup>253 1</sup> Sam. 17:5 אשׁוֹ֔ ֹ על־רַ ת֙שֶֹׁח֙ נְ וֹבעַ כ֤וְ' and there was a bronze helmet on his head'.


 <sup>254</sup> Exod. 14:24; 1 Sam. 11:11 (sometimes translated as 'last watch of the night').

 <sup>255</sup> This verb appears only once in the Hebrew Bible (Num. 31:16), with unclear meaning; it becomes commonly used only in postbiblical texts starting with the Mishnah (Even- Shoshan 2003, 3: 1026). 256 Gen. 19:18; Esther 8:8.

 <sup>257</sup> Judg. 20:8; 1 Sam. 10:25; 2 Sam. 6:19; 1 Kings 12:24, 22:17; Hag. 1:9; 1 Chron. 16:43; 2 Chron. 11:4, 18:16.

 <sup>258</sup> This and the next line form a rhyming couplet, mirroring Shakespeare's 'lack/ black' (1.3.290– 1).


 259 Exod. 34:35 שׁהֶ֑מֹ ניֵ֣פְּ עוֹר֖ רןַ֔קָ' the skin of Moses' face shone' (after speaking with God). This phrase also appears in the thirteenth- century Hebrew book of fables *Meshal haQadmoni* by the poet and scholar Isaac ben Solomon abi Sahula, where it refers to a husband whose wife has been unfaithful to him by playing on the homonymy of the word רןֶקֶ , which can mean 'ray of light' or 'horn'. Sahula draws on the medieval European notion of the wronged husband wearing horns. It is possible that Salkinson was aware of the text and its interpretation, and had it in mind when selecting this particular phrase. Thanks to Marc Sapirstein for this observation.

260 Isa. 53:9 פיוֽ ִבְּ מה֖ ָרְמִ אֹ ל֥ וְ' and there was no deceit in his mouth'.

264 Ezek. 16:8.

 <sup>261</sup> This and the next line form a rhyming couplet, mirroring Shakespeare's 'see/ thee' (1.3.293– 4).

 <sup>.&#</sup>x27;now twice me tricked has he for 'ַֽוַיּ ְע ְק ֵ֙בִ֙ניֶז֣ה ַפֲע ַ֔מִים 27:36 .Gen 262

 <sup>.&#</sup>x27;him for surety be shall I 'ָ ֽא ֹנ ִ ֙כי ֶֽאֶעְרֶ֔בנּוּ 43:9 .Gen 263


 <sup>265</sup> Exod. 35:22; 2 Chron. 29:31.

**burden**<sup>270</sup>

 <sup>266</sup> This and the following speeches until Raddai's line 'Where shall we see each other tomorrow' are prose in the original (1.3.307– 73).

 <sup>267</sup> Cf. Shakespeare's 'to live is torment; and then have we a prescription to die' (1.3.309–10). Cholera was the most common infectious disease affecting Eastern European Jews in the second half of the nineteenth century (see Markel 1997 : esp. 87– 8). Cf. *Ram and Jael* , Fifth Part, note 28.

 <sup>.&#</sup>x27;woman shameless a like speaking are you 'ְכַּדֵ֞בּר ַאַ֤חת ַהְנָּב ֙לוֹת ְתַּדֵ֔בִּרי 2:10 Job 268

 <sup>269</sup> Lev. 27:12, 14 (with a slightly different meaning: 'whether good or evil').

 <sup>270</sup> Neh. 4:4 (4:10 in English Bibles).


had she and 'ְול ֹ ָ֥א־הָיה ָ֛בהּ ֖עוֹד ֽר ַוּח 10:5 Kings 1'; spirit more no had they and 'ְול ֹ ָ֨א־הָיה ָ֥בם ֙עוֹד ֔ר ַוּח 5:1 .Josh 271 no more spirit'.

 <sup>272</sup> Abarbanel to 1 Kings 11.

 <sup>273</sup> Prov. 24:30.

 <sup>.&#</sup>x27;weeded nor pruned neither '֤ל ֹא ִיָזֵּמ ֙ר ְו֣ל ֹא ֵיָעֵ֔דר 5:6 .Isa 274

 <sup>275</sup> Prov. 5:6 לּסֵ֑פַן־תּ ְ פֶּ יּיםִחַ֭ רחַאֹ ֣' lest you (or: she) ponder the way of life'.

אם יהיו כל חכמי ישראל בכף מאזנים ורבי אליעזר בן הרקנוס בכף שניה מכריע את כולם 2:9 *Avot* Mishnah 276 'if all the sages of Israel were in one pan of a scale and Eliezer ben Hyrcanus were in the other, he would outweigh them all'.

 <sup>277</sup> Gen. 8:21 ריוָ֑עֻנְּמִ רע֖ ַ דםָ֛אָהָ לבֵ֧ צרֶ֣יֵ' the inclination of man's heart is evil from his youth'.


 <sup>278</sup> Prov. 14:30.

 <sup>279</sup> Isa. 17:10.

 <sup>.&#</sup>x27;mice the and vermin the and 'ְוַהֶ֖שֶּׁקץ ְוָהַע ְכָ֑בּר 66:17 .Isa 280

 <sup>;&#</sup>x27;sack his of mouth the at was money his that saw he and 'ַוַיְּר ֙א ֶא ַת־כּ ְס ֔פּוֹ ְו ִהֵנּ ֖ה־הוּא ְבִּ֥פי ַא ְמַתּ ְח ֽתּוֹ 42:27 .Gen 281 see also Gen. 43:21 for a similar phrasing.


 282 Ps. 19:11 (19:10 in English Bibles). It is unclear whether Salkinson chose this translation in order to avoid the non- kosher connotations of the original 'locusts' (1.3.349), or because he was aware of the interpretation according to which the English term refers to the sweet juice of the carob (see Honigmann 1997 : 157, note 349; Crystal and Crystal 2002 : 266).

283 Deut. 32:33; Job 20:16; ניםִתָפְּ is sometimes translated as 'cobras' or 'vipers'.

284 Num. 23:10.

285 Prov. 21:16.

 286 Cf. Shakespeare's 'Barbarian' (1.3.356). In the Hebrew Bible this term denotes a resident foreigner in Israelite territory (Lieber 2007 ). Conversely, in rabbinic and later Jewish literature, as well as in Yiddish, it refers to a convert to Judaism (Rabinowitz and Eichhorn 2007 ). As Salkinson's readers would have been familiar with both meanings of the word, the translation can be understood on two levels: Ithiel is at once a foreigner residing in Venice, and a convert to a different religion, which echoes Othello's implied conversion to Christianity in the original text. See *Ram and Jael* , First Part, note 340 for a similar use of this word.


 <sup>287</sup> Prov. 19:15; in the biblical verse the word יּהָמִ רְ is translated as 'idle', but in Salkinson's text it has the meaning of 'deceitful', which corresponds to Shakespeare's 'super- subtle' (1.3.357, used in the sense of 'crafty'; see Honigmann 1997 : 158, note 357). This latter meaning of יּהָמִ רְ is attested in a different collocation in Mic. 6:12 (Koehler and Baumgartner 2001 , 2: 1243– 4) and is also standard in later forms of Hebrew.

289 Deut. 21:13.

 <sup>288</sup> Deut. 32:36 ידָ֔ לתַזְאָ֣]' their] strength is gone'.

 <sup>290</sup> Abarbanel to Numbers 5 וקללה מארה' a bane and a curse'.

 <sup>291</sup> Prov. 9:17.

 <sup>292</sup> Ps. 32:6.

 <sup>293</sup> Ps. 112:7 יהוה ֽ ָ בַּ חַטֻ֥בָּ בּוֹ֗ לִ֝ כוֹן֥נָ' his heart is steadfast, trusting in the L ord'.

 <sup>.&#</sup>x27;hatred absolute with them hate I 'ַתּ ְכִ֣לית ִשְׂנָ֣אה ְשֵׂנ ִ֑אתים 22 139: .Ps 294

 <sup>295</sup> This collocation is first attested in rabbinic literature; for example, Babylonian Talmud *Sanhedrin* 22b.


 <sup>296</sup> Job 19:28 א־ביֽ ִ צָמְ נִ ברָ֗דָּ֝ רשֶֹׁשׁ֥ וְ' and the root of the matter is found in me'.

 <sup>297 1</sup> Chron. 5:1 ביוִ֔ אָ צוּעי ֵ֣ יְ לוֹ֙ לְּ חַבְ וּֽ' and when he defiled his father's bed' (referring to Jacob's son Reuben, who slept with his father's concubine).

 <sup>298</sup> Prov. 27:1 יוֹםֽ לדֶה־יֵּ֥ מַ דעַ֗א־תֵ֝ ֹ ל כּיִ֤' for you do not know what the day will bring'.

 <sup>299</sup> Lam. 1:20.

 <sup>.&#</sup>x27;possession his of field the of 'ִמ ְשֵּׂ֣דה ֲאֻחָזּ֗תוֹ 28 22, 27:16, .Lev 300

 Thus I shall fi nd for myself a bag of money, by means of this **senseless man**<sup>301</sup> For it would be a disgrace for a shrewd man like me to waste pleasant words In the ears of a fool like him, if not for profi t and amusement. And I hate the Cushite, and many even say That he has gone up on my bed; and even though I do not know Whether the matter is indeed true, nevertheless I shall recompense him Solely **for what my ears have heard** , 302 as if I had seen it with my eyes. And because of his great trust in my faithfulness, as quick as lightning he will fall into my hunting- net And Chesed is the man who will be like a desired tool in my hand; But how **will he be of profi t to me**303 if not to dispossess him In order to take his offi ce and satiate my eye with vengeance Because with a desired tool like him I shall carry out a double act of deceit. But how will the deceit succeed? Desist – I shall ponder the matter In several days, I shall report him to the Cushite's ears, saying That **I saw him sporting with the lady Asenath**<sup>304</sup> ֵכּן ֶא ְמָצא ִלי ְצרוֹר ֶכֶּסף , ְבַּכְנֵפי ִאישׁ ֶזה ַבַּער<sup>301</sup> ִכּי ֶחְרָפּה ְלָערוּם ָכּ ִמוֹני ְלַה ְשׁ ִחית ְדָּבִרים ֶנֱחָמִדים ְבָּאְזֵני ְכ ִסיל ָכּמוֹהוּ , ִאם ל ֹא ְלִי ְתרוֹן ְו ַשֲׁעֻשׁ ִעים . ַוֲאִני ֵשׂוֹנא ֶאת ַה ִ כּוּשׁי ַוּמ ַה־גּם ִכּי ַר ִבּים ֹא ְמִרים ִכּי ַעל ְי ִצוּעי ָעָלה ; ְוַאף ִכּי ל ֹא ֵאָדע ִאם ֱאֶמת ָנכוֹן ַהָדָּבר , ְבָּכל זֹאת ֶאְג ֹמל ָעָליו ְלַבד , ְכּמוֹ ִאם ָר ִא ִיתי ְל ִמ ְשַׁמע ָאְזַני<sup>302</sup> ְבֵּע ָיני . ֵוּמרֹב ִבּ ְטחוֹנוֹ ֶבֱּא ָמוּנ ִתי , ִחישׁ ַקל ִי ֹפּל ִבּ ְמ ָצוּד ִתי ְוֶכ ֶשׂד הוּא ָה ִאישׁ ֲאֶשׁר ִי ְהֶיה ִכּ ְכ ִלי ֵחֶפץ ְבָּיִדי ; ִאם ל ֹא ְל ִהוֹרישׁוֹ ַאְך ַבֶּמּה ִי ְסָכּ ִ ן־לי<sup>303</sup> ְלַמַען ַקַחת ְפּ ָקוּדתוֹ ְוּלַה ְשׂ ִבּ ַיע ֵע ִיני ְנָקָמה ִכּי ִב ְכ ִלי ֵחֶפץ ָכּמוֹהוּ ֲאַבַצּע ִמְרָמה ַאַחת ִכּ ְפָלִים . ַאְך ֵאיְך ִתּ ְצַלח ַה ִמְּרָמה ? ֶהֶרף – ֶא ְת ֵבּוֹנן ַבָּדָּבר ַכֲּעבֹר ָי ִמים ֲאָחִדים , ַא ְל ִשׁינוֹ ְבָּאְזֵני ִ הּכּוּשׁי ֵל ֹאמר ִכּי ְר ִא ִיתיו ְמַצֵחק ֵאת ָא ְסַנת ַהְגּ ִב ָירה<sup>304</sup>

 <sup>301</sup> Ps. 92:7 (92:6 in English Bibles).

 <sup>.&#</sup>x27;hear ears his what by not and 'ְו ֽל ֹ ְא־ל ִמ ְשַׁ֥מע ָאְזָ ֖ניו 11:3 .Isa 302

 <sup>303</sup> Job 35:3 ךְן־ל ָ֑ כָּסְ ה־יִּ מַ' what profit is it to you'.

 <sup>.&#</sup>x27;Rebecca wife his with sporting Isaac saw he and 'ַוַ֗יְּרא ְו ִהֵ֤נּה ִי ְצָח ֙ק ְמַצֵ֔חק ֵ ֖את ִר ְבָ֥ קה ִא ְשׁ ֽתּוֹ 26:8 .Gen 304


 <sup>305</sup> Num. 5:14 אהָ֛נְ־קִ וּחַ רֽ ליוָ֧עָ ברַ֨עָוְ' and the spirit of jealousy comes upon him'; see also Num. 5:30.

 <sup>.&#</sup>x27;daughter your desires soul his 'ָ ֽח ְשָׁ֤ קה ַנ ְפ ֙שׁוֹ ְבּ ִב ְתּ ֶ֔כם 34:8 .Gen 306

 <sup>307</sup> Prov. 28:23.

 <sup>.&#</sup>x27;appearance and form in handsome was Joseph and 'ַוְיִ֣הי ֵ֔ יוֹסף ְיֵפ ֖ ֹ ה־תַאר ִו ֵ֥יפה ַמְרֶ ֽאה 39:6 .Gen 308

 <sup>309</sup> This and the following line form a rhyming couplet, mirroring Shakespeare's 'night/ light' (1.3.402– 3).

# **Second Part**

# חלק שני


 <sup>1</sup> Ps. 93:4.

 <sup>2</sup> Lam. 2:8.

 <sup>.&#</sup>x27;waters great of mass a '֖חֶֹמר ַ֥מִים ַרִ ֽבּים 3:15 .Hab 3

 <sup>4</sup> Amos 5:8.


 <sup>5</sup> Job 38:32.

 <sup>6</sup> Isa. 29:6.

 <sup>7</sup> Ruth 2:1.



.'abandoned is town each 'ָכּ ָ ל־הִ֣עיר ֲע ָ֔ זוּבה 4:29 .Jer 8

 9 Job 41:4 (41:12 in English Bibles) כּוֹֽ רְעֶ חיןִ֣וְ' and his graceful proportion' (referring to the mythological sea creature Leviathan).

10 Ps. 45:2 (45:1 in English Bibles).

 96:6, .Ps also ,'majesty and splendour '֥הוֹד ְ֝וָהָדר 21:6 .Ps'; majesty and splendour Your '֝ה ְוֹד ָ֗ך ַוֲהָדֶ ֽרָך 45:4 .Ps 11 104:1, 111:3; Job 40:10; 1 Chron. 16:27.

12 Gen. 34: 1.

\* ִ ה ְקִדּים


 <sup>13</sup> Ezek. 1:4; Ps. 107:25, 148:8.

 <sup>.&#</sup>x27;crown s'husband her is valour of woman a 'ֵ ֽאֶשׁ ַ֭ת־חִיל ֲעֶ֣טֶרת ַבּ ְעָ֑להּ 12:4 .Prov 14

 <sup>15</sup> Cf. Shakespeare's 'great Jove' (2.1.77); Salkinson has replaced the reference to a Classical deity with one to the monotheistic God.

 <sup>16 2</sup> Sam. 22:36; Ps. 18:36 (18:35 in English Bibles).

 <sup>.&#</sup>x27;haven desired their to 'ֶא ְ ל־מ ֥חוֹז ֶח ְפָ ֽצם 107:30 .Ps 17

 <sup>18</sup> Ps. 44:26 (44:25 in English Bibles).


 19 This is the name of two biblical characters, a) Abraham's brother Nahor's wife, mentioned in Gen. 11:29, 22:20, 23, 24, 24:15, 24, 47 and b) one of Zelophehad's daughters, mentioned in Num. 26:33, 27:1, 36:11; Josh. 17:3. Salkinson is likely to have selected the name based on its partial sound correspondence with Shakespeare's Emilia, as well as perhaps because of the qualities of strength and independence associated with Zelophehad's daughters: in the biblical narrative they made a successful public protest against the unjustness of the law barring daughters from inheriting land, and are recognized for their bravery in subsequent Jewish tradition (e.g., the Babylonian Talmud, *Bava Batra* 119b).

 .'vessel precious every of house -treasure the plunder will he '֣הוּא ִי ְשֶׁ֔סה ַ ֖אוֹצר ָכּ ְ ל־כִּ֥לי ֶח ְמָ ֽדּה 13:15 Hosea 20 21 Zech. 7:9; Ps. 103:4.

 22 Zech. 4:7; lit. 'shouts of grace, grace'. This expression was used in the sense of 'thank you' in the medieval and early modern periods, as well as in early revernacularized Modern Hebrew (Even- Shoshan 2003, 2: 580).

 <sup>23</sup> Hab. 2:3.


1:7. .Obad also'; friends trusted your 'ַאְנֵ֣שׁי ְשׁ ֶֹ֔למָך 38:22 .Jer 24

30 1 Sam. 1:13.

32 Song of Songs 3:2.

 <sup>25</sup> Prov. 12:4, 31:10; Ruth 3:11.

 <sup>26</sup> Gen. 21:12; 2 Sam. 11:25.

 <sup>27</sup> Ps. 139:4 שׁוֹניִ֑ לְ בִּ לּהָמִ֭ איןֵ֣ כּיִ֤' for there is no word on my tongue'.

 <sup>.&#</sup>x27;eyes your to sleep give not do 'ַא ִ ל־תֵּ֣תּן ֵשָׁ֣נה ְלֵעֶ֑יניָך 6:4 .Prov 28

 <sup>29</sup> Ps. 137:6 י֮כִּ חִ לְ ׀ שׁוֹניִ֨ ק־לְ בַּ֥דְתִּ' may my tongue cleave to the roof of my mouth'.

 <sup>.&#</sup>x27;him in fault no found have I and 'ְו ֽל ֹ ָא־מָ֤צ ִאתי ֙בוֹ ְמ ֔א ָוּמה 29:3 .Sam 1 31


 <sup>33</sup> Ps. 150:5.

 <sup>34</sup> Gen. 37:20, 33; Lev. 26:6; Ezek. 14:15, 34:25.

 <sup>35</sup> Prov. 12:4, 31:10; Ruth 3:11.

 <sup>36</sup> Prov. 11:13, 20:19.

 <sup>37</sup> Ruth 1:16.

 <sup>38</sup> Judg. 5:14; בטֶשֵׁ typically means 'staff' or 'rod'.


 <sup>39 2</sup> Kings 19:3; Isa. 37:3 בּרֵ֔שְׁ ד־מ ַ עַ ים֙ נִבָ באוָּ֤' children have come to the moment of birth'.

 <sup>40</sup> This and the next line form a rhyming couplet, mirroring Shakespeare's 'wit/ it' (2.1.129– 30).

 <sup>147:1. .</sup>Ps also'; upright the for fitting is praise 'ַ֝לְי ָשִׁ֗רים ָנ ָ֥אוה ְת ִהָ ֽלּה 33:1 .Ps 41

 <sup>42</sup> This and the next line form a rhyming couplet, mirroring Shakespeare's 'wit/ fi t' (2.1.132– 3).

under and you cover will he wing his with 'ְבֶּא ְבָר ֨תוֹ ׀ָיֶ֣סְך ָ֭לְך ְוַ ֽתַח ְת־כָּנָ֣פיו ֶתּ ְחֶ֑סה ִצָ ֖נּה ְ ֽוסֵֹחָ֣רה ֲא ִמ ֽתּוֹ 91:4 .Ps 43 his wings you will find shelter; his faithfulness will be your shield and buckler'.

 <sup>44</sup> This and the next line form a rhyming couplet, mirroring Shakespeare's 'fair/ heir' (2.1.136– 7).

 <sup>45</sup> This speech is prose in the original (2.1.138– 40).


 <sup>48</sup> This and the next line form a rhyming couplet, mirroring Shakespeare's 'thereunto/ do' (2.1.141– 2).


59 This and the next line form a rhyming couplet, mirroring Shakespeare's 'gay/ may' (2.1.150– 1).

 <sup>49</sup> Jer. 2:23.

 <sup>50</sup> This speech is prose in the original (2.1.143– 7).

 <sup>58</sup> Ps. 112:3 יתוֹ֑ בֵבְּ שׁרֶ ֹע֥ הוֹן־ו ָ' wealth and riches are in his house'.


 <sup>60</sup> Num. 13:20 ביםֽ ִנָעֲ כּוּריֵ֥ בִּ מי֖ ֵיְ מיםִ֔ יָּהַ֨ וְ' now it was the time of the first ripe fruits of the grape'.

 <sup>61</sup> Isa. 10:23, 28:22; Dan. 9:27.

 <sup>62</sup> This and the next line form a rhyming couplet, mirroring Shakespeare's 'nigh/ fl y' (2.1.152– 3).

 <sup>63</sup> This and the next line form a rhyming couplet, mirroring Shakespeare's 'frail/ tail' (2.1.154– 5).

 <sup>64</sup> Mishnah *Avot* 4:20 לשועלים ראש תהי ואל , לאריות זנב והוי' and be the tail of lions, rather than the head of foxes'. This is comparable in meaning to the English 'be a small fish in a big pond rather than a big fish in a small pond'. .'wisdom sound and counsel have I 'ִ ֽל ֵ֭ י־עָצה ְו ִתוּשָׁיּ֑ה 8:14 .Prov 65

 <sup>66</sup> This and the next line form a rhyming couplet, mirroring Shakespeare's 'mind/ behind' (2.1.156– 7).

 <sup>.&#</sup>x27;due your is it 'ְל ָ֖ך ָיָ֑אָתה 10:7 .Jer 67

 <sup>68</sup> This speech is prose in the original (2.1.161– 4).

 <sup>69</sup> This speech is prose in the original (2.1.165– 6).

 <sup>70</sup> Prov. 12:18.


71 This speech is prose in the original (2.1.167– 78).

 <sup>.&#</sup>x27;oil from shine face s'one make to 'ְלַה ְצִ֣היל ָפִּ֣נים ִמָ֑שֶּׁמן 104:15 .Ps 72

 <sup>.&#</sup>x27;off cut toes big and thumbs their with 'ְ ֽבּהֹ ֩ נוֹת ְיֵד ֶ֨יהם ְוַרְגֵל ֶ֜יהם ְמֻקָצִּ֗צים 1:7 .Judg 73

 <sup>74</sup> Song of Songs 1:9, 15, 2:2, 10, 13, 4:1, 7, 5:2, 6:4.

 <sup>75</sup> Ps. 140:8 (140:7 in English Bibles).


 <sup>76</sup> Ps. 55:9 (55:8 in English Bibles) ערַסּֽ ָמִ עהָֹ֣ס וּחַ ר֖מֵ' from the stormy wind and tempest'.

 <sup>77</sup> Ps. 46:3 (46:2 in English Bibles) רץֶאָ֑ מירִ֣הָבְּ יראָא־נִ֭ ֹ ל' we will not fear, though the earth give way'.

 <sup>.&#</sup>x27;apart break to like was ship the and 'ְוָ֣הֳאִנָ֔יּה ִח ְשָּׁ ֖בה ְל ִה ָשֵּׁ ֽבר 1:4 .Jon 78

 <sup>79</sup> Exod. 15:8; Prov. 23:34, 30:19.

 <sup>80</sup> Song of Songs 7:7 (7:6 in English Bibles).

 <sup>81</sup> Ps. 84:3 (84:2 in English Bibles).


 <sup>82</sup> Jer. 7:34, 16:9, 25:10, 33:11.

 <sup>.&#</sup>x27;Reeds of Sea the in drowned were officers choicest his and 'ִוּמ ְבַ֥חר ָ ֽשִׁלָ ֖שׁיו ֻט ְבּ ֥עוּ ְבַי ֽם־סוּף 15:4 .Exod 83

 <sup>84</sup> Alshekh to Lev. 20.

 <sup>85</sup> Song of Songs 1:9, 15, 2:2, 10, 13, 4:1, 7, 5:2, 6:4.

 <sup>86</sup> Song of Songs 1:7, 3:1, 2, 3.

 <sup>87</sup> Song of Songs 7:10 (7:9 in English Bibles).


88 This and the following speeches until Raddai's exit are prose in the original (2.1.212– 83).

 <sup>89</sup> Ezek. 21:31 (21:26 in English Bibles).

 <sup>90</sup> Judg. 18:19.

 <sup>91</sup> Alshekh to Prov. 22 and Song of Songs 7.

 <sup>92</sup> Job 16:5 תיַ֣פָשְׂ נידִ֖וְ' and the moving of my lips' (sometimes translated as 'the solace of my lips').


 <sup>93</sup> See note 56.

 <sup>94</sup> Abarbanel to 1 Kings 14 and the introductions to Jeremiah and Ezekiel.

 <sup>.&#</sup>x27;appearance and form in handsome was Joseph and 'ַוְיִ֣הי ֵ֔ יוֹסף ְיֵפ ֖ ֹ ה־תַאר ִו ֵ֥יפה ַמְרֶ ֽאה 39:6 .Gen 95

 <sup>96</sup> Job 7:11, 10:1 שׁיֽ ִ פְ נַ מרַ֣בְּ' with the anguish of my spirit'.

 <sup>97 1</sup> Sam. 13:14 בוֹ֗ בָלְ כִּ אישִׁ֣' a man after his own heart'.

 <sup>98</sup> Ibn Ezra to Prov. 12; Alshekh to Prov. 22.

 <sup>99</sup> Jer. 9:7 (9:8 in English Bibles).


 <sup>100</sup> Abarbanel to Gen. 32, Exod. 30, 2 Sam. 24.

 <sup>101</sup> Prov. 15:23.

 <sup>102</sup> Alshekh to Job 40.

 <sup>103</sup> Ps. 19:12 (19:11 in English Bibles).

 <sup>104</sup> Alternatively, 'devil' (based on the postbiblical meaning of the word).

 <sup>105 1</sup> Sam. 16:12 איִ ֹר֑ טוֹב֣ וְ ים ִינ֖ ַ עֵ פהֵ֥יְ' with beautiful eyes and a comely appearance' (referring to King David in his youth).

 <sup>106</sup> *She'ilat Yave ṣ* part 2, 143 (a well- known work of responsa by the prominent German rabbi Jacob Emden [1697– 1776]).

 <sup>107</sup> Ecclesiastes Rabbah 9.

 <sup>108</sup> Gen. 49:25.

 <sup>109</sup> Cf. Shakespeare's 'the wine she drinks is made of grapes' (2.1.249– 50), which may be a mocking reference to sacramental wine (Schwarz 2004 : 101) but is somewhat vague and subject to interpretation (Honigmann 1997 : 179, notes 249– 50); Salkinson has transformed this into an unambiguous and religiously neutral example of falseness.


110 Gen. 49:25.

114 Judg. 9:33.

 <sup>111</sup> Mishnah *Gi ṭṭ in* 9:10.

 <sup>112</sup> Prov. 27:5.

 <sup>113</sup> Gen. 2:24 (referring to Adam and Eve).


 <sup>.&#</sup>x27;rest no and peace no have I and 'ְו ֖ל ֹא ָשַׁ֥ ק ְט ִתּי ְ ֽול ֹ ָ֗א־נ ְח ִתּי 3:26 Job 115

 <sup>116 1</sup> Kings 5:18 (5:4 in English Bibles) רעֽ ָ געַפֶּ֥ אין֖ ֵוְ טןָ֔שָׂ איןֵ֣' there is no adversary and there is no misfortune'.


 <sup>.&#</sup>x27;them against testifies faces their of expression the 'ַהָכַּ֤רת ְפֵּנ ֶיה ֙ם ָ֣עְנָתה ָ֔בּם 3:9 .Isa 117


 <sup>118</sup> Ps. 25:7.

 <sup>119</sup> Jer. 20:10; Ps. 31:14 (31:13 in English Bibles).

 <sup>120</sup> Hab. 3:16.


adversary an as way the on stood ord L the of angel the and 'ַוִיּ ְתַיֵ֞צּב ַמ ְלַ֧אְך ְי ָ֛הוה ַבֶּ֖דֶּרְך ְל ָשָׂ֣טן ֑לוֹ 22:22 Num 126 against him'.

 <sup>127</sup> Isa. 63:14. Like Smolenskin ( *Ithiel*, Preface, note 1), Salkinson seems to be using this citation to denote ignorance, whereas in Isaiah it refers to eff ortlessness.

 <sup>128</sup> Job 30:3 אהֽ ָֹוּמשְׁ שׁוֹאהָ֥ משֶׁאֶ֗֝' by night in desolation and waste'.

 <sup>129</sup> This and the next line form a rhyming couplet, mirroring Shakespeare's 'confused/ used' (2.1.309– 10).

 <sup>130</sup> This speech is prose in the original (2.2.1– 12).

 <sup>131</sup> Esther 9:17, 18.

 <sup>132</sup> Alshekh to Prov. 21.


 133 This word is attested in the Hebrew Bible, but assumes the sense of 'innermost chamber in a palace' only from the medieval period onwards (Even- Shoshan 2003, 1: 291).

.'ways their all upon are eyes my 'ֵע ַ֙יני ַע ָ ל־כּ ַל־דְּרֵכ ֶ֔יהם 16:17 .Jer 134

136 Song of Songs 1:7, 3:1, 2, 3.

 <sup>135</sup> Exod. 34:24 הוהָ֣ יְ ניֵ֙ת־פְּ אֶ אוֹת֙ רָלֵ' to appear before the L ord '; also Deut. 31:11.


 <sup>137</sup> Gen. 3:19 חםֶלֶ֔ אכלַ ֹתּ֣ ךָי֙ פֶּ֙אַ עתַ֤זֵבְּ' by the sweat of your brow you shall eat bread' (referring to Adam after eating from the tree of knowledge).

 delight a was it and food for good was tree the '֩טוֹב ָהֵ֨עץ ְלַמֲא ָ֜כל ְוִ֧כי ַ ֽתֲאָו ֣ה־הוּא ָלֵע ַ֗ינִים ְוֶנ ְחָ֤מד ָהֵע֙ץ 3:6 .Gen 139 to the eyes and the tree was desirable'.

140 This and the following speeches until Chesed's exit are prose in the original (2.3.13– 44).

.'terror to turned has he pleasure of night my 'ֵ֚את ֶ֣נֶשׁף ִח ְשׁ ִ֔קי ָ֥שׂם ִ֖לי ַלֲחָרָ ֽדה 21:4 .Isa 141

.'doe graceful and hind loving a 'ַאֶ֥יֶּלת ֲאָה ִ֗בים ְ ֽוַ יֲעַ֫ל ֵ֥ת־חן 5:19 .Prov 142

 <sup>138</sup> This and the next line form a rhyming couplet, mirroring Shakespeare's 'ensue/ you' (2.3.9– 10).

 <sup>143</sup> Job 41:4 (41:12 in English Bibles) כּוֹֽ רְעֶ חיןִ֣וְ' and his graceful proportion' (referring to the mythological sea creature Leviathan).

and God cheers which ,wine my leave I should 'ֶהֳחַ֙ד ְל ִ ֙תּי ֶא ִ֣ת־תּ ִ֔ ירוֹשׁי ַ ֽה ְמ ַשֵׂ֥מַּח ֱא ִֹ֖להים ַוֲאָנִ֑שׁים 9:13 .Judg 144 men?' This is Salkinson's translation of Shakespeare's 'she is sport for Jove' (2.3.17), with the Classical reference removed.

so be to none was there Israel all in but 'ְוּכַא ְב ָשׁ֗לוֹם ל ֹ ָא־הָ֧יה ִא ָ ישׁ־יֶ֛פה ְבָּכ ִל־י ְשָׂרֵ ֖אל ְלַהֵ֣לּל ְמ֑ ֹאד 14:25 .Sam 2 145 much praised as Absalom for his beauty'.

 <sup>.&#</sup>x27;delicate and tender called be longer no shall you for 'ִ֣כּי ֤ל ֹא ִ֙תוֹס ִ ֙ יפי ִי ְקְר ָ֔ אוּ־לְך ַרָ ֖כּה ַוֲעֻנָ ֽגּה 47:1 .Isa 146


 147 This expression derives from Isa. 40:3 בּרָ֕דְמִּ בַּ קוֹראֵ֔ קוֹל֣' a voice crying out in the wilderness', but the meaning of 'herald' is thought to have originated in the modern period (Even- Shoshan 2003, 5: 1638). It could alternatively be translated 'a voice crying out for love', following the biblical meaning.


 <sup>148</sup> Num. 19:2 (a description of the red heifer, a cow brought to the priests for sacrifi ce and whose ashes were used for ritual purifi cation).

 <sup>149</sup> Ezek. 23:6, 12, 23.


 <sup>153</sup> Ezek. 23:6, 12, 23.

 <sup>154 2</sup> Chron. 21:20.

utters heart your and ,things strange see eyes your 'ֵ֭ע ֶיניָך ִיְר ֣אוּ ָז֑רוֹת ְ֝ו ִל ְבָּ֗ך ְיַדֵ֥בּר ַתּ ְהֻפּ ֽכוֹת 23:33 .Prov 155 perversities'.

 <sup>.&#</sup>x27;ones exulting proud your 'ַע ִלּ ֵ֙יזי ַגֲּאָו ֵ֔תְך 3:11 .Zeph'; ones exulting proudly my 'ַע ִלֵּ ֖יזי ַגֲּאָוִ ֽתי 13:3 .Isa 156

 <sup>.&#</sup>x27;angered easily one with associate not do 'ַא ִ֭ ל־תּ ְתַרע ֶא ַ֣ת־בַּעל ָ֑אף 22:24 .Prov 157


 <sup>158</sup> Isa. 31:11 עוּ֑תָּ כר֖ ָשֵּׁ וּבַ' and they stagger from strong drink'.


 <sup>162</sup> This song is composed of two pairs of rhyming lines. It diff ers substantially from the original, which reads 'And let me the cannikin clink, clink/ And let me the cannikin clink./ A solider's a man,/ O, man's life's but a span,/ Why then let a soldier drink!' (2.3.65– 9).

 <sup>163</sup> Gen. 40:2, 9, 20; 41:9.


 <sup>164</sup> Isa. 5:22.

 <sup>.&#</sup>x27;naught and nothing as 'ְכַ֛אִין ְוּכֶ֖אֶפס 41:12 .Isa 165

no with filth and vomit with filled are tables the all for 'ִ֚כּי ָכּ ֻ ל־שְׁלָח֔נוֹת ָמ ְל ֖אוּ ִ֣קיא צָֹ֑אה ְבִּ֖לי ָמ ֽקוֹם 28:8 .Isa 166 place untouched'.

 <sup>167</sup> In the Hebrew this song forms an ABAB rhyme. The king's name, which is a nonsensical replacement for Shakespeare's 'Stephen' (2.3.85), appears to have been chosen because it rhymes with the last word of the third line.

 <sup>168</sup> A shekel is a biblical weight (commonly used with reference to silver and gold) corresponding to approximately ten grams.


 <sup>169</sup> Prov. 9:3.

 <sup>.&#</sup>x27;place low a in sit rich the while 'ַוֲע ִשׁ ִ֖ירים ַבֵּ֥שֶּׁפל ֵיֵ ֽשׁבוּ 10:6 .Eccles 170

 <sup>171</sup> Exod. 10:29.

 <sup>172</sup> Gen. 26:35.


 <sup>173</sup> Song of Songs 4:3.

 <sup>174</sup> Prov. 22:29. Cf. Shakespeare's 'He is a soldier fi t to stand by Caesar' (2.3.118). Salkinson has replaced the culturally specifi c 'Caesar' with a more generic biblical reference to royalty.

 <sup>175</sup> Job 38:19.

 <sup>176</sup> Hosea 11:8.

 <sup>177</sup> Isa. 20:5 טםָ֔בָּמַ כּוּשׁ ֙ מִ שׁוֹּב֑וָ תּוּ֖ חַוְ' and they will be afraid and put to shame because of Cush their hope'.


.'eyelids your to slumber nor ,eyes your to sleep give not do 'ַא ִ ל־תֵּ֣תּן ֵשָׁ֣נה ְלֵעֶ֑יניָך ֝וּ ְת ָ֗ נוּמה ְלַע ְפַעֶ ֽפּיָך 6:4 .Prov 178

179 Eccles. 5:12 (5:13 in English Bibles).

180 Ps. 25:8.


181 Cf. Shakespeare's 'Zounds, you rogue! you rascal!' (2.3.141); Salkinson has omitted the Christian oath.

182 Ezek. 3:12.

 <sup>.&#</sup>x27;astir was town whole the and 'ַוֵתּ֤הֹם ָכּ ָ ל־ה ִע ֙יר 1:19 Ruth 183


 <sup>.&#</sup>x27;erased be never will shame his and 'ְ֝וֶחְרָפּ ֗תוֹ ֣ל ֹא ִתָמֶּ ֽחה 6:33 .Prov 184

 <sup>185</sup> Cf. Shakespeare's 'Zounds, I bleed still' (2.3.160); Salkinson has removed the Christian oath.

 <sup>186</sup> Babylonian Talmud *Berakhot* 28b.

 <sup>187</sup> Isa 1:16.

 <sup>188 1</sup> Sam. 20:31; 2 Sam. 12:5.


 <sup>189</sup> Jer. 38:14.

 <sup>.&#</sup>x27;sword flashing my sharpened I when 'ִא ַ ם־שׁ ִ ֙ נּוֹתי ְבַּ֣רק ַחְר ִ֔בּי 32:41 .Deut 190

 <sup>.&#</sup>x27;flesh devours sword my and 'ְוַחְרִ֖בּי תֹּ ַ֣אכל ָבָּ֑שׂר 32:42 .Deut 191


 <sup>.&#</sup>x27;reputation our sullied have you 'ִה ְבַא ְשֶׁ֣תּם ֶא ֵת־ר ֵ֗יחנוּ 5:21 .Exod 192

 <sup>193</sup> Eccles. 7:1 טוֹב֑ מןֶשֶּׁ֣מִ שׁם֖ ֵ טוֹב֥' a good name is better than precious ointment'.

 <sup>194</sup> Jer. 15:10.

 <sup>.&#</sup>x27;speaking from refrain can who but 'ַו ְע ֥צֹר ְ֝בּ ִמִ֗לּין ִ֣מי ָ ֽ יוּכל 4:2 Job 195

 <sup>196</sup> Ps. 39:4 (39:3 in English Bibles).

 <sup>197</sup> Prov. 25:28 רוּחוֹֽ לְ צרָ֣עְ מַ אין֖ ֵ שׁרֶ֤אֲ אישִׁ֗֝' a man who has no rule over his spirit'.


 <sup>198</sup> Cf. Shakespeare's 'Zounds, if I once stir' (2.3.203); Salkinson has omitted the oath.

first been has rulers and princes the of hand the and 'ְוַ֧יד ַה ָשִּׂ֣רים ְוַה ְסָּגִ֗נים ָ ֽהְיָ֛תה ַבַּ֥מַּעל ַהֶ֖זּה ִר ָ ֽ אשׁוֹנה 9:2 Ezra 199 in this trespass'.

 <sup>200</sup> Exod. 34:7 קּהֶ֔נַיְ אֹ ל֣ ה֙ קֵּנַוְ' and He will by no means clear [the guilty]'.

 <sup>201</sup> Babylonian Talmud *Berakhot* 16b and elsewhere in rabbinic and medieval Hebrew literature.

 <sup>202</sup> Ps. 137:6.

 <sup>203</sup> Ps. 112:8 יראָ֑ יִ אֹ ל֣ לבּוִֹ֭ ךְמוּ֣ סָ' his heart is resolved; he does not fear'.


 <sup>204</sup> Judg. 7:22; 1 Sam. 14:20.


205 Ps. 32:6.

207 Isa. 9:6, 59:21; Mic. 4:7; Ps. 113:2, 115:18, 121:8, 125:2, 131:3.

209 Hab. 1:3.

 <sup>206 2</sup> Chron. 36:16.

 <sup>.&#</sup>x27;course normal its to returned sea the morning the in and 'ַוָ֨יּ ָשׁב ַהָ֜יּם ִל ְפ֥נוֹת ֙בֶֹּק ֙ר ְלֵ֣א ָית֔נוֹ 14:27 .Exod 208


210 Song of Songs 1:9, 15, 2:2, 10, 13, 4:1, 7, 5:2, 6:4.

212 Isa. 13:4, 66:6.


216 Alshekh to Job 7.

 <sup>211</sup> This and the next line form a rhyming couplet, mirroring Shakespeare's 'life/ strife' (2.3.253– 4).

 <sup>.&#</sup>x27;terror to turned has he pleasure of night my 'ֵ֚את ֶ֣נֶשׁף ִח ְשׁ ִ֔קי ָ֥שׂם ִ֖לי ַלֲחָרָ ֽדה 21:4 .Isa 213


 <sup>217</sup> Abarbanel to Gen. 32 and numerous other locations therein.

 <sup>218</sup> Ps. 44:17 (44:16 in English Bibles).

 <sup>219</sup> Isa. 15:10.

 <sup>220</sup> Isa. 33:19.

 <sup>.&#</sup>x27;chatter I swallow a or crane a Like 'ְכּ֤סוּס ָע ֙גוּר ֵ֣כּן ֲאַצ ְפ ֵ֔צף 38:14 .Isa 221


 222 Hymn of Glory, a twelfth- century acrostic hymn appearing at the end of the Shabbat morning liturgy. The hymn is attributed to Judah the Pious or to his father Samuel the Pious. Judah the Pious was an extremely prominent medieval scholar based in Speyer and Regensburg.

 .'activity much too from comes dream a for 'ִ֛כּי ָ֥בּא ַהֲח֖לוֹם ְבּ֣רֹב ִעְָנ֑י ן (Bibles English in 5:3 (5:2 .Eccles 223 224 Lam. 4:12; Esther 7:6.

 dancing and leaping David King saw she and 'ַו ֵ֨תֶּרא ֶא ַת־הֶ֤מֶּלְך ָדִּו ֙ד ְמַפֵ֤זּז ְוּמַכְרֵכּ ֙ר ִל ְפֵ֣ני ְי ָ֔הוה 6:16 .Sam 2 225 before the L ord' (referring to David's wife Michal, watching him receive the Ark in Jerusalem).

.'him within upright not is soul his 'ל ֹ ָא־י ְשָׁ֥רה ַנ ְפ ֖שׁוֹ ֑בּוֹ 2:4 .Hab 226

227 Mishnah *Avot* 4:2.


doeg Desist, that's enough from you, do

229 Esther 4:16.

231 Prov. 23:31.

דואג ֶהֶרף , ַרב ָלְך , ַאל ְתַּיֵסּר ַנ ְפ ְשָׁך ֶיֶתר ִמָדּי

 <sup>228</sup> Cf. Shakespeare's 'had I as many mouths as Hydra' (2.3.299); Salkinson has neutralized the Classical mythological reference.

 <sup>230</sup> The translation 'sea- serpents' (which appears in the Creation story in Gen. 1:21 and in various other

locations in the Hebrew Bible) seems to be intended as an equivalent to Shakespeare's 'devil' (2.3.303).


232 Ps. 51:14 (51:12 in English Bibles).

 233 Ibn Ezra to Exod. 18; *Sefer Ḥ asidim* section 134 (a twelfth- or thirteenth- century work by Judah the Pious on the daily life of medieval German Jews; it was well known among later Ashkenazic Jewish readers and would have been familiar to Salkinson).


 <sup>.&#</sup>x27;master his with favour regain he might how and 'ַוּב ֶ֗מּה ִי ְתַרֶ֥צּה ֶז ֙ה ֶא ֲ ל־אדָֹ֔ניו 29:4 .Sam 1 234

and 'ָ֥ וּמוֹצא ְ֝שָׂפ ַ֗תי ֣ל ֹא ֲא ַשֶׁ ֽנּה 89:35 .Ps'; again speak not did they spoke I after 'ַאֲחֵ֣רי ְ֭דָבִרי ֣ל ֹא ִי ְשׁ֑נוּ 29:22 Job 235 I shall not alter what has gone forth from my lips'.

 <sup>236</sup> Salkinson has removed the explicitly Christian content of Shakespeare's 'to renounce his baptism' (2.3.338).

 <sup>.&#</sup>x27;life his risked he and 'ַוַיּ ְשֵׁ֤לְך ֶא ַת־נ ְפ ֙שׁוֹ ִמֶ֔נֶּגד 9:17 .Judg 237

 <sup>238</sup> Gen. 3:16 ךְל־בּ ֽ ָ שָׁ מְ יִ הוּא֖ וְ' and he will rule over you' (God speaking to Eve about her husband Adam).

the to down going ,Sheol to way the is house her 'ַדְּרֵ֣כי ְשׁ֣אוֹל ֵבּ ָ֑ יתהּ ֝יְֹר ֗דוֹת ֶא ַ ל־חְדֵר ָ ֽ י־מֶות 7:27 .Prov 239 chambers of death'.

and […] breastplate a as righteousness on put he 'ַוִיּ ְלַ֤בּשׁ ְצָדָק ֙ה ַכּ ִשְּׁרָ֔ין [...] ַוַ֥יַּעט ַכּ ְמִ֖עיל ִקְנָ ֽאה 59:17 .Isa 240 wrapped himself in zeal as a cloak'.


 <sup>241</sup> These lines are prose in the original (2.3.358–64).

244 Jer. 30:14.

 <sup>242</sup> Prov. 20:30.

 <sup>243 2</sup> Kings 6:33 עוֹדֽ יהוה ֖ ָ לַ ה־אוֹחיל ִ֥ מֽ ָ' why should I wait for the L ord any longer?'


 <sup>245</sup> Judg. 18:23. Although the meaning of the root . ק . ע . ז means 'gather' or 'assemble' in the *nif* ʿ *al* stem, Salkinson seems to have had in mind the meaning of the *qal* , 'cry out'; the likelihood of this is reinforced by the fact that he uses the same expression in other contexts where it clearly has the sense of 'cry out' (see Fifth Part, note 19 and *Ram and Jael* , First Part, note 315).

 <sup>.&#</sup>x27;deeds their of fruit the eat will they 'ְפִ֥רי ַמַע ְלֵל ֶ֖ יהם י ֹ ֵ ֽאכלוּ 3:10 .Isa 246

 <sup>247</sup> Gen. 44:3.

 <sup>.&#</sup>x27;gone and over is rain the 'ַהֶ֕גֶּשׁם ָחַ ֖לף ָהַ֥לְך ֽלוֹ 2:11 Songs of Song 248

 <sup>249</sup> Eccles. 12:10.


 <sup>250 2</sup> Sam. 3:27.

 <sup>251</sup> Isa. 30:21 ךְ֙ רֶדֶּ֙הַ זהֶ֤' this is the way'; Ps. 118:20 יהוה ָ֑ לַ ערַשַּׁ֥ה־הַ זֽ ֶ' this is the gate of the L ord '.

 <sup>252</sup> This and the next line form a rhyming couplet, mirroring Shakespeare's 'way/ delay' (2.3.382– 3).

 <sup>.&#</sup>x27;success achieve not do hands their and 'ְ ֽול ֹ ַא־תֲעֶ֥שׂ ָינה ְ֝יֵד ֶ֗יהם ִתּוּשָׁ ֽיּה 5:12 Job 253

# **Third Part**

# חלק שלישי


 <sup>1</sup> This and the following speeches until Doeg's entrance are prose in the original (3.1.3– 4).

4 Can also mean 'futility'.

 <sup>2</sup> This is a play on words referring back to 'wind' in the previous line, as the word רוּחַ means both 'wind' and 'spirit'.

 <sup>.&#</sup>x27;me within spirit willing a renew and 'ְו֥ר ַוּח ָ֝נ֗כוֹן ַחֵ֥דּשׁ ְבּ ִקְרִ ֽבּי 51:12 .Ps 3


 <sup>5</sup> Isa. 51:3; Ps. 98:5.

 <sup>6</sup> This is a double- entendre; it could also mean 'the word of the mouth of your honest friend'.

 <sup>7</sup> This response is based on the double- entendre from the previous line; it is a close parallel of Shakespeare's 'Dost thou hear, mine honest friend?/ No, I hear not your honest friend, I hear you' (3.1.21– 2).

 <sup>8</sup> Cf. Shakespeare's 'a poor piece of gold' (3.1.23– 4). A shekel is a biblical weight (commonly used with reference to silver and gold) corresponding to approximately ten grams.


 <sup>9</sup> Isa. 49:8.

 <sup>10</sup> Gen. 44:3.

 <sup>.&#</sup>x27;heart her in was that everything about him to spoke she and 'ַו ְתַּדֵ֣בּר ֵאָ֔ליו ֵ֛את ָכּ ֲ ל־אֶ֥שׁר ָהָ ֖יה ִע ְם־לָבָ ֽבהּ 10:2 Kings 1 11


12 2 Sam. 22:20 תיִ֑אֹ חב֖ ָרְמֶּלַ צאֵֹ֥ויַּ' and He brought me out into a spacious place'.

.'ord L the before lament his out pours he and 'ְו ִל ְפֵ֥ני ְ֝י ָ֗הוה ִי ְשׁ ֥ ֹפְּך ִשׂ ֽיחוֹ 102:1 .Ps 15

 <sup>13</sup> Isa. 35:10.

 <sup>14</sup> Isa. 26:20.


 <sup>16</sup> Lam. 2:8.

 <sup>17</sup> Gen. 6:6 בּוֹֽ ל־ל ִ אֶ צּב֖ ֵעַתְ יִּוַ' and it grieved His heart' (referring to God's regret at having made humans after seeing how wicked they had become).


 <sup>18 2</sup> Sam. 22:36 ניִבּֽ ֵרְתַּ ךָ֖ תְ נֹ עֲוַ' and Your gentleness has made me great'; also Ps. 18:36 (18:35 in English Bibles).

 <sup>19</sup> Job 13:13.

 <sup>20</sup> This phrase derives from Eccles. 6:9, where it appears with the meaning 'what the eye can see', but seems to be used here with the meaning of a similar collocation עין מראית' outward appearance', which appears numerous times in rabbinic and later Hebrew literature and denotes a principle of Jewish law whereby one should refrain from engaging in behaviour that, although permissible, might mistakenly appear to an onlooker to constitute a prohibited activity.

fill and ,knowledge windy with answer man wise a would 'ֶ ֽהָחָ֗כם ַיֲעֶ֥נה ַ ֽדַע ֑ת־ר ַוּח ִ ֽו ַימֵ ֖לּא ָקִ֣דים ִבּ ְטֽנוֹ 15:2 Job 21 his stomach with the east wind?'

 <sup>.&#</sup>x27;one banished his back bring not does king the that in 'ְל ִב ְלִ֛תּי ָה ִ֥שׁיב ַהֶ֖מֶּלְך ֶ ֽא ִת־נְדּ ֽחוֹ 14:13 .Sam 2 22


 <sup>23</sup> Ps. 89:35 (89:34 in English Bibles).

 <sup>24</sup> Ezek. 23:41; this phrase is also the title of Joseph Caro's authoritative code of Jewish law (first published in Venice, 1564– 5).


 <sup>.&#</sup>x27; ord L O ,You for yearn I because 'ִ֥כּי ֵאֶ֥ליָך ֲ֝אדָֹ֗ני ַנ ְפ ִ֥שׁי ֶאָ ֽשּׂא 86:4 .Ps 25

27 Esther 7:5.

 <sup>26</sup> The terms בשגגה' in error' and בזדון' with wilful intent' are concepts in Jewish law discussed in various sources including the Babylonian Talmud, in Moses Maimonides' twelfth- century legal guide *Mishneh Torah* ( *Hilkhot Teshuva* 1:1), and in the Yom Kippur liturgy.


 <sup>28</sup> Ps. 51:19 (51:17 in English Bibles).

31 Prov. 28:13.

 <sup>29</sup> Song of Songs 1:7, 3:1, 2, 3.

 <sup>30</sup> Josh. 4:13.


 <sup>32</sup> This meaning of the verbal root . א . ל . פ in the *hitpaʿel* stem is first attested in the medieval period (Even-Shoshan 2003, 5: 1483). While the form occurs in the Hebrew Bible, it has a different meaning, 'to display marvellous power' (Job 10:16).


 <sup>.&#</sup>x27;flesh my seizes terror and 'ְוָאַ֥חז ְ֝בּ ָשִׂ֗רי ַפָּלּ ֽצוּת 21:6 Job 33

spoken has ord L the which Everything ",said they and 'ַו֣יּ ֹ ְאמ ֔רוּ ֛כֹּל ֲאֶשׁ ִר־דֶּ֥בּר ְי ָ ֖הוה ַנֲעֶ֥שׂה ְוִנ ְשָׁ ֽמע 24:7 .Exod 34 to us we shall do and obey"'; in rabbinic Judaism this phrase serves as a model for the way in which Jews should follow Jewish law, by observing the laws even when their significance is unclear.

 <sup>35</sup> Prov. 17:27.


 <sup>36</sup> The heavenly echo (Hebrew קול בת *bat qol* , lit. 'daughter of a voice'), is a concept in the Mishnah, Talmud, and other rabbinic literature, denoting a divine voice that reveals God's will to humans (see Rothkoff 2007 ).

 <sup>37 2</sup> Sam. 12:11.


 <sup>38</sup> Deut. 28:28.

 <sup>39</sup> This verb originates in the rabbinic period (Even- Shoshan 2003, 5: 1675); although the root in this stem is attested in the Hebrew Bible (in Job 22:16), it has a different meaning, 'to be snatched'.

 <sup>40</sup> Judg. 9:16, 19.

 <sup>41</sup> Ps. 24:4.


 <sup>42 2</sup> Sam. 7:19.

 <sup>43</sup> Cf. Shakespeare's 'every act of duty' (3.3.137); Salkinson has replaced this with an explicitly Jewish formulation of duty, mitzvoth, or commandments.

 <sup>44</sup> Isa. 57:19 יםִתָ֑פָשְׂ ניבִ֣' the fruit of the lips'.

 <sup>45</sup> Hab. 1:4.


 <sup>46</sup> Neh. 2:2.

 <sup>47</sup> This expression denoting paranoid exaggeration is thought to have originated in the modern era (Even-Shoshan 2003, 2: 422), but is based loosely on Judg. 9:36 שׁיםֽ ִנָאֲכָּ אהֶֹ֖ר תּהָ֥אַ ריםִ֛הָהֶ צלֵ֧ אתֵ֣' you see the shadow of the mountains as if they were men' (which is uncertain in meaning; see Amit 2004 : 532).

 <sup>48</sup> Job 15:12 ךָיניֽ ֶעֵ מוּן֥ זְרְה־יִּ מַוּֽ' and what do your eyes wink at?' Cf. Shakespeare's 'Zounds! What dost thou mean?' (3.3.157).


 <sup>.&#</sup>x27;reputation our sullied have you 'ִה ְבַא ְשֶׁ֣תּם ֶא ֵת־ר ֵ֗יחנוּ 5:21 .Exod 49

 <sup>50</sup> Jer. 51:34 ריק֔ ִ ליִ֣כְּ ניִ֙יגַ֙ צִּ הִ' he has made me an empty vessel'.

 <sup>27:16. .</sup>Num also ,'flesh all of spirits the of God 'ֵ֕אל ֱא ֵֹ֥להי ָה ֖רוּחֹת ְלָכ ָ ל־בָּ֑שׂר 16:22 .Num 51

 <sup>52</sup> Salkinson has chosen to translate Shakespeare's 'my tribe' (3.3.177) with an expression that is used in rabbinic and later literature to refer specifically to Jews (Even- Shoshan 2003, 1: 211); see, for example, Mishnah *Bava Qamma* 1:2.


 <sup>53</sup> Deut. 23:15 (23:14 in English Bibles), 24:1.

 <sup>.&#</sup>x27; ord L the from away whoring goes land the for 'ִ ֽכּ ָ י־זֹ֤נה ִתְזֶנ֙ה ָהָ֔אֶרץ ֵ ֽמַאֲחֵ ֖רי ְי ָ ֽהוה 1:2 Hosea 54

 <sup>55</sup> Isa. 32:4.


 <sup>56</sup> Job 26:14 ע־בּוֹ֑ מַשְׁ נִ ברָדָּ֭ מץֶה־שּׁ ֵ֣ וּמַ' and how faint (or: whispering) a word is heard of Him'; Salkinson seems to have been using the word מץֶשֶׁ in its medieval sense of 'condemnation' or 'disgrace' (Even- Shoshan 2003, 6: 1921).

 <sup>57</sup> Isa. 10:23, 28:22; Dan. 9:27.

 <sup>58</sup> Job 5:8.

 <sup>59</sup> Ps. 49:4 (49:3 in English Bibles) בּיִ֣לִ גוּת֖הָוְ' and the mediation of my heart'.


 <sup>60</sup> Gen. 6:6 בּוֹֽ ל־ל ִ אֶ צּב֖ ֵעַתְ יִּוַ' and it grieved His heart' (referring to God's regret at having made humans upon seeing how wicked they had become).


 <sup>61</sup> Ps. 107:40.

 <sup>62</sup> Gen. 41:8 רוּחוֹ֔ עםֶפָּ֣תִּ וַ' and his spirit was troubled'; also Dan. 2:3.

 <sup>63</sup> Jer. 17:9.

 <sup>.&#</sup>x27;path the off go; road the from away turn '֚סוּרוּ ִמֵנּ ֶ֔ י־דֶרְך ַה ֖טּוּ ִמֵנּ ֑ ֹ י־אַרח 30:11 .Isa 64

 <sup>65</sup> Isa. 8:14.

 <sup>66</sup> Ezek. 23:6, 12, 23.

 <sup>67</sup> Gen. 19:31.


 <sup>.&#</sup>x27;her within confusion of spirit a mixed has ord L the 'ְי ָ֛הוה ָמַ֥סְך ְבּ ִקְרָ ֖בּהּ ֣ר ַוּח ִעְוִ֑עים 19:14 .Isa 68

 <sup>69</sup> Babylonian Talmud *Nedarim* 20b טפח ומכסה טפח מגלה' he uncovers a handbreadth and covers a handbreadth'. Cf. Shakespeare's 'sees and knows more – much more – than he unfolds' (3.3.247).

 <sup>70 1</sup> Kings 10:7 ציִ חֵ֑הַ ד־לי ִ֖ גַּא־הֻ ֹ לֽ' not even the half had been told to me'.

 <sup>.&#</sup>x27;above heights the in or depth the in either ask 'ַה ְעֵ֣מק ְשָׁ֔אָלה ֖אוֹ ַהְגֵ֥בַּהּ ְלָ ֽמ ְעָלה 7:11 .Isa 71


 <sup>72</sup> Prov. 20:11.

 <sup>73</sup> This expression derives originally from Isa. 28:16, but the meaning of 'touchstone' or 'acid test' is thought to be a modern innovation (Even- Shoshan 2003, 1: 8).

 <sup>74</sup> Mishnah *Avot* 5:19.

 <sup>75</sup> Song of Songs 8:6 ךָבֶּ֗ל־ל ִ עַ חוֹתםָ֜ כֽ ַ ניִימֵ֨ שִׂ' place me like a seal on your heart'.

 <sup>76</sup> Cf. Shakespeare's 'jesses' (3.3.265), straps attached between a hawk's leg and the falconer's wrist (Honigmann 1997 : 225, note 265; Crystal and Crystal 2002 : 247). Salkinson has domesticated this image by replacing the falconry term with an allusion to the Jewish commandment of tying *tefillin* , or phylacteries, on the arm for weekday morning prayers.


 <sup>77</sup> Cf. Shakespeare's 'I'd whistle her off' (3.3.266); as previously (see preceding note), Salkinson has exchanged Shakespeare's falconry reference for an image of Jewish prayer with *tefillin* .

79 Ps. 119:50.

 <sup>.&#</sup>x27;tongue your under milk and honey is there 'ְדַּ֤בשׁ ְוָחָל֙ב ַ֣תַּחת ְל ֵ֔שׁוֹנְך 4:11 Songs of Song 78

<sup>ַ֤</sup>אְך ֶא ֶת־ז ֙ה ֽתֹּ ְאכ֔לוּ ִמכֹּ ֙ל ֶ֣שֶׁרץ ָה ֔עוֹף ַההֵֹ ֖לְך ַע ַ ל־אְרַ֑בּע ֲאֶשׁ ֤ ר־לוֹ ְכָרַ֙עִי ֙ם ִמַ֣מַּעל ְלַרְגָ֔ליו ְלַנֵ֥תּר ָבֵּ ֖הן ַע ָ ל־הָ ֽאֶרץ 11:21 .Lev 80 'but these you may eat of every flying creeping thing that goes on all four, which has legs above its feet with which to hop upon the earth'.

 <sup>81</sup> Deut. 12:10 טחַם־בּֽ ֶ תֶּבְ ישַׁ וֽ ִ' and you will live in safety'; 1 Sam 12:11 טחַבּֽ ֶ בוּ֖שְׁ תֵּוַ' and you lived in safety'.


ְו ִכ ְמַעט ָיָצאנוּ ֵמֶרֶחם , ְתַּרֵדּף ָרָעה ַנ ְפֵשׁנוּ

And as soon as we have left the

 <sup>.&#</sup>x27;eyes His in pure not are heavens the even 'ְ֝ו ָשַׁ֗מִים ל ֹ ַא־ז ֥כּוּ ְבֵע ָ ֽיניו 15:15 Job 82

 <sup>83</sup> Mishnah *Berakhot* 5:1 (also appears in the Tosefta and in later rabbinic literature).

 <sup>84 2</sup> Kings 4:19.

 <sup>85</sup> This word appears twice in the Hebrew Bible (Isa. 3:22 and Ruth 3:15), where it means 'shawl' or 'cloak'. From the rabbinic period onwards it more commonly means 'handkerchief'; Salkinson is using it in the latter sense.


 <sup>86</sup> Gen. 9:13, 17:11.

88 Jer. 22:28, 48:38; Hosea 8:8.

\* ַ הַמָּתָּנה

 <sup>87</sup> This noun is attested in Num. 5:15, but the sense of 'memento' in which Salkinson is using it is thought to be a medieval innovation (Even- Shoshan 2003, 3: 924).


 <sup>89</sup> Prov. 9:13.

 <sup>90</sup> Job 15:5.

 <sup>91</sup> Ps. 52:6 (52:4 in English Bibles).

 <sup>92</sup> Prov. 12:4, 31:10; Ruth 3:11.


 <sup>93</sup> Isa. 51:17.

97 Gen. 19:9.

 <sup>94</sup> Isa. 30:33.

 <sup>95</sup> Alshekh to Exod. 13, Deut. 4, Prov. 6, 18, 19.

 <sup>.&#</sup>x27;eyelids your to slumber nor ,eyes your to sleep give not do 'ַא ִ ל־תֵּ֣תּן ֵשָׁ֣נה ְלֵעֶ֑יניָך ֝וּ ְת ָ֗ נוּמה ְלַע ְפַעֶ ֽפּיָך 6:4 .Prov 96


 <sup>.&#</sup>x27;it of all see not will you but ,edge its see will you 'ֶ֚אֶפס ָקֵ֣צהוּ ִתְרֶ֔אה ְוֻכ֖לּוֹ ֣ל ֹא ִתְרֶ֑אה 23:13 .Num 98

 <sup>99</sup> Hosea 2:4.

 <sup>100</sup> Jer. 31:26.

 <sup>.&#</sup>x27;pleasing is secret in eaten bread and ,sweet is water stolen 'ַ ֽמִי ְם־גּ ִ֥ נוּבים ִי ְמָ֑תּקוּ ְוֶ֖לֶחם ְסָתִ֣רים ִיְנָ ֽעם 9:17 .Prov 101

 <sup>102</sup> Ps. 40:13 (40:12 in English Bibles).

 <sup>103</sup> Ps. 78:9.


 <sup>104 1</sup> Sam. 17:45, 47.

 <sup>105</sup> Alshekh to Isa. 59.

 <sup>106 1</sup> Sam. 8:7; 1 Chron. 18:7.

 <sup>.&#</sup>x27;chariots glorious your 'ַמְר ְכּ֣בוֹת ְכּ ֶ֔בוֹדָך 22:18 .Isa 107

 <sup>28:4. .</sup>Isa also ,'beauty glorious its 'ְצִ֣בי ִת ְפַאְר֑תּוֹ 28:1 .Isa 108

 <sup>109 1</sup> Sam. 2:3 יכם ֶ֑ פִּ מִ תק֖ ָעָ צאֵ֥יֵ' let [not] arrogance come out of your mouth'.

 <sup>110</sup> Cf. Shakespeare's 'Jove's dread clamours' (3.3.359); Salkinson has replaced this with a reference to the monotheistic God.

 <sup>111</sup> Dan. 12:7 עוֹלםָ֑ הָ חיֵ֣בְּ בע֖ ַשָּׁ יִּוַ' and he swore by the One who lives forever'.


 <sup>112</sup> Judg. 19:24.

114 Exod. 14:8; Num. 15:30, 33:3.

 <sup>.&#</sup>x27;heart his of way the in frowardly went he but 'ַוֵ֥יֶּלְך ָ ֖שׁוֹבב ְבֶּ֥דֶרְך ִל ֽבּוֹ 57:17 .Isa 113

 <sup>.&#</sup>x27;heavens the shake to going am I 'ֲאִ֣ני ַמְר ִ֔עישׁ ֶא ַת־ה ָשַּׁ ֖מִים 2:21 .Hag 115

 <sup>.&#</sup>x27;tremble earth the made who man the 'ָה ִא ֙ ישׁ ַמְרִ֣גּיז ָהָ֔אֶרץ 14:16 .Isa 116

 <sup>117</sup> The source text has a rhyming couplet here 'hence/ offence' (3.3.382– 3) which Salkinson has not reproduced.


 <sup>118</sup> Salkinson has omitted Shakespeare's 'Her name, that was as fresh/ As Dian's visage, is now begrimed and black/ As mine own face' (3.3.389– 91), which appears directly before this sentence in the Folio editions. (This entire speech is missing from the Quarto, but the fact that Salkinson has retained most of it indicates that he was working from a source text that included it.)

\* ַתּנּוּר


.'death and destruction 'ֲאַב֣דּוֹן ָ֭וָמֶות 28:22 Job 119

 ,through them of both pierced he and 'ַוִיְּדקֹ ֙ר ֶא ְת־שֵׁנ ֶ֔יהם ֵ֚את ִ֣אישׁ ִי ְשָׂרֵ֔אל ְוֶא ָת־ה ִאָ ֖שּׁה ֶא ֳל־קָבָ֑תהּ 25:8 .Num 120 the Israelite and the woman through her belly' (referring to Phineas, Aaron's grandson, driving a spear through an Israelite man and Moabite woman out of disapproval at intermarriage between the two groups).

 121 Neh. 9:10; similar collocations with these two nouns appear in numerous other locations in the Hebrew Bible (referring to God's signs and wonders), e.g., Exod. 7:3; Deut. 4:34.

 ,furnace earthen an in silver pure 'ֶ֣כֶּסף ָ֭צרוּף ַבֲּעִ֣ליל ָלָ֑אֶרץ ְ֝מֻזָ֗קּק ִשׁ ְבָעָ ֽתִים (Bibles English in 12:6 (12:7 .Ps 122 refined seven times'.


 <sup>123</sup> Job 26:14 ע־בּוֹ֑ מַשְׁ נִ ברָדָּ֭ מץֶה־שּׁ ֵ֣ וּמַ' and how faint (or: whispering) a word is heard of Him'. See note 56 for discussion of Salkinson's use of this expression.

128 Isa. 21:3.

 <sup>124</sup> Song of Songs 1:7, 3:1, 2, 3.

 <sup>125</sup> Ps. 55:15 (55:14 in English Bibles) סוֹד֑ תּיקִ֣מְ נַ דּוָחְ יַ֭' we took sweet counsel together'.

 <sup>126</sup> Song of Songs 2:10.

 <sup>127</sup> Song of Songs 1:2 פּיהוִּ֔ יקוֹת֣ שִׁ נְּמִ ניִ֙קֵ֙שָּׁ יִ' let him kiss me with the kisses of his mouth'.


 129 Judg. 14:6 דיִ֔גְּהַ סּעַ֣שַׁ כְּ הוּ֙ עֵ֙סְּ שַׁ י ְ וֽ ַ' and he tore it apart as one tears apart a kid' (Samson tearing apart a lion with his bare hands).

130 Dan. 11:28, 30.

 131 This word is attested in the Hebrew Bible (1 Kings 6:29, 32, 7:31), but has the meaning of 'carvings' or 'engravings'; the sense of 'weaving' in which Salkinson is using it originates in the modern period (Even-Shoshan 2003, 3: 1082).

 <sup>132</sup> Cf. Shakespeare's 'strawberries' (3.3.438). Salkinson's translation of 'pomegranates' has distinct connotations in Jewish culture. It is one of the seven fruits of the Land of Israel mentioned in Deut. 8:8, and is also frequently mentioned in the Song of Songs as well as in rabbinic literature. For example, a well- known reference (Song of Songs Rabbah 6:11) compares rows of students studying Torah to the rows of seeds in the pomegranate. Moreover, pomegranates are traditionally eaten on Rosh HaShanah, the Jewish New Year. Pomegranates also feature prominently in Jewish art, for example, the silver decorations covering the rollers on Torah scrolls are called *rimmonim* 'pomegranates'. See Feliks ( 2007 ) for discussion of pomegranates in Jewish tradition.


 <sup>133</sup> Dan. 8:8, 11:4 see also Zech. 2:10 for a similar phrase.

136 Deut. 32:33.

\* ִאם \*\* ְ יִדידֹת

 <sup>134</sup> Deut. 32:22.

 <sup>135</sup> Num. 5:27 נהָּ֔טְ בִ תהָ֣בְ צָוְ' and her belly will swell' (describing the punishment for adulterous women).

 <sup>137</sup> Somewhat unusually, Salkinson has not replaced this name with a biblical equivalent.


 <sup>138</sup> Exod. 15:10.

 <sup>139</sup> The word used here is Elath, a proper noun denoting a port city on the Red Sea (modern- day Eilat at

Israel's southern tip), mentioned in Deut. 2:8; 2 Kings 14:22, 16:6.

 <sup>140</sup> Isa. 54:8.

 <sup>141</sup> Neh. 10:30 (10:29 in English Bibles) בוּעהָ֗ שְׁ וּבִ להָ֣אָבְּ' in a curse and an oath'.

 <sup>142</sup> Ezek. 32:8.


.'rewarded be shall work your for 'ִכּ֩י ֵ֨ישׁ ָשָׂ֤כר ִל ְפֻעָלֵּתְ֙ך 31:16 .Jer 143

144 Gen. 40:13, 19; Josh. 1:11.

145 Isa. 53:8.

146 Gen. 44:10 ן־הוּא ֑ כֶּ יכם ֶ֖ רֵבְ דִכְ' in accordance with your words, so be it'; also Josh. 2:21.

147 1 Kings 2:9 אוֹלֽ שְׁ דם֖ ָבְּ תוֹ֛יבָ ת־שֵׂ אֶ תָּ֧דְהוֹרַ וְ' and you will bring his grey head in blood down to Sheol'.

148 All of the lines between this and the clown's exit are prose in the original (3.4.1– 22).

149 This word is a homonym with the additional meaning of 'fright'.

150 See preceding note.


 <sup>151</sup> See note 149.

 <sup>.&#</sup>x27;king the with head my endanger would you 'ְו ִחַיּ ְבֶ֥תּם ֶאת־ר ֹ ִ֖אשׁי ַלֶ ֽמֶּלְך 1:10 .Dan 152

 <sup>153 2</sup> Sam. 18:13 יתיִ שִׂ֤ וֹ־ע ָ אֽ קרֶשֶׁ֔ שׁי֙ ִ פְ נַבְ' otherwise I would have dealt falsely against my own life'.

 <sup>154</sup> Prov. 13:5, 29:12.

 <sup>155</sup> This collocation is commonly used in Hebrew to denote rabbinic responsa, i.e., the written rulings on questions regarding various aspects of Jewish law given by legal authorities. See Ta- Shma, Tal, and Slae ( 2007 ) for discussion of responsa literature.


 156 Cf. Shakespeare's 'crusadoes' (3.4.26), Portuguese coins marked with a cross (Crystal and Crystal 2002 : 109). A shekel is a biblical weight (commonly used with reference to silver and gold) corresponding to approximately ten grams.

157 Ps. 24:4.

159 Num. 5:14 אהָ֛נְ־קִ וּחַ רֽ ליוָ֧עָ ברַ֨עָוְ' and the spirit of jealousy comes upon him'; see also Num. 5:30.

160 Song of Songs 1:9, 15, 2:2, 10, 13, 4:1, 7, 5:2, 6:4.

161 Psalms 12:3 (12:2 in English Bibles).

 <sup>158</sup> Num. 5:14 אהָ֛נְ־קִ וּחַ רֽ ליוָ֧עָ ברַ֨עָוְ' and the spirit of jealousy comes upon him'; see also Num. 5:30.


162 Ps. 51:14 (51:12 in English Bibles).

163 Exod. 10:29.


 <sup>164</sup> Jer. 11:20 לבֵ֑וָ יוֹת֖לָכְּ חןֵֹ֥בּ' examines the kidneys and the heart' (i.e., the thoughts and mind).

 <sup>.&#</sup>x27;love her in intoxicated be always you may 'ְ֝בַּאֲהָב ָ֗תהּ ִתּ ְשֶׁ֥גּה ָתִ ֽמיד 5:19 .Prov 165

apple the touches you touches whoever for 'ִ֚כּי ַה ֹנֵּ֣גַע ָבּ ֶ֔כם ֹנֵ ֖גַע ְבָּבַ֥בת ֵע ֽינוֹ (Bibles English in 2:8 (2:12 .Zech 166 of his own eye'.

 <sup>167</sup> Judg. 9:16, 19.


.'prophesied they them upon rested Spirit the when and 'ַוְי ִ֗הי ְכּ֤נ ַוֹח ֲעֵל ֶיה ֙ם ָה ֔ר ַוּח ַוִ ֽיּ ְתַנ ְבּ ֖אוּ 11:25 .Num 168

 <sup>.&#</sup>x27;vermillion with painted and 'ָוּמ ֖שׁ ַוֹח ַבּ ָשַּׁ ֽשׁר 22:14 .Jer 169

 <sup>170</sup> Prov. 9:7.


 <sup>.&#</sup>x27;women of love the than more ,me to wonderful was love your 'ִנ ְפ ְלַ֤אָתה ַאֲהָ ֽב ְתָ֙ך ִ֔לי ֵמַאֲהַ ֖בת ָנִ ֽשׁים 1:26 .Sam 2 171

 <sup>172</sup> Isa. 30:6; Prov. 1:27.

 <sup>173 1</sup> Sam. 19:5.

 <sup>174</sup> Job 33:12.

 <sup>175</sup> Num. 5:14 אהָ֛נְ־קִ וּחַ רֽ ליוָ֧עָ ברַ֨עָוְ' and the spirit of jealousy comes upon him'; also Num. 5:30.


 <sup>176</sup> Gen. 4:13 אֹשֽׂ נְּמִ ניִֺ֖עוֲ דוֹל֥גָּ' my iniquity is too great to bear' (Cain speaking to God after killing his brother Abel).

 <sup>177</sup> Lam. 3:19.


 <sup>&#</sup>x27;?skin his change Cushite a can 'ֲהַיֲה֤ ֹפְך ִ ֙ כּוּשׁי ֔עוֹרוֹ 13:23 .Jer 178

 <sup>179</sup> Prov. 23:28.

to seems Salkinson .'haggard looking faces your see he should why 'ָלָמּ֩ה ִיְרֶ֨אה ֶא ְת־פֵּנ ֶ֜יכם ֽזֲֹעִ֗פים 1:10 .Dan 180 have had this particular collocation in mind, but is using the root ף . ע . ז in its alternative sense of 'to rage, to be angry'.


 <sup>181 2</sup> Sam. 22:9 פּוֹ֔ אַבְּ שׁן֙ ָ עָ להָ֤עָ' smoke rose from his nostrils'; also Ps. 18:9 (18:8 in English Bibles).

 <sup>182</sup> Jer. 10:25 ךָ֗תְ מָחֲ ךְפֹ ֣שְׁ' pour out Your wrath'; similar collocations appear in Ezek. 14:19, 20:8, 13, 21, 22:22, 30:15, 36:18; Ps. 79:6. The phrasing from Jer. 10:25 and Ps. 79:6 is also very well known from its appearance in the Passover Haggadah.

 <sup>183</sup> Ezek. 16:8.

 <sup>.&#</sup>x27;man quarrelsome a and 'ְוִ֥אישׁ ִ֝מְדָיִ֗נים 26:21 .Prov 184

 <sup>185</sup> Job 19:7 מסָחָ֭ עקַ֣צְ אֶ' I cry out that I have been wronged'.


186 Ps. 41:14 (41:13 in English Bibles), 72:19, 89:53 (89:52 in English Bibles).

187 Isa. 49:8.

 <sup>188</sup> The mother of one of Esau's wives, mentioned in Gen. 36:2, 14, 18. (Note that many interpretations of this verse, including that of the prominent medieval Jewish commentator Rashi, understand Anah to be a man.) Salkinson's motivation for selecting this name as an equivalent of Shakespeare's Bianca is unclear, as there is no obvious correspondence in meaning or sound. It is possible that he saw the shared 'an' sound in both names as a partial correspondence, and/ or that he was inspired by the biblical Anah's associations with idolatry and immorality.


shall I ,Behold 'ִהְנִ֣ני ֵמ ִ֣שׁיב ֶא ֵ֣ת־צל ַ ֽהַמֲּע֡לוֹת ֲאֶ֣שׁר ָיְרָד֩ה ְבַמֲע֨לוֹת ָאָ֥חז ַבֶּ֛שֶּׁמשׁ ֲאחַֹרִ֖נּית ֶ֣ע ֶשׂר ַמֲע֑לוֹת 38:8 .Isa 189 turn back the degrees, which have gone down on the sundial of Ahaz, by ten degrees'. Cf. Shakespeare's 'hours' (3.4.174).

shall I ,Behold 'ִהְנִ֣ני ֵמ ִ֣שׁיב ֶא ֵ֣ת־צל ַ ֽהַמֲּע֡לוֹת ֲאֶ֣שׁר ָיְרָד֩ה ְבַמֲע֨לוֹת ָאָ֥חז ַבֶּ֛שֶּׁמשׁ ֲאחַֹרִ֖נּית ֶ֣ע ֶשׂר ַמֲע֑לוֹת 38:8 .Isa 190 turn back the degrees, which have gone down on the sundial of Ahaz, by ten degrees'.

 <sup>.&#</sup>x27;back stand 'ֶגּ ָ֗שׁ־ה ְלָאה 19:9 .Gen 191



 <sup>192</sup> In the Hebrew these two lines form a rhyming couplet, which lacks a parallel in Shakespeare's single- line statement 'Tis very good; I must be circumstanced' (3.4.202).

# **Fourth Part**

# חלק רביעי



 <sup>1</sup> Judg. 19:24.

 <sup>.&#</sup>x27;prosper not will sins his up covers who he 'ְמַכֶ֣סּה ְ֭פ ָשָׁעיו ֣ל ֹא ַי ְצִ֑ל ַיח 28:13 .Prov 2

 <sup>.&#</sup>x27;lips his with rashly spoke he and 'ַ֝וְיַבֵ֗טּא ִבּ ְשָׂפָ ֽתיו 106:33 .Ps 3

 <sup>4</sup> Neh. 10:30 (10:29 in English Bibles) בוּעהָ֗ שְׁ וּבִ להָ֣אָבְּ' in a curse and an oath'.

 <sup>5</sup> This speech is prose in the original (4.1.35– 43).

 <sup>6</sup> Cf. Shakespeare's 'zounds, that's fulsome!' (4.1.36).


 <sup>7</sup> Isa. 21:4.

 <sup>8</sup> Isa. 21:2.

 <sup>9</sup> Ps. 35:26.

 <sup>10 2</sup> Sam. 1:9 בץָ֑שָּׁ הַ ניִז֖ ַחָאֲ' agony has seized me'; the word בץָשָׁ appearing in this verse is a *hapax legomenon* with somewhat uncertain meaning (having been interpreted as 'death throes', 'agony', or 'convulsions'; Koehler and Baumgartner 2001 , 2: 1402). Salkinson uses it as a translation of Shakespeare's 'epilepsy' (4.1.50). The same citation is used in a different sense in *Ram and Jael* ; see *Ram and Jael* , Third Part, note 99.


 <sup>11</sup> Ezek. 16:47.

 13 Job 24:5. Cf. Shakespeare's 'A horned man's a monster, and a beast' (4.1.62). Salkinson's replacement of 'monster' with 'goat' may be an attempt to preserve an element of the English expression 'horned man'.

 <sup>12</sup> In Hebrew this and the previous line employ two diff erent words for 'man'.


 <sup>.&#</sup>x27;saying ,heart his in boasts he and 'ְו ִה ְתָבֵּ֨רְך ִבּ ְלָב֤בוֹ ֵל ֹאמ ֙ר (Bibles English in 28:19 (28:18 .Deut 14

 <sup>15</sup> Lev. 21:7.

 <sup>16</sup> Mal. 2:14.

 <sup>17</sup> Ps. 41:4 (41:3 in English Bibles).

 <sup>.&#</sup>x27;Abram upon fell sleep deep a 'ְוַתְרֵדָּ ֖מה ָנ ְפָ֣לה ַע ַ ל־א ְבָ֑רם 15:12 .Gen 18


.'honour your upon spewing shameful and 'ְו ִק ָיק ֖לוֹן ַע ְ ל־כּ ֶ ֽבוֹדָך 2:16 .Hab 19

 20 2 Sam. 16:8; translated as 'a murderer' in some English Bible versions (e.g., Geneva Bible and New International Version).

21 Prov. 15:23 תּוֹ֣ עִ בְּ בר֖ ָדָוְ' and a word (or: matter) in its time'.


 <sup>22</sup> Ps. 38:4.

 <sup>.&#</sup>x27;trouble of out soul my bring 'ִ֖תוֹציא ִמָצָּ֣רה ַנ ְפ ִ ֽשׁי 143:11 .Ps 23

 <sup>.&#</sup>x27;dove senseless silly a like is Ephraim 'ַוְיִ֣הי ֶא ְפַ֔רִים ְכּ ָ֥ יוֹנה ָ ֖פוֹתה ֵ֣אין ֵ֑לב 7:11 Hosea 24


 <sup>25</sup> Judg. 9:16, 19.

 <sup>26</sup> Salkinson has omitted Cassio's immediately preceding line 'Ha, ha, ha' (4.1.118).

 <sup>27</sup> Cf. Shakespeare's 'Do ye triumph, Roman, do you triumph?' (4.1.119), an ironic reference to the Roman entrance ceremony by a victorious general (Honigmann 1997 : 262, note 119). Salkinson has simplifi ed this into a straightforward reference to Chesed's native city.

 <sup>28</sup> This and the following speeches until the arrival of Lud, Asenath, and the servants are all prose in the original (4.1.120– 212).

 <sup>.&#</sup>x27;laughter with fill will mouths our then 'ָ֤אז ִיָמֵּ֪לא ְשׂ֡חוֹק ִפּ ֮ינוּ 126:2 .Ps 29

 <sup>30</sup> As previously, Salkinson has omitted Shakespeare's 'Ha, ha, ha!' appearing at the end of Cassio's speech in the previous line (4.1.122).


31 Jer. 20:11.

\* ְ כּ ִלַמּת \*\* טוֹב

 <sup>32</sup> Jer. 13:27 ךְנוּת ֵ֔ זְ מּתַ֣זִ' the lewdness of your fornication'.


 <sup>33</sup> Cf. Shakespeare's 'fi tchew' (4.1.145), a polecat, skunk, or prostitute (Crystal and Crystal 2002 : 177). Although Lilith is almost totally absent from the Bible (there is a single somewhat opaque attestation of the name in Isaiah 34:14), she became prominent in postbiblical Jewish literature, featuring in the Babylonian Talmud, in rabbinic midrash (homiletical and narrative commentary on the Hebrew Bible), and in medieval mystical texts. She is a familiar feature of Eastern European Jewish folklore as Adam's fi rst wife who became a she- demon given to kidnapping and murdering new- born boys (Petrovsky- Shtern 2010 ).

 <sup>34</sup> Song of Songs 3:6.

 <sup>35</sup> Cf. Shakespeare's 'the devil and his dam' (4.1.147). The name Azazel fi rst appears in Lev. 16:8, 10 in the description of a Yom Kippur ritual whereby a goat was sent into the wilderness symbolically bearing the community's sins. The meaning of the name is unclear. In Talmudic times there were variant interpretations of the term, one of which was as a demonic fi gure (Ahituv 2007 ); this is the sense in which Salkinson is using it. The phrase 'evil angels' appears in Ps. 78:49. See First Part, note 56 for further discussion of the name Azazel.


 <sup>36</sup> Deut. 23:19 (23:18 in English Bibles).


 <sup>37</sup> Ezek. 27:3; Lam. 2:15.

 <sup>.&#</sup>x27;flint like face my set have I 'ַ֤שׂ ְמ ִתּי ָפַ֙ני ַ ֽכַּחָלּ ִ֔מישׁ 50:7 .Isa 38

 <sup>.&#</sup>x27;head her on crown royal the put he and 'ַוָיּ֤ ֶשׂם ֶ ֽכֶּת ַ ר־מ ְל ֙כוּת ְבּר ֹ ָ֔אשׁהּ 2:7 Esther 39

 <sup>40</sup> Job 18:14 (an epithet for Death; see Gruber 2004 : 1528).

 <sup>41</sup> Job 41:4 (41:12 in English Bibles) כּוֹֽ רְעֶ חיןִ֣וְ' and his graceful proportion' (referring to the mythological sea creature Leviathan).

 <sup>.&#</sup>x27;craft skilful every in 'ְבָּכ ְ ל־מֶ֥ל ֶאכת ַמֲחָ ֽשֶׁבת 35:33 .Exod 42

 <sup>43</sup> Dan. 1:20.


44 Hosea 11:8.

.'pieces into it cut must he and 'ְוִנַ֥תּח ֹאָ ֖תהּ ִלְנָתֶ ֽח ָיה 1:6 .Lev 45


 <sup>46</sup> This is the name of one of the sons of Noah's son Shem, mentioned in Gen. 10:22 and 1 Chron. 1:17; it also appears in Isa. 66:19 and Ezek. 27:10, 30:5 as the name of a foreign nation. Salkinson seems to have chosen the name as an equivalent of Shakespeare's Lodovico based on the sound correspondence between the two.

 <sup>47</sup> Gen. 29:14; 2 Sam. 19:13, 14 (19:12, 13 in English Bibles).

 <sup>48</sup> Hab. 1:3.


 <sup>49</sup> Josh. 1:7.

54 Prov. 11:22.

 <sup>50</sup> Deut. 17:8.

 <sup>.&#</sup>x27;spirit of bitterness '֣ ֹמַרת ֑ר ַוּח 26:35 .Gen 51

 <sup>52</sup> Ezek. 38:22; Ps. 11:6.

 <sup>53</sup> Jer. 48:11 בּוֹ֔ מוֹ֙ עְ טַ מדַ֤עָ' its flavour (can also mean 'sense') remained in it'.


55 Prov. 15:11.

56 Isa. 27:1 (referring to the mythological sea creature Leviathan). Cf. Shakespeare's 'crocodile' (4.1.245).

57 Lam. 2:18.


of piece a as regarded is club a 'ְ֭כַּקשׁ ֶנ ְח ְשׁ֣בוּ ָ֑תוֹתח ְ֝וִי ְשַׂ֗חק ְלַ֣רַעשׁ ִכּ ֽידוֹן (Bibles English in 41:29 (41:21 Job 58 straw, and he laughs at the rattling of the scimitar' (referring to the mythological sea creature Leviathan).

 <sup>.&#</sup>x27;me within turned is heart my 'ֶנ ְהַ֤פְּך ִל ִ ֙בּי ְבּ ִקְר ִ֔בּי 1:20 .Lam 59

 <sup>60</sup> Ps. 59:5 (59:4 in English Bibles).


61 Sic; should read ' scene 2 '.

\* ִמָלּה ִוּמָלּה \*\* ִשְׁלּחוְּך \*\*\* ִ שְׁלּ ִחוּני


 <sup>62</sup> Ps. 24:4.

\* ְ כַּמ ְל ִשׁין


.'perversities utters heart your and ,things strange see eyes your 'ֵ֭ע ֶיניָך ִיְר ֣אוּ ָז֑רוֹת ְ֝ו ִל ְבָּ֗ך ְיַדֵ֥בּר ַתּ ְהֻפּ ֽכוֹת 23:33 .Prov 63

64 Deut. 13:7 (13:6 in English Bibles).

65 Mal. 2:14.


 <sup>66</sup> Ps. 89:38 (89:37 in English Bibles).

 <sup>67</sup> Ps. 89:38 (89:37 in English Bibles).

 <sup>68</sup> Isa. 30:6; Prov. 1:27.

 <sup>69</sup> Midrash Tan ḥ uma to Gen. 18:1– 22:24; Alshekh to Exod. 16 and 2 Sam. 22.

 <sup>.&#</sup>x27;hope a and future a 'ַאֲחִ֥רית ְו ִת ְקָ ֽוה 29:11 .Jer 70


 <sup>71</sup> Ps. 44:14 (44:13 in English Bibles), 79:4.

75 Lam. 3:45.

 <sup>72</sup> Deut. 4:20; 1 Kings 8:51; Jer. 11:4.

 <sup>73</sup> Prov. 4:23 יּיםֽ ִחַ אוֹת֥ תּוֹצְ מּנּוֶּ֗ י־מ ִ֝ כּֽ ִ' for from it come the sources of life'.

 <sup>74</sup> Prov. 23:27 יּהֽ ָרִכְ נָ רהָ֗צָ֝ ארֵ֥וּבְ זוֹנה ָ֑ קּהָ֣מֻעֲ י־שׁוּחה ָ֣ כּֽ ִ' for a whore is a deep pit, and a strange woman is a narrow well'.

 <sup>76</sup> Ps. 58:9 (58:8 in English Bibles). The meaning of this biblical expression is unclear, although it seems to form part of a curse (Berlin and Brettler 2004 a: 1345).

 <sup>77</sup> Joshua 7:24, 15:7; Isa. 65:10; Hosea 2:17 (originally a place name, the Valley of Achor, this term came to be used as an epithet for a place of suff ering and trouble; see Even- Shoshan 2003, 4: 1373).

 <sup>78</sup> Isa. 59:5 עהֽ ֶפְ אֶ קע ַ֥בָּתִּ זּוּרה ֶ֖ הַוְ' and that which is crushed hatches into a viper'.


 <sup>79</sup> Isa. 17:10.

 <sup>80</sup> Song of Songs 1:3, 4:10.

 <sup>81</sup> In the Hebrew Bible this word is typically translated as 'cult prostitute', 'temple prostitute', or 'shrine prostitute' (see, e.g., Deut. 23:18 [23:17 in English Bibles]), and is generally understood as referring to sacred prostitution, which was a common feature of the ancient Near East and is particularly associated with the Canaanite goddess Astarte. However, Salkinson seems to be using it in the straightforward sense of 'prostitute, whore', which is thought to have evolved in the modern period (Even- Shoshan 2003, 5: 1632).

 <sup>82</sup> Gen. 38:18 (referring to Judah's daughter- in- law Tamar, who dressed up as a temple prostitute in order to trick Judah into honouring his broken vow to her).

 <sup>83</sup> Hosea 7:4.

 <sup>.&#</sup>x27;ashamed sun the and abashed be will moon the 'ְוָ ֽח ְפָר ֙ה ַה ְלָּבָ֔נה ָ ֖ וּבוֹשׁה ַ ֽהַחָ֑מּה 24:23 .Isa 84

 <sup>85</sup> Prov. 7:10 לבֽ ֵ רתַצֻ֥וּנְ וֹנהָ֗ ז֝ שׁיתִ֥' dressed as a whore and sly- hearted'.

 <sup>.&#</sup>x27; ord L the to up hand my raise I 'ֲהִר ֨ ֹ ימ ִתי ָיִ֤די ֶא ְל־י ָהו ֙ה 14:22 .Gen 86


 <sup>87</sup> Mic. 7:7; Hab. 3:18; Ps. 25:5; Ps. 27:9. Cf. Shakespeare's 'as I am a Christian' (4.2.84). Salkinson's version is religiously neutral; however, Scolnicov (2001: 188) suggests that his selection of the word עיִ שְׁ יִ' my salvation' was intended as a veiled punning reference to שׁוּעַ יֵ' Jesus'.

 <sup>88</sup> See note 81.

 <sup>89</sup> Cf. Shakespeare's 'Saint Peter' (4.2.93). This is noteworthy as one of the only instances in either of Salkinson's Shakespeare translations in which he leaves a Christian reference intact. Note the Italianate suffi x - os, comparable to 'Marcos' (First Part, note 155).


eye my and waters were head my only if 'ִ ֽמ ִ י־יֵ֤תּן ר ֹ ִ ֙אשׁי ַ֔מִים ְוֵע ִ֖יני ְמ֣קוֹר ִדּ ְמָ֑עה (Bibles English in 9:1 (8:23 .Jer 90 a fountain of tears'.

 <sup>91</sup> Job 26:14 ע־בּוֹ֑ מַשְׁ נִ ברָדָּ֭ מץֶה־שּׁ ֵ֣ וּמַ' and how faint (or: whispering) a word is heard of Him'. See Third Part, note 56 for discussion of Salkinson's use of this expression.


 <sup>92</sup> Hosea 1:2.

 <sup>93</sup> Prov. 6:26.

 <sup>94</sup> Ezek. 23:32.


 <sup>95</sup> Deut. 23:15 (23:14 in English Bibles), 24:1.

97 Isa. 15:3.

 <sup>96</sup> Jer. 31:16.

 <sup>.&#</sup>x27;her within confusion of spirit a mixed has ord L the 'ְי ָ֛הוה ָמַ֥סְך ְבּ ִקְרָ ֖בּהּ ֣ר ַוּח ִעְוִ֑עים 19:14 .Isa 98

 <sup>99 2</sup> Sam. 6:20.

 <sup>100</sup> Alshekh to Eccles. 10.


 101 This is a postbiblical expression first appearing in the Mishnah (e.g., *Oholot* 16:3 לדבר רגלים' the matter has substance').

.'men base of sons indeed ,fools of sons 'ְ ֽבֵּנ ָ֭ י־נָבל ַגּ ְם־בֵּ֣ני ְב ִל ֵ֑ י־שׁם 30:8 Job 102

103 Prov. 19:26.

104 Job 15:16.

ָוֶאַ ֽקּ ִ֞ח־לי ְשֵׁ֣ני ַמ ְק֗לוֹת ְלַאַ֞חד ָקָ֤ר ִאתי ֙נַֹע ֙ם ְוּלַאַח֙ד ָקָ֣ר ִאתי 11:7 .Zech on based expression modern a is This 105 ליםִ֔בְ ֹחֽ' and I took two rods; I called one Beauty and the other Bands' (see Even- Shoshan 2003, 3: 1081).

 ;Ruth maidservant your am I ",said she and 'ַו ֗תֹּ ֶאמר ָא ֹנ ִ ֙כי ֣רוּת ֲאָמ ֶ֔תָך ָוּפַר ְשָׂ֤תּ ְכָנֶ֙פָ֙ך ַע ֲ ל־אָ֣מ ְתָ֔ך 3:9 Ruth 106 spread your garment over your maidservant" ' (i.e., marry your maidservant).


 <sup>.&#</sup>x27; ord L the to up hand my raise I 'ֲהִר ֨ ֹ ימ ִתי ָיִ֤די ֶא ְל־י ָהו ֙ה 14:22 .Gen 107

 <sup>108</sup> Jer. 11:20.

 <sup>.&#</sup>x27;tremble bones my all 'ָ ֽרֲח ֙פוּ ָכּ ַ ל־ע ְצ ַ֔מוֹתי 23:9 .Jer 109

 <sup>18:14. 17:22,</sup> also ,'spirit broken a '֣ר ַוּח ְנֵכָ ֽאה 15:13 .Prov 110


 <sup>111</sup> Ezek. 6:12 בּםֽ ָ תיִ֖מָחֲ יתיִ֥ לֵּכִ וְ' and I shall exhaust my fury on them'.

115 Hosea 2:17 (2:15 in English Bibles).

116 Neh. 4:4 (4:10 in English Bibles).

 <sup>.&#</sup>x27;tears from eyes your and ,weeping from voice your refrain 'ִמְנִ֤עי ֵקוֹל ְ֙ך ִמֶ֔בּ ִכי ְוֵע ַ ֖ינִ יְך ִמִדּ ְמָ֑עה 31:16 .Jer 112

 <sup>113</sup> The remainder of this scene is in prose in the original (4.2.175– 246).

 <sup>114</sup> This is a postbiblical expression traceable to the Babylonian Talmud, *Ḥ ullin* 27b. Salkinson's use of the phrase includes an infi nitive absolute, which is a more characteristically biblical form.


120 2 Kings 4:31.

 <sup>117</sup> Cf. Shakespeare's 'votarist' (i.e., 'nun'; see Crystal and Crystal 2002 : 484). The specifi cally Jewish connotations of Salkinson's expression would have been obvious to his readers: it is typically used to denote a *bat kohen* or daughter of a Cohen (member of the priestly class), a status that has certain implications in Jewish law. This changes the sense somewhat, as a Cohen's daughter (as indeed a priest's daughter) would not be bound by the rules of chastity governing the life of a nun.

 <sup>.&#</sup>x27;love in ourselves delight us let 'ִ֝נ ְתַע ְלָּ֗סה ָבֳּאָהִ ֽבים 7:18 .Prov 118

 <sup>.&#</sup>x27;spirit your restore will he and 'ְוָ֤הָיה ָל ְ֙ך ְלֵמ ִ֣שׁיב ֶ֔נֶפשׁ 4:15 Ruth 119


121 Jer. 31:19 (a sign of abhorrence, regret, or grief); see also Ezek. 21:17.

125 Ps. 32:8.

 <sup>122</sup> Esther 4:16.

 <sup>123</sup> Job 36:5.

 <sup>.&#</sup>x27;success achieve not do hands their and 'ְ ֽול ֹ ַא־תֲעֶ֥שׂ ָינה ְ֝יֵד ֶ֗יהם ִתּוּשָׁ ֽיּה 5:12 Job 124


 <sup>126</sup> Prov. 24:26.

 <sup>127</sup> Eccles. 7:8.

 <sup>128</sup> Gen. 49:5.

 <sup>129</sup> Eccles. 7:8.

 <sup>130</sup> Cf. Shakespeare's 'Mauretania' (4.2.226), the North African homeland of the Moors (Honigmann 1997 : 287, note 226). Salkinson's substitution fi ts in with his reshaping of the play's protagonist as a Cushite – or, alternatively, as Scolnicov (2001) suggests, a Jew (despite the fact that he is not labelled as such).

 <sup>131</sup> Exod. 9:15 רץֶאֽ ָן־ה ָ מִ חד֖ ֵכָּתִּ וַ' and you will be removed from the earth'.


 <sup>132</sup> See preceding note.

 <sup>133</sup> See note 131.

 <sup>134 1</sup> Sam. 2:1 יהוה ָ֑ בּֽ ַ ניִ֖רְקַ מהָרָ֥' my horn is exalted in the L ord', indicating joy or strength. Cf. Shakespeare's 'his honourable fortune' (4.3.236).

 <sup>.&#</sup>x27;heart the in pricked was I and 'ְ֝ו ִכ ְל ַ֗ יוֹתי ֶא ְשׁ ָ ֽתּוֹנ ן 73:21 .Ps 135



 <sup>136</sup> This is a postbiblical expression traceable to the Babylonian Talmud ( *Berakhot* 16b) and appearing elsewhere in rabbinic, medieval, and early modern literature.

 <sup>137</sup> Jer. 31:20 לוֹ֔ עי֙ ַמֵ מוּ֤ הָ' my insides are moved for him'; see also a similar phrase in Song of Songs 5:4. .'cruel so fury their and 'ְוֶע ְבָרָ ֖תם ִ֣כּי ָקָ֑שָׁתה 49:7 .Gen 138

 <sup>139</sup> Prov. 22:15 ערַב־נָ֑ לֶבְ שׁוּרהָ֣ קְ לתֶוֶּאִ֭' folly is bound up in the heart of a child'.

 <sup>140</sup> Esther 8:15. In the biblical verse, the linen robe appears in a celebratory context; Salkinson seems to have borrowed the phrase without intending to evoke these positive connotations.

 <sup>141</sup> Lev. 19:20.

 <sup>142</sup> Cf. Shakespeare's 'Barbary' (4.3.24). Azubah is the name of two minor biblical characters, the wife of Caleb mentioned in 1 Chron. 2:18, and the mother of the king Jehoshaphat mentioned in 1 Kings 22:42 and 2 Chron. 20:31. Salkinson seems to have intended it as a play on words, as the name literally means 'abandoned (fem.)'; see also note 144.


 <sup>143</sup> Lev. 23:40; Job 40:22.

\* ָ לָאֶרץ

abandoned wife a like you called has ord L the for 'ִ ֽכּ ְ י־כ ִאָ֧שּׁה ֲע ָ֛ זוּבה ַוֲע ֥צ ַוּבת ֖ר ַוּח ְקָרָ֣אְך ְי ָ֑הוה 54:6 .Isa 144 and sad- spirited' (this is a play on words, as זוּבה ָ עֲ is both the name 'Azubah' and the word 'abandoned [fem.]').

 <sup>. &#</sup>x27;continually me before ord L the set have I 'ִשִׁ֬וּ ִיתי ְי ָ֣הוה ְלֶנְגִ֣דּי ָתִ֑מיד 16:8 .Ps 145

 <sup>146</sup> Salkinson has added the word רוֹביִ קְ' my relative', which does not feature in the original (4.3.34- 5).

 <sup>147</sup> These lines are prose in the original (4.3.37– 8).

 <sup>148</sup> Cf. Shakespeare's 'Palestine' (4.3.38); Salkinson's translation is a very commonly used Hebrew term for the Land of Israel.

 *(Asenath sings)* 

( אסנת תשיר )


 149 Gen. 35:8; in the biblical verse the oak tree is the location where the matriarch Rebecca's nurse Deborah was buried; in most English Bibles the phrase 'oak of weeping' is translated as a proper name, Allon(- )bacuth.

150 Or 'Azubah'; see notes 142 and 144.

151 Joel 1:8.

 <sup>152</sup> Scolnicov (2001: 189) argues that Salkinson's selection of the plural form here, in contrast to Shakespeare's singular 'willow' (4.3.40ff ), is intended as a reference to Ps. 137:1– 2, which contains a mention of willows (in the plural) as part of a lament about exile from Zion; as such, Salkinson is linking the sadness of spurned lovers to the Jews' mourning for loss of a national homeland. While it is possible that Salkinson had such associations in mind, it is perhaps more likely that the use of the plural is rooted primarily or solely in a desire to maintain consistency with the initial appearance of the word in Asenath's speech (as the song's title), which is in the plural because it is a citation of Lev. 23:40 and Job 40:22 (see note 143).


 <sup>153</sup> Salkinson's choice of this word is particularly appropriate in the context of this song, as its single biblical appearance (in Jer. 15:18) is often translated as 'deceptive brook', referring to a seasonally dry brook or river.

 <sup>.&#</sup>x27;lips of sweetness and 'ֶ֥וּמֶתק ְ֝שָׂפ ַ֗תִים 16:21 .Prov 154

 <sup>155</sup> Ps. 6:8 (6:7 in English Bibles) יניִ֑ עֵ עסַכַּ֣מִ שׁהָ֣שְׁ עֽ ָ' my eye grows dim from grief'; also Ps. 31:10 (31:9 in English Bibles).

 <sup>156</sup> Eccles. 8:1 ברָ֑דָּ שׁרֶפֵּ֣ עַיוֹד ֖ ֵ וּמיִ֥' and who knows the interpretation of a matter'.

 <sup>157</sup> Joel 1:8.


 <sup>158</sup> These lines are prose in the original (4.3.70– 6).

 <sup>159</sup> Exod. 35:22.

 <sup>160</sup> A measurement equivalent to approximately 45cm.

 <sup>161</sup> Zech. 14:9.

 <sup>162</sup> Cf. Shakespeare's 'purgatory' (4.3.76). Salkinson has replaced the Christian term with a close Jewish equivalent. The word appears on a number of occasions in the Hebrew Bible (2 Kings 23:10; Jer. 7:31, 32, 19:6, 11– 4) but as a place- name, Topheth, a location in Jerusalem where idol- worshippers would sacrifi ce their children; in the medieval period it became a label for hell (Even- Shoshan 2003, 6: 2030), and this is the sense in which Salkinson is employing it.



166 Exod. 34:7; Num. 14:18.

 <sup>163</sup> This rhymes with the last word of the speech's last line, echoing Shakespeare's 'know/ so' (4.3.101– 2) except that the latter is a rhyming couplet. Salkinson most likely opted for a different pattern because he could not find a workable rhyme for the last two lines of the speech. He has employed the pausal form of the Hebrew word for 'bosom' (as opposed to the standard כםֵיקְ חֵ ( for purposes of the rhyme.

 <sup>164</sup> A designation for God (see, e.g., 2 Sam. 22:3; Ps. 18:3 [18:2 in English Bibles]).

 <sup>165</sup> This and the next line form a rhyming couplet, mirroring Shakespeare's 'send/ mend' (4.3.103– 4).

# **Fifth Part**

# חלק חמישי


 <sup>1</sup> Jer. 50:9.

 <sup>2</sup> Deut. 1:21; Josh. 8:1; 1 Chron. 22:13, 28:20.

 <sup>3</sup> Deut. 31:7, 23; Josh. 1:6, 7, 9, 18; 1 Chron. 22:13.

 <sup>.&#</sup>x27;succeed and up go 'ֲעֵ֣לה ְוַה ְצַ֔לח 22:15 Kings 1 4

 <sup>.&#</sup>x27;home eternal his to goes man for 'ִ ֽכּי־הֵֹ֤לְך ָהָאָד ֙ם ֶא ֵ֣ ל־בּית ָעוֹל ֔מוֹ 12:5 .Eccles 5

 <sup>6 1</sup> Sam. 20:31; 2 Sam. 12:5.


10 1 Sam. 20:31; 2 Sam. 12:5.

11 Josh. 2:19 אשׁוֹ֖ ֹ ברְ מוֹ֥ דָּ' his blood is on his head'.


hands the are hands the but ,Jacob of voice the is voice the 'ַהקֹּ ֙ל ֣קוֹל ַיֲע ֔קֹב ְוַהָיַּ ֖דִים ְיֵ֥די ֵעָ ֽשׂו 27:22 .Gen 12 of Esau'. 

\* ָ ה ִביאוּ

 <sup>13</sup> Isa. 47:1, in reference to Babylon, which is prophesied destruction and will no longer be called tender or delicate. Cf. Shakespeare's 'minion' (5.1.33), which commonly means 'darling' but here is used in the sense of 'hussy' (Honigmann 1997 : 298, note 33; Crystal and Crystal 2002 : 282). The negative context of the biblical citation suggests that Salkinson was aware of the insulting sense of the English original and expected his readers to interpret the Hebrew endearment ironically.

 <sup>14</sup> Num. 19:16.

 <sup>15</sup> This and the next line form a rhyming couplet, mirroring Shakespeare's 'blotted/ spotted' (5.1.35– 6).


16 This is Shem's grandson and Aram's son, mentioned in Gen. 10:23 and 1 Chron. 1:17. Salkinson has

selected the name based on its sound correspondence with Shakespeare's Gratiano.

 17 Zeph. 1:14 בּוֹרֽ גִּ שׁםָ֥ חַר֖ ֵֹצ מרַ֥ הוהָ֔ יְ יוֹם֣ קוֹל֚' the voice of the day of the L ord , wherein the mighty man cries bitterly'.

 19 Judg. 18:23. Although the meaning of the root . ק . ע . ז means 'gather' or 'assemble' in the *nif*ʿ*al* stem, Salkinson seems to have had in mind the meaning of the *qal* , 'cry out'. (See also Second Part, note 245 and *Ram and Jael* , First Part, note 316.)

 <sup>18</sup> Exod. 10:22 (referring to the darkness that affl icted Egypt as one of the ten plagues).


23 Ps. 5:7 (5:6 in English Bibles).

.'is he so ,himself considers he as for 'ִ֤כּי ׀ ְכּ ָ מוֹ־שַׁ֥ער ְבַּנ ְפ ֗שׁוֹ ֶ֫כּ ֥ ן־הוּא 23:7 .Prov 24


.'cry bitter and great a out cried he and 'ַוִיּ ְצַ֣עק ְצָעָ֔קה ְגּדָֹ֥לה ָוּמָ ֖רה 27:34 .Gen 25

26 Alshekh to Prov. 14 and Dan. 4.


 <sup>27</sup> Babylonian Talmud *Shabbat* 152a צואה מלא חמת אשה' a woman is a sack full of filth'.

29 Jer. 2:12.

 <sup>28 2</sup> Sam. 10:12 ק֙זַּחַתְ נִוְ זקַ֤חֲ' be strong and let us show ourselves courageous'.



 <sup>30</sup> Hosea 1:2.

 <sup>31</sup> Hosea 1:2.

 <sup>.&#</sup>x27;insult an and taunt a 'ֶחְרָ֤פּה ְוּג ָדוּפ ֙ה 5:15 .Ezek 32

 <sup>33</sup> This and the next line form a rhyming couplet, mirroring Shakespeare's 'night/ quite' (5.1.128– 9).

 <sup>.&#</sup>x27;haven desired their to 'ֶא ְ ל־מ ֥חוֹז ֶח ְפָ ֽצם 107:30 .Ps 34

 <sup>35</sup> Isa. 10:22.


 <sup>36</sup> Song of Songs 7:2 (7:1 in English Bibles).

 <sup>37</sup> Midrash Tan ḥ uma to Exod. 30:11– 34:35; Alshekh to Isa. 6 and Song of Songs 1.

 <sup>38</sup> Cf. Shakespeare's 'I know not where is that Promethean heat/ That can thy light relume' (5.2.12– 13); Salkinson has omitted the Classical reference.

 <sup>39</sup> Or: 'continue to love you'; either meaning of the Hebrew עוֹד' still', 'again' is a possible translation for Shakespeare's 'I will kill thee and love thee after' (5.2.18– 19).


for stirred was compassion his for ,out hurried Joseph And 'ַוְיַמֵ֣הר ֵ֗ יוֹסף ִ ֽכּ ִ י־נ ְכ ְמ֤רוּ ַרֲחָמ֙יו ֶא ָ ל־א ִ֔חיו 43:30 .Gen 40 his brother'.

 <sup>;</sup>fearsome is high on ord L the for 'ִ ֽכּ ְ י־י ָ֣הוה ֶע ְל֣יוֹן ָ֑ נוֹרא ֶ֥מֶלְך ָ֝גּדוֹל ַע ָ ל־כּ ָ ל־הָ ֽאֶרץ (Bibles English in 47:2 (47:3 .Ps 41 a great king over the whole earth'.

 <sup>&#</sup>x27;?at wink eyes your do what and 'ֽוַּמ ִה־יְּרְז ֥מוּן ֵעֶ ֽיניָך 15:12 Job 42

 <sup>27:16. .</sup>Num also ,'flesh all of spirits the of God 'ֵ֕אל ֱא ֵֹ֥להי ָה ֖רוּחֹת ְלָכ ָ ל־בָּ֑שׂר 16:22 .Num 43


 <sup>44</sup> Ps. 55:5. 45 Jer. 17:11.

 <sup>.&#</sup>x27;evil about brings and lips his purses he 'קֵֹ֥רץ ְ֝שָׂפ ָ֗תיו ִכָּ֥לּה ָרָ ֽעה 16:30 .Prov 46

 <sup>.&#</sup>x27;stand I where tremble I and 'ְוַת ְחַ֣תּי ֶאְרָ֑גּז 3:16 .Hab 47

 <sup>48</sup> Abarbanel to Ezek. 7; Alshekh to Gen. 27 and numerous other locations therein.

 <sup>49</sup> Jer. 10:25 ךָ֗תְ מָחֲ ךְפֹ ֣שְׁ' pour out Your wrath'; similar collocations appear in Ezek. 14:19, 20:8, 13, 21, 22:22, 30:15, 36:18; Ps. 79:6. The phrasing from Jer. 10:25 and Ps. 79:6 is also very well known from its appearance in the Passover Haggadah.


 <sup>50</sup> Prov. 6:26.

 <sup>51</sup> Zech. 8:17.

 <sup>52</sup> Neh. 10:30 (10:29 in English Bibles) בוּעהָ֗ שְׁ וּבִ להָ֣אָבְּ' in a curse and an oath'.

 <sup>.&#</sup>x27;spirit of anguish '֣ ֹמַרת ֑ר ַוּח 26:35 .Gen 53

 <sup>54</sup> Ps. 63:5 (63:4 in English Bibles), 119:48.


 55 2 Chron. 14:3 (14:4 in English Bibles) והֽ ָצְ מִּ הַוְ תּוֹרהָ֥ הַ' the law and the commandment'. See First Part, note 212 for discussion of this collocation.


 <sup>.&#</sup>x27;him kill not do and 'ְוָהֵ ֖מת ַא ְ ל־תּ ִמ ֻ֑ יתהוּ 3:26 Kings 1 56

 <sup>.&#</sup>x27;you upon heavy be not will hand my and 'ְ֝וַא ְכִ֗פּי ָעֶ֥ליָך ל ֹ ִא־י ְכָ ֽבּד 33:7 Job 57

 <sup>58</sup> Isa. 28:10 שׁםֽ ָ עירֵ֥זְ שׁם֖ ָ עירֵ֥זְ' a little here, a little there'.


 59 This word is attested in the Hebrew Bible, but it is a *hapax legomenon* (appearing in Ps. 55:15 [55:14 in English Bibles]) with the meaning of 'throng' or 'unrest'. Salkinson is instead using it in the sense of 'feeling' or 'sensation', which dates to the modern period (Even- Shoshan 2003, 5: 1748).

.'darkness in heavens the clothe I 'ַא ְלִ֥בּישׁ ָשַׁ ֖מִים ַקְד֑רוּת 50:3 .Isa 60


\* ִל ָ ישׁוּעָתהּ \*\* ְב ָשׁלוֹם


 <sup>61</sup> This expression is extremely well known from its appearance in the liturgical song מלאכי עליכם שלום השרת' welcome, ministering angels' traditionally sung in Jewish homes immediately before the Friday night meal; it is also attested in numerous locations in the commentaries of Ibn Ezra, Abarbanel, and Alshekh.

 <sup>62</sup> Ps. 78:49.

 <sup>.&#</sup>x27;woman shameless a like speaking are you 'ְכַּדֵ֞בּר ַאַ֤חת ַהְנָּב ֙לוֹת ְתַּדֵ֔בִּרי 2:10 Job 63

 <sup>.&#</sup>x27;neighbour your against witness false bear not shall you 'ֽל ֹ ַא־תֲעֶ֥נה ְבֵרֲע ָ֖ך ֵ֥עד ָ ֽשֶׁקר 20:16 .Exod 64

 <sup>65</sup> Exod. 24:10.

 <sup>66</sup> Deut. 32:22.


 <sup>.&#</sup>x27; ord L the to up hand my raise I 'ֲהִר ֨ ֹ ימ ִתי ָיִ֤די ֶא ְל־י ָהו ֙ה 14:22 .Gen 67

73 Zeph. 3:9.

 <sup>68</sup> Deut. 33:16; Isa. 34:1; Jer. 8:16, 47:2; Ezek. 19:7, 30:12; Mic. 1:2.

 <sup>69</sup> A region renowned in the Hebrew Bible for its wealth; see, for example, 1 Kings 10:11, which describes the riches that King Solomon received from Ophir.

 <sup>.&#</sup>x27;whitewash with them daubed have prophets her and 'ְוּנ ִב ֶ֗יא ָיה ָט֤חוּ ָלֶה ֙ם ָתּ ֵ֔פל 22:28 .Ezek on Based 70

 <sup>71 2</sup> Sam. 3:34, 7:10; 1 Chron. 17:9.

 <sup>.&#</sup>x27;street the in stumbled has truth for 'ִ ֽכּ ָ י־כ ְשָׁ֤לה ָ ֽבְר ֙חוֹב ֱא ֶ֔מת 59:14 .Isa 72


 <sup>74</sup> Exod. 4:25. This expression appears in a very diff erent context in the biblical source; it is uttered by Moses' wife Zipporah in an enigmatic episode whereby she circumcizes her son and touches Moses' feet with the blood. See Ben- Shushan ( 2006 ) for a detailed study of the 'bridegroom of blood' motif in biblical and postbiblical Hebrew literature.

 <sup>75</sup> Job 15:16.

 <sup>76</sup> Josh. 24:26; this is also a very common phrase in all postbiblical forms of Hebrew meaning 'God's Torah'. Salkinson has chosen this phrase as a translation for Shakespeare's 'heaven' (5.2.156), in an undermotivated act of Judaization.

 <sup>77</sup> Gen. 49:14.

 <sup>78</sup> Job 11:12.

 <sup>.&#</sup>x27;sword flashing my sharpened I when 'ִא ַ ם־שׁ ִ ֙ נּוֹתי ְבַּ֣רק ַחְר ִ֔בּי 32:41 .Deut 79

 <sup>.&#</sup>x27;life his risked he and 'ַוַיּ ְשֵׁ֤לְך ֶא ַת־נ ְפ ֙שׁוֹ ִמֶ֔נֶּגד 9:17 .Judg 80


81 Ps. 39:4 (39:3 in English Bibles).


 <sup>82</sup> Job 5:21 באֵ֑חָתֵּ לשׁוֹןָ֭ שׁוֹט֣ בְּ' you will be hidden from the lash of the tongue'.

 <sup>83</sup> Joel 2:11.

 <sup>84</sup> Jer. 5:30.

 <sup>.&#</sup>x27;search diligent makes spirit my and ,heart my with commune I 'ִע ְם־לָבִ֥בי ָא ִ֑שׂ ָיחה ַוְיַחֵ֥פּשׂ ִ ֽרוּחי 77:7 .Ps 85

 <sup>86</sup> Ps. 39:4 (39:3 in English Bibles).

 <sup>.&#</sup>x27;dust the in around roll 'ָעָ ֖פר התפלשתי ִה ְתַפָּ ֽלּ ִשׁי 1:10 .Mic 87


 <sup>88</sup> Ps. 44:17 (44:16 in English Bibles).

 <sup>89</sup> Abarbanel to 1 Sam. 16; Alshekh to Deut. 12 and Prov. 5, 20.

 <sup>90</sup> Hosea 12:6 (12:5 in English Bibles); Amos 3:13, 6:14.

 <sup>91</sup> Cf. Shakespeare's 'Zounds, hold your peace' (5.2.216).

 <sup>.&#</sup>x27;me compels me within spirit the 'ֱ֝ה ִצ ַ֗יק ְתִני ֣ר ַוּח ִבּ ְטִ ֽני 32:18 Job 92

 <sup>.&#</sup>x27;bones my in up shut fire burning a like 'ְכֵּ֣אשׁ בֹּ ֶ֔עֶרת ָעֻ֖צר ְבַּע ְצ ֹמָ֑תי 20:9 .Jer 93


 <sup>94</sup> Job 32:20.

 .'lies speak you 'ֶ֥שֶׁקר ִדַּ ֖בְּרָתּ 13:3 .Zech 97 98 Ps. 92:7 (92:6 in English Bibles).

 <sup>95</sup> Ps. 78:49.

 <sup>.&#</sup>x27;woman shameless a like speaking are you 'ְכַּדֵ֞בּר ַאַ֤חת ַהְנָּב ֙לוֹת ְתַּדֵ֔בִּרי 2:10 Job 96


99 Ezek. 28:14, 16.


 100 Ps. 19:15 (19:14 in English Bibles) בּיִ֣לִ יוֹן֣גְהֶוְ י־פי ִ֡ רֵמְ אִ' the words of my mouth and the meditation of my heart'.

101 Prov. 29:11 סילִ֑כְ יוֹציא ִ֣ ל־רוּחוֹ ֭ כָּ' a fool vents all of his spirit'.

103 Prov. 7:23 הוּאֽ שׁוֹ֥ פְ נַי־ב ְ כּֽ ִ דעַ֗א־יָ֝ ֹ לֽ וְ' and he does not know that it will cost him his life'.

106 Ps. 45:4 (45:3 in English Bibles).

 <sup>102</sup> Ezek. 21:14 (21:9 in English Bibles) רוּטה ֽ ָ ם־מְ גַוְ דּהָהוּח֖ ַ רבֶחֶ֛' a sword, sharpened and also polished'.

 <sup>.&#</sup>x27;head your on be will blood your 'ָדּ ְמ ָ֖ך ִי ְהֶ֥יה ְבר ֹ ֶ ֽאשָׁך 2:37 Kings 1 104

 <sup>105</sup> Salkinson has not reproduced Shakespeare's rhyming couplet 'me/ thee' (5.2.255).


 <sup>107</sup> Ps. 78:49.

 <sup>108</sup> Isa. 30:33.

 <sup>.&#</sup>x27;butter and honey of streams and rivers 'ַנֲהֵ֥רי ַ֝נֲחֵ֗לי ְדַּ֣בשׁ ְוֶח ְמָ ֽאה 20:17 Job 109

 <sup>110</sup> Song of Songs 1:7, 3:1, 2, 3.


111 1 Kings 12:33 בּוֹ֑לִּ מִ מלבד דאָ֣ר־בָּ שֶׁאֲ דשֶֹׁח֖ בַּ' in the month which he had devised from his own heart'.

\* ְ שִׁחיתוֹת



112 Prov. 21:30.

114 Jer. 30:14.

 <sup>113</sup> Job 19:7 מסָחָ֭ עקַ֣צְ אֶ' I cry out that I have been wronged'.


 <sup>115</sup> Prov. 21:30.

 <sup>116</sup> Isa. 8:8.

 <sup>117</sup> Alternatively, 'Jew'. Cf. Shakespeare's 'Indian' (Quarto and Second, Third, and Fourth Folios) or 'Judean' (First Folio) (5.2.345). The Hebrew word הוּדיִ יְ typically means 'Judean' (i.e., someone of the tribe of Judah) in the Hebrew Bible, but in later biblical texts (e.g., Esther) it begins to be used in the sense of 'Jew', which becomes standard in the postbiblical period. Salkinson's readers would have been aware of both meanings, and as such, the reference would have had unmistakeably Jewish associations. In addition, Scolnicov (2001: 189) points out that, as the name 'Judah' is the Hebrew equivalent of 'Judas', Salkinson's Ithiel is drawing an explicit comparison between his actions and the betrayal of Jesus.

 <sup>118</sup> Cf. Shakespeare's 'pearl' (5.2.345). The Hebrew word is sometimes translated as 'lapis lazuli'; see Exod. 24:10, 28:18; Ezek. 1:26, 10:1, 28:13; Job 28:6, 16; Lam. 4:7.

 <sup>119</sup> Salkinson has replaced Shakespeare's undefi ned 'his tribe' (5.3.346) with this very specifi c reference, which can be interpreted either as an allusion to biblical Israel (in keeping with 'Judean' in the preceding line) or as a label for the Jewish people, which 'Israel' commonly denotes in postbiblical usage.


 <sup>120 1</sup> Kings 6:23, 31, 32, 33.

 <sup>121</sup> Cf. Shakespeare's 'Aleppo' (5.3.350). Ps. 60:2 (60:1 in English Bibles); an Aramean state in southern Syria that arose in the late second millennium or early fi rst millennium bce , mentioned only here in the Hebrew Bible. The name is associated with the city of Aleppo in medieval and later Jewish tradition (see Ashtor 2007 : 613), and is therefore an appropriate translation for 'Aleppo'.

 <sup>122</sup> The Ishmaelites, descendants of the biblical patriarch Abraham's elder son Ishmael, are equated with the Arabs in postbiblical Jewish tradition.

 <sup>123</sup> Prov. 21:24.

 <sup>124</sup> Isa. 10:22.

 <sup>125</sup> Prov. 22:11 תיוָ֗ פָשְׂ֝ חןֵ֥' the grace of his lips'.

 <sup>126 1</sup> Kings 5:9 (1 Kings 4:29 in English Bibles).


129 Job 7:11.

 <sup>127</sup> Cf. Shakespeare's 'Spartan' (5.3.359).

 <sup>128</sup> Hosea 12:3 (12:2 in English Bibles) לוֹֽ שׁיבִ֥ יָ ליו֖ ָלָעֲמַכְּ' He will recompense him according to his deeds'.

# **Publisher's note**

 On page 197130 the translator translated: 'more precious than all the tribes of Israel', but I changed the translation and wrote: 'more precious than all the wealth of Israel'.

 And it seems to me that I am correct in this change, for in the English language it says 'richer' and this word has two senses; the fi rst is wealth and the second is honour, and I chose the fi rst sense, and so did the German translator131 as well, for he did not translate *Besser als sein Stamm, sondern: reicher als sein Stamm* , and the diff erence between these two translations is very great, as every perceptive reader will understand on his own.

# בדף 197 130 העתיק המעתיק : ָיָקר ִמָכּל ִשׁ ְבֵט ְישָׂרֵאל , ואני שניתי ההעתקה וכתבתי : ָיָקר ִמָכּל

הערה מאת המו"ל

הוֹן ְישָׂרֵאל .

ואני אדמה כי צדקתי בהשנוי הזה , כי בשפת אנגלית יאמר richer ולמלה הזאת שתי הוראות ; האחת לעשר והשנית לכבוד , ואני בחרתי בהוראה הראשונה , וכן עשה גם כי לא העתיק als Besser המעתיק האשכנזי<sup>131</sup> sein Stamm, sondern: reicher als sein Stamm, והשנוי אשר בין שתי העתקות האלה גדול מאוד כאשר כל קורא מבין יבין מדעתו .

300 The First Hebrew Shakespeare Translations

 <sup>130</sup> In the original edition of *Ithiel* . As in the case of Smolenskin's request that Salkinson change the name of the play (see Letter from the Translator to the Publisher, note 1), there is no attested indication of Salkinson's opinion regarding this alteration.

 <sup>131</sup> Smolenskin does not name the German translator to whom he refers, but the phrase 'reicher als sein Stamm' appears in Philipp Kaufmann's *Othello* translation of 1832 (Kaufmann 1832 : 184); interestingly, it does not appear in the infl uential Schlegel- Tieck German translation that was the standard throughout much of the nineteenth century.

# *Ram and Jael*

# **Letter to the translator**

Vienna, fi fteenth of Ab 5638.1

My honourable friend!

 You asked me for my opinion regarding the translation of the wonderful play *Romeo and Julia* , 2 the love song *par excellence* , like our Song of Songs, as wise men have called it, and whose name you have changed – with good sense – to *Ram and Jael* , so that it could also bear a Hebrew name, since in the Hebrew clothing wherein you have dressed it no one would recognize that the hands of a Hebrew had not created it, the hands of a Hebrew who speaks the language of his own playwrights and performs as wondrously as they do in his tongue. You ask for my opinion, but surely you should have known it even before you asked me, for it is no secret to you that I admire the exalted playwright who created *Ithiel* and *Ram and Jael* and the rest of his plays (which I pray will also have the good fortune to be written in Hebrew) and I envy the British, for he belongs to them, and since there is none amongst us who can write as wonderfully as he does, I hereby exalt the work of an honest man who sacrifi ces his time and his toil to do only kindness to our wretched language, made wretched at

# מכתב אל המעתיק

ָרם ְוָיֵעל

# וויען חמשה עשר באב תרל"ח . 1

ידידי הנכבד !

את דעתי שאלתני על אודות העתקת המחזה הנפלא ָראמע ויוליא , שיר השירים להאהבה כאשר כנוהו יודעי טעם , ואשר אתה בטוב טעם שנית שמו ל ר ם ו י ע ל , למען גם שם עברי יקרא עליו , אחרי אשר בלבוש עבר אשר הלבשתו לא יכירהו איש כי לא ידי עברי כוננוהו , ידי עברי המדבר בשפת חוזיו ומפליא לעשות כמהם בניבו , את דעתי תשאלני ואותה הלא לך לדעת גם בטרם שאלתני , כי לא נכחד ממך כי אעריץ את שם החוזה הנעלה יוצר איתיאל ורם ויעל ויתר חזיונותיו ( אשר אני תפלה כי יזכו גם המה ְל ִהָכֵּתב עברית ) ואקנא בהבריטאנים , כי להם הוא , ואם אין אתנו מפליא לעשות כמהו , הנה אשגיב ֹפּעל אדם ישר , אשר יקריב עתו ועמלו לעשות אך חסד את שפתנו העלובה , עלובה על ידי מחרפיה ועוד יותר עלובה על ידי רֹב אוהביה , אשר ישליכו עליה שקוצים באהבתם אותה הרבה יתר מאלה שיבזו צלמה , כי אלה ישטו ויעברו וסר צלם מעליה והיא תוסיף להפיץ נגוהות ואלה עליה יסבו ורקדו במחולות סביבה ובאבק רגליהם יכסו פניה עד כי תהי לזעוה , ואיך לא אכיר מעבדי האיש אשר עֹז בידו להראות יפיה וחנה לעיני כל , אשר קסמים בידו לשים בפי שעקספיר החוזה דברים כדברי ישעיהו הנביא , ורעיונות החוזה לא בכבדות יעברו על דל הנביא ודברי הנביא כלבוש ילבשו עשתונות החוזה וכפי וכל אלה הלא כבר ידעת , כבר כתנתם יאזרום . 2 הגדתי והשמעתיך , כי אך אתה הוא האיש אשר בידך להביא את ַהְיָקר הזה אל בית אוצר שפתנו

 <sup>1</sup> This Hebrew date corresponds to 14 August 1878.

 <sup>2</sup> Sic.

**Figure 4** (Hebrew title page of *Ram and Jael* )

the hands of those who mock it and even more wretched at the hands of most of those who love it, who in their love for it besmirch it much more than those who scorn its image, for those who scorn its image turn their backs on it and pass it by, never darkening וכבר בקשתיך והתחננתי לפניך כי כה תעשה , כי אם לא אתה תעשה זאת אין אתנו יודע לעשות זאת ֹכמך , ואת ברכתי ותודתי אתן לך מקרב לבי בעד הברכה החדשה הזאת כאשר ברכתיך אז בהביאך מנחת איתיאל , כי פעלך זה לא נופל ֹמפעל ההוא ואולי עוד נעלה עליו .

**Image 5** (English title page of *Ram and Jael* )

it with their shadow and leaving it to spread its radiance, whereas those who love it close in on it and dance around it and cover its face with the dust of their feet until it becomes repulsive. So how could I not recognize the labours of the man who has the power to show its beauty and charm to everyone, who has the magical ability to put in the mouth of the playwright Shakespeare words like those of the prophet Isaiah? For the playwright's ideas would cross the prophet's lips without any diffi culty and, equally, the prophet's words don the playwright's thoughts like a well- fi tting garment. But after all, you already know all these things; I have already told you and let you know that indeed you are the man who has the power to bring this precious object into the treasure- house of our language, and I have already asked and begged you to do so, for if you do not do this, there is no one among us who knows how to do this like you, and I give you my blessing and my thanks from the bottom of my heart for this new blessing just as I blessed you when you brought me the off ering of *Ithiel* , for this work of yours is not inferior to that work, and is perhaps even more exalted than it.

 But indeed, if despite all these things I am not taking upon myself the work of publishing this book and putting my name on the translation do not wonder; indeed, you have heard the words of the grumblers who instead of blessing you for your labour and me for spurring you to do this precious work, have banded together against us and have made you and me an example, as if together we had dug a deep pit for our people into which they will fall and will not be able to get out, the fathers and sons alike, and even those who have lost the faith and it has been severed from their hearts, even they have seized on the spade of faith with which to dig dirt in order to fl ing it at

ואולם אם בכל אלה לא אקח עלי העבודה להוציא את הספר הזה לאור ולקרוא שמי על ההעתקה אל תתמה ; הן שמעת דברי הנרגנים , אשר תחת לברך אותך על ֹפעל כפך ואותי על כי עוררתיך ֹלפעל היקר הזה , התמלאו יחד עלינו וישימוך אותך ואותי למשל , כמו לוא שוחה עמוקה כרינו יחד לעמנו ובה יפלו ולא יקומו האבות והבנים יחד , ואף אלה אשר אבדה האמונה ונכרתה מלבם אף המה אחזו בקרדום ונהי יחד האמונה לחפור בו עפר ְלַעֵפּר לעומתו<sup>3</sup> כחוטאים , ומה איפו אוסיף להביא עצים להגדיל המדורה ? him,3 and together we have become like sinners, so why therefore should I bring more wood to make the bonfi re bigger?

 But do not imagine that, out of my fear for myself lest shameless men damage my honour again, I cower and fear to add my name to your book; it is not so! I am already used to hear the whistling of the arrows that such archers shoot at me, and they pass by me and do not touch me, and I do not even notice them, but I know with certainty that it is not as they said deceitfully when they placed your sin on me, it is not so in truth but rather the opposite; you are being punished for *my* iniquity; if you had joined the authors' ranks in the fi rst instance and had not made an alliance with me, they would have treated you like a prince, all those who now are shouting loudly against you and me; they would have lionized you and given you glorious praise in their hope that the day would come when you would recompense them according to their deeds, and indeed that you would exalt them and praise them as they had praised you. Indeed, by setting your foot over the threshold of the Hebrew language you would undoubtedly choose the way of its priests, praising and extolling anyone who praises and extols. However, by allying yourself with me, a man of quarrel and strife with Rabbi Akiva4 and his friends

אבל אל תדמה בנפשך כי מיראתי לנפשי פן יפגעו שנית עזי נפש בכבודי לכן זחלתי ואירא מקרוא גם שמי על ספרך , לא זאת ! אני כבר הסכנתי לשמוע שריקות החצים אשר יורו בי בעלי חצים כאלה והמה יעברו ממני והלאה ובי לא יגעו גם לא אשים לב אליהם , אך ידעתי נאמנה כי לא כאשר דברו במרמה וישימו בי חטאתך כן הוא באמת כי אם להפך , אתה ע ו נ י תשא , לוא יצאת בפעם הראשונה במערכת הסופרים ולי לא נתת יד כי אז קרבוך כמו נגיד , כל אלה אשר עתה יריעו תרועה גדולה עליך ועלי , כי אז גם בקשו קרבתך וישימו כבוד תהלתך בתקותם כי יב ֹא יום וגם אתה תשלם להם כפעלם ואף אתה תרים להם קרן ותודה אותם כאשר הודו אותך המה . הן בהציגך כף רגלך על מפתן שפה עבריה בלי ספק תבחר דרך כהניה , להודות ולהלל לכל מי שיודה ויהלל . 4 אולם בהתחברך אלי , איש ריב ומדון ברבי עקיבא וסעיתו\* , אשר לא ישא פנים 5 וחבריו ובבן מנחם להמהללים ולא ֵיַחת מפני המחללים לכן גם אתה עוני תשא וגם אותך יציבו למטרה לחציהם , וכאשר קצרה ידם למצוא מגרעות בפעלך לכן יבקשו מומים בך – ומה לך לעורר עוד חמת נקם ? וזאת היא שנתנה בלבי למשוך ידי מספרך זה , בן יקיר לי במאד מאד , ואם טובה תהיה לך אהבתי המסתרת לפעלך זה , הנני אומר לך , כי שש הייתי מאד מאד בקראי את ההעתקה הנפלאה הזאת ומקרב לבי ברכתיך וכן אברך אותך גם בימים הבאים , וכן יברך שמך כל אוהב שערי ציון ויכיר מעבדך , כי אחד מראשי הבונים הנה הנך בשערים האלה וישאר לזכרון לעד לדור .

> אוהבך הנאמן פ . סמאלענסקין .

\* וסיעתו

 <sup>3</sup> Sic; 'us' would be expected.

 <sup>4</sup> Akiva (c. 50– 135 ce ) was one of the most influential rabbis and greatest scholars of the early rabbinic period. He features prominently in the Mishnah, was a key figure in the development of Jewish law, and was teacher to a large number of influential disciples.

and Ben Menachem5 and his companions, who does not show partiality to those who praise and does not fear those who profane, you too are punished for my iniquity and they set you up too as a target for their arrows, and as they are unable to fi nd weaknesses in your work, they seek fl aws in you – so why should you stir up the vengeful anger still further? This is what made me decide to withdraw my hand from this book of yours, my most very dear son, and if my concealed love for this work of yours is good enough for you, then I hereby say to you that I rejoiced very greatly upon reading this wonderful translation, and from the bottom of my heart I blessed you, and I shall likewise bless you in the coming days as well, and likewise everyone who loves the gates of Zion will bless your name and recognize your work, for indeed you are one of the chief builders at these gates, and it will remain as an eternal memorial for future generations.

> Your faithful friend *P. Smolenskin*

 <sup>5</sup> Moses Mendelssohn, central figure of the early Haskalah.

# **Message from the translator**

 I found three snares before me in the translation of this book; the fi rst snare is that the book's original (like all the rest of Shakespeare's books) is replete from beginning to end with paranomasia or parody, that is to say *meli ṣ a* , <sup>6</sup> as Jewish authors call it, wordplay. And even though it is one of the most precious treasures of the Hebrew language, nevertheless it is very diffi cult to translate such *meli ṣ a* and render it properly from language to language. The second snare is Jael's nurse, who was an obstacle to me at every turn. This woman, as Shakespeare presents her to us, has no graceful lips and no learned tongue, and does not even know how to distinguish one letter of the alphabet from another, but she is boisterous with excessive speech and a clumsy tongue, and all of her conversation is mixed up and full of errors so as to arouse laughter and amusement in the eyes of those watching her on the stage. But nevertheless, she has a great part in everything that happens in this drama, for only through her could Jael do everything that she planned to do. I realized that I would not manage to render all her lines into Hebrew as they appeared with stammering speech in English; therefore I rendered some of her lines in a manner that was true to the Hebrew rather than following the rules of a faithful translation. If the critic catches me in this iniquity, perhaps he might reconsider and have a little mercy on me as one who has confessed his sins. But the third snare is the chief among the three, for it closed

# דברי המעתיק

שלשה מוקשים מצאתי לפני בהעתקת הספר הזה , המוקש הראשון הוא מקור הספר ( ככל יתר ספרי שעקספער ) מלא מפה לפה ַפּ ָאר ָאנ ַאמ ְסָיא אשר יקראו לה סופרי או ַפּ ָאר ִאדי , היא המליצה<sup>6</sup> היהודים , לשון נופל על לשון . ואף כי היא אחת מסגולות היקרות בשפת עבר , בכל זאת קשה הדבר מאד , להעתיק מליצה כזאת ולעשות אותה ֻ כמתכּנתה מלשון אל לשון . המוקש השני היא אומנת יעל אשר עמדה לשטן לי בדרך . האשה הזאת כאשר יציגנה שעקספער לעינינו , אין לה שפתי חן ולא לשון למודים ואף באלפא ביתא לא ידעה להבדיל בין אות לאות , אבל הומיה היא בשפת יתר ובלשון עלגים וכל שיחתה בלולה ומלאה שגיאות לעורר שחוק ומהתלות לעיני הרואים בה על פני הבמה . ובכל זאת לה חלק רב בכל אשר נעשה בדראמא הזאת , כי רק על ידה יכלה יעל לעשות ככל אשר יזמה לעשות . ואנכי נוכחתי כי לא תצלח בידי לשים כל דבריה בעברית כאשר הם בלעגי שפה בלשון ענגליש , על כן שמתי מקצת הדברים בפיה כמשפט הלשון ולא כמשפט העתקה נאמנה . ואם יתפשני המבקר בעון זה , אולי ישוב ירחמני מעט , כמודה על פשעיו . אך המוקש השלישי הוא ראש בשלשה , כי סגר עלי כגדר ולא נתנני לעבר בשנים שלשה מקומות , עד אשר אמרתי בלבי , בכל מקום אשר לא יתנני לעבר בו , כי אין לפרץ הגדר , אז אתנשא אדלג ואעבר עליו . ובכן דלגתי על המקומות אשר לא מצאתי בם דרך פתוחה לפני . והפגע הרע הזה אשר גדר בעדי , הוא מריות , מערקוטיא נער חרוץ מגדולי הארץ , אשר לו יד בחכמה בדעת ובלשונות זרות , רק אוהב לצון הוא ולעגו ישפך על כל הקרב אליו , כי באהבתו את הצחוק בין אוהב לאויב לא יכיר , ואין די לו להתלוצץ בשפה אחת , כי אם גם ישא מלה צרפתית על לשונו או איטאלקית ובכן יבטא בשפתיו אמרי הבל וריק כזורה ֹמץ ברוח , גם אמרים נמרצים כיורה זיקים וחצים שנונים . ואני

 <sup>6</sup> This term denotes a writing style strongly associated with Maskilic Hebrew and characterized by flowery language replete with biblical citations. See Shahevitch ( 1970 ), Pelli ( 1993 ), and Kahn ( 2013 ) for discussion of *meli ṣ a* .

me in like a fence and did not allow me to pass in two or three places, until I said to myself, everywhere that it does not allow me to pass because the fence cannot be broken through, I shall rise above it, skip over it, and pass by it. And so I skipped over the places where I did not fi nd a way open before me. And this terrible obstacle which fenced me in is Meraioth, Mercutio, a diligent lad, one of the earth's greatest men, who had much wisdom, knowledge, and skill in foreign languages, but was a lover of clowning and poured his scorn on everyone near him, for in his love of joking he did not distinguish friend from foe, and it was not enough for him to clown in one language, but rather there was also a French word on his tongue, or an Italian one, and as such he uttered with his lips empty and meaningless words like one who scatters chaff in the wind, as well as powerful words like one who shoots sparks and sharpened arrows. I trust that every understanding reader will admit that a Hebrew author does not have the power to translate all the words of Mercutio as they are. Authors of Shakespeare's biography have already told us that one of his acquaintances asked him why he did not let Mercutio live until the end of the whole story, and he answered as follows: 'If I had not arisen early to kill him, he would have killed me.' And thus I say as well, if I had not shortened his words, he would have shortened my life, for he would have killed me with the breath of his lips. –

 And now I shall justify myself to those who love the Hebrew language. I know that they are the people of the L ord and they do not deem it appropriate to encounter vileness or foul language in their holy tongue, and

סמוך לבי כי כל קורא מבין יודה כי אין ביד סופר עברי להעתיק כל דברי מערקוטיא כאשר הם . וכבר ספרו לנו סופרי תולדות חיי שעקספער , כי איש אחד ממכיריו שאל אותו , על מה זה לא האריך ימי חיי מערקוטיא עד ֹתם כל המעשה , והוא ענה לאמר : לולא השכמתי להרגו , היה הוא הורג אותי . וכן גם אני אומר , לולא הקצרתי דבריו , היה הוא מקצר חיי , כי המיתני ברוח שפתיו . –

ועתה הנני להצטדק לפני אוהבי שפת עבר . ידעתי כי עם ה' הם ואין טוב בעיניהם למצוא ערות דבר או נבול פה בשפת קדשם , ועל כן יבואו במשפט עמדי , על אשר תרגמתי במקומות אחדים בספר הזה דברים ככתבם , אשר לקולם תצלנה אזני נקיי הדעת במחנה העברים , וטוב therefore they will make a judgement against me, because in some places in this book I translated utterances as they were written, at whose sound the ears of the pure- minded ones in the camp of the Hebrews will tingle, and they will say that it would have been much better for me to take the garment, turn my face backwards, and cover the nakedness of the father of poets.7 And to this I respond that indeed Shakespeare is a trustworthy author before God and men, and out of all the various men who act upon the stage (upon the earth), he displays before us each man and his speech as it is, and if there are rash and worthless men among them who speak foully and sully their mouths, they will be judged, as the Talmud says; there will be a deeper hell for everyone with a foul mouth, but the trustworthy author or the translator who does his work faithfully is blameless. For if it is not so, dear reader, why do you not also quarrel with the wisest man of all8 because he presented us with an adulterous woman who spoke fl attering words9 in the ears of a senseless youth, and with the brazenness of a whore uttered words that pure- hearted men should not hear. And if you say that he intended only to warn us, and that he did all of this to instruct us in good morals, then I shall also ask you why you do not judge Shakespeare favourably as well. Open this book to page 3210 and listen to the words of Meraioth, who opened

טוב היה לי לקחת את השמלה , להסב פני ועל זאת אחרנית ולכסות ערות אבי המשוררים . 7 אני משיב , הנה שעקספער סופר נאמן הוא לפני אלהים ואנשים , ובלהקת אנשים שונים המצחקים על פני הבמה ( על פני הארץ ) יציג לפנינו איש איש ואת שיחו כאשר הוא , ואם יש שם פוחזים ורקים המדברים דברי נבלה ומטמאים את פיהם , הם עתידים לתת את הדין , כמאמר התלמודי , כל המנבל את פיו מעמיקין לו גיהנם , אבל הסופר הנאמן , או המעתיק העושה מלאכתו באמונה נקי . כי אם לא כן קורא יקר , למה לא תריב גם על אשר הציג לעינינו באיש החכם מכל אדם , 8 אשה זרה , אשר החליקה אמריה9 באזני נער חסר לב , ובמצח אשה זונה השמיעה דברים , אשר אין לבר לבב לשמוע . וכי תאמר כי רק להזהיר בא , ולהורות לנו מוסר טוב עשה כל זאת , גם אני אשאלך למה זה לא תדין לכף זכות גם את שעקספער . פתח נא את הספר הזה צד והקשב לדברי מריות , אשר פער פיו לבלי 10 32 חק והעתיק מפיו מלים לא בלשון נקיה , עד אשר נלאה רם לשמוע ויגער בו ויאמר : רב לך מריות לבטא הבל וריק ! ומה ענה אותו מריות ? על דברי חלומות הן אני מדבר , כי בנים רקים הם ילדי מחשבות שוא ותפל ..... רצונו בזה להוכיח , כי חלומות והרהורים רעים באים מן הלב , כי יצר לב האדם רק רע כל היום , על כן החי יתן אל לבו . וידעת היום ובחנת אחי , כי איש רדף טוב יקח מוסר ולקח טוב גם מדברי זדים ופי אנשי בליעל , כמו מפי צדיקים וחסידים , ולכן עולה לא תמצא עוד בשפתי שעקספער ולא ערות דבר בדבריו , כי דבריו נכחים למבין וכל דרכיו ישרים , צדיקים ילכו בם ופשעים יכשלו בם . –

 <sup>7</sup> This is a reference to Gen. 9:23, in which Noah's sons Shem and Japheth take a garment to cover their father's nakedness with their faces turned away while he lies in a drunken sleep.

 <sup>8</sup> King Solomon, traditionally considered the author of the biblical books Proverbs and Ecclesiastes.

 <sup>9</sup> This is a reference to Prov. 2:16 and 7:5, which advise caution against fl attering adulteresses.

 <sup>10</sup> In the original edition; see *Ram and Jael* , First Part, note 273 in this edition.

his mouth without restraint and issued forth such unclean language that Ram grew weary of hearing it and scolded him, saying: 'That's enough from you, Meraioth, rashly speaking in vain and to no purpose!' And what did Meraioth answer him? 'Indeed I am speaking about matters of dreams, for they are frivolous sons, the children of pointless and insipid thoughts…' In saying this, he sought to prove that bad dreams and thoughts come from the heart, for the inclination of man's heart is only evil continually; therefore the living should take this to heart. Know today and consider, my brother, that a man who pursues good takes instruction and sound teaching even from the speech of wicked men and the mouth of villains just as from the mouth of righteous and pious men. Hence, you must no longer fi nd sin on Shakespeare's lips or vileness in what he says, for what he says is plain to one who understands, and all his ways are honest; righteous men walk upon them, whereas sinners stumble upon them. –

 Regarding the book's value I have nothing to say, for I am its relative and friend; if it contains anything desirable, let a stranger praise it, rather than me. But I would like to anticipate the reader when he asks me the following: is it good for Jewish youth to study such a book, which begins with madness and lust, and ends in murder, killing, and destruction? To this I respond that in my opinion the book is very good for Jewish youth, and will benefi t them as they go through their life, for in it they can see not only the fruit of hatred and strife, which have felled many victims, but

310 The First Hebrew Shakespeare Translations

על דבר יקרת ערך הספר , אין לי לדבר דבר , כי קרוב ומודע אני לו , ואם נמצא בו דבר חפץ , יהללנו זר ולא פי . אך לקדם פני הקורא חפצתי כי ישאלני לאמר : הטוב לנערי בני ישראל להגות בספר כזה , אשר ראשיתו הוללות ועגבים ואחריתו רצח הרג ואבדן ? ועל זאת הנני משיב לדעתי טוב הספר מאד לנערי בני ישראל להועיל למו בדרכי חייהם , כי בו יראו , לא לבד מה פרי שנאה ומדנים אשר רבים חללים הפילו , כי אם גם מה רבו חללי האהבה ומה עצמו הרוגיה . הציגה נא קורא יקר לעיניך את בן אבירם , הוא בחור נחמד ונעים , אשר לו עשר גבורה ותפארת , אך תוכו רצוף אהבה בבלי מצרים . בתחלה נשא עיניו על נערה אחת ותדבק נפשו בה , אך באשר היא לא שתה אליו לבה , הלך כל היום קודר also how many victims of love there are and how numerous those slain by it are. Consider, dear reader, the son of Abiram, a desirable and pleasant boy, who has a wealth of might and glory, but is consumed by unbounded love. In the beginning he had set his sights on a certain girl and clung to her, but since she paid him no heed, he went around all day gloomy under the weight of his heart, and at night he could not sleep. After days of sorrow and mourning, dark days when he loathed his life, he met another girl, better than the fi rst one, and the fi re of his love burned within him again like the fl ame of the L ord, and she too joined him in the bond of the covenant, but her parents, his enemies, were willing for both him and their daughter to be stabbed to death, rather than letting them enter this covenant. In dangerous circumstances he managed to see her once in secret in the dead of night, and he kissed her as he parted from her in bitterness; with this kiss he forfeited his entire future, for this was the reward for all his toil, and from that time onwards he found no rest until he killed himself and the girl of his youthful covenant did likewise, and the fi re of love devoured both of them. And this is what I meant when I said that this book will present lessons and manners and good education to the youth who studies it, for he will recognize how to take care to keep his eyes open wherever he goes, and if it comes time for him to fall in love, he will enter only into a covenant of love by which he may live, rather than becoming attached to a graceful maiden on account of whom he will die.

בלחץ לבו ובלילה שנה בעיניו לא ראה . אחרי ימי יגון ואנחה , ימי חשך אשר קץ בחייו , פגש בנערה אחרת טובה מן הראשנה ותבער בו עוד אש אהבתו כשלהבת יה , וגם היא באה עמו במסרת הברית , אך אבותיה שנואי נפשו נכונו לדקור גם אותו גם את בתם , מתת ידם להקים את הברית הזאת . ובמסבות מתהפכות הצליח לראותה פעם אחת במסתר באישון לילה , וינשק לה בהפרדו ממנה במר נפש , בנשיקה הזאת מכר את כל עולמו , כי זה היה חלקו מכל עמלו , ומעת הזאת ומעלה , לא מצא מנוח לכף רגלו , עד אשר שלח יד בנפשו וגם בת ברית נעוריו עשתה כמוהו , ותאכל אש האהבה גם את שניהם . וזה הוא הדבר אשר אמרתי , כי תורה ודרך ארץ ומוסר טוב ישים הספר הזה לפני הנער ההוגה בו , כי ידע להזהר לשים עין פקוחה על כל דרכיו , ואם באה עתו עת דודים , יבוא רק בברית האהבה אשר יחיה בה ולא יתמכר לבת חן אשר ימות בה .

# **The names of the speakers**


*Natives of the city of Verona; men and women related to the two ancestral houses; people wearing masks over their eyes; guards; night watchmen and attendants.* 

*Four of the scenes*<sup>14</sup> *are in Verona, and the fi fth scene is in Mantua.*

11 This is the name of an Amorite allied with Abraham (Gen. 14:13, 24).

12 Salkinson provided this English cast list alongside the Hebrew one.

13 Sic; this appears in Salkinson's English cast list instead of the expected 'Chorus'.

 14 Salkinson is clearly referring to acts rather than scenes, but uses a word that he elsewhere employs in the sense of 'scene'.

# שמות המדברים


בני העיר ֵו ָ ירוֹנה ; אנשים ונשים קרובים לשני בתי האבות ; נושרי ֲאֵפר על עיניהם ; אנשי משמר ; שומרי לילה ומשרתים .

> ְבֵּו ָ ירוֹנה והמחזה החמישי ְבַּמְנ ָטוּבה . (Mantua ( ארבעה המחזות<sup>14</sup>

# **First Part**

# חלק ראשון


 <sup>1</sup> Salkinson's translation seems to be based on the Folio version of *Romeo and Juliet* , as it omits the prologue ('Two households, both alike in dignity…') appearing in the Quarto versions.

6 Exod. 10:29.

 <sup>2</sup> As in *Ithiel* , Salkinson preserves the Italian place names appearing in Shakespeare's text. See Kahn ( 2017 ) for discussion of the possibility that this strategy is rooted in an acknowledgement of the longstanding and prominent Jewish presence in Italy.

 <sup>3</sup> A scribe mentioned in Ezra 4:8, 9, 17, and 23. Salkinson seems to have chosen this name based purely on its sound correspondence with Shakespeare's Sampson; he most likely chose this minor character over the more similar- sounding משׁוֹןְ שִׁ' Samson' because he wanted to avoid the strong associations of the latter, a prominent figure well known from Judges 13– 16. In addition, Salkinson may have been motivated by the fact that the Hebrew root on which the name Shimshai is based means 'to serve', making it a particularly appropriate choice for a servant of the Abiel household.

 <sup>4</sup> A name referring to various minor biblical characters, namely one of Benjamin's sons (Gen. 46:21); the judge Ehud's father (Judg. 3:15); and the father of Shimei the Benjaminite, who cursed David (2 Sam. 16:5). Gera is also listed as Benjamin's grandson in 1 Chron. 8:3. The name may denote a particular Benjaminate family, and so the aforementioned instances may not all refer to different individuals. Salkinson most likely selected the name on the basis of its sound correspondence with Shakespeare's Gregory.

 <sup>5</sup> This and the following speeches until Benaiah's next line are prose in the original (1.1.1– 61).

 <sup>7</sup> Salkinson's 'cut wood' and 'woodcutters' replace Shakespeare's 'carry coals' (1.1.1) and 'colliers' (1.1.2). These substitutions are explicitly Judaizing dynamic equivalents to the original English terms: woodcutting was a common occupation among Eastern European Jews well into the twentieth century (Salsitz 2002 : 84– 7); moreover, it would have been widely recognized among Hebrew readers as a classic form of manual labour due to its appearance in a well- known phrase from Joshua 9:21, ם֙ יִי־מ ַ֙ בֵאֲֹשֽׁ וְ ציםִ֤עֵ ביֵ֨טְ ֹח 'woodcutters and water carriers'.

 <sup>8</sup> i.e., 'when I grow angry' – the nose growing hot is a biblical idiom denoting anger.

 <sup>9</sup> Exod. 15:9.

 <sup>10</sup> Salkinson seems to have chosen to use the word 'nose' with two different senses, and the verb 'to draw' in this and the preceding line, to echo Shakespeare's pun on choler/ collar 'an we be in choler' (1.1.3) and 'draw your neck out of collar' (1.1.4).


 <sup>11</sup> Salkinson's choice of ירםָ בִ אֲ' Abiram' as an equivalent for Shakespeare's 'Montague' does not take sound correspondence into account, but rather is based solely on the name's significance. This choice functions on two distinct levels in Hebrew. First, it literally means 'Ram's father'. As Salkinson's has dubbed his equivalent of Romeo 'Ram' (see note 44), this name would have served explicitly to establish the familial link between the father and son in Hebrew readers' minds. Second, the biblical figure of Abiram would have been familiar to Salkinson's audience from his appearance in Numbers 16, as one of the members of Korach's rebellion against Moses' leadership of the Israelites during their forty- year sojourn in the desert following their liberation from Egypt. Abiram would thus have been synonymous with spite, arrogance, and disloyalty, not to mention the horrifying punishment of being swallowed by the earth.

 <sup>12</sup> This phrase appears in several locations in the Hebrew Bible (1 Sam. 25:22, 25:34; 1 Kings 14:10, 16:11, 21:21; 2 Kings 9:8), as an idiom meaning 'male'; here, Salkinson takes advantage of the fact that it contains the word קירִ' wall', thereby serving as a play on the same word in the following clause.

 <sup>13 2</sup> Chron. 13:7.


14 Prov. 27:4.

 15 This is a relatively literal translation of Shakespeare's 'the heads of the maids, or their maidenheads' (1.1.24); in contrast to the English 'maidenheads', the Hebrew phrase 'head of their virginity' is not an established phrase and does not constitute a true play on words.

16 The Hebrew pronoun is feminine, referring specifically to the maidens.

 17 Salkinson has chosen to alter the one biblical name that actually appears in Shakespeare's text, changing Abra(ha)m into רעַבֶּ' Bera'. This likely reflects a reluctance for Montague's retainer to bear the name of the first biblical patriarch and symbolic father of the Jewish people (Almagor 1975 : 748). The choice of 'Bera', the king of Sodom mentioned in Genesis 14:2, indicates that Salkinson regarded a minor biblical character with negative associations (and dating to the same period as the great patriarch) to be a more appropriate equivalent.

 18 This is one of the only names in the play that Salkinson has not Hebraized. Instead, he has transliterated the English name into Hebrew. As in the case of Marcos in *Ithiel* (First Part, note 155), there is no clear

\* ַה ְבּתוּלוֹת


motivation for this. The decision not to domesticate this name is particularly surprising given the existence of the similar- sounding Hebrew אצּרַ שַׁ טְ לְ בֵּ' Belteshazzar', another name for the biblical Daniel. It is possible that Salkinson chose to avoid this solution out of a reluctance to name Ram's servant after the venerated biblical figure, but it is unclear why he did not select another Hebrew name as he did in most other cases.

 <sup>19</sup> Alshekh to Gen. 6 and many other locations therein.


 <sup>20 2</sup> Sam. 20:21.

 <sup>21</sup> This is the name of various minor characters mentioned in a number of locations in the Hebrew Bible, the most prominent of which is a warrior loyal to King David (e.g., 2 Sam. 23:20– 3). Salkinson most likely chose the name because of its sound correspondence with Shakespeare's 'Benvolio'.

 <sup>22</sup> One of Noah's grandsons, mentioned in Gen. 10:2; Salkinson most likely selected this name on the basis of its close sound correspondence with Shakespeare's 'Tybalt'.


 <sup>23</sup> The biblical abode of the dead.

25 Ps. 74:6.

 <sup>24 2</sup> Sam. 17:2.

 <sup>26</sup> The name יעלֵ בִ אֲ' Abiel', Salkinson's translation of Shakespeare's 'Capulet', literally means 'Jael's father', referring to the fact that Salkinson has named his version of Juliet 'Jael' (see note 174). In selecting the name 'Abiel', Salkinson has created an exact parallel to 'Abiram', his translation for 'Montague' (which literally means 'Ram's father'; see note 11). The name יעלֵ בִ אֲ does not actually appear in the Hebrew Bible, but is pronounced identically to the name יאלֵ בִ אֲ' Abiel', which denotes two different biblical characters, the grandfather of King Saul mentioned in 1 Sam. 9:1 and 14:51, and one of King David's warriors mentioned in 1 Chron. 11:32.

 <sup>27 2</sup> Sam. 3:29. Cf. Shakespeare's 'A crutch, a crutch!' (1.1.74).


 <sup>28</sup> Jer. 9:1 (9:2 in English Bibles).

\* ִמ ֵיד ֶיכם

 <sup>29</sup> Job 20:24.

 <sup>30</sup> Gen. 49:5.

 <sup>31</sup> Isa. 48:10.

 <sup>32</sup> Ps. 66:11.

 <sup>,[</sup>captivity into [out going or breaches no be there may 'ֵ ֽא ֶ֭ ין־פֶּרץ ְוֵ֣אין ֵ֑ יוֹצאת ְוֵ֥אין ְ֝צָוָ֗חה ִבְּרחֹבֵֹ ֽתינוּ 144:14 .Ps 33 and no cries of lament in our squares'.


 <sup>34</sup> Prov. 30:33 ריבֽ ִ וֹציאִ י֣ יםִפַּ֗אַ֝ וּמיץִ֥' and stirring up anger brings forth quarrels'.

by ornaments their off stripped Israel of children the and 'ַוִ ֽיּ ְתַנ ְצּ ֧לוּ ְבֵ ֽנ ִ י־י ְשָׂרֵ֛אל ֶא ֶת־עְדָ ֖ים ֵמַ֥הר ֵ ֽחוֹרב 33:6 .Exod 35 Mount Horeb'.

 <sup>36</sup> Esther 4:11 מיתִ֔ הָלְ תוֹ֙ דָּ חתַ֤אַ' he has but one law: to put to death'.

 <sup>37</sup> Ezek. 33:4 יהֽ ֶהְ יֽ ִ אשׁוֹ֖ ֹ ברְ מוֹ֥ דָּ' his blood will be on his head'.

 <sup>38 1</sup> Kings 18:29.

 <sup>39</sup> Alshekh to Gen. 19.

 <sup>40</sup> This is Salkinson's translation of Shakespeare's 'Freetown' (1.1.100). Horon is part of the place name Beth-Horon, which denotes two neighbouring towns mentioned on various occasions in the Hebrew Bible. These towns do not have any particular associations with law or judgements, either in the biblical period or later (although several Talmudic scholars came from Beth- Horon). Rather, the selection of this name in the present context is likely be rooted in the phonetic similarity between רוֹןֹח' Horon' and the rabbinic word חורין' free' (which most commonly appears in the phrase חורין בן' free man'), thereby evoking echoes of the English 'Freetown'.


 <sup>41</sup> Prov. 7:23 הוּאֽ שׁוֹ֥ פְ נַי־ב ְ כּֽ ִ דעַ֗א־יָ֝ ֹ לֽ וְ' and he does not know that it will cost him his life'.

 <sup>42</sup> Exod. 14:8; Num. 15:30, 33:3.

 <sup>43</sup> This and the next line form a rhyming couplet, mirroring Shakespeare's 'part/ part' (1.1.112– 13). This is unusual, as Salkinson does not usually recognize same- word rhymes in his translation.


 <sup>44</sup> Salkinson selected 'Ram' as the Hebrew equivalent of 'Romeo' on the basis of both sound correspondence and meaning. Ram is a biblical character mentioned in Ruth 4:19 as the ancestor of King David. Because King David and his genealogical line are exalted in Jewish tradition, and readers of Salkinson's text would have been familiar with the biblical Ram from the annual synagogue recitation of the Book of Ruth during the festival of Shavuot, they would have associated Shakespeare's protagonist with the positive qualities of the Davidic line. Likewise, the fact that the name derives from the Book of Ruth is itself significant: as Ruth is the archetypal biblical love story, the name would have had romantic associations in readers' minds.

 <sup>45</sup> This and the next line form a rhyming couplet, mirroring Shakespeare's 'today/ fray' (1.1.114– 15).

 <sup>46</sup> Gen. 24:63.

 <sup>.&#</sup>x27;me constrains me within spirit the 'ֱ֝ה ִצ ַ֗יק ְתִני ֣ר ַוּח ִבּ ְטִ ֽני 32:18 Job 47

 <sup>48</sup> Job 40:21. The word ליםִ אֱצֶ appears only twice in the Hebrew Bible (here and in the following verse, Job 40:22), and its meaning is somewhat unclear. The translation 'shady trees' is based on the King James Bible, and has been selected because it most closely parallels Shakespeare's 'the covert of the wood' (1.1.123), but other possibilities include 'bramble bush' and 'bough' (Koehler and Baumgartner 2001 , 2: 992), as well as 'lotus plants' (e.g., New Revised Standard Version, English Standard Version).

 <sup>49</sup> This form appears in the Hebrew Bible but seems to be a place name; the meaning of 'woods' is believed to have originated in the modern period (Even- Shoshan 2003, 2: 615).

 <sup>.&#</sup>x27;wind east the as set are faces their 'ְמַגַ֥מּת ְפֵּנ ֶ֖ יהם ָקִ֑ד ָימה 1:9 .Hab 50


a am I that so ,target your as me set You have why 'ָ֤לָמה ַשׂ ְמַ֣תִּני ְל ִמ ְפָ֣גּע ָ֑לְך ָוֶא ְהֶי֖ה ָעַ֣לי ְלַמָ ֽשּׂא 7:20 Job 51 burden to myself?'; Salkinson seems to be using the word גּעָפְ מִ , which means 'target' in the biblical text, in the sense of 'hindrance' or 'obstacle', which is first attested in the modern period (Even- Shoshan 2003, 3: 1050).

 <sup>52</sup> Cf. Shakespeare's 'the shady curtains from Aurora's bed' (1.1.134); Salkinson has removed the reference to Aurora, the Roman goddess of the dawn, which would have had little meaning or relevance in the Eastern European Jewish context.

 <sup>53</sup> Prov. 15:13, 17:22, 18:14.

 <sup>54</sup> This and the next line form a rhyming couplet, mirroring Shakespeare's 'prove/ remove' (1.1.139– 40).


 <sup>55 2</sup> Sam. 2:26.

 <sup>.&#</sup>x27;spirit of anguish '֣ ֹמַרת ֑ר ַוּח 26:35 .Gen 56

 <sup>57</sup> Isa. 40:6; Ps. 103:15.

 <sup>58</sup> Ps. 90:6.

 <sup>59</sup> Isa. 28:1, 4.

 <sup>60</sup> Job 19:28 א־ביֽ ִצָמְ נִ ברָ֗דָּ֝ רשֶֹׁשׁ֥ וְ' and the root of the matter is found in me'.

 <sup>61</sup> This and the next line form a rhyming couplet, mirroring Shakespeare's 'grow/ know' (1.1.152– 3).

 <sup>62</sup> Jer. 30:13, 46:11.

 <sup>63</sup> This and the next line form a rhyming couplet, mirroring Shakespeare's 'aside/ denied' (1.1.154– 5).

 <sup>64</sup> This and the next line form a rhyming couplet, mirroring Shakespeare's 'stay/ away' (1.1.156– 7). Salkinson's insertion of the phrase יםִדָיָ הםֶלָ תּתֵ עןַמַלְ' in order to give them space', which has no basis in the original, seems to have been rooted solely in a desire to make these two lines rhyme.


 65 This is the Hebrew dynamic equivalent of Shakespeare's nonspecific kinship term 'cousin' (1.1.158) (see Weis 2012 : 135, note 158, and Crystal and Crystal 2002 : 105 for discussion of Shakespeare's use of 'cousin' in this sense).

 <sup>66</sup> Exod. 14:24; 1 Sam. 11:11.

 <sup>67</sup> Job 3:23.

 <sup>68</sup> This and the next line form a rhyming couplet, mirroring Shakespeare's 'young/ long' (1.1.158– 9).

 <sup>69</sup> Song of Songs 1:7, 3:1, 2, 3.

 <sup>70</sup> Isa. 49:8.

 <sup>71</sup> This and the next line form a rhyming couplet. There is no precedent for this in the original, though perhaps Salkinson interpreted Shakespeare's 'view/ proof' (1.1.167– 8) as a rhyme.

 <sup>72</sup> The expression 'hide one's face' appears on many occasions in the Hebrew Bible (e.g., Deut. 31:18; Isa. 8:17; Ezek. 39:23; Ps. 27:9) and refers to God turning away from the Israelites in punishment for their sins. This concept of *hester panim* , or divine concealment (lit. 'hiding one's face'), is a theme in Jewish philosophy. See Wolpe ( 1997 ) for a discussion of *hester panim* in modern Jewish thought.


 <sup>.&#</sup>x27;ways her on turns and twists she 'ְמ ָשֶׂ֥רֶכת ְדָּרֶ ֽכ ָיה 2:23 .Jer 73

 <sup>74</sup> This and the next line form a rhyming couplet, mirroring Shakespeare's 'still/ will' (1.1.169– 70).

 <sup>75</sup> Ps. 55:10 (55:9 in English Bibles) עירֽ ִבָּ ריבִ֣וְ מס֖ ָחָ' violence and strife in the city'.

 <sup>76</sup> The last word in this line does not rhyme with the last word in the following line, in contrast to Shakespeare's 'hate/ create' (1.1.174– 5). However, the final vowel of the last word of both lines is *ḥ olem* ( *o* ), which may suggest that Salkinson was unable to find a fully rhyming translation and selected these two words because of their partial sound correspondence.

 <sup>77</sup> Gen. 41:2 שׂרָ֑בָּ יאת ֹ ֣ רִוּבְ' and fat (lit. healthy) of flesh'.

 <sup>78</sup> Isa. 29:10.

 <sup>79</sup> This and the next line form a rhyming couplet, mirroring Shakespeare's 'is/ this' (1.1.179– 80).

 <sup>80</sup> Isa. 51:21.


 <sup>81</sup> Judg. 9:53; 2 Sam. 11:21.

 <sup>82</sup> This and the next line form a rhyming couplet, mirroring Shakespeare's 'breast/ pressed' (1.1.184– 5).

 <sup>83</sup> This and the next line form a rhyming couplet, mirroring Shakespeare's 'shown/ own' (1.1.186– 7).

 <sup>84</sup> This and the next line form a rhyming couplet, mirroring Shakespeare's 'sighs/ eyes' (1.1.188– 9).

 <sup>85</sup> Lam. 2:18.

 <sup>86</sup> This and the next line form a rhyming couplet, mirroring Shakespeare's 'discreet/ sweet' (1.1.191– 2). 87 Deut. 32:33; Job 20:16.

 <sup>88</sup> This and the next line form a rhyming couplet, mirroring Shakespeare's 'along/ wrong' (1.1.193– 4).


89 This and the next line form a rhyming couplet, mirroring Shakespeare's 'here/ otherwhere' (1.1.195– 6).

95 Isa. 47:10.

 <sup>90</sup> Prov. 7:12.

 <sup>91</sup> Isa. 53:3.

 <sup>92</sup> This and the next line form a rhyming couplet, mirroring Shakespeare's 'will/ ill' (1.1.200– 1).

 <sup>93</sup> i.e., in fear; Josh. 2:11 בנוֵּ֔בָלְ מּסַ֣יִּוַ' and our heart melted'; see also Josh. 5:1, 7:5.

 <sup>94</sup> Cf. Shakespeare's 'Cupid's arrow' (1.1.207); Salkinson has replaced the Classical mythological reference with an expression devoid of any particular cultural overtones.


 <sup>96</sup> Cf. Shakespeare's 'She hath Dian's wit' (1.1.207). Salkinson has replaced Diana, the Roman goddess of hunting, with the monotheistic God. This differs from the many cases in which he simply removes references to Classical mythological figures. It is possible that he chose to retain the divine associations of the original phrase in order to preserve the point that Rosaline/ Shoshana has a superhuman mind (in contrast to other cases, such as the directly preceding reference to Cupid, where the sense of the English can be conveyed without recourse to the divine).

97 2 Kings 18:20; Isa. 11:2, 36:5.

98 This and the next line form a rhyming couplet, mirroring Shakespeare's 'hit/ wit' (1.1.206– 7).

99 Isa. 21:15.

100 This and the next line form a rhyming couplet, mirroring Shakespeare's 'armed/ uncharmed' (1.1.208– 9).

 101 This and the following two lines form an ABA rhyme, mirroring the original except that the latter has instead a rhyming couplet in the last two lines of the speech, 'poor/ store' (1.1.213– 14). This difference may suggest that Salkinson was unable to find a suitable rhyme in the two adjacent lines and decided on this solution as a partial correspondence to the English version.

 102 This last word in Benaiah's line rhymes with the last word of the following line (spoken by Ram), echoing the English original (again, split between Benvolio and Romeo) 'chaste/ waste' (1.1.215– 16).


 <sup>103</sup> This and the next line form a rhyming couplet, mirroring Shakespeare's 'severity/ posterity' (1.1.217– 18).

 <sup>104</sup> This and the next line form a rhyming couplet, mirroring Shakespeare's 'fair/ despair' (1.1.219– 20).

 <sup>105</sup> Ps. 9:14, 107:18; Job 38:17.

 <sup>106</sup> Gen. 2:9, 17.

 <sup>.&#</sup>x27;wrath my and anger my to 'ַע ַ ל־אִ֣פּי ְוַע ֲ ל־חָמ ִ֗תי 32:31 .Jer 107

 <sup>108</sup> This and the next line form a rhyming couplet, mirroring Shakespeare's 'vow/ now' (1.1.221– 2).

 <sup>109</sup> This last word in Benaiah's line rhymes with the last word of the following line (spoken by Ram). There is no precedent for this in Shakespeare's 'her/ think' (1.1.223– 4).

 <sup>110</sup> This and the following line form a rhyming couplet. This lacks precedent in the source text; Salkinson may have understood Shakespeare's 'eyes/ beauties' (1.1.225– 6) as a rhyme, although it is not generally recognized as one (Weis 2012 : 419).


 111 This last word in Ram's line rhymes with the last word of the following line (spoken by Benaiah), echoing the English original (again, split between Romeo and Benvolio) 'forget/ debt' (1.1.235– 6).

112 Gen. 37:35 להָאֹ ֑שְׁ בל֖ ֵאָ ניִ֛ל־בּ ְ אֶ רדֵ֧י־א ֵ כּֽ ִ' indeed I shall go down to my son to Sheol mourning'.

 114 Salkinson typically uses numerals to designate scenes, but in a few cases, such as this one, he uses ordinals spelled out as words. This English translation mirrors the Hebrew in all cases.

115 Cf. Shakespeare's 'Paris'. Salkinson has chosen to use the Hebrew name of the city.

 <sup>113</sup> Cf. Shakespeare's 'I'll pay that doctrine, or else die in debt' (1.2.236); Salkinson has neutralized the Christian connotations of the source text's 'doctrine'.


 <sup>116</sup> Job 8:12 טףֵ֑קָּיִ אֹ ל֣ אבּוִֹ בְ֭ דנּוֶֹּ֣ע' while it is still in its greenness and not cut down'. The relatively literal translation 'in her/ its greenness' follows the King James Bible; other translations include 'green', 'in flower', or 'growing'.

117 This and the next line form a rhyming couplet, mirroring Shakespeare's 'pride/ bride' (1.2.10– 11).

118 Ps. 113:9.

 <sup>119</sup> Ps. 19:8 (19:7 in English Bibles) פשֶׁנָ֑ יבתַ שִׁ֣ מְ' a reviver of the soul'; see also Ruth 4:15 and Lam. 1:16 for similar constructions.

 <sup>120</sup> This and the next line form a rhyming couplet, mirroring Shakespeare's 'heart/ part' (1.2.15– 16). Note that here, and in the following rhyming couplets, the Hebrew pairs of lines do not correspond exactly to their English counterparts.


 <sup>121</sup> This and the next line form a rhyming couplet, mirroring Shakespeare's 'choice/ voice' (1.2.17– 18). The single Hebrew rhyme extends over three lines.


128 This and the next line form a rhyming couplet, mirroring Shakespeare's 'delight/ night' (1.2.27– 8).

 <sup>122</sup> This and the next line form a rhyming couplet, mirroring Shakespeare's 'feast/ guest' (1.2.19– 20). 'Feast' and 'guest' rhymed in early modern English (Crystal 2011 : 304).

 <sup>125</sup> Song of Songs 2:12. This is Salkinson's translation of Shakespeare's 'well- apparelled April' (1.2.26), reflecting a desire to avoid reference to the Gregorian calendar.

 <sup>126</sup> Song of Songs 2:11.

 <sup>127</sup> This and the next line form a rhyming couplet, mirroring Shakespeare's 'feel/ heel' (1.2.25– 6).


 Knowing who is thin and fl awed, and who is honourable and splendid

 Regard my daughter as a ewe of the weak sort and not the strong sort131, 132

 And choose the fi rst of the fl ock for yourself, **for this is what young men do** . 133

*(Gives a missive to his servant)* Go around the city and invite the people mentioned134

 As their names are written on this scroll,

 Say that my table is set and my house is wide open135

 And I am waiting for their arrival at the **family sacrifi ce** . 136

### *(Abiel and Paris exit)*

is no craftsman without tools:

 the servant137 I must fi nd the men who are on the list I know what is written: there העבד137 ָעַלי ִל ְמצוֹא ֶאת ָהֲאָנ ִשׁים ֲאֶשׁר ֵהם ַבּ ְכּ ִתוּבים ָיַד ְע ִתּי ֶאת ַהָכּתוּב : ֵאין ָאָמן ְבּל ֹא

רֶֹעה ֵעֶדר,129 130 ְוַכֲאֶשׁר ִתָּשּׂא ֵע ֶיניָך ֵשִׁנית , ְכַּבָקַּרת

ָלַדַעת ְל ִמי ָרזוֹן ִוּמְגֶעֶרת ְוּל ִמי ְיָקר

ֵמַה ְקֻּשִׁרים,131 132 ֲחשֹׁב ִבּ ִתּי ְכּ ִכ ְב ָשׂה ֵמָהֲעֻט ִפים ְול ֹא

ַהַבּ ִחוּרים . 133 ְוּבַחר ְלָך ֵר ִאשׁית ַהצּ ֹאן , ִכּי ֵכן ַיֲעשׂוּ

ָלֲאָנ ִשׁים ַהְנּ ִקוּבים<sup>134</sup> ( נותן כתב אל עבדו ) ֵלְך סֹב ָבּ ִעיר ְוּקָרא

ַכֲּאֶשׁר ְבִּגְליוֹן ֶזה ֵהם ִבּ ְשׁ ָמוֹתם

ִלְרָוָחה135 ֱא ֹמר ִכּי ֻשְׁלָחִני ָערוְּך ֵוּב ִיתי ָפּ ַתוּח

ַה ִמּ ְשָׁפָּחה . 136 ַוֲאִני ְמַחֶכּה ְל ָבוֹאם ֶאל ֶזַבח

( אביעל ופריז הולכים )

ֵכ ִלים ;

ַבּ ְכּ ִתוּבים

ְוֵאֶדר

 There is no tailor without an awl, no shoemaker

ֵאין ֹתֶּפר ְבָּגִדים ִבּ ְב ִלי ַמְרֵצַע ; ֵאין עֹ ֵשׂה



 <sup>129</sup> Ezek. 34:12.

 <sup>130</sup> This and the next line form a rhyming couplet, mirroring Shakespeare's 'see/ be' (1.2.29- 30).

the when but 'ְוּבַהֲעִ֥טיף ַה ֖צּ ֹאן ֣ל ֹא ָי ִ֑שׂים ְוָהָ֤יה ָהֲעֻט ִפ ֙ים ְלָלָ֔בן ְוַה ְקֻּשִׁ֖רים ְלַיֲע ֽקֹב 30:42 .Gen to reference a is This 131 sheep and goats were weaker, he did not put them in, so the weaker ones went to Laban and the stronger ones went to Jacob', in which Jacob tricked his uncle Laban by separating the flocks that he was herding for Laban to his own advantage.

 <sup>134</sup> This and the next line form a rhyming couplet, mirroring Shakespeare's 'about/ out' (1.2.33– 4).


 <sup>138</sup> Jer. 20:9.

 <sup>139</sup> This and the next three lines form two rhyming couplets, mirroring the source text except that the latter has an ABAB rhyming pattern: 'burning/ anguish/ turning/ languish' (1.2.44– 7).

 <sup>140</sup> Ps. 38:11 (38:10 in English Bibles) חרַרְחַסְ֭ בּיִ֣לִ' my heart flutters'. .'evil cleanse wounds and bruises 'ַחֻבּ֣רוֹת ֶ֭פַּצע תמריק ַתּ ְמ֣רוּק ְבָּ֑רע 20:30 .Prov 141

 <sup>.&#</sup>x27;understand not do you which you upon come will evil and 'ָ֧וּבא ָעַ֣לִיְך ָרָ֗עה ֤ל ֹא ֵתְד ִ ֙עי ַשׁ ְחָ֔רהּ 47:11 .Isa 142

 <sup>143</sup> This and the next line form a rhyming couplet, mirroring Shakespeare's 'eye/ die' (1.2.49).

 <sup>.&#</sup>x27;you upon fall will disaster and 'ְו ִת֤ ֹפּל ָעַ֙לִי ְ֙ך הָֹ֔וה 47:11 .Isa 144

 <sup>145</sup> Salkinson has simplified Shakespeare's 'plantain leaf' (1.2.50).


 146 One of the seven princes of Persia mentioned in Esther 1:14; Salkinson most likely selected this name on the basis of its sound correspondence with Shakespeare's 'Martino' (1.2.63).

 147 This is likely to be a typographical error for Salmon, who is listed in Ruth 4:20– 1 as one of the ancestors of King David. Salkinson probably suggested this name on the basis of its sound correspondence with Shakespeare's 'Anselm' (1.2.64).

> \* ִדַּבְּרָתּּ \*\* ַשֹ ְלמוֹן




 <sup>158</sup> These lines are prose in the original (1.2.78– 82).

 <sup>159 1</sup> Sam. 7:16; Zech. 14:16; 2 Chron. 24:5.

 <sup>.&#</sup>x27;gold fine to comparable ,Zion of sons precious the 'ְבֵּ֤ני ִצ ֙יּוֹן ַהְיָקִ ֔רים ַה ְמֻסָלּ ִ֖אים ַבָּ֑פּז 4:2 .Lam 160

 <sup>161</sup> This and the next line form a rhyming couplet, mirroring Shakespeare's 'show/ crow' (1.2.87– 8). Salkinson's seemingly puzzling selection of the phrase אוֹרבֵ הָ ידַ' the hand of the one who lies in wait' instead of Shakespeare's 'I' (1.2.87) is motivated simply by the necessity of finding a rhyme for the word רבֵֹע' crow' at the end of the following line.


 <sup>162</sup> This and the subsequent three lines form an ABAB rhyming sequence, mirroring Shakespeare's 'eye/ fires/ die/ liars' (1.2.89– 92).



 <sup>170</sup> This word and the last word of the following line do not rhyme visually or in Modern Hebrew pronunciation, but would have done so in Salkinson's Ashkenazic pronunciation. As such, the two lines echo Shakespeare's rhyming couplet 'shown/ own' (1.2.101– 2).

 <sup>171</sup> Isa. 14:12. This expression is associated with the planet Venus in postbiblical Hebrew literature (see Even- Shoshan 2003, 2: 381). This phrase lacks an equivalent in the original, which reads 'But to rejoice in splendour of mine own' (1.2.102). Salkinson most likely inserted it primarily or solely out of the desire to find a rhyme for the previous line.

 <sup>172</sup> Prov. 5:19. This is also a play on words referring to the heroine עלֵיָ Jael (Juliet): the name literally means 'mountain goat' (sometimes translated as 'ibex' or 'deer'), and the noun להָעֵיְ or להָעֲיַ translated above as 'doe' denotes the female of the same species (Even- Shoshan 2003, 2: 704). See note 174 for further discussion of the name Jael.

 <sup>173</sup> This collocation is traceable to Rabbinic Hebrew, appearing in, for example, Mishnah *Nega*ʻ*im* 8:4 and Babylonian Talmud *Be ṣ a* 24a.

 <sup>174</sup> Salkinson's selection of עלֵיָ' Jael' as a translation of 'Juliet' is rooted partially in sound correspondence, but has symbolic connotations as well. Jael would have been well known among Jewish audiences as the protagonist of the biblical story recounted in Judges 4 and 5, in which she saved the Israelites from crushing defeat and conquest by the Canaanites when she courageously lured the enemy general Sisera into her tent and killed him. Moreover, Jael has a prominent place in postbiblical Jewish tradition, with the Babylonian Talmud ( *Nazir* 23b) considering her to be more meritorious than even the four biblical matriarchs Sarah, Rebecca, Rachel, and Leah. As such, by bestowing the name Jael upon Shakespeare's


heroine, Salkinson has chosen to cast her unambiguously in the model of a strong, independent biblical figure who is unafraid to risk death in defence of her beliefs.

175 Ps. 55:15 (55:14 in English Bibles) סוֹד֑ תּיקִ֣מְ נַ דּוָחְ יַ֭' we took sweet counsel together'.

176 Num. 30:15 (30:14); 1 Chron. 16:23.

 177 The English original (1.3.16) refers to Lammastide, the Anglo- Saxon holiday marking the wheat harvest that takes place on the first of August. Salkinson replaces this with 'such- and- such a holiday' that takes place on the first day of the fifth month. The reference to the 'first night of the fifth month' is a veiled allusion to Lammastide: the first month in the Hebrew Bible corresponds approximately to April on the Gregorian calendar, and as such the fifth month would equate to August. Thus, Salkinson's translation serves to neutralize the Christian connotations of the original name (which has no established Hebrew equivalent and would not have been familiar to Jewish readers in any case) by substituting it with a nondescript label and placing it within the context of the biblical calendar. It is likely that Salkinson chose this strategy in the present instance because there is no Jewish holiday that falls at a similar time to and could easily be equated with Lammastide. (Note that in order to introduce this description of the holiday, Salkinson has substantially rephrased and expanded on the original.)


 <sup>178</sup> Exod. 12:42.

 <sup>179</sup> Esther 9:21, 27.

 <sup>180</sup> The name Susan derives from the Hebrew word and female name נּהָשׁוֹשַ , meaning 'lily' or 'rose', and as such Shoshannah is an appropriate equivalent. As a result, the two characters Rosaline and Susan share a name in Salkinson's version.

 <sup>181</sup> Salkinson has omitted the Christian expression appearing in the original, 'Susan and she, God rest all Christian souls,/ Were of an age' (1.3.19– 20). This is a typical strategy that he adopts with respect to oath formulas and other phatic expressions containing allusions to Christian figures and concepts.

 <sup>&#</sup>x27;God with is Susan 's'Shakespeare .Cf .'God with walked Enoch and 'ַוִיּ ְתַהֵ֥לְּך ֲח֖נוְֹך ֶא ָֽת־הֱא ִֹ֑להים 5:24 .Gen 182 (1.3.20). Enoch is one of the figures appearing in a genealogical table chronicling the first generations of humankind. His account is enigmatic because, in contrast to the other figures in the list, it is not stated explicity that he died, but rather simply that he walked with God and was no more, for God took him. This ambiguity has led to various proposals relating to his fate, including the proposal appearing in rabbinic literature (e.g., certain midrashim and Targumim) that he was a righteous man who ascended to the heavens without suffering the throes of death (Sarna 2007 ). While it is uncertain whether Salkinson had these associations in mind when settling on this translation, the fact that he has omitted Shakespeare's 'She was too good for me' (1.3.21), which directly follows 'Susan is with God', may support the possibility that he chose the verse intentionally in order to suggest to readers that Shoshannah, like Enoch, was taken to heaven due to her righteousness, and that he felt the following line to be unnecessary.


 <sup>183</sup> Note that Salkinson has retained this Italian place name, like the others appearing in his two Shakespeare translations. This may be rooted in a recognition and acknowledgement of the prominent and longstanding Jewish presence in Italy and concomitant decision to interpret his characters as Italian Jews (Kahn 2017 ).

187 Prov. 15:13, 17:22.

 <sup>184</sup> Gen. 19:29.

 <sup>185</sup> Salkinson has omitted Shakespeare's overtly Christian phatic expression 'by th' rood' (1.3.37), i.e., 'by Christ's cross' (Weis 2012 : 151, note 37).

 <sup>186</sup> The Hebrew expression used here is the one traditionally uttered after mentioning a departed relative or loved one. This lends a specifically Jewish nuance to the nurse's speech.

 <sup>188</sup> Gen. 34:3 רֽ ָעֲנַּהֽ ַ ל־לב ֵ֥ עַ בּר֖ ֵדַיְוַ' and he spoke tenderly to the maiden'; similar constructions occur in Gen. 50:21 and 2 Chron. 32:6.


 <sup>.&#</sup>x27;weeping bitter and lamentation ,Ramah in heard was voice a '֣קוֹל ְבָּרָ֤מה ִנ ְשָׁמ֙ע ְנ ִ ֙הי ְבִּ֣כי ַת ְמ ִ ֔רוּרים 31:15 .Jer 189


190 Gen. 20:3; Deut. 22:22.

\* ָבַּעל


 <sup>191</sup> Song of Songs 7:2 (7:1 in English Bibles).

 <sup>192</sup> Isa. 40:19.

 <sup>193</sup> Salkinson has not reproduced the same- word rhyming couplet 'flower/ flower' (1.3.78– 9) in the source text.

blossoms henna of cluster a me to is beloved my 'ֶא ְשׁ֨כֹּל ַה֤כֶֹּפר ׀ ִדּוֹד֙י ִ֔לי ְבַּכְרֵ ֖מי ֵ֥עין ֶ ֽגִּ די 1:14 Songs of Song 194 in the vineyards of En- gedi'. This has no basis in the source text, in which the speech consists of a single sentence.

 <sup>195</sup> This and the subsequent three lines form an ABAB rhyming sequence. This differs from the English, which has an ABBA scheme: 'gentleman/ feast/ face/ pen' (1.3.80– 4).

 <sup>196</sup> The phrase 'for he is one of a thousand' lacks precedent in the original. As in several other cases discussed elsewhere in this volume, Salkinson most likely included it solely in order to find a rhyme for the last word in the previous line. Such cases illustrate the difficulties in finding Hebrew equivalents for the English wordplays that Salkinson alluded to in his introduction to the translation.

 <sup>197</sup> Gen. 49:21.

 <sup>198</sup> This and the following line form a rhyming couplet, mirroring Shakespeare's 'lineament/ content' (1.3.84– 5).


one into another to one them join and 'ְוָקַ֨רב ֹא ָ֜תם ֶאָ֧חד ֶא ֶ ל־אָ֛חד ְל ָ֖ך ְלֵ֣עץ ֶאָ֑חד ְוָה֥יוּ ַלֲאָחִ֖דים ְבָּיֶ ֽדָך 37:17 .Ezek 199 stick, and they will be as one in your hand'.


husband210


 <sup>209 2</sup> Chron. 3:6. Parvaim is a geographical name of uncertain reference, possibly a region of Arabia (Koehler and Baumgartner 2001 , 2: 964). Beginning in the modern period the expression 'the gold of Parvaim' came to be used in Hebrew to denote something extremely pure and precious (Even- Shoshan 2003, 5: 1529).

 <sup>210</sup> This and the following line form a rhyming couplet, mirroring Shakespeare's 'possess/ less' (1.3.94– 5).


of shoelace a or thread a even take not would I 'ִא ִם־מ ֙חוּט ְוַ֣עד ְשֽׂר ַ֔ וְֹך־נַעל ְו ִא ֶם־אַ ֖קּח ִמָכּ ֲ ל־אֶשׁ ָ֑ ר־לְך 14:23 .Gen 211 anything that is yours'.

 <sup>212</sup> Salkinson's translation does not retain Shakespeare's play on words 'No less? Nay, bigger – women grow by men' (1.3.96).

 <sup>213</sup> While this does not rhyme with the last word in the following line visually or in Modern Hebrew pronunciation, it would have been a near rhyme in Salkinson's Ashkenazic pronunciation, and as such it is likely that he intended the two lines to correspond to Shakespeare's rhyming couplet 'eye/ fly' (1.3.99– 100).

This .'eyes your and hearts your after follow to not and 'ְו ֽל ֹ ָא־ת ֻ֜תרוּ ַאֲחֵ֤רי ְלַב ְבֶכ ֙ם ְוַאֲחֵ֣רי ֵ ֽע ֵינ ֶ֔יכם 15:39 .Num 214 extract makes up part of the Shema, a central prayer in the Jewish liturgy.

 <sup>215</sup> This speech is prose in the original (1.3.101– 4).


216 This and the following line form a rhyming couplet, mirroring Shakespeare's 'stays/ days' (1.3.105– 6).

217 This expression appears in Ezek. 16:63, 29:21 in the sense of 'the ability to speak'; in the rabbinic period

it began to mean 'excuse', 'pretext' (Even- Shoshan 2003, 5: 1560); it is used here in the postbiblical sense.

 218 See preceding note. 219 As elsewhere in his work, Salkinson has chosen not to translate Shakespeare's 'Cupid' (1.4.4), and has

replaced it with a generic reference to an 'idol' (which itself reflects the traditional Jewish perception of Classical mythological figures).

.'vermillion with painted and 'ָוּמ ֖שׁ ַוֹח ַבּ ָשַּׁ ֽשׁר 22:14 .Jer 220

 221 Kedar is a nomadic tent- dwelling biblical nation descended from Ishmael's second son (mentioned in Gen. 25:13) from a region that most likely corresponds to somewhere in northwestern Arabia. Salkinson selected the children of Kedar as the equivalent of Shakespeare's 'Tartar' (i.e., Mongol). His choice is likely to be rooted in the fact that they are mentioned in Isa. 21:17 in conjunction with archery ( בּוֹריֵ֥ גִּ שׁתֶר־קֶ֛ פַּסְ מִ ארָ֧וּשְׁ עטוָּ֑מְ יִ דר֖ ָי־ק ֵ נֽ ֵבְ' and the remainder of the number of archers, the warriors of the childen of Kedar, will be few'), which corresponds to Shakespeare's 'Bearing a Tartar's painted bow of lath' (1.4.5).

 <sup>222</sup> Job 39:23.

 <sup>223</sup> Gen. 7:14; Ezek. 17:23, 39:4, 17.


**dust** . 229, 230

 <sup>224</sup> Isa. 50:4.

 <sup>225</sup> Jer. 31:4 קים ֽ ִחֲשַׂ מְ חוֹל֥ מְ בִּ צאת֖ ָיָוְ' and you will go forth in the dances of the merrymakers'.

 <sup>226</sup> Jer. 15:1.

 <sup>.&#</sup>x27;tent his in dark grows light the 'ָחַ֣שְׁך ְבָּאֳה֑לוֹ ֭אוֹר 18:6 Job 227

 <sup>228</sup> Salkinson has replaced Shakespeare's 'borrow Cupid's wings' (1.4.17) with this neutral mention of 'love' (thereby rendering the reference to wings somewhat opaque).

 <sup>229</sup> Ps. 44:26 (44:25 in English Bibles) שׁנוֵּ֑פְ נַ פרָ֣עָלֶ חהָשָׁ֣ כּיִ֤' for our soul is bowed down to the dust'.

 <sup>230</sup> Salkinson has not replicated Shakespeare's cross- line internal rhyme here 'ground/ bound' (1.4.16– 18) (see Weis 2012 : 157, note 18).


231 Ps. 38:3 (38:2 in English Bibles) ביִ֑ חתוֲּנִ֣ ךָצּיֶי־ח ִ֭ כּֽ ִ' for Your arrows have struck me'.

232 Ps. 105:18 שׁוֹֽ פְ נַ אהָבָּ֣ זלֶ֗רְבַּ֝' his neck has been placed in an iron collar'.

.'burden his under lying you hates who one of ass the 'ֲח ֣מוֹר שַֹׂנֲאָ֗ך רֵֹב֙ץ ַ֣תַּחת ַמ ָשּׂ ֔אוֹ 23:5 .Exod 233


 <sup>236</sup> Ezek. 28:24.

 <sup>.&#</sup>x27;you upon heavy be hand my should nor 'ְ֝וַא ְכִ֗פּי ָעֶ֥ליָך ל ֹ ִא־י ְכָ ֽבּד 33:7 Job 237

 <sup>238</sup> Job 26:14 ע־בּוֹ֑ מַשְׁ נִ ברָדָּ֭ מץֶה־שּׁ ֵ֣ וּמַ' and how faint [or: whispering] a word is heard of Him'. See *Ithiel* , Third Part, note 56 for discussion of Salkinson's use of this expression.


 <sup>239</sup> Isa. 19:6.

 <sup>240</sup> This word appears in the Hebrew Bible, where it means 'decree' (see Eccles. 8:11 and Esther 1:20); Salkinson is using it in the sense of 'proverb', which originates in the modern period (Even- Shoshan 2003, 5: 1557).

 <sup>241</sup> Num. 5:17.

 <sup>.&#</sup>x27;joy its in share not does stranger a and '֝וּ ְב ִשׂ ְמָח ֗תוֹ ל ֹ ִא־י ְתָ֥עַרב ָ ֽזר 14:10 .Prov 242

 <sup>243</sup> Salkinson has not reproduced the rhyming couplet 'on/ dun' (1.4.38– 9) in the source text.

 <sup>244</sup> Eccles. 2:2.

 <sup>245</sup> This translation differs markedly from the original 'If thou art dun' (1.4.41). Salkinson's translation may be based on a commentary noting that 'Dun is in the mire' seems to be a reference to an old Christmas game (see Weis 2012 : 160, note 41).

 <sup>246</sup> This and the next line form a rhyming couplet. There is no basis for this in Shakespeare's 'mire/ stickest' (1.4.41– 2).

 <sup>247</sup> This last word in Meraioth's line rhymes with the last word of the following line (spoken by Ram), echoing the English original (again, split between Mercutio and Romeo) 'ho/ so' (1.4.43– 4).

 <sup>.&#</sup>x27;lips his with rashly spoke he and 'ַ֝וְיַבֵ֗טּא ִבּ ְשָׂפָ ֽתיו 106:33 .Ps 248

is it ,word this to according speak not do they if 'ִא ֤ם־ל ֹא ֽי ֹ ְאמ ֙רוּ ַכָּדָּ֣בר ַהֶ֔זּה ֲאֶ֥שׁר ֵ ֽא ֖ ין־לוֹ ָ ֽשַׁחר 8:20 .Isa 249 because they have no basis'.


250 2 Kings 18:20; Isa. 36:5; Prov. 14:23.

mirroring the original (also split between Romeo and Mercutio) 'masque/ ask' (1.4.48– 9). 257 This word rhymes with the last word in Ram's next line. In this respect it corresponds to the original, except that in the latter the rhyme starts one utterance later and as such is split between Mercutio's lines 'I/ lie' (1.4.50– 1).

 <sup>251</sup> This and the following line form a rhyming couplet, mirroring Shakespeare's 'delay/ day' (1.4.44– 5).

 <sup>252</sup> Rashi to the Babylonian Talmud *Ḥ ullin* 3 and *Shabbat* 6.

 <sup>253</sup> Ps. 49:4 (49:3 in English Bibles) בוּנוֹתֽ תְ בּיִ֣לִ גוּת֖הָוְ' and the meditation of my heart will be understanding'.

 <sup>254</sup> This and the following line form a rhyming couplet, mirroring Shakespeare's 'sits/ wits' (1.4.46– 7).

 <sup>255</sup> Ps. 49:4 (49:3 in English Bibles) בוּנוֹתֽ תְ בּיִ֣לִ גוּת֖הָוְ' and the meditation of my heart will be understanding'.

 <sup>256</sup> In Salkinson's Ashkenazic pronunciation this word forms a near rhyme with Meraioth's next line,

 <sup>258</sup> Lam. 2:14.

 <sup>259</sup> This last word in Meraioth's line rhymes with the last word of the following line (spoken by Ram), echoing the source text (although in the latter the rhyme is one line later, and as such is split between Romeo and Mercutio rather than the other way around) 'true/ you' (1.4.52– 3).

 <sup>260</sup> Cf. Shakespeare's 'Queen Mab' (1.4.53). It is likely that Salkinson chose to avoid a direct translation of the fairy's name because it would have had no meaning for his readers; his paraphrased description of Queen


Mab is not based directly on the original but sums up her role as overseer of dreams that is detailed by Meraioth/ Mercutio later in this speech.

265 Song of Songs 5:2.

 <sup>261</sup> Cf. Shakespeare's 'faeries'. 'Demons' is a dynamic Hebrew equivalent reflecting the fact that faeries do not occupy a meaningful position in Jewish culture, whereas demons feature relatively prominently; they are first mentioned in the Hebrew Bible (e.g., Deut. 32:17), and appear throughout rabbinic, medieval, and early modern Jewish literature (Trachtenberg 2004 ; Petrovsky- Shtern 2010 ).

 <sup>262</sup> Cf. Shakespeare's 'agate stone' (1.4.55). The term שׁםֶ לֶ appears in Exod. 28:19 and 39:12 as one of the gemstones on the High Priest's breastplate. Its precise meaning is uncertain; in addition to 'opal' (which is its meaning in Modern Hebrew), it has been translated in various English Bible versions as 'jacinth', 'ligure', and 'topaz'. Oddly, the word שׁםֶ לֶ is directly followed in these two biblical verses by the name of another gemstone, שׁבוְֹ , which is typically translated as 'agate', and therefore would have been a much closer equivalent to Shakespeare's term.

 <sup>263</sup> Isa. 29:5.

 <sup>264</sup> Isa. 59:5.

 <sup>266</sup> Isa. 51:8 ססָ֑ לםֵ֣אכְ ֹ י מרֶצֶּ֖כַוְ' and the moth will eat them like wool'.


 <sup>267</sup> Nah. 3:2.

 <sup>268</sup> Deut. 18:6; Jer. 2:24.

 <sup>269</sup> Cf. Shakespeare's 'parson's nose' (1.4.79). The Hebrew term הןֵֹכּ can refer to a Christian priest, but also has strong associations with the priests of the biblical Temple in Jerusalem, as well as with the descendants of the priestly class in later Jewish society (who have a particular standing in Jewish law). See Haran, Stern, and Blidstein ( 2007 ) for further information about the priestly class in the biblical and postbiblical periods. 270 Cf. Shakespeare's 'tithe- pig's tail', a pig paid to settle the tithe on produce pledged to the Church (Weis

 <sup>2012 : 163,</sup> note 79). Salkinson's translation is religiously neutral.

 <sup>271</sup> Cf. Shakespeare's 'benefice' (1.4.81), meaning a permanent church appointment; Salkinson's translation lacks these Christian associations.

ְו ִכי ַתֲעבֹר ְבֶּמְרַכּ ְבָתּהּ ַעל ַצְוּ ֵארי ַאְנֵשׁי ַהָצָּבא ַי ְח ְלמוּ ֲחלוֹם ִכּי ָכְרתוּ ָר ֵאשׁי ַבֲעֵלי ִמ ְלַח ְמָתּם ְו ִכי ָפְרצוּ ָאְרבוּ ְו ָשְׁללוּ הוֹן ְוּכֵלי ָנֶשׁק ְוֵהם ִשׁוֹתים ַיִין ִמָמּקוֹר ֶנֱאָמן ֲאֶשׁר ל ֹא ְיַכֵזּב ; ַאְך ִפּ ְת ֹאם ִי ְת ְעוֹררוּ ָי ִקיצוּ ְלקוֹל ַה ֹתּף ְבָאְזֵנ ֶיהם ְוִי ְישׁנוּ ָאז ִיְרְגּזוּ ְיַק ְללוּ ְקָלָלה ִנ ְמֶרֶצת<sup>272</sup> ֵשִׁנית . זֹאת ַה ְמַּכ ֵשָׁפה ַהשַֹּׁלַחת ָיד ְבּ ַשֲׂערוֹת ַצְוּ ֵארי ַה ִסּוּסים ָלְיָלה ַעד ֲאֶשׁר אוֹ ְבַמ ְח ְלפוֹת ָר ֵאשׁי ֲאָנ ִשׁים<sup>273</sup> ִי ְשָׂתְּרגוּ ְוָהיוּ ַלֲע ִבוֹתים ָע ִבים ְמֻצ ָמִּדים ֻמְדָבּ ִקים ְבֶּח ְלַאת ר ֹ ָאשׁם ְו ִאם ִיָפְּרדוּ אוֹ ְיֻגלּחוּ , ַי ְח ְשׁבוּ ַבֲעֵל ֶיהם ְלאוֹת ָרע ָלמוֹ . ְו ִהיא ַה ֶֹּלחֶצת ַה ְבּתוּלוֹת ַהשֹּׁ ְכבוֹת ַעל ַגָּבּן ַבּ ִמָּטּה And if she passes in her chariot over the necks of soldiers They dream that they have cut off their enemies' heads And that they have breached, ambushed, and plundered a fortune and weapons And they are drinking wine from a faithful spring which does not deceive; But suddenly they stir, they awaken to the sound of a drum in their ears Then they tremble, **they utter a grievous curse**272 and fall asleep again. This is the witch that stretches out a hand against the hairs of the horses' necks at night Or **the locks of men's heads**<sup>273</sup> until they interlace And they become thick, fastened ropes stuck with the fi lth of their head And if they are separated or shaved, their owners will consider it a bad sign for themselves. And she is the one who presses the virgins lying on their backs in bed274

 <sup>,</sup>verse this selecting In .'me against curse grievous a uttered he and 'ְו֤הוּא ִ ֽק ְלַ֙לִ֙ני ְקָלָ֣לה ִנ ְמֶ֔רֶצת 2:8 Kings 1 272 Salkinson has replaced Shakespeare's 'prayer' (1.4.87) with להָלָקְ' curse'. His choice may reflect an understanding of Shakespeare's 'swears' in a negative sense, but it may equally lack deeper significance. There is no clear motivation for the translation in the Schlegel- Tieck German translation, which has *Gebete* 'prayers'.

is line This .'head my of locks seven the weave you if 'ִא ַם־תַּאְרִ֗גי ֶא ֶ֛ ת־שַׁבע ַמ ְח ְל ֥פוֹת ר ֹ ִ֖אשׁי 16:13 .Judg 273 spoken by Samson to Delilah, who has enquired about the source of his physical strength. The same collocation also appears in Judg. 16:19. Salkinson has chosen this as an equivalent of Shakespeare's 'elflocks' (1.4.90), a term denoting knotted locks of hair (Weis 2012 : 164, note 90); the reference to Samson is apt as the description of his hair may have referred to dreadlocks.

 <sup>274</sup> This and the following line are the ones to which Smolenskin refers in his preface to *Ram and Jael* .


 <sup>275</sup> Isa. 30:7.

 <sup>276</sup> Isa. 14:13; Ezek. 38:6, 15, 39:2; Ps. 48:3 (48:2 in English Bibles).

 <sup>277</sup> Exod. 16:13, 14.

 <sup>278</sup> Job 9:9.

 <sup>279</sup> Mishnah *Moʻed Qa ṭṭ an* 1:3.


 <sup>280</sup> Job 15:32.

 <sup>281</sup> The servants' dialogue (from here until the next stage direction) is in prose in the original (1.5.1– 15). Salkinson's 'Servant 1' corresponds to Shakespeare's 'Head Servingman'.

 <sup>282</sup> This name, which corresponds to Shakespeare's 'Potpan' (1.5.1), is comprised of the word בּןֶ' son' (used in the formation of Jewish patronymics), followed by a diminutive of בתַחֲמַ , meaning 'griddle' or 'pan'. The name evokes associations with certain rabbinic sages; for example, Ben Azzai and Ben Zoma.

 <sup>283</sup> Salkinson has conflated two characters from the original (1 and 2 Servingman) into one (Servant 2). This Servant 2 seems to speak as Ben Mahbi (in contrast to Shakespeare's Potpan, who does not have any lines).


 <sup>284 2</sup> Sam. 13:6.

 <sup>285 2</sup> Sam. 13:6, 8, 10. Salkinson has replaced Shakespeare's term 'marchpane' (1.5.8), i.e., marzipan, with this less specific label.

 <sup>286</sup> As in the case of the nurse's daughter, Salkinson's Shoshannah replaces the English Susan (see note 180). 287 Salkinson's motivation for selecting Sebabah here is unclear, as it is not a Hebrew name or word. It resembles the root ב . י . שׂ ., meaning 'to be grey- haired, old', and Salkinson may have created the form Sebabah in order to evoke a female name denoting something like 'grey- haired woman'. Presumably Salkinson's Sebabah is intended as a translation of Shakespeare's 'Nell' (1.5.9; see note 289), but there is no obvious correspondence in either sound or meaning between these two names. Note that I have transliterated it according to the traditional convention in English Bibles whereby the Hebrew letter ב *vet* is rendered as *b.*

 <sup>288</sup> This is the name of three different biblical characters: a captain in the service of Saul's son Ish- bosheth (mentioned in 2 Sam. 4:2); the ancestor of the Rechabite tribe (mentioned in 1 Chron. 2:55); and the father of Malchiah, ruler of the Beth- haccherem district in Jerusalem after the return from Babylonian exile (Neh. 3:14).

 <sup>289</sup> This list of names corresponds to Shakespeare's 'Susan Grindstone, Nell, and Anthony' (1.5.9). Salkinson has designated the first two characters as the daughters of the third, which lacks precedent in the original.

 <sup>290</sup> Salkinson's choice of this name may be rooted in the sound correspondence between it and Shakespeare's 'Potpan'. His decision to give the character a first name has no basis in the original (which refers only to 'Potpan'). Puti is itself not a Hebrew name, but Salkinson might have had it in mind as a shortened version of the biblical Putiel (the name of a man whose daughter married Aaron's son Eleazar, mentioned in Exod. 6:25).

 <sup>291</sup> Ps. 37:11.


*(Abiel, Abiel's wife, Tubal, and the members of the household with the guests wearing masks on their faces.)*

 abiel Welcome, friends! The women whose toes

> Are not affl icted with a painful root expect **to go forth in the dances of the merrymakers**<sup>292</sup>

 Come, daughters of valour! The one among you who refuses to dance

 Is the woman who has an affl iction on the toes of her feet.

 And you too, new faces! Friends, welcome

 I remember the day when I wore a mask over my eyes

 And put pleasant words in the ears of a beautiful girl

 But the day has passed, the day has passed and will not return.

 Welcome, friends! Musicians, play well

 Make room! Make room! Go forth, **damsels playing timbrels** !293

*(The musicians play and people go forth dancing two by two)*

*(To the attendants)* Bring more candles and bear the tables away from here

 And put out the fi re in the oven, for it is very hot in the house.

 How my heart rejoices to see the guests dancing

( המשרתים שבים לאחור )

 ( אביעל , אשת אביעל , יעל , תובל ובני הבית עם הקרואים נושאי ֲאֵפר על פניהם .)

אביעל בּוֹאוּ ְל ָשׁלוֹם ְיִד ִידים ! ַהָנּ ִשׁים ֲאֶשׁר ְבּהֹנוֹת ַרְגֵל ֶיהן

ִבּ ְמחוֹל ְמ ַשֲׂח ִקים<sup>292</sup> <sup>ל</sup> ֹא ְיֻנְגּעוּ ְבשֶֹׁרשׁ ַמ ְכ ִאיב , צוֹפוֹת ָלֵצאת

בּ ֹ ָאנה ְבּנוֹת ַחִיל ! ִמי ִמֶכּן ְתָּמֵאן ִלְרקוֹד

ִהיא ָה ִא ָשּׁה ֲאֶשׁר ֶנַגע ָלהּ ִבּ ְבהֹנוֹת ַרְגֶל ָיה .

ְוַגם ַאֶתּם ָפִּנים ֲחָד ִשׁים ! ְיִד ִידים ֲבּוֹאֶכם ְל ָשׁלוֹם

ָזַכְר ִתּי ֶאת ַהיּוֹם ֲא ָשׁר ָנָשׂ ִאתי ֲאֵפר ַעל ֵע ָיני

ָוָא ִשׂים ְדָּבִרים ְנִע ִימים ְבָּאְזֵני ְיַפת ֹתַּאר

ַאְך ַהיּוֹם ָעַבר , ָעַבר ַהיּוֹם ְול ֹא ָישׁוּב .

בֹּאוּ ְל ָשׁלוֹם ְיִד ִידים ! ְמַנְגִּנים ֵה ִיטיבוּ ַנֵגּן

ֵתּוֹפפוֹת ! 293 ַפּנּוּ ָמקוֹם ! ַפּנּוּ ָמקוֹם ! ְצֶא ָינה ֲעָלמוֹת

 (המנגנים מנגנים ושנים שנים יוצאים במחול )

( אל המשרתים ) ָה ִביאוּ ֵנרוֹת עוֹד ְוּשׂאוּ ַהֻשְּׁלָּחנוֹת\* ִמֶזּה

ְוַכבּוּ ֶאת ָהֵאשׁ ַבַּתּנּוּר , ִכּי ָחָזק ַהחֹם ַבָּבִּית .

ַמ ִה־יּ ְשַׂמח ִל ִבּי ִלְראוֹת ִבְּרקוֹד ָה ֹאְר ִחים

292 Jer. 31:4 קים ֽ ִחֲשַׂ מְ חוֹל֥ מְ בִּ צאת֖ ָיָוְ' and you will go forth in the dances of the merrymakers'.

293 Ps. 68:26 (68:25 in English Bibles).

\* ַהֻשְּׁלָחנוֹת


 294 Cf. Shakespeare's 'Ah, sirrah, this unlooked- for sport comes well' (1.5.29). Shakespeare's 'unlooked- for', meaning 'unexpected', refers to the dancing, whereas Salkinson has changed it into a reference to the uninvited guests (Ram, Benaiah, and Meraioth). There is no basis for Salkinson's change in the Schlegel-Tieck German translation of the play, which he may have consulted.

295 Cf. Shakespeare's 'cousin' (1.2.30); see note 65.

296 Cf. Shakespeare's 'Cousin Capulet'.

 297 Cf. Shakespeare's 'Pentecost' (1.5.36). The Jewish festival of Shavuot, which commemorates the giving of the Torah at Mount Sinai, is the dynamic equivalent of the Christian Pentecost as the former is the historical antecedent of the latter and both fall at a similar time of the year, in late spring or early summer. Moreover, Salkinson would have struggled to find another way of translating the term given the lack of a recognized Hebrew label for Pentecost. The substitution also serves to neutralize the Christian connotations of the original and replace them with explicitly Jewish ones, given that Salkinson's audience would have automatically understood the reference as being to the Jewish holiday rather than to the Christian one.

 298 Salkinson has conflated his translation of Shakespeare's 'Lucentio' (1.5.35) with that of 'Lucio' (1.2.71); see note 156.

299 2 Chron. 34:3.


 <sup>300</sup> This and the subsequent three lines form an ABAB rhyming sequence; this can be contrasted with the original, which is comprised of two rhyming couplets 'bright/ night', 'ear/ dear' (1.5.43– 6).

 <sup>301</sup> Exod. 28:17, 39:10. This is translated as 'beryl' in some English Bible versions.

 <sup>302</sup> Cf. Shakespeare's 'Ethiop' (1.5.45). The Hebrew term translated here as 'Cushite' is often associated with Ethiopia, and is translated as 'Ethiopian' in a number of English Bible versions. See *Ithiel* , First Part, note 26.

 <sup>303</sup> Job 4:19 (denoting ordinary mortals). Cf. Shakespeare's 'for earth too dear' (1.5.46). 304 This and the following line form a rhyming couplet, mirroring Shakespeare's 'crows/ shows' (1.5.47– 8).

 <sup>305</sup> Song of Songs 7:2 (7:1 in English Bibles).

 <sup>306</sup> This and the following line form a rhyming couplet, mirroring Shakespeare's 'stand/ hand' (1.5.49– 50).

 <sup>.&#</sup>x27;you of because live will soul my and 'ְוָחְיָ֥תה ַנ ְפ ִ֖שׁי ִבְּגָלֵ ֽלְך 12:13 .Gen 307

 <sup>308</sup> This and the following line form a rhyming couplet, mirroring Shakespeare's 'sight/ night' (1.5.51– 2).


 <sup>309</sup> Ezek. 27:3; Lam. 2:15.


.'soul s'David of hated 'ְשֻׂנֵ ֖אי ֶ֣נֶפשׁ ָדִּ֑וד 5:8 .Sam 2 317

319 Gen. 26:35.

 <sup>310 2</sup> Kings 9:32.

 <sup>311 1</sup> Kings 20:38 פר֖ ֵאֲבָּ פּשֵׂ֥חַתְ יִּוַ' and he disguised himself with a mask (or: bandage)'.

of nakedness the see to come have you; spies are you 'ְמַרְגִּ֣לים ַא ֶ֔תּם ִלְר ֛אוֹת ֶא ֶת־עְרַ֥ות ָהָ ֖אֶרץ ָבּ ֶ ֽאתם 42:9 .Gen 312 the land'.

 <sup>313</sup> This and the following line form a rhyming couplet, mirroring Shakespeare's 'kin/ sin' (1.5.57– 8).

 <sup>314 1</sup> Kings 2:9 אוֹלֽ שְׁ דם֖ ָבְּ תוֹ֛יבָ ת־שֵׂ אֶ תָּ֧דְהוֹרַ וְ' and you must bring his grey head down in blood to Sheol'.

 <sup>318</sup> This and the next line form a rhyming couplet, echoing but differing from the original, in which the rhyme

begins a line earlier, in Capulet's speech, and is split between Capulet and Tybalt 'so?/ foe' (1.5.59– 60).


329 Prov. 25:23.

 <sup>320</sup> Song of Songs 4:3 אוהֶ֑ נָ ךְרי֖ ֵבָּדְוּמִ' and your words are comely'.

 <sup>321</sup> Prov. 10:5.

 <sup>322</sup> Prov. 16:32.

hairs s'son your of one single a not ,lives ord L the as 'ַח ְ י־י ָ֔הוה ִא ִם־י֛ ֹפּל ִמ ַשֲּׂעַ֥רת ְבֵּ ֖נ ְך ָ ֽאְרָצה 14:11 .Sam 2 323 shall fall to the ground'; similar constructions appear in 1 Sam. 14:45 and 1 Kings 1:52.

 <sup>324</sup> Gen. 19:8 תיֽ ִרָֹק צלֵ֥בְּ בּאוּ֖ ָ ל־כּן ֵ֥ י־ע ַ כּֽ ִ' because therefore they have come under the shelter of my roof'.

 <sup>.&#</sup>x27;merry be heart your let and 'ְוִי ַ֣ יטב ְלָבֶ֔בָך 19:9 .Judg 325

 <sup>326</sup> Prov. 25:23.

 <sup>327</sup> Lam. 5:15 בּנוֵּ֔לִ שׂוֹשׂ֣ מְ ת֙ בַשָׁ' the joy of our hearts has ceased'; a similar construction appears in Isa. 24:8.

 <sup>328</sup> Salkinson has not replicated the rhyming couplet 'feast/ guest' (1.5.73– 4) between this and the next line in the source text (possibly because he did not recognize the rhyme as such).


 <sup>330</sup> This seems to be based on Shakespeare's 'cock- a- hoop' (1.5.80), which is actually an idiom for starting a riot, with 'cock' meaning the tap or stopcock of a barrel of ale (the idiom derives from the idea that setting the stopcock on top of the hoop, or barrel, would lead to free- flowing ale, resulting in intoxication and lack of restraint; see Weis 2012 : 172, note 80). Salkinson seems to have understood the word to mean 'rooster'.

 337 This and the following line form a rhyming couplet, mirroring Shakespeare's 'meeting/ greeting' (1.5.88– 9).

 <sup>331</sup> Ps. 39:11 (39:10 in English Bibles).

be him with are who people the all and king the lest 'ֶ֚פּן ְיֻבַ֣לּע ַל ֶ֔מֶּלְך ְוּלָכ ָ ל־הָ ֖עם ֲאֶ֥שׁר ִא ֽתּוֹ 17:16 .Sam 2 332 swallowed up'.

 <sup>&#</sup>x27;?understanding rooster the gave who 'ִ ֽמ ָ י־נַ ֖תן ַלֶ֣שּׂ ְכִוי ִב ָ ֽינה 38:36 Job 333

 <sup>.&#</sup>x27;silently sit 'ְשִׁ֥בי ָ֛ דוּמם 47:5 .Isa 334

 <sup>335</sup> Prov. 25:28 רוּחוֹֽ לְ צרָ֣עְ מַ אין֖ ֵ שׁרֶ֤אֲ אישִׁ֗֝' a man who has no control over his spirit'.

 <sup>.&#</sup>x27;hand strong a with 'ְכֶּחְזַ֣ קת ַהָיּ֑ד 8:11 .Isa 336


 <sup>338</sup> This and the following line form a rhyming couplet, mirroring Shakespeare's 'shall/ gall' (1.5.91).

 <sup>.&#</sup>x27;adder an like stings and serpent a like bites it end the in 'ַ֭אֲחִריתוֹ ְכָּנָ֣חשׁ ִיָ֑שְּׁך ֽוּ ְכ ִצ ְפעִֹ֥ני ַי ְפִ ֽרשׁ 23:32 .Prov 339

 <sup>340</sup> This and the subsequent three lines form an ABAB rhyming sequence, echoing Shakespeare's 'hand/ this/ stand/ kiss' (1.5.92– 5).

 <sup>341</sup> Cf. Shakespeare's 'pilgrims' (1.5.94). In the Hebrew Bible, the word גּרֵ denotes a resident foreigner in Israelite territory constituting a distinct class in the biblical legal system (Lieber 2007 ). By contrast, in rabbinic and later Jewish literature, as well as in Salkinson's Yiddish vernacular, the term refers to a convert to Judaism (Rabinowitz and Eichhorn 2007 ). Both the biblical and postbiblical meanings of the word would have been familiar to Salkinson's readers. As such, the translation can be understood on two levels, each of which retains the notion of religious migration while situating the utterance within an unambiguously Jewish frame of reference. See *Ithiel* , First Part, note 286 for a similar use of this word.

 <sup>342</sup> This and the subsequent three lines form an ABAB rhyming sequence, mirroring Shakespeare's 'much/ this/ touch/ kiss' (1.5.96– 9).


 <sup>343</sup> See note 341.

351 Job 42:6.

 <sup>344</sup> This is Salkinson's religiously more neutral translation of Shakespeare's 'saints' (1.5.98).

 <sup>345</sup> This and the subsequent three lines form an ABAB rhyming sequence, mirroring Shakespeare's 'too/ prayer/ do/ despair' (1.5.100– 4).

 <sup>346</sup> This is a medieval expression (Even- Shoshan 2003, 4: 1371) based on Dan. 4:10, 20.

 <sup>347</sup> This forms a rhyming couplet with the following line, echoing the English 'Saints do not move, though grant for prayers' sake./ Then move not while my prayer's effect I take' (1.5.104– 5).

 <sup>348</sup> This is not a recognized collocation in Hebrew, but is clearly based on the similar expression חןַֹבּ בןֶאֶ 'touchstone', a modern idiom derived from the appearance of the phrase (with a different meaning) in Isa. 28:16 (Even- Shoshan 2003, 1: 8). Salkinson has altered the final word of the phrase in order to fit in with his rhyme scheme.

 <sup>349</sup> Isa. 6:7 ךָנֶֺעוֲ סרָוְ' and your iniquity is removed'.

 <sup>350</sup> This and the following three lines form two rhyming couplets, mirroring the original except that the latter has an ABAB pattern: 'purged/ took/ urged/ book' (1.5.106– 9).



 <sup>352</sup> Song of Songs 7:2 (7:1 in English Bibles).

 <sup>353</sup> Prov. 12:4, 31:10; Ruth 3:11.

 <sup>.&#</sup>x27;mouth s'king the left word the as soon as 'ַהָדָּ֗בר ָיָצ ֙א ִמִ֣פּי ַה ֶ֔מֶּלְך 7:8 Esther 354

 <sup>358</sup> This and the next line form a rhyming couplet, mirroring the original except that in the latter there are two rhyming couplets instead of one in the corresponding lines: 'Capulet/ debt', 'best/ unrest' (1.5.117– 19).


 <sup>359</sup> The father of Ben- hadad, king of Aram, mentioned in 1 Kings 15:18. Salkinson seems to have chosen this name based on its sound correspondence with Shakespeare's 'Tiberio' (1.5.128).

 <sup>360</sup> This name denotes two different biblical characters, a) the son of Judah and Tamar whose story is told in Genesis 38, and b) an ancestor of Boaz, protagonist of the Book of Ruth mentioned in Ruth 4:18. Salkinson most likely chose this name on the basis of its sound correspondence with Shakespeare's 'Petruchio' (1.5.130). Note that Judah Leib Elkind, who translated *The Taming of the Shrew* into Hebrew in 1892, chose Peretz for his version of Petruchio, possibly inspired by Salkinson (see Kahn [forthcoming a] for discussion of the symbolism of this choice in Elkind [ 1892 ]). It is unclear why Salkinson has made this character the son of Peretz, while in Shakespeare's version the reference is to Petruchio, not his son.

 <sup>361</sup> This is a gentilic adjective denoting a native of the town of Pirathon; it appears in Judg. 12:13, 15; 2 Sam. 23:30; and 1 Chron. 11:31, 27:14. As in the case of the personal name Peretz (see preceding note), Salkinson undoubtedly selected this name based on its sound correspondence with the original 'Petruchio' (1.5.130). However, it is uncertain why he chose to add the gentilic adjective, which has no basis in the source text.

 <sup>362</sup> Exod. 21:3.

 <sup>363</sup> This and the next line form a rhyming couplet, mirroring Shakespeare's 'married/ bed' (1.5.133– 4).


 and ,hewn were you which from rock the to look 'ַה ִ֙בּ ֙ יטוּ ֶא ֣ ל־צוּר ֻחַצּ ְב ֶ֔תּם ְוֶא ַ ל־מֶ֥קֶּבת ֖בּוֹר ֻנַקְּרֶ ֽתּם 51:1 .Isa 364 the quarry from which you were dug'.

 <sup>365</sup> This and the following three lines form an ABAB rhyme, mirroring the original except that the latter is composed of two rhyming couplets: 'hate/ late', 'me/ enemy' (1.5.137– 40).

 <sup>366</sup> Deut. 32:20.

 <sup>367</sup> This and the next line form a rhyming couplet, mirroring Shakespeare's 'anon/ gone' (1.5.143).


 <sup>368</sup> In Salkinson's version this speech appears at the end of the First Part, while in the original it typically marks the beginning of Act 2. It is possible that Salkinson was working from an English version that placed it at the end of Act 1, although this is difficult to establish with certainty.

 371 This and the following three lines form an ABAB rhyming sequence, mirroring Shakespeare's 'again/ looks/ complain/ hooks' (2.0.5– 8).

 <sup>369</sup> This and the following three lines form an ABAB rhyming sequence, mirroring Shakespeare's 'lie/ heir/ die/ fair' (2.0.1– 4).

 <sup>.&#</sup>x27;woman strange a of bosom the embrace and '֝וּ ְתַחֵ֗בּק ֵ֣חק ָנ ְכִרָ ֽיּה 5:20 .Prov 370

 <sup>372</sup> Ps. 55:15 (55:14 in English Bibles). This phrase is often translated as 'among the crowd', 'in the throng', or 'in company', but Salkinson is using it in the sense of 'tumult' or 'agitation', which is the chief meaning of the root.

 <sup>373</sup> Prov. 29:9. 374 Jer. 48:28.

 <sup>375</sup> This and the following three lines form an ABAB rhyming sequence, mirroring Shakespeare's 'access/ swear/ less/ anywhere' (2.0.9– 12).


End of First Part.

תם חלק ראשון .

376 This and the next line form a rhyming couplet, mirroring Shakespeare's 'meet/ sweet' (2.0.13– 14).

377 Exod. 28:25, 39:18.

 <sup>378</sup> This has a double sense, as רוּחַ also means 'spirit'.

# **Second Part**

# חלק שני


 <sup>1</sup> Cf. Shakespeare's 'cousin' (2.1.3); see First Part, note 65.

 <sup>2</sup> Cf. Shakespeare's 'orchard' (2.1.5). Salkinson's substitution is most likely rooted in the fact that vineyards feature more prominently in the Hebrew Bible than orchards.

 <sup>3</sup> Ps. 58:6 (58:5 in English Bibles) שׁיםִ֑ חֲלַמְ קוֹל֣לְ מעַשְׁ א־יִ֭ ֹ ל שׁרֶ֣אֲ' so that it does not listen to the voice of charmers'.

 <sup>4</sup> Hosea 9:7.

 <sup>5</sup> Ezek. 26:13.

 <sup>.&#</sup>x27;harp a like Moab for moan insides my therefore 'ַע ֵ֙ ל־כּן ֵמַ֣עי ְל ָ֔מוֹאב ַכּ ִכּ֖נּוֹרֶ ֽיֱה֑מוּ 16:11 .Isa 6

 <sup>7</sup> Song of Songs 5:2, 6:9.

 <sup>8</sup> These last two words rhyme in Hebrew, mirroring the English 'love' and 'dove' (2.1.10).


10 Ezekiel 23:43.

 <sup>9</sup> Cf. Shakespeare's 'Venus' (2.1.11). Ashtoreth was one of the chief goddesses of the Canaanite pantheon and is associated with love and fertility (Frymer 2007 : 581); moreover, she has been linked to Aphrodite in Ancient Near Eastern sources from the first millennium bce (Ackerman 2009 ). In the Hebrew Bible the Israelites are condemned on multiple occasions for worshipping Ashtoreth (e.g., Judg. 2:13– 14, 10:6– 7, 1 Sam. 7:3– 4, 12:10). Salkinson was clearly aware of the links between Ashtoreth and the Greek and Roman goddess of love, and thus selected her as a suitable domesticating equivalent.

 <sup>11</sup> Salkinson has omitted Shakespeare's mention of 'Abraham Cupid' (2.1.13). The omission of 'Cupid' is a typical example of his avoidance of Classical mythological figures, and the omission of the biblical Abraham is likely due to the fact that including this reference on its own might have lacked relevance in the context and caused confusion to readers.

 <sup>12</sup> Cf. Shakespeare's 'King Cophetua' (2.1.14), referring to the legend of a king who falls in love with a beggar. Salkinson most likely made this replacement because his Eastern European Jewish audience would not have been familiar with Cophetua.

 <sup>13 1</sup> Kings 18:29 שׁבֶ קֽ ָ איןֵ֥וְ נהֶֹ֖אין־עֵוְ ין־קוֹל ֥ אֽ ֵוְ' but there was no voice, and no one answered, and no one paid attention'.

 <sup>14</sup> Song of Songs 2:9, 17; 8:14. Salkinson has chosen this as a translation of Shakespeare's 'The ape is dead' (2.1.16), possibly because the word קוֹף' ape, monkey' is a rare feature of the Hebrew Bible, appearing only twice (1 Kings 10:22 and 2 Chron. 9:21), whereas deer are mentioned more frequently. This substitution changes the sense of the line, as the original 'ape' was meant in the sense of 'fool' (Weis 2012 : 182, note 16), whereas Salkinson's version lacks such a nuance.

 <sup>15</sup> Prov. 22:11 תיוָ֗ פָשְׂ֝ חןֵ֥' the grace of his lips'.

 <sup>16</sup> This and the next line form a rhyming couplet, mirroring Shakespeare's 'thigh/ lie' (2.1.19– 20).


 <sup>17</sup> Judg. 9:16, 19.

 <sup>.&#</sup>x27;twilight for waits adulterer the of eye the and 'ְוֵ֤עין ֹנֵ֨אף ׀ ָ֤שׁ ְמָ ֽרה ֶ֣נֶשׁף 24:15 Job 18

 <sup>19</sup> This and the following line form a rhyming couplet, mirroring the original except that the latter starts one line earlier and is split between Benvolio and Mercutio: 'dark/ mark' (2.1.32– 3).

 <sup>20</sup> Cf. Shakespeare's 'medlar' (2.1.34– 5), a fruit similar to an apple. The pomegranate is mentioned on numerous occasions in the Hebrew Bible, including in a romantic context in Song of Songs 4:3 and 6:7 which ,')locks your behind temples your are pomegranate a of piece a like 'ְכֶּ֤פַלח ָ ֽהִר ֙מּוֹן ַרָקּ ֵ֔תְך ִמַ ֖בַּעד ְלַצ ָמֵּ ֽתְך ) makes it an appropriate choice for inclusion in Ram's speech.

 <sup>21</sup> This comparison lacks a direct basis in the original, which does not refer to Romeo at this point, but only to Rosaline: 'And wish his mistress were that kind of fruit/ As maids call medlars when they laugh alone' (2.1.35– 6). Salkinson may have chosen to insert this reference to palm branch here because its shape evokes the bawdy connotations of the original lines more clearly than 'pomegranate' (see preceding note).


 <sup>22</sup> This is Salkinson's equivalent of Shakespeare's 'open- arse' (2.1.38), a slang equivalent of 'medlar' (Crystal and Crystal 2002 : 305). The word 'flower' in Hebrew does not have the explicit connotations of 'openarse', but taken together with 'bud' (see next note) this translation may be an attempt to suggest the lewd associations of the original.

 <sup>23</sup> This is Salkinson's equivalent of Shakespeare's 'poperin pear' (2.1.38). As in the case of 'flower' discussed in the preceding note, 'bud' does not constitute the same type of obvious ribald pun as 'poperin pear', but taken together 'flower' and 'bud' are likely to have been intended to evoke similar connotations to the original.

 <sup>.&#</sup>x27;pale grow now face his will nor 'ְו ֥ל ֹא ַעָ ֖תּה ָפָּ֥ניו ֶיֱחָ ֽורוּ 29:22 .Isa 24

 But not so you, for you are entirely beautiful and pure –

 This is **my love** !25 This is the one **whom my soul loves** !26

 If only she would say, ' **My beloved is mine and I am his** '. 27

**Her lips move as she speaks, but her voice cannot be heard**<sup>28</sup>

**She bats her eyelids** ; 29 I shall respond to her;

 Indeed her words are not for me, so how can I approach like one **fi erce of countenance** ?30, 31

 This is nothing other than two twinkling stars

**That, having some business** , 32 have asked her to stand in their place 33

 And to shine with her two eyes, until they return to their course.

 How comely is this substitution! Her eyes shine light in the fi rmament

 And the stars are fi xed in her head; they are ashamed of the light of her face

25 Song of Songs 1:9, 15, 2:2, 10, 13, 4:1, 7, 5:2, 6:4.

26 Song of Songs 1:7, 3:1, 2, 3.

27 Song of Songs 6:3 ליִ֔ דוֹדיִ֣ וְ י֙דוֹדִ לְ ניִ֤אֲ' I am my beloved's and he is mine'.

 bat and forth stretched necks with walk they and 'ַוֵתַּ֙ל ְכָנ֙ה נטוות ְנ ֣טוּיוֹת ָגּ ֔רוֹן ֽוּ ְמ ַשׂ ְקּ֖רוֹת ֵע ָ֑ינִ ים 3:16 .Isa 29 their eyes'.

 31 This and the next line form a rhyming couplet, mirroring Shakespeare's 'bright/ night' (2.2.21– 2). Note that the Hebrew and English rhyming couplets do not correspond in terms of meaning; the actual Hebrew translation of the English rhyming couplet is several lines further on and does not rhyme.

.'business some has he indeed 'ִ֣כּי ִ֧שׂ ַיח ְוִ ֽכ ִ֛ י־שׂיג ֖לוֹ 18:27 Kings 1 32

 33 This and the next line form a rhyming couplet, mirroring Shakespeare's 'hand/ hand' (2.2.23– 4). As in the case of the rhyme discussed in note 31, the Hebrew and English rhyming couplets do not correspond in terms of meaning; the actual Hebrew translation of the English rhyming couplet is several lines further on and does not rhyme. (Salkinson does not typically recognize words rhyming with themselves, such as 'hand/ hand', as rhymes in his own text.)

ל ֹא ֵכן ַא ְתּ , ִכּי ֻכָלְּך ָיָפה ָוּבָרה –

זוּ ִהיא ַרֲעָי ִתי25 ! זוּ ִהיא ֶשָׁאֲהָבה ַנ ְפ ִשׁי ! 26

ִמי ִיֵתּן ְוַגם ִהיא תֹ ַאמר , ִדּוֹדי ִלי ַוֲאִני לוֹ . 27

# ִי ָשֵּׁמַע<sup>28</sup> ְשָׂפֶת ָיה ָנעוֹת ִכּ ְמַדֶבֶּרת ַאְך ָקוֹלהּ <sup>ל</sup> ֹא

 ִהְנִני ַלֲה ִשׁ ָיבהּ ַע ְפַעֶפּ ָיה ִהיא ְמ ַשֶׂקֶּרת , 29 ָדָּבר ;

ָפִּנים ? ,30 31 ָאֵכן ִמֶלּ ָיה <sup>ל</sup> ֹא ֵאַלי , ְוֵאיְך ָאבוֹא ְכַּעז

ֵאין זֹאת ִכּי ִאם ְשֵׁני ָכוֹכ ִבים ֹנ ְצ ִצים

 ִבּ ְקּ ָשׁוּה ַלֲע ֹמד ִבּ ְמ ָקוֹמם<sup>33</sup> ֲאֶשׁר ִשׂ ַיח ָו ִשׂיג ָלמוֹ , 32

ְוּלָה ִאיר ִבּ ְשֵׁתּי ֵע ֶינ ָיה , ַעד ֲאֶשׁר ָישׁוּבוּ ִל ְמ ִס ָלּוֹתם .

ַמ ָה־נּ ָאוה ַה ְתּ ָמוּרה ַהזֹּאת ! ֵע ֶינ ָיה ְמ ִאירוֹת ָבָּר ִק ַיע

ְוַה ָכּוֹכ ִבים ְתּ ִקוּעים ְבּר ֹ ָאשׁהּ ; ֵהם ֵיבוֹשׁוּ ֵמאוֹר ָפֶּנ ָיה

in speaking was Hannah now 'ְוַחָ֗נּה ִ֚היא ְמַדֶ֣בֶּרת ַע ִ ל־לָ֔בּהּ ַ֚רק ְשָׂפֶ֣ת ָיה ָנּ֔עוֹת ְו ָ ֖קוֹלהּ ֣ל ֹא ִי ָשֵּׁ֑מַע 1:13 .Sam 1 28 her heart; her lips moved, but her voice could not be heard'. Cf. Shakespeare's 'She speaks, yet she says nothing' (2.2.12). Salkinson's rendition serves to draw a parallel between Jael and the biblical heroine Hannah whose silent entreaty is renowned in the rabbinic tradition as the model of Jewish prayer (see Kadari 2009 ).

 <sup>30</sup> Deut. 28:50; Dan. 8:23.


39 Ps. 79:11, 102:21 (102:20 in English Bibles).

they; dwell heavens the of birds the them upon 'ֲ֭עֵל ֶיהם ַ עוֹף־ה ָשַּׁ֣מִים ִי ְשׁ֑כּוֹן ִמֵ֥בּין ֳ֝עָפ ִ֗אים ִי ְתּ ֽ נוּ־קוֹל 104:12 .Ps 34 sing among the branches'.

 <sup>35</sup> Ps. 139:12.

 <sup>36</sup> Gen. 27:16.

 <sup>37</sup> Mic. 7:1; Job 10:15.

 <sup>38</sup> Isa. 19:1.

 <sup>40</sup> Job 8:18 (in the context of disowning).


 41 Cf. Shakespeare's 'And I'll no longer be a Capulet' (2.2.36). Salkinson's replacement is appropriate for his translation given that the Hebrew version of Capulet, Abiel, means 'Jael's father'.

 adversary an as way the on stood ord L the of angel the and 'ַוִיּ ְתַיֵ֞צּב ַמ ְלַ֧אְך ְי ָ֛הוה ַבֶּ֖דֶּרְך ְל ָשָׂ֣טן ֑לוֹ 22:22 Num 42 against him'.

43 2 Sam. 5:11; 1 Chron. 11:1.

44 2 Sam. 5:11; 1 Chron. 11:1.

 45 Cf. Shakespeare's 'Call me but love and I'll be new baptized' (2.2.50). The covenant can be regarded as a fitting Jewish dynamic equivalent of Christian baptism because it is the model used to describe the relationship between God and Israel. This covenantal model is mentioned on numerous occasions throughout biblical, rabbinic, and later Hebrew literature (Weinfeld 2007 ).


 <sup>46</sup> Prov. 7:9.

 <sup>47</sup> Salkinson has omitted Shakespeare's 'dear saint' (2.2.55) from this line.

 <sup>48</sup> Salkinson has not reproduced the rhyme 'me/ thee' between this and the next line in the source text (2.2.69– 70).


 <sup>49</sup> Jer. 12:7.

\* ָעַלי

 <sup>.&#</sup>x27;life his risked he and 'ַוַיּ ְשֵׁ֤לְך ֶא ַת־נ ְפ ֙שׁוֹ ִמֶ֔נֶּגד 9:17 .Judg 50

 <sup>51</sup> This appears in various locations in medieval Hebrew literature; for example, Rashi to Gen. 37:4.


 <sup>52</sup> Gen. 19:31; Josh. 23:14; 1 Kings 2:2.

.'Me against contrarily go you and 'ַוֲהַל ְכֶ֥תּם ִע ִ֖מּי ְבֶּ ֽ קִרי 26:27 .Lev 56

 <sup>53</sup> This replaces Shakespeare's 'Jove' (2.2.93). Salkinson has preserved the sense of the original in that Jove or Jupiter, the Greco- Roman sky god, can be equated with the 'heavenly host', a term for God's army of angels mentioned in Isa. 24:21 and on numerous occasions in rabbinic, medieval, and early modern Hebrew literature.

 <sup>54</sup> Zeph. 3:9.

 <sup>55</sup> Prov. 25:23.

 <sup>57</sup> This corresponds to Shakespeare's 'light' (2.2.99), used in the sense of 'wanton' (Weis 2012 : 193, note 99). While the Hebrew adjective is not typically used in this particular sense, it can convey a variety of closely related negative meanings including 'trifling', 'insubstantial', etc.


 <sup>58</sup> Prov. 7:9.

 <sup>59</sup> See note 57.

 <sup>.&#</sup>x27;brightness in going moon the and 'ְ֝וָיֵ֗רַח ָיָ֥ קר הֵֹ ֽלְך 31:26 Job 60

 <sup>61 2</sup> Sam. 22:13; Ps. 18:13 (18:12 in English Bibles).

 <sup>62</sup> Cf. Shakespeare's 'the god of my idolatry' (2.2.114). Salkinson may have simplified the text in this way because the notion of Jael honouring Ram like God would have sufficed to convey the image of idolatry to his readers without the need for further detail.


 <sup>63</sup> Mic. 7:7 עיִ֑שְׁ יִ להיֹא ֵ֣ לֵ ילהָ אוֹחִ֖ פּהֶ֔ צַאֲ יהוה ָ֣ בַּ ניִ֙אֲוַ' and I shall watch for the L ord ; I shall wait for the God of my salvation'.

 <sup>64</sup> Gen. 18:10 יּהָ֔חַ עתֵ֣כָּ ךָי֙ לֶ֙אֵ שׁוּב֤ אָ שׁוֹב֣' I shall indeed return to you at this time next year'.

 <sup>.&#</sup>x27;heat clear the in 'ְכּ ֥חֹם ַצ ֙ח 18:4 .Isa 65

 <sup>66</sup> Isa. 18:5.

 <sup>67</sup> This and the next line form a rhyming couplet, mirroring Shakespeare's 'rest/ breast' (2.2.123– 4).


68 Ps. 51:14 (51:12 in English Bibles).

 69 This rhymes with the last word two lines beneath (which itself forms a rhyming couplet with the line following it; see note 72). This may be an attempt to replicate in some measure Shakespeare's rhyming couplet 'sea/ thee' (2.2.133– 4), which corresponds in meaning to the two Hebrew lines following this one.

.'sea the than broader and '֝וְּרָחָ֗בה ִמִנּ ָ ֽ י־ים 11:9 Job 70

 73 Isa. 21:42. 74 Exod. 12:42.

 <sup>.&#</sup>x27;spread and multiplied it more the 'ֵ֥כּן ִיְרֶ֖בּה ְוֵ֣כן ִי ְפ֑רֹץ 1:12 .Exod 71

 <sup>72</sup> This and the next line form a rhyming couplet, mirroring Shakespeare's 'adieu/ true' (2.2.136– 7).


.'go shall I ,go you where 'ֶא ֲ ל־א ֶ֨שׁר ֵתְּל ִ֜כי ֵאֵ֗לְך 1:16 Ruth 75

.(attitude another .,e.i' (him with spirit another was there 'ָ ֽהְיָ֞תה ֤ר ַוּח ַא ֶ֙חֶר ֙ת ִע ֔מּוֹ 14:24 .Num 76

.'be me let 'ֲחַ֥דל ִ֝מ ֶ֗מִּנּי 7:16 Job 77

78 Job 7:11, 10:1.

79 This rhymes with the following two lines. In this respect it mirrors the original 'night/ light' (2.2.154– 5),

except that in Salkinson's version the rhyme starts a line earlier and extends over three lines rather than two. 80 Prov. 3:24.

81 This and the next line form a rhyming couplet, mirroring Shakespeare's 'books/ looks' (2.2.156– 7).

\* ָיֵעל


82 Isa. 35:10, 51:11.

 83 This bird is mentioned three times in the Hebrew Bible (Lev. 11:14; Deut. 14:13; Job 28:7). It is translated as 'kite' in some English Bible versions (e.g., the King James Bible). Salkinson's 'falcon' replaces Shakespeare's 'falconer' (2.2.158), and as such lends a very different sense to the line, evoking the image of one bird summoning another.

84 Isa. 29:4.

 85 Cf. Shakespeare's 'the cave where Echo lies' (2.2.161). This is in keeping with Salkinson's strategy of removing references to Classical mythological figures.

86 Jer. 12:7.

 87 Prov. 5:19. Cf. Shakespeare's 'my nyas' (2.2.167), i.e., fledgling hawk. As in many other cases, Salkinson has not retained Shakespeare's hawking imagery, which would lack relevance for his audience. See also First Part, note 171. ראתֵֹק \*

\*\* ַהָנַּער


.'window the in cord scarlet the tied she and 'ַו ִתּ ְק ֛שֹׁר ֶא ִת־תּ ְקַ֥ות ַה ָשִּׁ֖ני ַבַּח ֽלּוֹן 2:21 .Josh 88

 89 This and the next line form a rhyming couplet. There is no precedent for this in the source text 'gyves/ again' (2.2.179– 80).

90 This and the next line form a rhyming couplet, mirroring Shakespeare's 'sorrow/ morrow' (2.2.184– 5).

91 2 Kings 3:22.

93 This and the next line form a rhyming couplet, mirroring Shakespeare's original 'breast/ rest' (2.2.186– 7).

 <sup>.&#</sup>x27;eyelids your to slumber nor '֝וּ ְת ָ֗ נוּמה ְלַע ְפַעֶ ֽפּיָך 6:4 .Prov 92


 <sup>94</sup> In the Arden edition, based on the Second Quarto (and also corresponding to the First Folio), Romeo speaks four lines here (2.2.188– 91) that Salkinson instead assigns to the opening of Rezin's speech at the beginning of the following scene; see note 99.

 <sup>95</sup> This corresponds to Shakespeare's 'my ghostly sire' (2.2.192). See First Part, note 268 for further discussion of the Hebrew term הןֵֹכּ' priest'.

 <sup>96</sup> This and the next line form a rhyming couplet, mirroring Shakespeare's 'cell/ tell' (2.2.192– 3). Salkinson most likely inserted the phrase 'who teaches the secret of redemption', which is not based on the original, for purposes of the rhyme.

 <sup>97</sup> The name of an eighth- century bce king of the biblical kingdom of Aram who attacked Judah (2 Kings 15:37). There is no obvious correspondence in sound or meaning between this name and Shakespeare's Laurence. It is possible that Salkinson chose the name Rezin as a veiled reference to the character's status as a Catholic friar, because in Jewish sources Aram was sometimes associated with Rome and Christianity (Jastrow 1903 : 123), but this is uncertain. This would fi t in with Salkinson's description of Rezin as a 'Christian priest' in the list of characters at the beginning of the play.

 <sup>98</sup> Song of Songs 2:9 כּיםֽ ִרַחֲן־ה ַֽ מִ ציץִ֖מֵ' he is peering through the lattice'.

 <sup>99</sup> In the Arden edition, which is based on the Second Quarto and also corresponds to the First Folio, this and the following three lines are spoken by Romeo at the end of the previous scene (2.2.188– 91). The fact that Salkinson places them here suggests that he was working from an English edition based on the Second, Third, or Fourth Folio, in which these lines are spoken by Friar Laurence.

 <sup>100</sup> This and the next three lines form a pair of rhyming couplets, mirroring Shakespeare's 'night/ light', 'reels/ wheels' (2.2.188– 91).

 <sup>101</sup> This is Salkinson's culturally neutral equivalent of Shakespeare's 'Titan's wheels' (2.2.191).

 <sup>102</sup> This and the next line form a rhyming couplet, mirroring Shakespeare's 'eye/ dry' (2.3.1– 2).


 <sup>103</sup> This and the next line form a rhyming couplet, mirroring Shakespeare's 'ours/ flowers' (2.3.3– 4).

 <sup>104</sup> This and the next line form a rhyming couplet, mirroring Shakespeare's 'tomb/ womb' (2.3.5– 6). 105 Jer. 20:17.

 <sup>106</sup> This and the next line form a rhyming couplet, mirroring Shakespeare's 'kind/ find' (2.3.7– 8).

 <sup>107</sup> This and the next line form a rhyming couplet, mirroring Shakespeare's 'excellent/ different' (2.3.9– 10).

 <sup>108</sup> This and the next line form a rhyming couplet, mirroring Shakespeare's 'lies/ qualities' (2.3.11– 12). 109 Job 6:12.

the like] myriads the by grow .lit [multiply to you caused have I 'ְרָבָ֗בה ְכֶּ֤צ ַמח ַה ָשֶּׂד ֙ה ְנַת ִ֔תּיְך 16:7 .Ezek 110 plants of the field'.

 <sup>111</sup> This and the next line form a rhyming couplet, mirroring Shakespeare's 'live/ give' (2.3.13– 14).

 <sup>112</sup> Job 19:28 א־ביֽ ִ צָמְ נִ ברָ֗דָּ֝ רשֶֹׁשׁ֥ וְ' as the root of the matter is found in me'.

 <sup>113</sup> This and the next line form a rhyming couplet, mirroring Shakespeare's 'use/ abuse' (2.3.15– 16).


 <sup>114</sup> Isa. 8:14.

 <sup>115</sup> This and the next line form a rhyming couplet, mirroring Shakespeare's 'misapplied/ dignified' (2.3.17– 18).

 <sup>116</sup> Ps. 32:1.

 <sup>117</sup> This and the next line form a rhyming couplet, mirroring Shakespeare's 'flower/ power' (2.3.19– 20).

 <sup>118</sup> Mishnah *Ḥ ullin* 3:5.

 <sup>119</sup> Babylonian Talmud *Yoma* 72b.

 <sup>120</sup> This and the next line form a rhyming couplet, mirroring Shakespeare's 'part/ heart' (2.3.21– 2).

 <sup>121</sup> This refers to a principle in Jewish thought that all humans are born with two opposing inclinations, one to do good and the other to do evil, and must strive throughout their lives to keep the evil inclination under control. This concept is mentioned in the Mishnah ( *Berakhot* 9:5) and in numerous other locations in rabbinic and later Jewish literature.

 <sup>122</sup> This and the next line form a rhyming couplet, mirroring Shakespeare's 'still/ will' (2.3.23– 4). Salkinson's seemingly unmotivated use of the word 'hawks' here is most likely rooted in the need to find a suitable rhyme.

 <sup>123</sup> This and the next line form a rhyming couplet, mirroring Shakespeare's 'predominant/ plant' (2.3.25– 6).

 <sup>124</sup> This forms a rhyming couplet with the following line. There is no precedent for this in Shakespeare's 'father/ me' (2.3.27– 8).


 <sup>125</sup> This replaces Shakespeare's ' *Benedicite* '. Salkinson's substitution of the Hebrew greeting for the original Latin is in keeping with his strategy of replacing Latin and French elements with Hebrew ones, thereby homogenizing the linguistic variation present in the source text.

.'agitated was sorrow my and 'ְוּכֵאִ֥בי ֶנְעָ ֽכּר 39:3 .Ps 127

131 Isa. 22:17.

 <sup>126</sup> This and the next line form a rhyming couplet, mirroring Shakespeare's 'head/ bed' (2.3.29– 30).

 <sup>128</sup> This and the next line form a rhyming couplet, mirroring Shakespeare's 'eye/ lie' (2.3.31– 2).

 <sup>129</sup> This and the next line form a rhyming couplet, mirroring Shakespeare's 'brain/ reign' (2.3.33– 4).

 <sup>130</sup> This and the next line form a rhyming couplet, mirroring Shakespeare's 'assure/ distemperature' (2.3.35– 6).

 <sup>132</sup> This and the next line form a rhyming couplet, mirroring Shakespeare's 'right/ tonight' (2.3.37– 8).

 <sup>133</sup> This and the next line form a rhyming couplet, mirroring Shakespeare's 'mine/ Rosaline' (2.3.39– 40).


 <sup>134</sup> This and the next line form a rhyming couplet, mirroring Shakespeare's 'no/ woe' (2.3.41– 2).


 <sup>135</sup> Ps. 31:13 (31:12 in English Bibles) לּבֵ֑מִ מתֵ֣כְּ תּיִ חְ כַּשְׁ נִ֭' I have been forgotten from the mind like a

dead man'. 136 This and the next line form a rhyming couplet, mirroring Shakespeare's 'then/ again' (2.3.43– 4).

 <sup>137</sup> Esther 9:17, 18, 22.

 <sup>138</sup> This and the following three lines form an ABAB rhyming pattern, echoing the English except that the latter consists of two rhyming couplets: 'enemy/ me', 'remedies/ lies' (2.3.45– 8).

 <sup>144</sup> This and the following three lines form an ABAB rhyming pattern, echoing the English except that the latter consists of two rhyming couplets: 'set/ Capulet', 'mine/ combine' (2.3.53– 6).


 <sup>145</sup> Alternatively, 'according to the Torah'. Cf. Shakespeare's 'holy marriage' (2.3.57). The word תּוֹרהָ typically means 'law' or 'instruction' when appearing in the Hebrew Bible, but in postbiblical Hebrew it generally denotes the Torah (which in its narrow sense refers to the Pentateuch and in its broader sense the whole of Jewish law and tradition). Salkinson's readers would have been aware of both the biblical and postbiblical meanings of the word, but the postbiblical sense would have been salient, as the phrase 'according to the Torah' is commonly used in Jewish texts and speech.


150 Isa. 28:1.

\* ַבּיּוֹם

 <sup>146</sup> This and the next line form a rhyming couplet, mirroring Shakespeare's 'how/ vow' (2.3.57– 8).

 <sup>151</sup> This and the next line form a rhyming couplet, mirroring Shakespeare's 'lies/ eyes' (2.3.63– 4).

 <sup>152</sup> Salkinson has omitted the Catholic exclamation 'Jesu Maria' that appears directly before this mention of tears in the original.

 <sup>153</sup> This and the next line form a rhyming couplet, mirroring Shakespeare's 'brine/ Rosaline' (2.3.65– 6). 154 Zech. 7:9; Ps. 103:4.


 <sup>155</sup> Job 36:27.



164 This and the next line form a rhyming couplet, mirroring Shakespeare's 'love/ have' (2.3.79– 80).

 <sup>156</sup> This and the next line form a rhyming couplet, mirroring Shakespeare's 'waste/ taste' (2.3.67– 8).

 <sup>157</sup> This and the next line form a rhyming couplet, mirroring Shakespeare's 'clears/ ears' (2.3.69– 70).

 <sup>160</sup> This and the next line form a rhyming couplet, mirroring Shakespeare's 'thine/ Rosaline' (2.3.73– 4).


165 Prov. 13:24 נוֹ֑בְ שׂוֹנאֵ֣ בטוְֹ שִׁ֭ ךְחוֹשׂ ֵ֣' he who spares the rod hates his child'.

 <sup>166</sup> This and the following three lines form an ABAB rhyming pattern, mirroring the English except that the latter is composed of a rhyming couplet: 'now/ allow' (2.3.81– 2). Salkinson's speech has four lines, whereas Shakespeare's has three.

 <sup>167</sup> This and the next line form a rhyming couplet, mirroring Shakespeare's 'well/ spell' (2.3.83– 4). 168 Isa. 50:4.

 <sup>169</sup> This and the next line form a rhyming couplet, mirroring Shakespeare's 'me/ be' (2.3.85– 6).

 <sup>170</sup> This and the next line form a rhyming couplet, mirroring Shakespeare's 'prove/ love' (2.3.87– 8).

 <sup>171</sup> This and the next line form a rhyming couplet, mirroring Shakespeare's 'haste/ fast' (2.3.89– 90).


172 This speech is prose in the original (2.4.1– 2).

173 Cf. Shakespeare's 'Where the devil'; Salkinson has transformed this into a neutral interrogative.

175 This speech is prose in the original (2.4.11– 12).

 <sup>174</sup> Exod. 33:3 ף֙רֶֹה־ע֙ שֵׁ ם־קְ עַ' a stiff- necked people'; also Exod. 33:5, 34:9; Deut. 9:13.

 <sup>176</sup> This speech is prose in the original (2.4.13– 17).

 <sup>177</sup> Gen. 37:33, 44:28.

 <sup>178</sup> Ezek. 33:32.


 <sup>179</sup> This speech is prose in the original (2.4.19– 26).

 <sup>180</sup> Cf. Shakespeare's 'Prince of Cats' (2.4.19). Grasshoppers are mentioned twice in the Hebrew Bible, in Num. 13:33 and Isa. 40:22. In both cases they are depicted as small and insignificant, which may have inspired Salkinson to select them in the present context.

 <sup>181</sup> Ps. 68:26 (68:25 in English Bibles).

 <sup>.&#</sup>x27;harp the upon strum who those 'ַה ֹפְּרִ֖טים ַע ִ֣ ל־פּי ַהָ֑נֶּבל 6:5 Amos 182

 <sup>183</sup> Exod. 25:33, 37:19.

 <sup>184 1</sup> Sam. 14:47.

 <sup>185</sup> This term appears in Exod. 21:29 and 21:36, and refers to an ox that habitually gores.

 <sup>186</sup> Babylonian Talmud *Bava Batra* 134a, *Sukkah* 28a דקלים ושיחת שדים שיחת' the speech of demons and the speech of date palms'.


 <sup>187</sup> Cf. Shakespeare's ' *passado* ' and ' *punto reverso* ' (2.4.26); note that the terms in the original derive from Italian, not French.

188 Ps. 140:8 (140:7 in English Bibles).

 189 Salkinson has omitted the next nine lines (2.4.28– 35) consisting primarily of a prose speech by Mercutio which is replete with wordplays. This omission is an example of the translational difficulties posed by Mercutio's speeches which Salkinson lamented in his introduction to *Ram and Jael* .

190 All lines from here until the nurse and Peter's arrival are prose in the original (2.4.36– 109).

 191 Cf. Shakespeare's 'Without his roe, like a dried herring' (2.4.37). Salkinson has found a Hebrew equivalent for Shakespeare's use of 'roe' as a pun on 'Romeo' (mentioned in the preceding line): in Hebrew רםָ , as well as a personal name, is a participial form meaning 'elevated'.

.'them against testifies faces their of expression the 'ַהָכַּ֤רת ְפֵּנ ֶיה ֙ם ָ֣עְנָתה ָ֔בּם 3:9 .Isa 192

 193 This is one of the only cases where Salkinson has retained the non- Jewish cultural reference present in the original text, perhaps because the allusion is to a prominent member of the European literary canon venerated by Maskilic authors.

 194 1 Sam. 8:13; this word denotes girls employed to mix perfume in the royal household (Koehler and Baumgartner 2001 , 2: 1290); Salkinson uses it as a replacement for Shakespeare's 'kitchen wench' (2.4.40).

 195 This corresponds to Shakespeare's 'Dido' (2.4.41), the Queen of Carthage. This name is not a feature of Jewish literature; Salkinson has changed the final vowel from - o to - a, which is the standard Hebrew feminine marker, but has not otherwise domesticated it. The reason for this is unclear, but it is possible that he chose to retain it because it refers to a historical figure rather than a mythological one.

 196 Cleopatra is mentioned in the Babylonian Talmud ( *Sanhedrin* 90b), in which she has a short conversation with the sage Rabbi Meir.

 ְבּנוֹת ְז ִנוּנים ְו ִאשֹּׁת ְוֵה ָירה , 198 ַהִזָּמּה ! 199 ִוּמי ֵה ֶילִני<sup>197</sup> And who are Helena197 and Hera, 198 daughters of whoredom and **lewd** 

### ַבֶּמּה ַעִין ַאַחת ַבּפּוְּך , 201 And Thisbe,200 **one eye painted** , <sup>201</sup> **of what account is she** ?202

*(To Ram upon his entrance)*

**women** !199

 Greetings to you,203 Frenchman! Greetings to your red trousers!204, 205

 ram206 I am happy to see your faces, my brothers and companions both.

> I have donned the red trousers not in order for you to look at me

> But in order to attract the eyes of this woman who is coming towards us

 Who **has ornaments on**<sup>207</sup> and is dressed in crimson and purple

 ( אל רם בבואו ) ָצְרָפ ִתי ! ֲה ָשׁלוֹם ְל ִמ ְכְנֶסיָך ָהֲאֻדמּוֹת ! ,204 205 ֲה ָשׁלוֹם ְלָך<sup>203</sup>

רם206 ָשַׂמ ְח ִתּי ִלְראוֹת ְפֵּנ ֶיכם ַאַחי ְוֵרַעי ַגּם

ֶנ ְח ְשָׁבה ִהיא ? 202 ִוט ְסֵבּי , 200

ְשֵׁנ ֶיכם . ִמ ְכְנַסי ָהֲאֻדמּוֹת ָלַב ְשׁ ִתּי , ל ֹא ַבֲּעבוּר ַתּ ִבּיטוּ ִבי ַאֶתּם

ִכּי ִאם ִל ְמשׁוְֹך ֵע ֵיני ַהזֹּאת ַהָבָּאה ִל ְקָר ֵאתנוּ

 ְוּל ָבוּשׁה ָשִׁני ְוַאְרָגָּמן ֲאֶשׁר ֶעְדָיהּ ָעֶל ָיה<sup>207</sup>

 <sup>197</sup> Cf. Shakespeare's 'Helen' (2.4.42). While the reference in the English source text is to Helen of Troy, Salkinson's Helena is the Queen of Adiabene, who converted to Judaism in c. 30 ce . Queen Helena is mentioned in the Mishnah ( *Yoma* 3:10 and *Nazir* 3:6). See Schalit and Gibson ( 2007 ) for further details.

 <sup>198</sup> Cf. Shakespeare's 'Hero' (2.4.42), from the Greek myth of Hero and Leander. As in the case of Dida, this name does not appear in Jewish literature; again, Salkinson has changed the final vowel from - o to - a, which is the standard Hebrew feminine marker, but has not otherwise domesticated it. While Hero is not a historical figure, Salkinson may have decided not to Judaize it because it appears as part of a list of names of historical and literary personages. The fact that Hero was a mortal rather than a god may have made him feel more comfortable forgoing domestication.

 <sup>199</sup> Ezek. 23:44.

 <sup>200</sup> Cf. Shakespeare's 'Thisbe' (2.4.42), the tragic heroine of the story of Pyramus and Thisbe from Ovid's *Metamorphoses* . As in the case of Dida and Hera, this name does not appear in Jewish literature; again, Salkinson may have chosen to retain it because he thought that it was more appropriate than a domesticated equivalent within the context of this list of historical and literary personages. As in the case of Hera, the fact that Thisbe was a mortal rather than a god may have made domestication a less pressing concern.

 <sup>.&#</sup>x27;vain in paint with eyes your enlarge you that 'ִ ֽכּ ִ י־ת ְקְרִ֤עי ַב ֙פּוְּך ֵע ַ֔ינִיְך ַלָ ֖שְּׁוא 4:30 .Jer 201

 <sup>&#</sup>x27;?he is account what of for 'ִ ֽכּ ַ י־בֶ֥מּה ֶנ ְחָ ֖שׁב ֽהוּא 2:22 .Isa 202

 <sup>203</sup> Cf. Shakespeare's 'Signor Romeo, *bonjour* ' (2.4.43– 4). Salkinson has replaced the French greeting with a Hebrew one, in keeping with his general strategy of homogenizing linguistic variation within the source text.

 <sup>204</sup> Cf. Shakespeare's 'French slop' (2.4.44– 5), i.e., French trousers. Salkinson's motivation for replacing 'French' with 'red' may be rooted in a desire to insert a comedic component into his translation in order to compensate for his subsequent omission of a large section of source text (see next note).

 <sup>205</sup> Salkinson has omitted the next 52 lines of the source text, beginning with the last sentence of 2.4.45 and ending with 2.4.96, which consist primarily of a bantering exchange between Romeo and Mercutio. The omission is most likely due to the fact that, as in the case discussed in note 189, the English lines include numerous puns that Salkinson found difficult to translate.

 <sup>206</sup> This speech has little basis in the original, which consists solely of 'Here's goodly gear!/ A sail, a sail' (2.4.97– 8). The motivation for Salkinson's expansion, including a reference to the red trousers and a comically exaggerated description of the nurse's larger- than- life appearance, may be rooted in a desire to make up for omitting the source text's witty repartee between Romeo and Mercutio (see notes 204 and 205) by injecting an element of comedy into the translation.

 <sup>.&#</sup>x27;ornaments his on put one no and 'ְול ֹ ָ֛ א־שׁתוּ ִ֥אישׁ ֶעְד֖יוֹ ָעָ ֽליו 33:4 .Exod 207


.'ships' merchants the like is she 'ָ֭הְיָתה ָכֳּאִנ֣יּוֹת ֵ֑סוֹחר 31:14 .Prov 208

209 Song of Songs 6:4, 10.

 210 This is not a Hebrew name. As such, it could be interpreted as a straightfoward transliteration of the source text's 'Peter', which would be a departure from Salkinson's usual strategy of Hebraizing characters' names (the only other such cases are Balthasar in this play (First Part, note 18) and Marcos in *Ithiel* (First Part, note 155). However, it is a Hebrew word meaning 'firstborn' (commonly used with reference to livestock), and Salkinson may have chosen to retain it in his translation because of this somewhat comedic association.

214 Isa. 54:17.

 <sup>211</sup> All lines from here until Ram's mention of Rezin are prose in the original (2.4.98– 172) (although some of these lines are missing from Salkinson's version; see notes 213 and 215).

 <sup>212</sup> Gen. 20:16.

 <sup>213</sup> Salkinson has omitted the next five lines of source text, consisting of a punning dialogue between Mercutio and Nurse (2.4.105– 9). This is most likely because, as in the case of other such omissions, he found the language difficult to translate.

 <sup>215</sup> Salkinson has created this speech based on a fusion of two separate utterances by Mercutio appearing later in the original, namely 'No hare, sir, unless a hare, sir, in a lenten pie, that is something stale and hoar ere it be spent' (2.4.128– 9) and 'Farewell, ancient lady, farewell lady, "lady, lady" ' (2.4.137– 8). Salkinson's version of the first line is very different from the English, including another mention of Ram as a 'Frenchman' and omitting the original reference to Lent; the only resemblance it bears to the source text is the allusion to the nurse's age. Salkinson seems to have placed this speech here in order to hasten Meraioth's exit, as he found the character's lines particularly challenging to translate.

 <sup>216</sup> This is a pun based on the fact that the Hebrew word for 'honour' can also mean 'heavy weight' or 'burden' (see next note).


 <sup>217</sup> This is a pun linked to the noun כּבוֹדָ' honour' in the previous line (see preceding note).

 <sup>218</sup> This is a complete single- line speech in the original, 'You say well' (2.4.120). Salkinson has merged it with a later speech by the nurse (2.4.144) and omitted the intervening lines (2.4.121– 43), except for Meraioth/ Mercutio's lines (2.4.128– 9 and 2.4.137– 8) mentioned in note 215.

 <sup>219 2</sup> Sam. 6:20.

 <sup>.&#</sup>x27;save cannot who warrior a like 'ְכִּג֖בּוֹר ל ֹ ַ֣ א־יוּכל ְל ִ֑ הוֹשׁ ַיע 14:9 .Jer 220

 <sup>221 2</sup> Chron. 14:3 (14:4 in English Bibles) והֽ ָצְ מִּ הַוְ תּוֹרהָ֥ הַ' the law and the commandment'.


.'anger bitter provoked has Ephraim 'ִה ְכִ֥עיס ֶא ְפַ ֖רִים ַתּ ְמ ִ֑רוּרים (Bibles English in 12:14 (12:15 Hosea 222

223 Deut. 32:22; Jer. 15:14.

 224 Dan. 5:6 שׁןֽ ָק ְ נֽ ָ דא֖ ָלְ דּאָ֥ תהֵּ֔ בָּכֻרְאַ֨וְ' and his knees knocked against each other'. This is the only example in Salkinson's translations of *shibbu ṣ* from an Aramaic portion of the Hebrew Bible.

.'wretchedness my upon look not me let and 'ְוַא ֶ ל־אְרֶ֖אה ְבָּרָעִ ֽתי 11:15 .Num 225

.'love her in intoxicated be always you may 'ְ֝בַּאֲהָב ָ֗תהּ ִתּ ְשֶׁ֥גּה ָתִ ֽמיד 5:19 .Prov 229

are you that path the on be not will glory your '֨ל ֹא ִֽת ְהֶ֜יה ִ ֽתּ ְפַאְר ְתָּ֗ך ַע ַ ל־הֶ֙דֶּר ְ֙ך ֲאֶ֣שׁר ַאָ֣תּה ֵ֔הוֹלְך 4:9 .Judg 226 going on'.

 <sup>227</sup> Isa. 47:1.

apple the touches you touches whoever for 'ִ֚כּי ַה ֹנֵּ֣גַע ָבּ ֶ֔כם ֹנֵ ֖גַע ְבָּבַ֥בת ֵע ֽינוֹ (Bibles English in 2:8 (2:12 .Zech 228 of his own eye'.


.'love her in intoxicated be always you may 'ְ֝בַּאֲהָב ָ֗תהּ ִתּ ְשֶׁ֥גּה ָתִ ֽמיד 5:19 .Prov 230

 <sup>231</sup> Cf. Shakespeare's 'Friar' (2.4.174).

 <sup>232</sup> This word appears only once in the Hebrew Bible, in 1 Sam. 2:36. It is typically translated either as 'small amount of money', 'piece of silver', or 'payment'.

 <sup>233</sup> Cf. Shakespeare's 'abbey wall' (2.4.179); Salkinson has omitted the reference to the Christian institution.


235 Prov. 12:4, 31:10; Ruth 3:11.

236 Ps. 38:14 (38:13 in English Bibles).

237 This speech is prose in the original (2.4.191– 9).

238 Prov. 15:26, 16:24.


 <sup>.&#</sup>x27;it abhor utterly and it detest utterly shall you 'ַשֵׁ֧קּץ ׀ ְתַּשׁ ְקֶּ֛צנּוּ ְוַתֵ֥עב ׀ ְ ֽתַּתֲעֶ֖בנּוּ 7:26 .Deut 239

<sup>ֲ</sup>אֶשׁ ָ ֖ ר־בּאת ַלֲח ֥סוֹת ַ ֽתַּחת־ 2:12 Ruth'; refuge find will you wings his under and 'ְוַ ֽתַח ְת־כָּנָ֣פיו ֶתּ ְחֶ֑סה 91:4 .Ps 240 פיוֽ ָנָכְּ' under whose wings you have come to find refuge'.

 <sup>241</sup> This word appears twice in the Hebrew Bible (Isa. 3:22 and Ruth 3:15), where it means 'shawl' or 'cloak'. From the rabbinic period onwards it more commonly means 'handkerchief'; Salkinson is using it in the latter sense.

 <sup>242</sup> Prov. 7:16.

 <sup>243</sup> This is a pun based on the similarity in sound between רהָפָּ *para* 'cow' and הֹרעְפַּ *par'o* 'Pharaoh'. This line lacks a basis in the original, and it is unclear why Salkinson has inserted it, unless he felt that the Hebrew translation of the upcoming wordplay centred on the English letter *r* (see next note) did not sufficiently echo the punning nature of the original and needed reinforcement.

 <sup>244</sup> Both of these Hebrew words start with the letter *resh* , corresponding to the English *r* . This is Salkinson's equivalent to Shakespeare's 'Doth not rosemary and Romeo begin both with a letter?' (2.4.198– 9).

 <sup>245</sup> Gen. 19:9.

 <sup>246</sup> This corresponds to Shakespeare's 'Ah, mocker, that's the dog's name' (2.4.201). The English line is based on a pun between the letter *r* and the 'arr' sound made by snarling dogs (Weis 2012 : 224, notes 201– 4). This meaning is lost in Hebrew, so Salkinson has changed generic 'dog' to 'small dog belonging to my lady', suggesting that Jael has a dog whose name starts with the letter *resh.*


 <sup>.&#</sup>x27;noon and morning and evening 'ֶ֤עֶרב ָו֣בֶֹקר ְ֭וָצֳהַרִים (Bibles English in 55:17 (55:18 .Ps 247

 <sup>248</sup> Isa. 18:2 לּיםִ֗קַ כיםִ֣אָלְ מַ' swift messengers' (the synonym יריםִ צִ appears earlier in the verse).

 <sup>249</sup> Jer. 13:16.

 <sup>&#</sup>x27;pigeons young two or doves two 'ְשֵׁ֥תּי ֹתִ֛רים ֽא ְ וֹ־שֵׁ֥ני ְבֵ ֽנ ָ ֖ י־יוֹנה 5:7 .Lev 250


 <sup>251</sup> This corresponds to Shakespeare's 'And therefore hath the wind- swift Cupid wings' (2.5.8); as usual, Salkinson has omitted the mythological reference.

\* ָלשׁוּב

 <sup>252</sup> Song of Songs 1:7, 3:1, 2, 3.

 <sup>253</sup> Jer. 23:35 הוהֽ ָ יְ בּרֶ֖ה־דִּ וּמַ הוהָ֔ יְ נהָ֣ה־עָ מֶ' what has the L ord answered, and what has the L ord spoken?' 254 Num. 14:24.

 <sup>255</sup> This and the next line form a rhyming couplet, mirroring Shakespeare's 'dead/ lead' (2.5.16– 17).


.'sad face your is why 'ַמ֣דּ ַוּע ׀ ָפֶּ֣ניָך ָרִ֗עים 2:2 .Neh 256

 <sup>257</sup> Prov. 15:13, 17:22, 18:14.

 <sup>258</sup> Ps. 31:11 (31:10 in English Bibles).

 <sup>259</sup> Cf. Shakespeare's 'Jesu, what haste!' (2.5.29). Salkinson has omitted the Catholic oath.

 <sup>.&#</sup>x27;him in left breath no was there 'ל ֹ ֽא־נ ְוֹתָר ֖ה־בּוֹ ְנָשָׁ ֽמה 17:17 Kings 1 260

 <sup>.&#</sup>x27;words multiplies he 'ִמִ֥לּין ַי ְכִ ֽבּר 35:16 Job 261


 <sup>262</sup> This speech is prose in the original (2.5.38– 45).

265 Prov. 15:26, 16:24.

267 2 Kings 4:19.

 <sup>263 1</sup> Sam. 16:12.

 <sup>264</sup> Job 41:25 (41:33 in English Bibles) לוֹ֑שְׁ מָ פרָ֥ל־ע ָ ין־ע ַ אֽ ֵ' nothing on earth is his equal'.

 <sup>266</sup> Exod. 12:5.

 <sup>.&#</sup>x27;apart break to like was ship the and 'ְוָ֣הֳאִנָ֔יּה ִח ְשָּׁ ֖בה ְל ִה ָשֵּׁ ֽבר 1:4 Jonah 268


 <sup>269</sup> Ps. 107:18.

275 Cf. Shakespeare's 'O God's Lady' (2.5.61); Salkinson has removed the reference to the Virgin Mary.

\* ָכֵּאֶלּה

 <sup>270</sup> Job 1:8, 2:3.

 <sup>271</sup> Prov. 11:13. 272 Exod. 35:22; 2 Chron. 29:31.

 <sup>273 1</sup> Sam. 16:12.

 <sup>274</sup> The Hebrew has a question mark here, but the utterance seems to be a statement.


 <sup>276</sup> Cf. Shakespeare's 'church' (2.5.72); Salkinson's version is religiously neutral.

 <sup>277</sup> Prov. 7:9.

 <sup>278</sup> This and the next line form a rhyming couplet, mirroring Shakespeare's 'delight/ night' (2.5.75– 6).

 <sup>279</sup> This and the next line form a rhyming couplet, mirroring Shakespeare's 'cell/ farewell' (2.5.77– 8).

 <sup>280</sup> Ps. 137:6.


281 Ps. 41:14 (41:13 in English Bibles), 72:19, 89:53 (89:52 in English Bibles).

.'burst upon burst 'ֶ֭פֶרץ ַע ְ ל־פֵּנ ָ֑ י־פֶרץ 16:14 Job 282

283 This and the next line form a rhyming couplet, mirroring Shakespeare's 'so/ slow' (2.6.14– 15).


\* ִמ ְסַפּר

<sup>ַ֣</sup>קל ְבַּרְגָ֔ליו ְכַּאַ֥חד 2:18 .Sam 2 .Cf .'deer a as footed -swift as 'קל ברגליו כאחד האילים 2 Amos to Abarbanel 284 יםִ֖בָצְּ הַ' as swift- footed as a gazelle'.

 <sup>285</sup> Can also be translated as 'vanity' (in the sense of 'pointlessness') depending on the context.

 <sup>286</sup> Eccles. 1:2, 12:8.

 <sup>287</sup> Isa. 50:4.

 <sup>.&#</sup>x27;sweet is voice your for ,voice your hear me let 'ַה ְשׁ ִמ ִ֖יע ִיני ֶא ֵ֑ ת־קוֹלְך ִכּ ֵ֥ י־קוֹלְך ָעֵ ֖רב 2:14 Songs of Song 288

 <sup>289</sup> Isa. 49:8.

 <sup>290</sup> Isa. 41:7 הוּא֔ טוֹב֣ ק֙ בֶדֶּ֙לַ מרֵ֤אֹ' he says of the welding, "it is good" '; this citation is used idiomatically to indicate acceptance of a marriage match (Even- Shoshan 2003, 1: 292).

ְשַׁנִים ְשׁ ָלשׁה<sup>291</sup> ִהֵנּה ְכּ ָשׁ ְמֲעֶכם יֹ ְצ ִאים ִמ ִפּי ְדָבִרים

 ְל ִפי ָתוֹרֵתנוּ<sup>293</sup> ִו ְהִי ֶיתם ְלָב ָשׂר ֶאָחד<sup>292</sup> ַה ְקּ ָ דוֹשׁה .

End of Second Part.

*(Exeunt)*

 Behold, as you hear two or three words come out of my mouth291

**You will become one fl esh**<sup>292</sup> according to our holy Law.293

( הולכים )

תם חלק שני .

 <sup>291</sup> This and the next line form a rhyming couplet, mirroring Shakespeare's 'alone/ one' (2.6.36– 7).

 <sup>.&#</sup>x27;flesh one become will they and 'ְוָה֖יוּ ְלָבָ֥שׂר ֶאָ ֽחד 2:24 .Gen 292

 <sup>293</sup> Alternatively, 'our holy Torah' (see note 145). Cf. Shakespeare's 'holy church' (2.6.37).

# **Third Part**

# חלק שלישי


1 Hab. 1:3.

3 This speech is prose in the original (3.1.5– 9).

\* ִל ְבָּך

 <sup>2</sup> This and the next line form a rhyming couplet. There is no precedent for this in Shakespeare's 'brawl/ stirring' (3.1.3– 4).

 <sup>4</sup> In Hebrew this is a pun on 'empties' in the previous line, as the same verb means 'empty' and 'draw a sword'.

 <sup>5</sup> This speech is prose in the original (3.1.11– 13).

 <sup>6</sup> Cf. Shakespeare's 'as any in Italy' (3.1.12); Salkinson's phrasing suggests that he intends the characters in his translation to be understood as Italian Jews (with their biblical names, Hebrew speech, and Jewish customs), as opposed to the non- Jewish Italians referred to here.

 <sup>7</sup> Deut. 19:6 ֒בבוָֹלְ ם֮חַי־י ֵ כִּ' while his heart is hot' (i.e., while angry).


 <sup>8</sup> This speech is prose in the original (3.1.15– 32).

 <sup>9</sup> Prov. 18:8 טןֶי־ב ֽ ָ רֵדְחַ דוּ֥רְיָ הםֵ֗ וְ֝' and they go down into the innermost parts of the belly'; also Prov. 26:22.

 <sup>10</sup> Cf. Shakespeare's 'Easter' (3.1.28). Passover falls at the same time of year as and is the historical setting for Easter; as such it is an appropriate domesticating translation choice.


11 Isa. 58:4.

12 This speech is prose in the original (3.1.30– 2).

13 Lev. 27:16; Hosea 3:2. A homer is a biblical measurement equivalent to approximately 394 litres.

14 A biblical measurement equivalent to approximately 9cm.

15 Lev. 27:16; Hosea 3:2. A homer is a biblical measurement equivalent to approximately 394 litres.

16 This is a pun based on the sound correspondence between מרֶֹח *ḥ omer* 'barley' and חמוֹרֲ *ḥ amor* 'ass'.

Salkinson is echoing Shakespeare's wordplay 'The fee- simple? O simple!' (3.1.33).

17 This speech is prose in the original (3.1.38– 9).

18 This speech is prose in the original (3.1.40– 1).

19 This speech is prose in the original (3.1.42– 3).


 <sup>20</sup> This speech is prose in the original (3.1.45– 8).

 <sup>.&#</sup>x27;mourning to turned has dancing our 'ֶנ ְהַ֥פְּך ְלֵ ֖אֶבל ְמחֵֹ ֽלנוּ 5:15 .Lam 21

 <sup>22</sup> Cf. Shakespeare's 'Zounds, "consort"!' (3.1.48); Salkinson has removed the Christian oath.

 <sup>23</sup> Job 18:14 (an epithet for Death; see Gruber 2004 : 1528).


 <sup>24</sup> This word corresponds directly to Shakespeare's 'villain' (3.1.60). It is also the name of a biblical character, the first husband of King David's wife Abigail (initially mentioned in 1 Samuel 25:3 and appearing throughout 1 Samuel 25); Nabal's character is in keeping with the name's meaning.

25 Judg. 9:54; 1 Sam. 31:4; 1 Chron. 10:4.

 <sup>26</sup> This speech is a modified conflation of two separate English speeches by Mercutio (3.1.72– 4 and 76– 81, the latter in prose); Salkinson has omitted Tybalt's intervening line (3.1.75).


have and men with and God with struggled have you for 'ִ ֽכּ ָ י־שִׂ֧ר ָית ִע ֱם־א ִֹ֛להים ְו ִע ֲם־אָנִ֖שׁים ַו ָ ֽתּוּכל 32:29 .Gen 27 prevailed'.

 <sup>.&#</sup>x27;sheath its in back sword his put he and 'ַוָ֥יּ ֶשׁב ַחְר ֖בּוֹ ֶא ְל־נָדָ ֽנהּ 21:27 .Chron 1 28

 <sup>.&#</sup>x27;disgraced and ashamed be '֧בּוֹשׁוּ ְו ִהָכּ ְל֛מוּ 36:32 .Ezek 29

 <sup>30</sup> This translation follows the Folio version; the Second Quarto has a different stage direction followed by Petruchio's 'Away, Tybalt!' (3.1.90), which does not appear here.

 <sup>.&#</sup>x27;ground the to fall will hairs his of one not 'ֽל ֹ ִא־י ֥ ֹפּל ִמ ַשֲּׂעָר ֖תוֹ ָ֑אְרָצה 1:52 Kings 1 31


 <sup>32</sup> Prov. 7:23 הוּאֽ שׁוֹ֥ פְ נַי־ב ְ כּֽ ִ דעַ֗א־יָ֝ ֹ לֽ וְ' and he does not know that it will cost him his life'.

 <sup>33</sup> This speech is prose in the original (3.1.98– 105).

 <sup>34</sup> Mishnah *Middot* 3:7 אולם של פתחו' the entrance to the Hall' (of the Temple in Jerusalem). Cf. Shakespeare's 'church door' (3.1.99).

 <sup>.&#</sup>x27;wise considered is fool silent a even 'ַ֤גּם ֱאִ֣ויל ַ֭מֲחִרישׁ ָחָ֣כם ֵיָחֵ֑שׁב 17:28 .Prov 35

 <sup>36</sup> Cf. Shakespeare's 'Zounds, a dog' (3.1.102).


 <sup>37</sup> Ps. 35:14.

 <sup>.&#</sup>x27;cause your defend shall I 'ִהְנִנ ָ י־ר֙ב ֶא ִת־ר ֵ֔יבְך 51:36 .Jer 38

 <sup>39</sup> Prov. 5:11 ךָרֽ ֶאֵוּשְׁ ךָ֗ רְשָׂ בְּ֝' your flesh and body' (used literally in this verse, but idiomatically in Salkinson's text).

 <sup>.&#</sup>x27;you besmirch shall I and 'ְו ִה ְשַׁל ְכִ֥תּי ָעַ֛לִיְך ִשֻׁקִּ֖צים 3:6 .Nah 40

 <sup>41</sup> Job 15:32.

 <sup>42</sup> This and the next three lines form two rhyming couplets; cf. Shakespeare's 'depend/ end' (3.1.121– 2). Salkinson has added an extra two lines to this speech. The reason for this is unclear as the added lines do not appear in the Folio or Quarto versions.


 <sup>43</sup> This is a reference to Gen. 25:26 שׂוָ֔ עֵ קב ֵ֣עֲבַּ ת֙ זֶחֶ֙ אֹ דוֹ֤יָוְ' and his hand was grasping Esau's heel', referring to the patriarch Jacob when he was born.

 <sup>44</sup> Salkinson's text has no rhyming couplet here, in contrast to Shakespeare's 'again/ slain' (3.1.123– 4).


47 Prov. 10:1, 17:25, 19:13.

51 Job 7:11, 10:1.

 <sup>45</sup> Gen. 19:17.

 <sup>46</sup> Salkinson's text has no rhyming couplet here, in contrast to Shakespeare's 'away/ stay' (3.1.137– 8).

 <sup>48</sup> The Hebrew text has no rhyming couplet here, in contrast to Shakespeare's 'he/ me' (3.1.140– 1).

 <sup>49</sup> The Hebrew text has no rhyming couplet here, in contrast to Shakespeare's 'obey/ fray' (3.1.142– 3).

 <sup>50</sup> Salkinson has not included any rhyming couplets in this speech, in contrast to Shakespeare's 'all/ brawl' and 'Romeo/ Mercutio' (3.1.144– 5 and 146– 7).


 <sup>52</sup> Ruth 2:1.

54 Num. 14:19.

 <sup>53</sup> The last word in this line rhymes with the last word in the following two lines, mirroring Shakespeare's 'child/ spilled' (3.1.148– 9) except that the latter is a rhyming couplet. Salkinson may have added the third rhyming line to compensate for the fact that there are no further rhymes in this speech, in contrast to Shakespeare's 'true/ Montague' (3.1.150– 1) and 'fray/ slay' (3.1.153– 4), the latter split between Capulet's wife and Benvolio. This discrepancy most likely reflects a difficulty in finding suitable rhymes while maintaining the desired meaning.

 <sup>55</sup> Gen. 29:14; 2 Sam. 19:13, 14 (19:12, 13 in English Bibles).


ֵל ֹאמר ַל ְחשְֹך ֵמִריב ֲאֶשׁר ֵאין לוֹ ָכּל ְיסוֹד

And that it would be fi tting for him

And even though he implored him

His words fell to the ground, for

And was like a deaf man; he would

And he made **the point of his** 

And Meraioth too brandished his

And stood opposite him **like a** 

With one of his hands he drove back

While with his other hand he sought

But Tubal also drove him back,

And meanwhile Ram raised his voice

.'necks their stiffened have they 'ִה ְק ֙שׁוּ ֶא ָת־עְר ָ֔פּם 19:15 .Jer 57

Saying to relent from a quarrel which has no basis

 <sup>56</sup> Ps. 51:14 (51:12 in English Bibles).

 <sup>58</sup> Esther 9:30.

 <sup>59</sup> Ezek. 21:20 (21:15 in English Bibles) רבֶת־חָ֑ חַבְ אִ' the point of the sword'. The meaning of this phrase is uncertain; this translation follows the King James Bible, but other possibilities include 'the fear of the sword' (Geneva Bible), 'the threat of the sword' (New English Bible), and 'the glittering sword' (English Standard Version).

 <sup>60</sup> Hosea 13:8 בּםָ֑לִ גוֹר֣סְ רע֖ ַקְ אֶוְ' and I shall tear open the covering of their heart'.

 <sup>61</sup> Jer. 50:9.

 <sup>62</sup> Job 41:25 (41:33 in English Bibles).

 <sup>.&#</sup>x27;life my take to seek who those 'ְמַב ְקֵ֥שׁי ַנ ְפ ִ֗שׁי ִל ְס֫פּ ָ֥וֹתהּ (Bibles English in 40:14 (40:15 .Ps 63


 <sup>64</sup> Num. 5:14 אהָ֛נְ־קִ וּחַ רֽ ליוָ֧עָ ברַ֨עָוְ' and the spirit of jealousy comes upon him'; see also Num. 5:30.

 <sup>65</sup> This forms a rhyming couplet with the next line, mirroring Shakespeare's 'fly/ die' (3.1.176– 7).

 <sup>66</sup> This speech is composed of three rhyming couplets, mirroring Shakespeare's 'Montague/ true', 'strife/ life', 'give/ live' (3.1.178– 83).

the from me to out cries blood s'brother your of voice the '֚קוֹל ְדֵּ֣מי ָא ִ֔חיָך צֲֹעִ֥ קים ֵאַ ֖לי ִמ ָ ֽ ן־הֲאָדָ ֽמה 4:10 .Gen 67 ground' (referring to Abel, who has just been killed by his brother Cain).

 <sup>.&#</sup>x27;rest him give not do and 'ְוַ ֽא ִ ל־תּ ְתּ֥נוּ ֳדִ֖מי ֑לוֹ 62:7 .Isa 68


 <sup>69</sup> This forms a rhyming couplet with the next line, mirroring Shakespeare's 'Mercutio/ owe' (3.1.184– 5).

the from me to out cries blood s'brother your of voice the '֚קוֹל ְדֵּ֣מי ָא ִ֔חיָך צֲֹעִ֥ קים ֵאַ ֖לי ִמ ָ ֽ ן־הֲאָדָ ֽמה 4:10 .Gen 70 ground' (referring to Abel, who has just been killed by his brother Cain); Zeph. 1:14 חַר֖ ֵֹצ מרַ֥ הוהָ֔ יְ יוֹם֣ קוֹל֚ בּוֹרֽ גִּ שׁםָ֥' the voice of the day of the L ord , wherein the mighty man cries bitterly'.

 <sup>71</sup> This forms a rhyming couplet with the next line, mirroring Shakespeare's 'friend/ end' (3.1.186– 7).

 <sup>72</sup> This speech is composed of six rhyming couplets, mirroring Shakespeare's 'offence/ hence', 'proceeding/ a- bleeding', 'fine/ mine', 'excuses/ abuses', 'haste/ last', 'will/ kill' (3.1.188– 99).

 <sup>73</sup> Ps. 39:11 (39:10 in English Bibles) ךָ֗ דְיָ֝ רתַ֥גְתִּ מִ' from the blows of Your hand'.

 <sup>74</sup> Prov. 7:26.

 <sup>75</sup> Gen. 29:14; 2 Sam. 19:13, 14 (19:12, 13 in English Bibles).

 <sup>.&#</sup>x27;road the of middle the in blood in wallowing 'ִמ ְת ֹגֵּ֥לל ַבָּ ֖דּם ְבּ ֣תוְֹך ַ ֽה ְמ ִסָּ֑לּה 20:12 .Sam 2 76

 <sup>.(</sup>grief in' (thigh my smote I 'ָסַ ֖פ ְק ִתּי ַע ָל־יֵ֑רְך 31:19 .Jer 77


 <sup>78</sup> Jer. 9:18 (9:19 in English Bibles).

 <sup>79</sup> Ezek. 33:4 יהֽ ֶהְ יֽ ִ אשׁוֹ֖ ֹ ברְ מוֹ֥ דָּ' his blood shall be upon his own head'.

 <sup>80</sup> Gersonides to 1 Kings 1:50.

 <sup>81</sup> Cf. Shakspeare's 'Phaeton' (3.2.3); as usual, Salkinson has removed the Classical mythological reference.

 <sup>82</sup> Cf. Shakespeare's 'Phoebus' (3.2.2), i.e., Apollo, the Greco- Roman sun god.

 <sup>.&#</sup>x27;nations the all over spread is which veil the and 'ְוַהַמֵּסָּ֥כה ַהְנּ ָ ֖סוּכה ַע ָ ל־כּ ַ ל־ה ִ ֽגּוֹים 25:7 .Isa 83


.'me see will eye no 'ל ֹ ְא־ת ֵ֣שׁוּרִני ָ֑עִין 24:15 Job 84

85 Song of Songs 1:5 אוהָ֔ נָוֽ ְ ניִ֙אֲ חוֹרהָ֤ שְׁ' I am dark yet comely'.

 86 Cf. Shakespeare's 'when I shall die' (3.2.21); Salkinson's version lacks the double- entendre present in the source text (see Weis 2012 : 249, note 21).


 87 Liturgical poem sung at the Yom Kippur evening service היוצר ביד כחומר' like clay in the potter's hand'. Cf. clay the from making was he which vessel the and 'ְוִנ ְשַׁ֣חת ַה ְכִּ֗לי ֲא ֶ֨שׁר ֥הוּא עֶֹ֛שׂה ַבּ ֖חֶֹמר ְבַּי֣ד ַה ֵ֑ יּוֹצר 18:4 .Jer was ruined in the potter's hand'.

88 Esther 9:17, 18.

 <sup>89</sup> Gen. 37:7; 2 Sam. 13:18.

 <sup>90</sup> Job 33:23.


 <sup>91</sup> Isa. 11:4 שׁעֽ ָרָ מיתִ֥יָ תיו֖ ָפָשְׂ וּחַ ר֥וּבְ' and with the breath of his lips he will kill the wicked'.

 <sup>92</sup> Prov. 18:21 שׁוֹן֑ ד־לָ יַבְּ יּיםִחַוְ֭ ותֶמָ֣' death and life are in the power of the tongue'.

 <sup>93</sup> This and the next line form a rhyming couplet, mirroring Shakespeare's 'no/ woe' (3.2.50– 1).

down them bring will ,God ,You and 'ְוַאָ֤תּה ֱא ִֹ֨להים ׀ ִתּוֹרֵ֬דם ׀ ִל ְבֵ֬אר ַ֗שַׁחת (Bibles English in 55:23 (55:24 .Ps 94 into the pit of destruction'.


 <sup>95</sup> Isa. 1:6.

 <sup>96</sup> Isa. 9:4 (9:5 in English Bibles).

 <sup>97</sup> Num. 19:16.

 <sup>98</sup> Isa. 14:19.

 <sup>99 2</sup> Sam. 1:9. See *Ithiel* , Fourth Part, note 10 for a different use of this citation.

 <sup>100</sup> Job 7:5.

 <sup>101</sup> This and the next line form a rhyming couplet, mirroring Shakespeare's 'here/ bier' (3.2.59– 60).


102 Cf. Shakespeare's 'cousin' (3.2.66); see First Part, note 65.

 the sees ord L the but ,appearance outward the sees man 'ָ ֽהָאָד ֙ם ִיְרֶ֣אה ַלֵע ַ֔ינִים ַו ָ ֖ יהוה ִיְרֶ֥אה ַלֵלָּ ֽבב 16:7 .Sam 1 108 heart'.

 <sup>103</sup> Jer. 3:4.

 <sup>104</sup> Dan. 10:11, 19.

 <sup>105</sup> Isa 11:8.

 <sup>106 1</sup> Sam. 16:12. 107 Esther 7:6.


 <sup>109</sup> Cf. Shakespeare's 'saint' (3.2.79).

112 Ezek. 28:12.


117 Ps. 12:2 (12:1 in English Bibles).

 <sup>110</sup> Dan. 11:31.

 <sup>111</sup> A name for God; see Deut. 32:4.

 <sup>113</sup> Ps. 52:6 (52:4 in English Bibles).

 <sup>114</sup> Judg. 9:51; Ps. 61:4 (61:3 in English Bibles); Prov. 18:10.

 <sup>118</sup> Song of Songs 2:5 ישׁוֹת֔ שִׁ אֲבּֽ ָ וּניִ֙ כ֙מְּ סַ' sustain me with raisin cakes'. Cf. Shakespeare's 'give me some aqua vitae' (3.2.88).


119 Cf. Shakespeare's 'cousin' (3.2.96); see First Part, note 65.

 <sup>120</sup> Cf. Shakespeare's 'cousin' (3.2.100); see First Part, note 65.

 <sup>121</sup> Cf. Shakespeare's 'cousin' (3.2.101); see First Part, note 65.

ִכּי ַבֲּע ִלי ַחי ֲאֶשׁר ַתּוּבל ִבֵּקּשׁ ְלָהְרגוֹ ְו ִכי ַתּוּבל ֵמת ֲאֶשׁר ֵבֵּקּשׁ ַלֲהרֹג ֶאת ְוָלָמּה ֲאִני בֹ ִכָיּה עוֹד , ָלָמּה ֶזּה ִל ִבּי ַדָּוּי<sup>122</sup> ְול ֹא ֶא ְשַׂמח ְבֶּח ְב ִלי ֲאֶשׁר ָנַפל ִלי ַלֲה ִסירוֹ ִמ ִלּ ִבּי ְכֵּח ְטא ִמ ְשַׁפּט ִר ְבבוֹת ִכּי ַתּוּבל ֵמת , ְול ֹא ִהוֹס ָיפה ֵל ֹאמר Because my husband lives, he whom Tubal sought to kill And because Tubal is dead, he who sought to kill my husband So why am I still weeping, why **is my heart faint**<sup>122</sup> And I do not rejoice in my suff ering which has befallen me so pleasantly? But I heard another word, a word more bitter than Tubal's death And it is like **a sword in my bones** ; 123 I cannot remove it from my heart For it oppresses me like **a lower millstone** , 124 like **a sin worthy of death**<sup>125</sup> Which oppresses the heart of sinners: it is this evil word That after Tubal's death Ram is to go into exile. This word **pierces my kidneys**<sup>126</sup> tens of thousands of times more than Tubal's death At the death of my brother Tubal, **I fi nd woe and sorrow**<sup>127</sup> enough. But if it is the way of woes **for each one to love its fellow**<sup>128</sup> And woe comes on top of woe, disaster on top of disaster Why did the messenger stop when she gave me the tidings That Tubal was dead, and not go on to say


ַבְּנִע ִימים ? ַאְך עוֹד ָדָּבר ָשַׁמ ְע ִתּי , ָדָּבר ַמר ִממּוֹת ָתּוּבל ְוהוּא ְכֶרַצח ְבַּע ְצ ַמוֹתי , 123 ל ֹא ָאוּכל ָמֶות125 ִכּי ְי ִצ ֵיקִני ְכֶּפַלח ַתּ ְח ִתּית , 124 ֲאֶשׁר ָי ִציק ֵלב ַהַחָטּ ִאים : הוּא ַהָדָּבר ָהָרע ַהֶזּה ִכּי ַאֲחֵרי מוֹת ַתּוּבל ֵיֵלְך ָרם ַבּ ָגּוֹלה .

ַבֲּע ִלי

ֹאֶמר ַהֶזּה ְיַפַלּח ִכּ ְל ַ יוֹתי<sup>126</sup> ְפָּע ִמים ִממּוֹת ָתּוּבל

ְבּמוֹת ַתּוּבל ָא ִחי , ָצָרה ְוָיגוֹן ֶא ְמָצא<sup>127</sup> ְלַמַדּי .

ְר ָעוּתהּ<sup>128</sup> ְו ִאם ֶדֶּרְך ַהָצּרוֹת ֶלֱאהֹב ִא ָשּׁה ֶאת

ְוָצָרה ַעל ָצָרה ָתּבוֹא , הָֹוה ַעל הָֹוה

ַמ ַדּוּע ָחְדָלה ַה ְמַּב ֶשֶּׂרת , ְלֵעת ִבּ ְשָּׂרה ִלי ַה ְבּ ָשׂרה

 <sup>122</sup> Jer. 8:18; Lam. 1:22.


 <sup>129 2</sup> Sam. 20:3.

 130 This and the next three lines form two rhyming couplets, mirroring Shakespeare's 'bound/ sound' (3.2.125– 6), except that Salkinson's rhyme extends over four lines whereas Shakespeare's is composed only of two.

131 Ps. 139:4.

 132 While this does not rhyme with the last word on the next line visually or in Modern Hebrew pronunciation, it does form a near rhyme in Ashkenazic pronunciation, mirroring Shakespeare's 'spent/ banishment' (3.2.130– 1).


 <sup>133</sup> This and the next line form a rhyming couplet, mirroring Shakespeare's 'beguiled/ exiled' (3.2.132– 3).

 134 This forms a near rhyme with the following two lines, which themselves comprise a rhyming couplet; cf. Shakespeare's 'bed/ widowed' (3.2.134– 5).

 135 Due to the fact that the rhyme scheme in this speech is different in Salkinson's version than in Shakespeare's, this final line does not rhyme with anything, whereas in the source text the last two lines form a rhyming couplet 'bed/ maidenhead' (3.2.136– 7).

 <sup>136</sup> This and the following three lines form an ABAB rhyme, mirroring Shakespeare's 'night/ cell/ knight/ farewell' (3.2.140– 3).


 <sup>137</sup> Jer. 22:30.

\* ִמ ְשַׁפּט

 <sup>138</sup> Ps. 23:4.

 <sup>139</sup> Ps. 23:4.

 <sup>140 1</sup> Sam. 15:32.


 <sup>141</sup> Gen. 1:2; Jer. 4:23.

 <sup>142</sup> Prov. 15:11. Cf. Shakespeare's 'purgatory' (3.3.18), which does not have a direct biblical parallel.

 <sup>143</sup> Deut. 21:22.

 <sup>144</sup> Mic. 7:18.

 <sup>145</sup> This refers to the six cities set aside under biblical law as places of asylum to which perpetrators of manslaughter could flee (Num. 35:11, 13, 14).

Yet you do not recognize his kindness.

	- Why, Jael lives here, and this city is like the garden of the L ord
	- And every creeping creature, abomination, and mouse, **every unclean thing**<sup>147</sup>
	- Can **walk to and fro in the garden**<sup>148</sup> and behold the pleasantness of her face
	- But Ram cannot **set the sole of his foot**149 here.
	- The fl ies are like honourable free men; they are free
	- To approach Jael, to take delight in the whiteness of her hands
	- And moreover at a suitable time during sleep, or even while awake,
	- They can steal in to kiss her mouth and to suck the pure honey of her lips
	- But Ram himself is trapped like a sinning soul in Sheol
	- He cannot enter the city, cannot approach her
	- The fl ies can approach and touch her, but Ram cannot approach
	- For he is driven out and chased off , and banishment and excommunication are upon him.
	- So how can you say that my exile is not my death?
	- Do you not have **a cup of poison** , <sup>150</sup> or a sharp knife
	- אוֹ ַמֲאֶכֶלת ַחָדּה ַהֵאין ְלָך ַסף ַרַעל , 150

146 Isa. 48:10.

149 Deut. 2:5.

 <sup>147</sup> Lev. 5:2.

 <sup>.&#</sup>x27;garden the in fro and to walking 'ִמ ְתַהֵ֥לְּך ַבָּ ֖גּ ן 3:8 .Gen 148

 <sup>150</sup> Zech. 12:2.


 <sup>151</sup> Job 26:5.

 <sup>152</sup> Isa. 59:20.

 <sup>153</sup> Ezek. 27:17.

 <sup>154</sup> Isa 39:2.

 <sup>155</sup> Alshekh to Isa. 44.

 <sup>156</sup> Num. 25:4 משֶׁשָּׁ֑הַ גד ֶנֶ֣ יהוה ֖ ָ לַ אוֹתםָ֛ קע הוַֹ֥ וְ' and hang them up for the L ord before the sun'.


ֵאין ָכּל ֵאֶלּה ְבָּיָדהּ

ְלַהֲע ִביר רַֹע ַהְגֵּזָרה ? 157

 157 This is based on הגזירה רוע את מעבירין ותפילה וצדקה ותשובה' but repentence, prayer, and charity remove the evil of the decree', from *Unetane Toqef* , a medieval composition forming part of the Rosh HaShanah (Jewish New Year) liturgy.

**To remove the evil of the decree** ?157

 <sup>.&#</sup>x27;folly over advantage an has wisdom that saw I and 'ְוָר ִ֣א ִיתי ָ֔אִני ֶשֵׁ֥יּשׁ ִי ְת֛רוֹן ַ ֽלָח ְכָ ֖מה ִמ ַ ן־ה ִסּ ְכ֑לוּת 2:13 .Eccles 158

 <sup>159</sup> Jer. 5:21; Ps. 115:6.

 <sup>160</sup> Jer. 5:21; Ps. 115:5.

 <sup>161</sup> Mishnah *Avot* 2:5 למקומו שתגיע עד חברך את תדין ואל' and do not judge your fellow until you arrive in his place'.

 <sup>.&#</sup>x27;death as strong as is love 'ַעָ֤זּה ַכ ָ֙מֶּו ֙ת ַאֲהָ֔בה 8:6 Songs of Song 162


163 Cf. Shakespeare's 'holy Friar' (3.3.81).

.'wine with not but ,drunk 'ְשֻׁכַ ֖רת ְו ֥ל ֹא ִמָ ֽיּ ִ ין 51:21 .Isa 164


.'astoundingly fell she and 'ַוֵ֣תֶּרד ְפָּל ִ֔אים 1:9 .Lam 165

166 Ps. 88:5 (88:4 in English Bibles).

 167 Prov. 5:11 ךָרֽ ֶאֵוּשְׁ ךָ֗ רְשָׂ בְּ֝' your flesh and body' (used literally in this verse, but idiomatically in Salkinson's text).

.'joy into mourning their turn shall I and 'ְוָהַפ ְכ ִ֨תּי ֶא ְבָ֤לם ְל ָשׂ ֙שׂוֹן 31:13 .Jer 168

 169 Cf. Shakespeare's 'cancelled' (3.3.97), i.e., invalidated or annulled (Weis 2012 : 264, note 97, and Crystal and Crystal 2002 : 62); in Salkinson's version, the love is concealed rather than invalidated.


 <sup>170</sup> Hosea 13:8 בּםָ֑לִ גוֹר֣סְ רע֖ ַקְ אֶוְ' and I shall tear open the covering of their heart'.

 <sup>171</sup> Jer. 32:31.

 <sup>172</sup> Job 11:12.

 <sup>.&#</sup>x27;Lebanon in beast wild a 'ַחַיּ֤ת ַה ָשֶּׂד ֙ה ֲאֶ֣שׁר ַבּ ְלָּב֔נוֹן 25:18 .Chron 2 173

 <sup>174</sup> Ps. 50:10, 104:20.

 <sup>175</sup> Hab. 1:5 פּרֽ ָסֻיְ כּיִ֥ מינוִּ֖אֲתַ אֹ ל֥' you would not believe it if it were told'.

 <sup>176</sup> This is a Talmudic oath (Even- Shoshan 2003, 4: 1334); Salkinson has Judaized Shakespeare's overtly Catholic oath 'by my holy order' (3.3.113). Cf. Fifth Part, note 30.


177 Gen. 2:4; Ps. 148:13.

 <sup>178 2</sup> Sam. 19:44 (19:43 in English Bibles).




 <sup>183</sup> Prov. 5:19; see First Part, note 171.


 <sup>188</sup> Song of Songs 1:7, 3:1, 2, 3.

 <sup>189</sup> Isa. 49:8.

 <sup>190</sup> Song of Songs 7:5 (7:4 in English Bibles). Bath- rabbim, which literally means 'daughter of many', is the name of one of the gates in the biblical city of Heshbon, mentioned in the same verse.

 <sup>191</sup> Esther 1:8, 4:16.

 <sup>192</sup> Isa. 41:12.


 <sup>193</sup> See note 145.

195 Prov. 8:14.

 <sup>194</sup> Jer. 32:19.

 <sup>196</sup> Prov. 27:9 פשֶׁת־נֽ ָ צַעֲמֽ ֵ עהוֵּ֗רֵ֝ תקֶוּמֶ֥' and the sweetness of a man's friend by hearty counsel'.


197 Deut. 31:7, 23; Josh. 1:6, 7, 9, 18; 1 Chron. 22:13.

199 Judg. 5:28.

 200 This and the next line form a rhyming couplet, mirroring Shakespeare's 'me/ thee' (3.3.172– 3). Note that Salkinson's rhyme is in the last two lines of the speech, whereas Shakspeare's is in the first two.

 <sup>198</sup> There is no basis for this in the source text, nor in the Schlegel- Tieck German translation.

 <sup>201</sup> Isa. 49:8.

 <sup>202</sup> Song of Songs 8:8.


 <sup>203</sup> Eccles. 12:10.

 <sup>.&#</sup>x27;sweet be shall sleep your and down lie shall you 'ְ֝ו ָשַׁכ ְב ָ֗תּ ְ ֽוָעְרָ֥בה ְשָׁנֶ ֽתָך 3:24 .Prov 204

 <sup>.&#</sup>x27;consent her ask shall we and 'ְוִנ ְשֲׁאָ ֖לה ֶא ִ ֽת־פּ ָיה 24:57 .Gen 205


206 Gen. 29:14 ריִ֖שָׂ וּבְ מיִ֥ צְ עַ' my flesh and blood'; also 2 Sam. 19:13, 14 (19:12, 13 in English Bibles).

\* היּוֹם


207 Sic; should read ' scene 5 '.

 <sup>.&#</sup>x27;night the in songs gives who one the 'ֹנֵ ֖תן ְז ִמ֣רוֹת ַבָּ ֽלְּיָלה 35:10 Job 208

 <sup>209</sup> Cf. Shakespeare's 'lark' (3.5.2). The Hebrew term עפרוני' lark' is a modern innovation (Even- Shoshan 2003, 4: 1407) which was not yet standard in Salkinson's time; given the lack of a precise equivalent for the English, Salkinson has chosen to provide a description of the lark's characteristics.


 <sup>210</sup> Song of Songs 2:8.

.'feet my unto lamp a is word Your 'ֵנ ְר־לַרְגִ֥לי ְדָבֶ֑רָך 119:105 .Ps 212

 <sup>211</sup> Salkinson has not replicated Shakespeare's rhyming couplet 'die/ I' (3.5.11– 12) shared between the last line of this speech and the first line of the next.

 <sup>213</sup> Job 3:9, 41:10 (41:18 in English Bibles). Salkinson has omitted Shakespeare's ''tis but the pale reflex of Cynthia's brow' (3.5.20) here, in keeping with his usual domesticating treatment of Classical references.

 <sup>214</sup> Cf. Shakespeare's 'that is not the lark' (3.5.21); see note 209.

 <sup>215</sup> Prov. 7:18.

 <sup>216</sup> Song of Songs 1:9, 15, 2:2, 10, 13, 4:1, 7, 5:2, 6:4.

 <sup>217</sup> This and the next line form a rhyming couplet, mirroring Shakespeare's 'day/ away' (3.5.25– 6).


 <sup>218</sup> Song of Songs 2:9.

 <sup>.&#</sup>x27;well plays and voice beautiful a 'ְיֵ֥פה ֖קוֹל ֵוּמִ֣טב ַנֵ֑גּ ן 33:32 .Ezek 219

 <sup>220</sup> This and the next three lines form an ABAB rhyming pattern, mirroring Shakespeare's 'affray/ day', 'grows/ woes' (3.5.33– 6) except that the latter is composed of two rhyming couplets.

 <sup>221</sup> This refers to the pillar of cloud in which God travelled alongside the Israelites after their exodus from Egypt (Exod. 13:21; mentioned also in Num. 12:5; Deut. 31:15; Ps. 99:7; Neh. 9:12).

 <sup>222</sup> This and the next line form a rhyming couplet, mirroring Shakespeare's 'about/ out' (3.5.40– 1).


רם ֲחִיי ַנ ְפ ִשׁי ְי ִח ָיד ִתי ! ָיֵעל ַע ְצ ִמי ְוּב ָשִׂרי,223 224


ַבָּיּ ִמים . 226 ְוָלֵכן ִתּ ְמ ְצֵאִני ְבּ ְשׁוּבָך ִכּי ָזַקְנ ִתּי ָבּ ִאתי

רם ִבּ ְט ִחי ִבי ֶשָׁאֲהָבה ַנ ְפ ִשׁי , 227 ִלי ָיַדִים

ל ֹא ֶאֶרף ִמְדּרשׁ ְשׁ ֵלוֹמְך ֵוּמ ִהוֹד ֵיעְך ָמה ִעָמִּדי .

	- ְוַה ְמּ ָצוּקה<sup>228</sup> רם ָבַּט ְח ִתּי ִכּי ִנְרֶאה ָהְרָוָחה ְוזֹאת ַהָצָּרה

ִתּ ְהֶיה ָלּנוּ ַבָּיּ ִמים ַהָבּ ִאים ְל ִשׂ ָיחה ָטוֹבה ְוּמ ָתוּקה .

ַיַעְר ִכוּני,229 230 יעל ְוּלָב ִבי ַיִגּיד ִלי ָנוֹראוֹת , ִבּ ֵעוּתי ֱא ַלוֹהּ

<sup>ֶ</sup>א ָשֵּׁקְך ַאְך ַהַפַּעם ְוֵאֵצא ִכּי ֶזה ָכּל ְשָׂכִרי . ( יוצא מן החלון )

 <sup>223</sup> Gen. 29:14; 2 Sam. 19:13, 14 (19:12, 13 in English Bibles).

 <sup>224</sup> This and the next line form a rhyming couplet, mirroring Shakespeare's 'descend/ friend' (3.5.42– 3). Note, however, that in Salkinson's version the couplet is contained within Ram's two- line speech, whereas in Shakespeare's it is split between Romeo (whose speech consists of a single line) and Juliet. 225 Joel 1:8 יהָ עוּרֽ ֶ נְ עלַבַּ֥' the husband of her youth'.

 <sup>226</sup> Josh. 23:2.

 <sup>227</sup> Song of Songs 1:7, 3:1, 2, 3.

 <sup>228</sup> This and the next line form a rhyming couplet. There is no precedent for this in the source text 'serve/ come' (3.5.52– 3).

 <sup>229</sup> Job 6:4.

 <sup>230</sup> This and the next three lines form an ABBA rhyming sequence, which partially mirrors the source text's 'soul/ low' (3.5.54– 5), except that the latter consists of a single rhying couplet. ('Soul/ low' was considered a workable rhyme in Shakespeare's day; see Weis 2012 : 420.)


 <sup>231</sup> Jer. 7:32, 19:6.

 <sup>232</sup> This and the next three lines form two rhyming couplets, mirroring Shakespeare's 'you/ adieu' (3.5.58– 9) except that the latter consists of a single rhyming couplet (which makes up the whole of the speech). Salkinson has expanded the speech by two lines, but has not altered the meaning in any significant sense.

 <sup>233</sup> Isa. 21:4.


.'respite no yourself give 'ַ ֽא ִ ל־תּ ְתִּ֤ני ַפוּג֙ת ָ֔לְך 2:18 .Lam 234

.'relentlessly ,cease not does and flows eye my 'ֵע ִ֧יני ִנְגָּ֛רה ְו ֥ל ֹא ִתְדֶ֖מה ֵמֵ֥אין ֲהֻפ ֽגוֹת 3:49 .Lam 235


 <sup>236</sup> Cf. Shakespeare's 'cousin' (3.5.86); see First Part, note 65.

\* ִמ ְבּ ִלַיַּעל

 <sup>237</sup> Isa. 51:22 תיִ֔ מָחֲ כּוֹס֣' the cup of my wrath'; see also Isa. 51:17.


 <sup>238</sup> Isa. 60:5.

 <sup>239</sup> Salkinson has not reproduced Shakespeare's same- word rhyming couplet 'satisfied/ satisfied' (3.5.92– 3).

 <sup>240</sup> Prov. 5:11 ךָרֽ ֶאֵוּשְׁ ךָ֗ רְשָׂ בְּ֝' your flesh and body' (used literally in this verse, but idiomatically in

Salkinson's text). 241 This and the following two lines form an ABA rhyme, mirroring Shakespeare's 'him/ cousin/ him'

<sup>(3.5.100– 2);</sup> this is unusual as Salkinson does not typically reproduce same- word rhymes. 242 Ezek. 36:5; Zeph. 3:8.

 <sup>243</sup> Cf. Shakespeare's 'cousin' (3.5.101); see First Part, note 65.

 <sup>244</sup> Mishnah *Ḥ ullin* 3:5.

 <sup>245</sup> Prov. 16:14 ותֶי־מ ָ֑ כֵאֲלְ מַ' messengers of death'. This phrase is also very commonly used in postbiblical texts in the sense of 'angel of death', and both the senses 'messenger' and 'angel' would have been apparent to Salkinson's readers.


 <sup>.&#</sup>x27;joy into mourning their turn shall I and 'ְוָהַפ ְכ ִ֨תּי ֶא ְבָ֤לם ְל ָשׂ ֙שׂוֹן 31:13 .Jer 246

 <sup>247</sup> Isa. 11:1 שׁיָ֑יִ זע ַגֵּ֣מִ טרֶֹח֖' a rod from the stem of Jesse' (a messianic prophecy referring to a king of the Davidic line).

 <sup>248</sup> Cf. Shakespeare's 'church' (3.5.114). Salkinson's version refers to the Temple in Jerusalem, which was destroyed by the Romans in 70 ce but has remained the symbolic heart of the Jewish people and religion until the present day and is recalled on multiple occasions in the daily liturgy. See also note 250.

 <sup>249</sup> Cf. Shakespeare's 'Saint Peter' (3.5.114). The angel Michael is mentioned in various places in the Hebrew Bible (most famously in the Book of Daniel) as well as in rabbinic literature ( *Midrash Rabba* 2:20) as God's right- hand ministering angel. However, this specific phrase 'Michael, the Prince of the Presence' is a reference to the extremely prominent exegetical work of the eleventh- century scholar Rashi, as his commentary on the book of Isaiah (63:9) is the most well- known Jewish source in which this particular wording appears. Jews traditionally study the Hebrew Bible together with Rashi's commentary, and therefore this reference would have been immediately recognizable to Salkinson's audience. While the Archangel Michael also has a place in various Christian traditions, appearing in the Book of Revelation (12:7– 9) as one of the leaders of God's army against Satan and revered in later Christian theology, the conscious decision to employ the precise phrasing from Rashi's commentary underscores the fact that Salkinson intended his translation for a Jewish readership.


 250 Cf. Shakespeare's 'church' (3.5.116); this expression refers even more unambiguously than the previous one (see note 248) to the Temple in Jerusalem; the collocation is a postbiblical one that is used invariably in this capacity, in contrast to the single word דּשָׁקְ מִ appearing above, which could theoretically simply mean 'sanctuary'.

251 Cf. Shakespeare's 'Saint Peter' (3.5.116); see note 249.

252 Ps. 139:6.


 <sup>253</sup> Prov. 18:4.

 <sup>254</sup> Hab. 2:3.

 <sup>.&#</sup>x27;calm to storm the turns He 'ָיֵ֣ קם ְ֭סָעָרה ִלְדָמָ֑מה 107:29 .Ps 255

 <sup>256</sup> The Hebrew words for 'grave' and 'man' rhyme, creating an internal play on words lacking direct precedent in the source text.


 <sup>257</sup> Job 41:4 (41:12 in English Bibles).

 <sup>258</sup> Song of Songs 7:2 (7:1 in English Bibles).

 <sup>259</sup> Cf. Shakespeare's 'Saint Peter's church' (3.5.154); see notes 248 and 249.

 <sup>260</sup> Isa. 14:19.

 <sup>261</sup> Isa. 4:19.


 <sup>262</sup> Isa. 57:4.

 <sup>263 1</sup> Sam. 20:30.

 <sup>264</sup> Jer. 38:12.

 <sup>265</sup> Isa. 64:5 (64:6 in English Bibles).

 <sup>266</sup> Cf. Shakespeare's 'get thee to church a' Thursday' (3.5.161). Salkinson's Judaized equivalent is traceable to Babylonian Talmud *Berakhot* 59b כלה לקראת חתן' a groom towards a bride' and Alshekh to Ps. 14 יצא כלה לקראת כחתן' he will go out as a groom towards a bride'.

the you from withheld has who ,God of place in I am 'ֲהַ֤תַחת ֱא ִֹלה ֙ים ָא֔נֹ ִכי ֲאֶשׁ ָ ר־מַ֥נע ִמֵ ֖מְּך ְפִּר ָ ֽ י־בֶטן 30:2 .Gen 267 fruit of the womb?'


268 Ps. 39:4 (39:3 in English Bibles) בּיִ֗ רְקִ בְּ ׀ בּיִ֨ ם־לִ חַ' my heart was hot within me'.

 And after I found **a man after my own heart** , 269 from a family of princes A man of wealth and riches, **tender in years yet great in wisdom** , 270 He is also a mighty man of valour, **with beautiful eyes and a comely appearance**<sup>271</sup> **For he is perfect in his splendour**272 – after all these things This daughter of my sorrow273 dares, between her groans, to say 'I shall not take this blessing, I am tender in years The **time of love**274 has not arrived, and I cannot marry Forgive me my father, for I do not desire him' And I say to you, if you refuse to marry **I forgive you in accordance with your word** , 275 but go graze in such place as you can fi nd; You shall not live with me in the house. Look what is before you Consider again, for I am not accustomed to jesting Behold, Thursday is close; pay heed and take counsel If you are to be my daughter then I shall give you to the man of my choice ְוַאֲחֵרי ֲאֶשׁר ָמָצ ִאתי ִאישׁ ִכְּלָב ִבי<sup>269</sup> ִמ ִמּ ְשָׁפַּחת ָשִׂרים ְבָּח ְכָמה<sup>270</sup> ַבַּעל ֶעשׁר ְוּנָכ ִסים ַרְך ְבּ ָשִׁנים ְוַאב רֹ ִאי<sup>271</sup> ַגּם ִגּבּוֹר ַחִיל הוּא , ְיֵפה ֵע ַינִים ְוטוֹב – ְוַאֲחֵרי ִכּי ָכ ִליל הוּא ַבֲּהָדרוֹ<sup>272</sup> ָכל ֵאֶלּה ַהזֹּאת , ַכֲּאָנָקה ָתּ ִעיז ַבּת ֹאִני<sup>273</sup> ְבַּנֲא ֶקוֹת ָיה ֵל ֹאמר "ל ֹא ֶאַקּח ַה ְבָּרָכה ַהזֹּאת , ַרָכּה ֲאִני ְב ָשִׁנים ל ֹא ָבָאה ְוּל ִהָנֵּשׂא ֵעת דִֹּדים<sup>274</sup> ל ֹא ָאוּכל ְסַלח ִלי ָא ִבי , ִכּי ל ֹא ָחַפ ְצ ִתּי בוֹ" ַוֲאִני ֹאֵמר ָלְך , ִאם ְתָּמֲאִני ְל ִהָנֵּשׂא ַרק ְל ִכי ִלְרעוֹת ָסַל ְח ִתּי ָלְך ִכְּדָבֵרְך , 275 ַבֲּאֶשׁר ִתּ ְמָצ ִאי ְו ִא ִתּי ל ֹא ֵת ְשׁ ִבי ַבָּבִּית . ְר ִאי ֶאת ֲאֶשׁר ְלָפַנִיְך ִה ְת ְבּוֹנִני עוֹד ַהַפַּעם , ִכּי ל ֹא ִה ְסַכְּנ ִתּי ְלַצֵחק ֵהן יוֹם ַהֲח ִמ ִישׁי ָקרוֹב , ִשׁ ִיתי ִלֵבְּך ְוֻע ִצי ֵעָצה ִאם ִתּ ְהִיי ִלי ְלַבת ָאז ֶא ְתֵּנְך ְל ִאישׁ ְבּ ִח ִירי

 <sup>269 1</sup> Sam. 13:14 בוֹ֗ בָלְ כִּ אישִׁ֣' a man after his own heart'.

 <sup>270</sup> *Sifre* to Deut. 1; Genesis Rabbah 50; Rashi to Gen. 41.

 <sup>271 1</sup> Sam. 16:12.

 <sup>.&#</sup>x27;splendour my through perfect was it for 'ִ֣כּי ׀ ָכִּ֣ליל ֗הוּא ַ ֽבֲּהָדִר֙י 16:14 .Ezek 272

 <sup>273</sup> This is a reference to Gen. 35:18, in which the matriarch Rachel names her second son 'Ben- oni' (lit. 'son of my sorrow') as she is dying in childbirth.

 <sup>274</sup> Ezek. 16:8.

 <sup>.&#</sup>x27;word your with accordance in forgiven have I 'ָסַ ֖ל ְח ִתּי ִכְּדָבֶ ֽרָך 14:20 .Num 275


 <sup>276</sup> Tosefta *Pe'a* 4:8 הפתחים על מסבב' going from house to house'.

279 Gen. 24:55.

 <sup>277</sup> Gen. 31:14; Deut. 10:9, 12:12, 14:27, 29.

 <sup>278 1</sup> Kings 8: 38 בוֹ֔ בָלְ גע ַנֶ֣' the plague of his own heart'.


'?straw dry pursue you will and ,leaf windblown a harass you will 'ֶהָעֶ֣לה ִנָ֣דּף ַתֲּע֑רוֹץ ְוֶא ַ ֖ת־קשָׁיֵ֣בשׁ ִתְּרֽדֹּף 13:25 Job 280

281 Ps. 121:1.

282 Isa. 12:5.


 <sup>283 1</sup> Sam. 16:12.

285 This is the full oath formula mentioned in the preceding note.

 <sup>284</sup> This is part of a biblical oath formula appearing in 2 Sam. 3:35, 19:14 (19:13 in English Bibles); 1 Kings 2:23; 2 Kings 6:31.


288 Prov. 8:14.

 <sup>286</sup> Job 28:16 אוֹפירִ֑ תםֶכֶ֣בְּ לּהֶסֻא־תְ֭ ֹ לֽ' it cannot be valued with the gold of Ophir'. Ophir is a region renowned in the Hebrew Bible for its wealth.

 <sup>.&#</sup>x27;earth the of potsherds the with potsherd a 'ֶ֖חֶרשׂ ֶא ַת־חְרֵ֣שׂי ֲאָדָ֑מה 45:9 .Isa 287

 <sup>289 1</sup> Sam. 23:28; this refers to the place where Saul was obliged to stop his ongoing pursuit of David and go to fight the Philistines. In some English Bible versions (e.g., Geneva Bible, King James Bible, New International Version) the name is not translated but appears in transliteration as Sela- hammahlekoth or similar.

 <sup>290</sup> Babylonian Talmud *Gi ṭṭ in* 59b.

 <sup>291</sup> Gen. 14:18.

 <sup>292</sup> This and the next line form a rhyming couplet, mirroring Shakespeare's 'remedy/ die' (3.5.242- 3). This was a workable rhyme in Shakespeare's day (Weis 2012 : 420).

# **Fourth Part**

# חלק רביעי


 <sup>1 2</sup> Kings 6:19.

 <sup>.&#</sup>x27;comforted be to refuses she; children her for weeping is Rachel 'ָרֵ ֖חל ְמַבָ֣כּה ַע ָל־בֶּ֑נ ָיה ֵמֲאָ֛נה ְל ִהָנֵּ֥חם 31:15 .Jer 2

 <sup>3</sup> Cf. Shakespeare's 'Venus'; Salkinson has omitted the Classical mythological reference.

 <sup>.&#</sup>x27;heart His in Him grieved it and 'ַוִיּ ְתַעֵ ֖צּב ֶא ִ ל־ל ֽבּוֹ 6:6 .Gen 4

 <sup>5</sup> Isa. 35:10, 51:11.


 <sup>6</sup> This and the next line form a rhyming couplet, mirroring either 'wife/ wife' (4.1.18– 19) or 'next/ text' (4.1.20– 1) in the source text. In terms of meaning, Salkinson's rhyme corresponds to Shakespeare's 'wife/ wife', but the fact that Salkinson did not typically recognize the original's same- word pairs as rhymes, combined with the fact that he did not attempt to find a separate rhyme for his next two lines, suggest that he may have instead had 'next/ text' in mind as his model.

.'words your into entrance the 'ֵ ֖פַּתח ְדָּבֶ֥ריָך 119:130 .Ps 7

 speaking are people your of members the 'ְבֵּ֣ני ַע ְמָּ֗ך ַהִנְּדָבִּ֤רים ְבָּ֙ך ֵ֣אֶצל ַה ִקּ ֔ירוֹת ְוּב ִפ ְתֵ ֖חי ַהָבִּ֑תּים 33:30 Ezekiel 8 about you by the walls and at the entrances to the houses'. This biblical reference to speaking about someone behind their back retains the sense of Shakespeare's 'being spoke behind your back' (4.1.28).

\* ֲהָבאת

ֵמֲאֶשׁר ַאִגּיד ְבָּפֶניָך . ִכּי ָס ְבלוּ ֵמרֹב פריז ַהָכַּרת ָפַּנִיְך ַתֲּעֶנה ָבם<sup>9</sup> ִדּ ְמָעה . יעל ֵאין ְלִד ְמ ַעוֹתי ְל ִה ְתָפֵּאר ִכּי ָג ְברוּ ַעל ָפַּני ַאֲחֵרי ֲאֶשׁר ַגּם ַבּ ְתּ ִחָלּה ָפַּני ַבֶּמּה ֶנ ְח ָשׁבוּ . 10 פריז ְבּזֹאת ֵהוֹצאת ִדָּבּה ָרָעה ַעל ָפַּנִיְך . יעל ֶנֶגד ָפַּני ִדַּבְּר ִתּי ְול ֹא ִדַבּת ֶשֶׁקר ִהיא . ִלי ְסֻגָלּה \* פריז ָפַּנִיְך ִלי ֵהם , ִכּי ָהִי ְית ְוִדָבּה ָרָעה ֵהוֹצ ְאת\*\* ַעל ֶחֶבל ַנֲחָל ִתי . יעל ַאוּלי ֵכּן ַהָדָּבר , ִכּי ָפַני ל ֹא ִלי ֵהָמּה − ְוַעָתּה ָא ִבי ִ וּמוֹרי , ַהְנ ָכוֹנה ְלָך ָהֵעת ַהזֹּאת אוֹ ָאשׁוּב ָאבוֹא ֵאֶליָך ֵבּין ָהַעְרָבִּים ? 11 רצין ִהְנִני ָנכוֹן ְל ָשְׁרֵתְך ִבּ ִתּי ֲע ַצוּבת ַרוּח − ִבּי ַה ָשּׂר ַהִנּ ֵיחִני ָנא ְלַמֵלּא ִמ ְשֶׁמֶרת ְפּ ָקוּד ִתי . פריז ָח ִל ִילה ִלּי ִל ְהיוֹת ְל ָשָׂטן ְלַה ְפִר ַיע ֲעבַֹדת ַהקֶֹּדשׁ − ַבּיּוֹם ַהֲח ִמ ִישׁי ַבּבֶֹּקר ָאבוֹא ְלָה ִע ֵירְך ָיֵעל ִמ ְשָּׁנֵתְך ִהְנִּני ֵ יוֹצא ֵמֵאת ָפָּנִיְך . ( נושק לה והולך ) יעל ְסגוֹר ֶאת ַהֶדֶּלת ְו ֵשׁב ִל ְבכּוֹת ִע ִמּי ֵאין ִתּ ְקָוה עוֹד , ֵאין ְתּ ָרוּפה ְוֵאין ֵעֶזר . Rather than telling it to your face. paris **The expression of your face testifi es against it**9 that it has suff ered from a surfeit of tears. jael My tears must not boast that they have prevailed over my face Since even in the beginning, **of what account was my face** ?10 paris With this you have spoken wicked slander against your face. jael I spoke against my face, but it was not false slander. paris Your face is mine, for you have become my treasure And you have spoken wicked slander against my allotted possession. jael Perhaps the matter is so, for my face does not belong to me – And now, my father and teacher, is this time suitable for you Or should I return to you at twilight?11 rezin I am ready to serve you, my sadspirited daughter – Please, sir, please let me fulfi l the duty of my offi ce. paris God forbid that I should be an obstacle interfering with the holy work – On Thursday morning I shall come to awaken you, Jael, from your sleep. I'll depart from you. *(Kisses her and exits)* jael Close the door and sit to weep with me There is no more hope, there is no medicine and no help.

.'them against testifies faces their of expression the 'ַהָכַּ֤רת ְפֵּנ ֶיה ֙ם ָ֣עְנָתה ָ֔בּם 3:9 .Isa 9

'?he is account what of for 'ִ ֽכּ ַ י־בֶ֥מּה ֶנ ְחָ ֖שׁב ֽהוּא 2:22 .Isa 10

 <sup>11</sup> Cf. Shakespeare's 'at evening mass' (4.1.38); Salkinson has replaced the explicitly Catholic reference with a religiously neutral one that preserves the temporal sense of the original.


 <sup>12</sup> Lam. 1:3; translated as 'in the midst of her distress' in some English Bible versions (e.g., New Revised Standard Version, New International Version, English Standard Version).

 <sup>13</sup> Cf. Shakespeare's 'Tell me not, Friar' (4.1.50).

 <sup>14</sup> Ezek. 20:37.

 <sup>15</sup> Job 12:12.


 But if not, look, this knife **will bring me forth into a broad space**<sup>16</sup>

 And that which you have not been able to do by means of **counsel and sound wisdom**<sup>17</sup>

 With all your days and your wisdom, my hand will surely be able to do.

 Now hurry, speak, for I have already decreed my judgement18

 And if you have no counsel, I desire to die.

 rezin Wait, my daughter, something like a **door of hope**19 appears to me from afar

> But in order to arrive at the desired haven you must do a terrible thing

 Almost like that thing from which we strive to escape

 Behold, you have the courage of spirit to kill yourself

 In order not to marry Paris, because it is a disgrace in your eyes

 So you can indeed fi nd the courage **to risk your life**<sup>20</sup>

 In order to escape the disgrace which is more bitter to you than death.

 So now, if you are prepared, command and I shall help you.

 jael Command me to cast myself down from the top of the tower there

> Rather than to become Paris' wife; command me to sojourn in robbers' lairs

16 Ps. 18:20 (18:19 in English Bibles) חבָ֑רְמֶּלַ ניִיא ֵ֥ יּוֹצ ִ וַ' He brought me forth into a broad place'.

17 Prov. 8:14.

18 This forms a rhyming couplet with the next line, mirroring Shakespeare's 'die/ remedy' (4.1.66– 7).

19 Hosea 2:17 (2:15 in English Bibles).

.'life his risked he and 'ַוַיּ ְשֵׁ֤לְך ֶא ַת־נ ְפ ֙שׁוֹ ִמֶ֔נֶּגד 9:17 .Judg 20

 In a desert of serpents and scorpions, **in an asp's hole and a viper's nest** ; 21

	- That you will marry Paris; and tomorrow, which is Wednesday,
	- Do not let your nurse lie down with you in the bedchamber
	- But rather, lie down alone, and take this jar to your bed
	- And when you lie down, drink the mixture from the jar
	- Quick as lightning your tendons will be fi lled with a cold spirit, **a spirit of deep sleep**<sup>24</sup>
	- The blood will freeze, it will not run and will not beat in your veins
	- אוֹ ִל ְהיוֹת ֲע ָצוּרה ָללוּן ָכּל ַהַלְּיָלה ְבָּבֵתּי ֵמ ִתים
	- אוֹ ְתָּנה ִלּי ֹאֶמר ָלֶרֶדת ְבֶּקֶבר ָחָדשׁ
		- ְל ִה ְתַעֵטּף ְבַּת ְכִריְך ֶאָחד ִעם ַהֵמּת ַה ֵשּׁוֹכב ָשׁם −

### ִעם ַבֲּע ִלי ֶשָׁאֲהָבה ַנ ְפ ִשׁי . 23

	- ַאל ִתּ ְתִּני ְל ֹאַמְנֵתְּך ַבַּלְּיָלה ִל ְשַׁכּב ִעֵמְּך ַבֲּחַדר ַה ִמּטּוֹת
	- ִכּי ִאם ִשׁ ְכ ִבי ְלָבָדד ְו ִצְנֶצֶנת ַהזֹּאת ְק ִחי ְל ִמָטֵּתְך
	- ְוָהָיה ַכֲּאֶשׁר ִתּ ְשׁ ְכּ ִבי ִתּ ְשׁ ִתּי ֶאת ַהֶמֶּסְך ֵמַה ִצְּנֶצֶנת
	- ַתְּרֵדָּמה24 ִחישׁ ַקל ִיָמּ ְלאוּ ִג ַידִיְך ַרוּח ָקָרה ַרוּח

ַהָדּם ִי ְקָפּא ל ֹא ָירוּץ ְול ֹא ִיִד ֹפּק ְבּ ְעוֹרַקִיְך

the on play shall child nursing the and 'ְו ִ ֽשֲׁעַ֥שׁע ֵ ֖ יוֹנק ַע ֻ֣ ל־חר ָ֑פֶּתן ְוַע ֙ל ְמ ַ֣אוּרת ִצ ְפ ִ֔עוֹני ָגּ ֖מוּל ָי֥דוֹ ָהָ ֽדה 11:8 .Isa 21 asp's hole, and the weaned child shall put his hand on the viper's nest'.

 <sup>.&#</sup>x27;bear raging a '֣דֹב ֵ֑שׁוֹ קק 28:15 .Prov 22

 <sup>23</sup> Song of Songs 1:7, 3:1, 2, 3.

 <sup>24</sup> Isa. 29:10.


 <sup>25</sup> Deuteronomy 32:36.

 <sup>26</sup> This custom clashes with that of Jewish tradition, according to which coffins are always closed and the deceased may not be viewed. Salkinson has chosen to retain this detail of the source text, but has rephrased it from Shakespeare's 'Then, as the manner of our country is,/ In thy best robes, uncovered on the bier' (4.1.109– 10), moving the reference to the manner of the country from the beginning of the unit until the end. This change has the effect of drawing attention to the uncovered coffin as a custom of the land (rather than both the robes and the bier). Salkinson may have done this in order subtly to highlight the fact that this is a custom of the local Italian non- Jews, rather than a Jewish custom. In addition, he has changed Shakespeare's 'best robes' to 'linen garments', a reference to the Jewish practice of clothing the dead in a plain linen shroud (Hillers and Kashani 2007 : 293). These decisions result in a text reflecting a singular fusion of Jewish and non- Jewish funeral customs.

 <sup>27</sup> Cf. Shakespeare's 'vault' (4.1.111); Salkinson's translation is a reference to the biblical practice of burying the dead in family caves, most famously the Cave of Machpelah which the patriarch Abraham purchased as a family tomb (see Gen. 23).


 <sup>28</sup> Exod. 17:16.

 <sup>29</sup> Cf. Shakespeare's 'friar' (4.1.123); Salkinson has replaced this explicitly Catholic term with a biblical expression used to denote the desciples of a prophet (see, e.g., 1 Kings 20:35; 2 Kings 2:15).

 <sup>30</sup> This and the next line form a rhyming couplet, mirroring Shakespeare's 'lord/ afford' (4.1.124– 5).


31 This speech is prose in the original (4.2.3– 4).

32 This speech is prose in the original (4.2.6– 8).

33 Jer. 31:22, 49:4.

\* ֶאָקֶּחנּוּ


 <sup>34</sup> Isa. 22:1, 5.

37 Ps. 133:1.

 <sup>35 1</sup> Sam. 15:25.

 <sup>36</sup> Cf. Shakespeare's 'I'll have this knot knit up tomorrow' (4.2.24). Salkinson's mention of the traditional canopy under which the couple and close family stand during a Jewish wedding ceremony serves to transform the reference into a specifically Jewish one.


 <sup>38</sup> Cf. Shakespeare's 'this reverend holy friar' (4.2.31).

 <sup>39</sup> Cf. Shakespeare's 'we'll to church tomorrow' (4.2.37).


 <sup>40</sup> This and the next line form a rhyming couplet. There is no precedent for this in Shakespeare's 'light/ reclaimed' (4.2.46– 7).

 <sup>.&#</sup>x27;men young the following not 'ְל ִב ְל ִתּ ֶ֗ י־לֶכת ַאֲחֵר֙י ַהַ֣בּ ִ ֔חוּרים 3:10 Ruth 41

 <sup>42</sup> Ps. 25:7.


 <sup>43</sup> Job 30:17.

 <sup>.&#</sup>x27;place their from disappear they hot is it when 'ְ֝בֻּח ֗מּוֹ ִנְדֲע ֥כוּ ִמ ְמּ ָ ֽקוֹמם 6:17 Job 44

 <sup>.&#</sup>x27;bones your for potion a and 'ְ֝ו ִשׁ֗קּוּי ְלַע ְצ ֶ ֽמוֹתיָך 3:8 .Prov 45

 <sup>46</sup> Exod. 3:19, 6:1, 13:9; Deut. 5:15, 6:21, 7:8, 9:26, 26:8; Ezek. 20:33– 4; Ps. 136:12; Dan. 9:15.


50 Ezek. 21:31 (21:26 in English Bibles).

 <sup>47 2</sup> Kings 4:40 יר֙ סִּ בַּ ותֶמָ֤' there is death in the pot' (referring to poison in a pot of stew).

 <sup>48</sup> Cf. Shakespeare's 'Friar' (4.3.24).

 <sup>49</sup> Ps. 5:7 (5:6 in English Bibles).

 <sup>51</sup> See note 27.

 <sup>52</sup> Ezra 9:11.

 <sup>53</sup> Jer. 4:11. In this verse, the word צחַ is typically translated as 'dry', 'burning', or 'searing', but it additionally means 'fresh' or 'clean'.


 \*) Mandrakes, according to the popular belief in Shakespeare's day, made a groaning sound like animals when they were torn from their roots, and all who heard their groaning went mad at the sound. [Salkinson's note]

ֲהל ֹא ֵא ַימת ָמֶות ְתַּבֲעֵתִני ִמַפַּחד ַבַּלְּיָלה ַבָּמּקוֹם ַה ָנּוֹרא ַהֶזּה ֲאֶשׁר ָשׁם ְק ִבוּרים

ַע ְצמוֹת ֲאבוֹת ֲא ַבוֹתי ְוּבֵני ִמ ְשַׁפּ ְח ִתּי ִמ ָשִּׁנים ַקְד ֹמִניּוֹת ;

 ָשׁם ַהוּרד ַתּוּבל ְבָּדמוֹ ְוָהֵמק ְבּ ָשׂרוֹ<sup>54</sup> ְבַּת ְכִר ָיכיו ;

ָשׁם ָהְרָפ ִאים ָשַׁמ ְע ִתּי ִי ְתַא ְסּפוּ ַי ְחָדּו ַבֵּלּילוֹת .

ַצ ְלָמֶות<sup>55</sup> אוֹי ִמי ִי ְחֶיה ְבַּח ְתַח ִתּים וַּב ְלהוֹת

 ִקיטוֹר ִבּ ְמעוּף ָצוּקה ַוֲאֵפָלה ְמֻנָדּח<sup>56</sup> ַצֲחָנה ָוּב ְא ָשׁה ;

> ִמי ַ יוּכל ַלֲע ֹמד ְו ִל ְשׁ ֹמַע ְשִׁריקוֹת ָהְרָפ ִאים

\* ) ְלֵעת ֲהל ֹא ֵהָנּה ְכַּנֲאקוֹת ַה ָדּוּד ִאים ֵיָע ְקרוּ ִמ ָשְּׁר ָשׁם

ֲאֶשׁר ָכּל ַה ֵשּׁוֹמַע ִי ְשַׁתֵּגַּע . ְוַאף ִאם ֵאין זֹאת

ֲהל ֹא ַרוּח ָרָעה ַהשֶֹּׁכֶנת ֵבּין ַה ְקָּבִרים ְתַבֲעֵתִני ,

> ִאוֹריד ִר ִירי ַעל ְשָׂפַתי ְוּבַע ְצמוֹת ַהֵמּ ִתים ֶא ְת ָהוֹלל ,

ֶאת ַתּוּבל ַא ְשִׁליְך ֵמֲארוֹנוֹ ְל ִה ְתָגּרוֹת בּוֹ

ַוּבֲחרוֹת ַא ִפּי ַאֲחִזיק ְבּשׁוֹק אוֹ ִב ְל ִחי ֵמַאַחד ֲא ַבוֹתי

\*) הדודאים Mandrakes לפי אמונת ההמון בימי שעקספער, השמיעו קול נאקה כבעלי חיים לעת נעקרו משרשם וכל השומעים את נאקתם השתגעו למשמע אזנם.

 <sup>54</sup> Zech. 14:12.

 <sup>55</sup> Job 24:17.

 <sup>56</sup> Isa. 8:22.


 <sup>57</sup> Gen. 19:9.

59 Jer. 41:8; Ezek. 16:19.

61 Cf. Shakespeare's 'Angelica' (4.4.5).

 <sup>.&#</sup>x27;spices various and perfumes 'ְבּ ָשִׂ֣מים ְוּזִ֔נים 16:14 .Chron 2 58

 <sup>60</sup> Tosefta *Terumot* 2:4; Babylonian Talmud *Shabbat* 22a.

 <sup>.&#</sup>x27;oven an in baked 'ַמֲאֵ֣פה ַת֑נּוּר 2:4 .Lev 62


63 Gen. 31:35 ליִ֑ שׁיםִ֖נָ ךְרֶי־ד ֶ֥ כִּ' for the way of women is upon me' (spoken by the matriarch Rachel).

64 Hosea 7:11.


 <sup>65</sup> This line contains a play on words based on a sound correspondence and shared etymology between the verbal root . ל . ל . ס' to pave' and the nouns לּהָסִ מְ' road' and סלַ' basket'. This wordplay most likely represents an attempt to find an equivalent for Shakespeare's pun between 'logs' (4.4.15, 17) and 'loggerhead' (4.4.19), which begins in the corresponding line (given that the Hebrew translation of the latter exchange is not itself a pun).

67 Gen. 44:3.

 <sup>66</sup> Salkinson has omitted Shakespeare's 'Mass, and well said' (4.4.19).


האומנת

68 Judg. 5:24.

69 Ps. 139:6.


70 Isa. 30:6; Prov. 1:27.

 <sup>71</sup> Job 38:29.

 <sup>72</sup> Isa. 40:6; Ps. 103:15.


 <sup>73</sup> Isa. 30:6; Prov. 1:27.

 <sup>74</sup> Ps. 107:10, 14; Job 3:5, 10:21.

 <sup>75</sup> Ps. 137:6 י֮כִּ חִ לְ ׀ שׁוֹניִ֨ ק־לְ בַּ֥דְתִּ' may my tongue cleave to the roof of my mouth'.

 <sup>76</sup> Cf. Shakespeare's 'to church' (4.5.33).

 <sup>77</sup> Song of Songs 2:1.

 <sup>.&#</sup>x27;her upon himself forced ,her than stronger being ,he but 'ַוֶיֱּחַ֤זק ִמ ֶ֙מָּנּ֙ה ַוְיַעֶ֔נָּה 13:14 .Sam 2 78


 <sup>79</sup> This and the next line form a rhyming couplet. There is no precedent for this in Shakespeare's 'face/ this' (4.5.41– 2).

 <sup>80</sup> Mic. 7:1; Job 10:15.

 <sup>81</sup> Hab. 1:7.

 <sup>82</sup> Isa. 13:16; Joel 1:15.

 <sup>83</sup> Jer. 20:14.

 <sup>\*</sup> ַמ ְלֲאֵכי 18:14. Job 84


 has Babylon of king the Nebuchadrezzar 'ֲאָכַ֣לִני ֲהָמ ַ֗מִני ְנ ַבוּכְדֶר ַאצּ֮ר ֶ֣מֶלְך ָבֶּבל֒ ִה ִצּ ַ֙יגִ֙ני ְכִּ֣לי ִ ֔ריק ְבָּל ַ֙עִ֙ני 51:34 .Jer 85 devoured me, he has crushed me, he has made me an empty vessel, he has swallowed me'.

86 Job 6:11 חלֵ֑יַי־א ֲ כֽ ִ חיִ֥ ֹמה־כַּ' what is my strength, that I should hope'.

 <sup>87</sup> Ps. 38:9 (38:8 in English Bibles) יתיִ כֵּ֣דְנִוְ וֹתיִ פוּג֣ נְ' I am feeble and broken'.

 <sup>88</sup> Lam. 1:15 מוֹעד֖ ֵ ליַ֛עָ ראָ֥קָ' He has called an appointed time against me'.

 <sup>.&#</sup>x27;mourning into feasts your turn shall I and 'ְוָהַפ ְכ ִ֨תּי ַחֵגּ ֶ֜יכם ְלֵ֗אֶבל 8:10 Amos 89

 <sup>90</sup> This and the next line form a rhyming couplet, mirroring Shakespeare's 'dead/ buried' (4.5.63– 4).

 <sup>91</sup> Job 3:8.

 <sup>.&#</sup>x27;him took God for 'ִ ֽכּ ָ י־לַ֥ קח ֹא ֖תוֹ ֱא ִ ֹֽלהים 5:24 .Gen 92


 <sup>.&#</sup>x27;love her in intoxicated be always you may 'ְ֝בַּאֲהָב ָ֗תהּ ִתּ ְשֶׁ֥גּה ָתִ ֽמיד 5:19 .Prov 93

 94 1 Sam. 25:29. In the biblical verse this expression is a metaphor for long life, but in postbiblical Jewish tradition it denotes the afterlife (Bar- Efrat 2004 : 609– 10); Salkinson is using it in the latter sense.

\* ֶ ח ְפ ְצֶכם

the of counsel the in walked not has who man the is happy 'ַ֥א ְ ֽשֵׁר ָ י־ה ִ֗אישׁ ֲאֶ֤שׁר ׀ ֥ל ֹא ָהַלְ֮ך ַבֲּעַ֪צת ְר ָ֫שִׁ֥עים 1:1 .Ps 95 wicked'.

 <sup>96</sup> Cf. Shakespeare's 'rosemary' ( 4.5.79), a symbol of remembrance (Weis 2012: 309, note 79). Flowers are not traditionally a feature of Jewish funerals. As in the case of the open coffin mentioned in note 26, Salkinson has not substituted Shakespeare's reference with a Jewish equivalent. However, he has replaced the mention of a specific herb, which would likely have meant little to readers, with one of generic 'blossoms and flowers', which would have been identifiable as a Christian funeral custom.

**Perfumed with myrrh and frankincense**97 to **the house appointed for all the living** . 98

**Eyes of fl esh**<sup>99</sup> **weep abundantly**<sup>100</sup> for the one **going to his eternal home**101, 102

 But for **those who have knowledge of the Most High** , 103 tears are laughter.

 abiel My house, a house of feasting, has turned into a house of mourning

> Merrymaking and dancing into laments, and **damsels playing timbrels**<sup>104</sup> into professional mourning women

 Robes and precious gifts into **sackcloth and ashes** , 105 and the wedding canopy106 into a coffi n and shroud

 Joyous cries of young men into an elegy and songs of joy into **sorrow and sighing**<sup>107</sup>

**Perfumes and various prepared spices**108 to fi ll the bed of my dead one in the grave

 And blossoms and fl owers and sashes into **an ornament of grace**<sup>109</sup> for burial

 All the valuables which I prepared have changed and become the opposite.

 ְלֵבית ֵמוֹעד ְלָכל ָחי . 98 ְמֻקֶטֶּרת מוֹר ְוּל ָבוֹנה<sup>97</sup>

### ַל ֵהוֹלְך ֶאל ְיוֹרדוֹת ַבֶּבּ ִכי , 100 ֵבּית ָעוֹלמוֹ,101 102 ֵע ֵיני ָב ָשׂר<sup>99</sup>

 ְדָּמעוֹת ַאְך יֹ ְדֵעי ַדַעת ֶע ְליוֹן , 103 ִמ ְשָׂחק ָלמוֹ .

אביעל ֵבּ ִיתי ֵבּית ִמ ְשֶׁתּה ֶנ ְהַפְּך ְלֵבית ֵאֶבל

ִה ִלּוּלים ְוּמחוֹלוֹת ְל ִקינוֹת ַוֲעָלמוֹת ִל ְמקֹ ְננוֹת ֵתּוֹפפוֹת<sup>104</sup>

 ְוֻחָפּה<sup>106</sup> ְשָׂמלוֹת ִוּמְגָדּנוֹת ְל ַשׂק ָוֵאֶפר<sup>105</sup> ְלָארוֹן ְוַת ְכִר ִיכים

ְלָיגוֹן ַוֲאָנָחה107 ִמ ְצֲהלוֹת ַבּ ִחוּרים ְל ִמ ְסֵפּד ְו ִשֵׁירי ָשׂשׂוֹן

 ְלַמֵלּא ִמ ְשַׁכּב ְבּ ָשׂ ִמים ְוּזִנים ְמֻרָקּ ִחים<sup>108</sup> ֵמ ִתי ַבֶּקֶּבר

 ְו ִצ ִיצים ְוּפָר ִחים ְו ִק ִשּׁוּרים ְל ִלְוַית ֵחן<sup>109</sup> ִל ְק ָבוּרה

ָכּל ַה ְכֻּבָדּה ֲאֶשׁר ֲה ִכ ִ ינוֹתי ִשְׁנָּתה ָפֶנ ָיה ַו ְתּ ִהי ְלֶהֶפְך .

101 Alshekh to Isa. 51, Prov. 6, Eccles. 12.


 <sup>97</sup> Song of Songs 3:6.

 <sup>98</sup> Job 30:23 (a reference to death). Cf. Shakespeare's 'to church' (4.5.81).

 <sup>99</sup> Job 10:4.

 <sup>.&#</sup>x27;abundantly weeping 'יֵֹ֥רד ַבֶּ ֽבּ ִכי 15:3 .Isa 100

 <sup>102</sup> This and the next line form a rhyming couplet, mirroring Shakespeare's 'lament/ merriment' (4.5.82– 3).

 <sup>103</sup> Num. 24:16.

 <sup>104</sup> Ps. 68:26 (68:25 in English Bibles).


\* ְוַה ָשּׂר

 <sup>110</sup> This and the next three lines form an ABAB rhyming sequence, which resembles Shakespeare's 'ill/ will' (4.5.94– 5) except that the latter is a single rhyming couplet.

 <sup>111</sup> Ps. 4:5 (4:4 in English Bibles) טאוָּ֥חֱל־תּ ֶ֫ אַוֽ ְ זוּ֗גְרִ' tremble and do not sin'.

 <sup>112</sup> Sic; should be Fourth Part.

 <sup>113</sup> Salkinson has omitted the rest of this scene (4.5.100– 41), which consists of an exchange between Peter and the musicians. The omitted lines appear in the Quarto and Folio versions, and as such would most likely have been printed in the English version which Salkinson utilized. His decision not to translate these lines (which are not explicitly essential to the plot of the play) may be rooted in the fact that they contain a number of puns and would therefore have been difficult to render into Hebrew.

# **Fifth Part**

# חלק חמישי


 <sup>1</sup> Job 4:13.

 <sup>2</sup> Job 4:13.

 <sup>3</sup> Song of Songs 1:2 פּיהוִּ֔ יקוֹת֣ שִׁ נְּמִ ניִ֙קֵ֙שָּׁ יִ' let him kiss me with the kisses of his mouth'.

 <sup>4</sup> Deut. 33:13.



 <sup>.&#</sup>x27;established be ways your all let and ,feet your of path the ponder 'ַ֭פֵּלּס ַמ ְעַ֣גּל ַרְגֶ֑לָך ְ ֽוָכ ְל־דָּרֶ֥כיָך ִי ֽכֹּנוּ 4:26 .Prov 5

 <sup>6</sup> Ps. 72:13, 82:4.

 <sup>7</sup> Prov. 27:25.


 <sup>8</sup> Num. 21:8 ל־נס ֵ֑ עַ תוֹ֖ אֹ שׂיםִ֥ וְ רףָ֔שָׂ ךָ֙ לְ שׂהֵ֤עֲ' make for yourself a serpent and set it upon a pole' (as a cure for a plague of serpents sent by God).

13 Mishnah *Ḥ ullin* 3:5.

14 Deut. 21:22.

 <sup>9</sup> Judg. 7:16.

 <sup>.&#</sup>x27;mended and torn ,wineskins worn and 'ְונֹ ֥אדוֹת ַ֙יִ֙ין ָבִּ֔לים ְוּמֻבָקִּ֖עים ְוּמצָֹרִ ֽרים 9:4 .Josh 10

 <sup>11</sup> Esther 3:8.

top the on berries olive three or two 'ְשַׁ֧נִ ים ְשׁ ָֹ֛לשׁה ַגְּרְגִּ֖רים ְבּ֣ר ֹאשׁ ָאִ֑מיר ַאְרָבָּ֣עה ֲח ִמ ָ֗שּׁה ִבּ ְס ִעֶ֙פ ָ֙יה ֽ ֹפִּרָ֔יּה 17:6 .Isa 12 of the uppermost bough, four or five on its fruitful branches'.


 15 Cf. Shakespeare's 'ducats' (5.1.59). A shekel is a biblical weight (commonly used with reference to silver and gold) corresponding to approximately ten grams.

16 Ps. 119:83.


 <sup>.&#</sup>x27;stones of strength the strength my is 'ִא ֣ם־כַֹּח ֲאָבִ֣נים כֹּ ִ֑חי 6:12 Job 17

 <sup>18</sup> Exod. 9:15.

 <sup>19</sup> Zech. 12:2.

all are numerous; victims many down cast has she for 'ִ ֽכּ ַ י־רִ֣בּים ֲחָלִ֣לים ִהִ֑פּ ָילה ַ֝וֲעֻצ ִ֗מים ָכּ ֲ ל־הֻרֶ ֽג ָיה 7:26 .Prov 20 her slain'.

 <sup>21</sup> Mishnah *Ḥ ullin* 3:5.


 <sup>22</sup> Mishnah *Ḥ ullin* 3:5.

 <sup>23</sup> This and the next line form a rhyming couplet, mirroring Shakespeare's 'me/ thee' (5.1.85– 6).

 <sup>24</sup> This is the name of a number of minor biblical characters; for example, one of the Levites who helped Ezra explain the Law to the people (Neh. 8:7). Salkinson most likely selected it as a translation of Shakespeare's 'John' because it (or, more typically, its variant נןָיוֹח ָ' Johanan') is the usual Hebrew equivalent of this name. 25 Cf. Shakespeare's 'Holy Franciscan friar' (5.2.1).

 <sup>26</sup> Gen. 27:22 בֹעקֲיַ קוֹל לֹהקַּ' the voice is the voice of Jacob'.

 <sup>27</sup> Cf. Shakespeare's 'one of our order' (5.2.6); Salkinson has neutralized the explicitly Catholic associations of this phrase.


 <sup>28</sup> Cf. Shakespeare's 'the infectious pestilence' (5.2.10). Cholera was the most common infectious disease affecting Eastern European Jews in the second half of the nineteenth century (see Markel 1997 : esp. 87– 8). Cf. *Ithiel* , First Part, note 267.

 <sup>29</sup> The Hebrew term can denote any serious contagious disease.

 <sup>30</sup> This is a Talmudic oath (Even- Shoshan 2003, 4: 1334); Salkinson has Judaized Shakespeare's overtly Catholic oath 'by my brotherhood' (5.2.17). Cf. Third Part, note 176.


 <sup>31</sup> Prov. 6:26.

 <sup>32</sup> Isa. 53:8 יּיםִ֔חַ רץֶאֶ֣מֵ ר֙ זַגְנִ כּיִ֤' for he was cut off out of the land of the living'.

 <sup>33</sup> This and the next line form a rhyming couplet, mirroring Shakespeare's 'come/ tomb' (5.2.28– 9).

 <sup>34</sup> Cf. Shakespeare's 'churchyard' (5.3.5).


 <sup>35</sup> Cf. Shakespeare's 'in the churchyard' (5.3.11).


42 Mal. 2:13.

 <sup>36 2</sup> Sam. 1:19 (David's lament for Saul and Jonathan).

 <sup>37</sup> Cf. Shakespeare's 'thy bridal bed' (5.3.12). See Fourth Part, note 36 for discussion of 'wedding canopy'.

 <sup>38</sup> This and the next three lines form two rhyming couplets, mirroring Shakespeare's 'strew/ stones/ dew/

moans' (5.3.12– 15) except that the latter is composed of an ABAB pattern.

 <sup>41</sup> This and the next three lines form an ABBA rhyming pattern, mirroring Shakespeare's 'keep/ weep' (5.3.16– 17) except that the latter consists of a single rhyming couplet. Salkinson has turned Shakespeare's two lines into four; the discrepancy most likely reflects a difficulty in conveying the necessary information and finding suitable rhymes within the space of the original two lines.

 <sup>43</sup> Exod. 28:22.


 <sup>44</sup> In the Ashkenazic Hebrew pronunciation this and the next line form a rhyming couplet, mirroring

Shakespeare's 'tonight/ rite' (5.3.19– 20).

 <sup>45 1</sup> Kings 2:37.

 <sup>46</sup> Prov. 7:23 הוּאֽ שׁוֹ֥ פְ נַי־ב ְ כּֽ ִ דעַ֗א־יָ֝ ֹ לֽ וְ' and he does not know that it will cost him his life'.

chambers the to down going ,Sheol to way the is house her 'ַדְּרֵ֣כי ְשׁ֣אוֹל ֵבּ ָ֑ יתהּ ֝יְֹר ֗דוֹת ֶא ַ ל־חְדֵר ָ ֽ י־מֶות 7:27 .Prov 47 of death'.


 <sup>48</sup> Cf. Shakespeare's 'this hungry churchyard' (5.3.36).

 <sup>.&#</sup>x27;fatness with fat made be will dust their and 'ַוֲעָפָ ֖רם ֵמֵ֥חֶלב ְיֻדָ ֽשּׁן 34:7 .Isa 49

 <sup>50</sup> Gen. 28:17.

 <sup>51</sup> Prov. 25:28 רוּחוֹֽ לְ צרָ֣עְ מַ אין֖ ֵ שׁרֶ֤אֲ אישִׁ֗֝' a man who has no rule over his spirit'.

 <sup>52</sup> Babylonian Talmud *Berakhot* 16b.

 <sup>.&#</sup>x27;wrath the and anger the fear I for 'ִ֣כּי ָי֗גְֹר ִתּי ִמ ְפֵּ֤ני ָהַא֙ף ְוַ֣הֵח ָ֔מה 9:19 .Deut 53

 <sup>54</sup> This and the next three lines form an ABAB rhyming pattern, echoing Shakespeare's 'hereabout/ doubt' (5.3.43– 4), except that the latter consists of a single rhyming couplet. Salkinson has expanded the speech by two lines, adding details about the specific nature of Balthasar's suspicions regarding Ram's intentions.


 <sup>55</sup> Cf. Shakespeare's 'cousin' (5.3.50); see First Part, note 65.

59 1 Sam. 20:31; 2 Sam. 12:5.

 <sup>56</sup> Judg. 18:3; 1 Kings 19:9, 13; Isa. 22:16.

 <sup>57</sup> This appears in the *Amida* , the central prayer of the daily Jewish liturgy.

 <sup>58</sup> Salkinson has not reproduced Shakespeare's rhyming couplet in the last two lines of this speech 'thee/ die' (5.3.56– 7).


\* ֶפּן

whelps her of robbed bear a meet to man a for better 'ָפּ֬גוֹשׁ ֣דֹּב ַשׁ֣כּוּל ְבִּ֑אישׁ ְוַא ְ֝ ל־כּ ִ֗סיל ְבּ ִאַוּ ְל ֽתּוֹ 17:12 .Prov 60 than a fool in his folly'.

 <sup>61</sup> Gen. 49:5.

 <sup>62</sup> This and the next line form a rhyming couplet, mirroring Shakespeare's 'say/ away' (5.3.66– 7).

 <sup>.&#</sup>x27;gate the at judgement establish and 'ְוַהִ֥צּיגוּ ַבַ ֖שַּׁער ִמ ְשָׁ֑פּט 5:15 Amos 63


 .'princes the of and ,seed s'king the of and 'ִוּמֶ֥זַּ רע ַה ְמּ ָ ֖ לוּכה ִוּמ ַ ֽ ן־הַפְּר ְתִּ ֽמים 1:3 .Dan 64 65 Prov. 4:18.


 <sup>66</sup> Song of Songs 1:7, 3:1, 2, 3.

 <sup>67</sup> Isa. 9:4 (9:5 in English Bibles).

 <sup>68</sup> Ps. 89:46 (89:45 in English Bibles) לוּמיו ָ֑ עֲ מיֵ֣יְ תָּרְצַקְ הִ֭' you have shortened the days of his youth'.

 <sup>69</sup> Exod. 21:23; Lev. 24:18.


ַהַפַּעם ֶוֱא ֹמר ִכּי ֲחָמ ְתָך

ְסַלח ִלי ָא ִחי<sup>70</sup>

70 Cf. Shakespeare's 'cousin' (5.3.101); see First Part, note 65.

.'heart the in pricked was I and 'ְ֝ו ִכ ְל ַ֗ יוֹתי ֶא ְשׁ ָ ֽתּוֹנ ן 73:21 .Ps 71

Forgive me now, my brother,70

 that ,men of daughters the saw God of sons the and 'ַוִיְּר ֤אוּ ְבֵנ ָ ֽ י־הֱא ִֹלה ֙ים ֶא ְת־בּ֣נוֹת ָ ֽהָאָ֔דם ִ֥כּי טֹ ֖בֹת ֵ֑הָנּה 6:2 .Gen 72 they were fair'.

 <sup>.&#</sup>x27;it desired I for ,dwell shall I here; forever rest my is this 'זֹ ְ את־מ ָ נוּחִ֥תי ֲעֵד ַ֑ י־עד ֽ ֹפּ ֵ֝ה־א ֵ֗שׁב ִ֣כּי ִאִוִּ ֽת ָיה 132:14 .Ps 73


74 Ps. 23:4.

\* שֶֹׁתה

 <sup>75</sup> Cf. Shakespeare's 'Saint Francis be my speed' (5.3.121).


76 This appears in the *Amida* , the central prayer of the daily Jewish liturgy.

77 Prov. 7:23 הוּאֽ שׁוֹ֥ פְ נַי־ב ְ כּֽ ִ דעַ֗א־יָ֝ ֹ לֽ וְ' and he does not know that it will cost him his life'.

78 Ezek. 33:4 יהֽ ֶהְ יֽ ִ אשׁוֹ֖ ֹ ברְ מוֹ֥ דָּ' his blood will be on his head'.


.'repose the is this and 'ְו֖זֹאת ַהַמְּרֵגָּ֑עה 28:12 .Isa 80

82 Esther 2:3 שׁיםִ֔ נָּהַ ל־בּית ֵ֣ אֶ' to the women's house'.

 <sup>79</sup> Ps. 23:4.

thwarts He; nations the of counsel the nullifies ord L the 'ְ ֽי ָ֗הוה ֵהִ֥פיר ֲעַצ ִ֑ ת־גּוֹים ֵ֝הִ֗ניא ַמ ְח ְשׁ֥בוֹת ַע ִ ֽמּים 33:10 .Ps 81 the plans of the peoples'.

 <sup>83</sup> Cf. Shakespeare's 'a sisterhood of holy nuns' (5.3.157); Salkinson has transformed the explicitly Catholic reference into a vague and religiously neutral one while retaining the general sense of the line.


 <sup>84</sup> Song of Songs 1:7, 3:1, 2, 3.

 <sup>85</sup> Ps. 90:10 פהָעֽ ֻנָּוַ חישִׁ֗֝ י־גז ָ֥ כִּ' for it is quickly cut off and we fly away'.

 <sup>.&#</sup>x27;staggering of cup the dregs the to drained and drunk have you 'ֶא ֻת־קַ֜בַּעת ֧כּוֹס ַהַתְּרֵעָ֛לה ָשִׁ֖תית ָמִ ֽצית 51:17 .Isa 86 In English Bible versions the word להָעֵרְתַּ is typically translated as 'staggering', 'reeling', 'trembling', or 'wrath'. However, it literally means 'poison', and this is the sense in which Salkinson is using it.

 <sup>.&#</sup>x27;up go we shall way which 'ֵא ֶ֥ י־זה ַהֶ֖דֶּרְך ַנֲעֶ֑לה 3:8 Kings 2 87

 <sup>.&#</sup>x27;one mighty ,thigh your upon sword your gird 'ֲחֽג ַ וֹר־חְר ְבּ ָ֣ך ַע ָל־יֵ֣רְך ִגּ֑בּוֹר (Bibles English in 45:3 (45:4 .Ps 88


93 Salkinson has not reproduced the rhyming couplet 'dead/ buried' (5.3.175– 6) in the source text.

\* ְ וַח ְפּשׂוּ

 <sup>.&#</sup>x27;scabbard your to return 'ֵהָ ֽא ְס ִ ֙פי ַא ַ ל־תּ ְעֵ֔רְך 47:6 .Jer 89

 <sup>90</sup> Cf. Shakespeare's 'churchyard' (5.3.172).

 <sup>91</sup> Jer. 7:32, 19:6.

 <sup>.&#</sup>x27;dead lay Sisera ,behold and 'ְו ִהֵ֤נּה ִ ֽס ְיסָר ֙א ֹנֵ֣פל ֵ֔מת 4:22 .Judg 92


 94 This and the following three lines form an ABA rhyme, mirroring Shakespeare's 'lie/ woes/ descry' (5.3.179– 81).


 <sup>95</sup> Job 28:11 אוֹרֽ צאִ ֹי֣ מהָּ֗ לֻעֲתַוְ֝' and that which is hidden he brings forth to light'.

 <sup>96</sup> Cf. Shakespeare's 'churchyard' (5.3.182).

 <sup>97</sup> Cf. Shakespeare's 'friar' (5.3.184).


104 1 Kings 1:41.

 <sup>105</sup> Esther 8:14.

 <sup>106</sup> Jer. 30:5.

 <sup>107</sup> Num. 19:16.


 <sup>108</sup> Amos 5:16.

 .Gen'; Sheol to down sorrow in head grey my bring will you 'ְו ַהוֹרְדֶ֧תּם ֶא ֵת־שׂ ָיבִ֛תי ְבָּי֖גוֹן ְשׁ ֽא ָוֹלה 42:38 .Gen 109 .'Sheol to down sadness in head grey my bring will you and 'ְו ֽה ַוֹרְדֶ֧תּם ֶא ֵת־שׂ ָיבִ֛תי ְבָּרָ ֖עה ְשׁ ֽ ֹאָלה 44:29

110 1 Kings 1:6.


 mountain this on and 'ִוּבַלּ ֙ע ָבָּ֣הר ַהֶ֔זּה ְפֵּ ֽנ ַ י־ה ֥לּוֹט ׀ ַה ֖לּוֹט ַע ָ ל־כּ ָ ֽ ל־הַע ִ֑מּים ְוַהַמֵּסָּ֥כה ַהְנּ ָ ֖סוּכה ַע ָ ל־כּ ַ ל־ה ִ ֽגּוֹים 25:7 .Isa 111 He will destroy the shroud cast over all the peoples and the veil which is spread over all the nations'. 112 Ps. 9:1 בּןֵ֗לַ מוּת֥ לְ עַ חַצֵּנַמְ לַ֭' to the chief Musician according to the tune of Muthlabben'. This is the only occurrence of the word למוּתְ עַ in the Hebrew Bible (it is a feature of medieval and later Hebrew, but in the meaning of 'youth' or 'youthfulness', which do not seem appropriate here). The Psalm's phrase מוּת֥ לְ עַ בּןֵ֗לַ is enigmatic and has given rise to various explanations. Many English Bible versions, for example, the Geneva Bible, the King James Bible, the New Revised Standard Version, the English Standard Version, and the Jewish Publication Society 1917 Tanakh, interpret it as a personal name Muthlabben. Others, for example, the New International Version, interpret the entire phrase literally as 'upon the death of the son'; this translation also appears in certain ancient Bible translations. Certain translations; for example, the New Revised Standard Version and the New International Version, understand עלַ' upon' in the sense of 'according to' or 'according to the tune of', since the phrase forms part of the Psalm's introductory musical instructions. Some medieval Jewish commentators, such as Ibn Ezra and Dunash ben Labrat, interpret the first word literally as 'upon the death of' and the second word as a personal name, Labben. By contrast, the prominent medieval commentator Rashi interprets the phrase very differently, translating it as 'to brighten the youth' (a reading based on the medieval understanding of the word למוּתְ עַ as 'youth' or 'youthfulness' and of בּןֵ֗לַ as a form of the root . ן . ב . ל , meaning 'to whiten' or 'to brighten'). Salkinson has selected part of the phrase (leaving off the final word בּןֵ֗לַ ( in the line corresponding to Shakespeare's 'And lead you even to death' (5.3.220); as such, he seems to have intended the word in the Psalm to serve as a reference to death rather than as a reference to youthfulness or as part of a personal name.


 <sup>113</sup> Job 15:32.

 <sup>.&#</sup>x27;terror to turned has he pleasure of night my 'ֵ֚את ֶ֣נֶשׁף ִח ְשׁ ִ֔קי ָ֥שׂם ִ֖לי ַלֲחָרָ ֽדה 21:4 .Isa 114


 <sup>115</sup> Cf. Shakespeare's 'Friar' (5.3.250).

 <sup>116</sup> Prov. 20:6.


 <sup>117 2</sup> Kings 4:34 לדֶיּֽ ָהַ שׂרַ֥בְּ חםָיּ֖ ָוַ' and the child's flesh grew warm' (when coming back from the dead).

 <sup>118</sup> Prov. 22:15.

 <sup>119</sup> Ezek. 3:12.

 <sup>120</sup> Esther 1:8, 4:16.

 <sup>.&#</sup>x27;us upon sin the lay not do please 'ַא ָ֨ל־נא ָתֵ֤שׁת ָעֵ֙ל ֙ינוּ ַחָ֔טּאת 12:11 .Num 121

 <sup>122 1</sup> Kings 2:9 אוֹלֽ שְׁ דם֖ ָבְּ תוֹ֛יבָ ת־שֵׂ אֶ תָּ֧דְהוֹרַ וְ' and you must bring his grey head down in blood to Sheol'.


 <sup>123</sup> Prov. 7:23 הוּאֽ שׁוֹ֥ פְ נַי־ב ְ כּֽ ִ דעַ֗א־יָ֝ ֹ לֽ וְ' and he does not know that it will cost him his life'.

 <sup>.&#</sup>x27;them before sword my brandish I when 'ְבּ ְעוֹפִ֥פי ַחְרִ֖בּי ַע ְ ל־פֵּנ ֶ֑ יהם 32:10 .Ezek 124

 <sup>125</sup> Cf. Shakespeare's 'Friar' (5.3.286).


 <sup>126</sup> Mishnah *Ḥ ullin* 3:5.

 <sup>.&#</sup>x27;eye the to pleasant were that all '֖כֹּל ַמֲחַמֵדּ ָ֑ י־עִין 2:4 .Lam 127

 <sup>128</sup> Hab. 1:3.

 <sup>129 1</sup> Chron. 29:4. Ophir is a region renowned in the Hebrew Bible for its wealth.


 <sup>.&#</sup>x27;mounds their on stood that cities the all 'ָכּ ֶ ל־הָעִ֗רים ָה ֽעֹ ְמ ֙דוֹת ַע ִ ל־תָּ֔לּם 11:13 .Josh 130

 <sup>131</sup> The corresponding lines in the source text form a rhyming couplet 'set/ Juliet' (5.3.301– 2). Salkinson has not reproduced this rhyme. Admittedly in the Ashkenazic Hebrew pronunciation the last word of each line would have been pronounced with the same vowel, thus forming a near rhyme, but Salkinson's rhymes typically consist of a matching final consonant as well as vowel, which casts doubt on the possibility that he intended these lines to serve as a rhyming couplet.

 <sup>132</sup> The equivalent speech in the source text consists of a single rhyming couplet 'lie/ enmity' (5.3.303– 4). Salkinson has added a line and has not reproduced the rhyming couplet. However, the first and last line of his speech form an ABA near rhyme (the final vowel rhymes, but not the preceding consonant). This may represent an intentional attempt to echo the original; alternatively, it is possible that Salkinson did not recognize Shakespeare's lines as a rhyme, given that 'lie' and 'enmity' would not have rhymed in the late nineteenth century.

 <sup>133</sup> Ezek. 3:13.

 <sup>134</sup> This and the next line form a rhyming couplet. Salkinson has expanded this speech from six to ten lines. Shakespeare's speech consists of an ABAB rhyming sequence followed by a final rhyming couplet, so there is no precise equivalent to this initial rhyming couplet in his text (although the couplet's content overlaps with that of the first two lines of Shakespeare's speech).

 <sup>135</sup> This and the next three lines form an ABAB rhyming pattern, mirroring Shakespeare's 'brings/ head/ things/ punished' (5.3.305– 8) – although because Salkinson has added four lines to this speech, the content of these lines does not correspond precisely to that of the equivalent rhyming lines in the source text.


136 Hosea 12:3 (12:2 in English Bibles) לוֹֽ שׁיבִ֥ יָ ליו֖ ָלָעֲמַכְּ' He will recompense him according to his deeds'.

140 2 Sam. 1:23.

 <sup>137</sup> This and the next line form a rhyming couplet. These two lines do not have a parallel in the source text (with respect to both the rhyme and the content).

 <sup>.&#</sup>x27;chanted be will which lamentation a is this 'ִק ָ֥ינה ִה ֙יא ְו֣ק ְוֹנ֔נ ָוּה 32:16 .Ezek 138

 <sup>139</sup> This and the next line form a rhyming couplet, mirroring Shakespeare's 'woe/ Romeo' (5.3.309– 10).

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