- Rabbinic Judaism (2nd–18th century)
Myth and legend in the Hellenistic period
- Key People:
- St. Paul the Apostle
- Martin Buber
- Philo Judaeus
- Jeremiah
- Ezra
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Historiated Bibles and legendary histories
Judaism entered a new phase in 330 bce, when Alexander the Great completed his conquest of the Middle East. The dominant features of the Hellenistic Age, which began with Alexander’s death in 323, were an increasing cosmopolitanism and a fusion of ancient Middle Eastern and Greek cultures. These found expression in Jewish myth and legend in the composition (in Greek) of stories designed to link the Bible with general history, to correlate biblical and Greek legends, and to claim for the Hebrew patriarchs a major role in the development of the arts and sciences. It was asserted, for instance, that Abraham had taught astrology to the king of Egypt, that his sons and those of Keturah had aided Heracles against the giant Antaeus, and that Moses, blithely identified both with the semi-mythical Greek poet Musaeus and with the Egyptian Thoth, had been the teacher of Orpheus (the putative founder of one of the current mystery cults) and the inventor of navigation, architecture, and the hieroglyphic script. Leading writers in this vein were Artapanus, Eupolemus, and Cleodemus (all c. 100 bce), but their works are known to us only from stray quotations by the early Church Fathers Eusebius and St. Clement of Alexandria.
The Jews also adapted the current Greek literary fashion of retelling Homeric and other ancient legends in “modernized,” novelistic versions, well seasoned with romantic elaborations of their own traditions. A paraphrase of Genesis found among the Dead Sea Scrolls ornaments the biblical narrative with several familiar folklore motifs. Thus, when Noah is born, the house is filled with light, just as it is said elsewhere to have been at the birth of the Roman king Servius Tullius, of Buddha, and (later) of several Christian saints. When Abraham’s life is threatened, he dreams of a cedar about to be felled, an omen that is said to have presaged the deaths of the Roman emperors Domitian and Severus Alexander. (Although the parallels are of later date, they illustrate the persistence of age-old traditions.) The same trend toward fanciful elaboration of scriptural tales is manifested also in the Testaments of the Twelve Patriarchs (“testaments” meaning last wills), in which the virtues and weaknesses of the sons of Jacob are illustrated by moralistic legends. There is also a lengthy paraphrase of early biblical narratives, mistakenly attributed to Philo Judaeus, the famous Alexandrian Jewish philosopher of the 1st century ce.
Apocrypha and Pseudepigrapha
The principal monuments of Jewish literature during the Hellenistic period are the works known collectively as the Apocrypha and Pseudepigrapha. The former are certain later writings excluded by Jews from the canon of the Hebrew Bible but found in the Greek Septuagint version. The latter are other late writings not included in any authorized version of the Scriptures and spuriously attributed to biblical personalities.
The Apocrypha include several Judaized versions of tales well represented in other cultures. The book of Tobit, for instance, turns largely on the widespread motifs of the “grateful dead” and the demon in the bridal chamber. The former relates how a traveller who gives burial to a dishonoured corpse is subsequently aided by a chance companion who turns out to be the spirit of the deceased. The latter tells how a succession of bridegrooms die on the nuptial night through the presence of a demon beside the bridal bed. Similarly, in Bel and the Dragon (2nd century bce) there is the equally familiar motif of fraud that is detected by the imprint of the culprit’s foot on strewn ashes; the story reappears later in the French and Celtic romance of Tristan and Iseult. In the story of Susanna and the Elders (also 2nd century bce), a charge of unchastity levelled against a beautiful woman is refuted when a clever youngster (“Daniel come to judgment”) points out discrepancies in the testimony of her accusers. This well-worn story has a close parallel in a Samaritan tale about the daughter of a high priest in the 1st century ce; the motif of the clever youngster who surpasses seasoned judges recurs later in the Infancy Gospels and in the tale of ʿAlī Khamājah in The Thousand and One Nights.
The Pseudepigrapha also contain a number of folktales that have parallels in other traditions. The Martyrdom of Isaiah (1st century ce?) tells how the prophet, fleeing from King Manasseh, hid in a tree that opened miraculously, though he eventually perished when it was sawn asunder. Similar tales are related in the Talmud and in the later Persian epic Shāh-nāmeh (c. 1000 ce).
Myth and legend in the Talmud and Midrash
Midrash and Haggada
Toward the end of the 1st century ce, the canon of the Hebrew Bible was formed when certain Hebrew writings were recognized as the authoritative corpus of divine revelation. The study of the Bible became an essential element of the Jewish religion, which meant that the sacred text had to be subjected to a form of interpretation that would bring out its universal significance and permanent relevance. The process, known as Midrash (“interpretation” or “investigation”), involved the spicing of homiletic discourses with elaborative legends—a pedagogic device called Haggada (“Storytelling”). Originally transmitted orally, the legends were eventually committed to writing as part of the Talmud (the authoritative compendium of Oral Law and commentary on it), as well as in later compilations geared to particular books or sections of the Hebrew Bible, to scriptural lessons read in the services of the synagogue, or to specific biblical characters or moral themes.
The range of Haggada is virtually inexhaustible; a few representative examples must suffice. With regard to biblical characters, both Moses and David were born circumcised; Cain had a twin sister; Abraham will sit at the gate of hell to reproach the damned on Judgment Day; Aaron once locked the angel of death in the tabernacle; Solomon understood the language of animals; King Hiram, who supplied materials for the Temple, entered paradise alive; and the flesh of Leviathan will feed the righteous in the world to come.
In such fanciful elaborations of Scriptures, Haggada does not disdain to draw on Classical tales from ancient Greece and Rome. The men of Sodom, it is said, subjected itinerant strangers to the ordeal of Procrustes’ bed; the earth opened to rescue newborn Hebrew males from the pharaoh, as it did for Amphiaraus, the prophet of Argos, when he fled from Periclymenus after the attack on Thebes; Moses spoke at birth, as did Apollo; Solomon’s ring, cast into the river, was retrieved from a fish that had swallowed it, as was that of Polycrates, the tyrant of Samos, in the story told by Herodotus; the Queen of Sheba had the feet of an ass, like the child-stealing witch (Onoskelis) of Greek folklore; and no rain ever fell on the altar at Jerusalem, just as none was said to have fallen on Mt. Olympus.
There are other familiar motifs. Moses qualifies as a husband for Zipporah by alone being able to pluck a rod from Jethro’s garden; David’s harp is played at night by the wind, like that of Aeolus; and Isaiah, like Achilles and Siegfried, has only one vulnerable spot in his body—in his case, his mouth.
Legends are developed also from fanciful interpretations of scriptural verses. Thus, Adam is said to have fallen only a few hours after his creation, because the Hebrew text of Psalms 49:12 can be literally rendered “Adam does not last the night in glory.” Lamech slays the wandering Cain—a fanciful interpretation of his boast in Genesis 4:23–24. Melchizedek is immortal, in view of Psalms 110:4: “You are a priest for ever after the order of Melchizedek.” And the first man is a hermaphrodite (this notion has analogues elsewhere), because Genesis 1:27 says of God’s creation, “Male and female he created them.”
Fables and animal stories
Midrash also uses fables paralleled in non-Jewish sources. Aesop’s fable of The Lion and the Crane is quoted by a rabbi of the 1st century ce, and the tales of The Fox in the Vineyard and of The Camel Who Got Slit Ears for Wanting Horns likewise make their appearance. Material is also drawn from medieval bestiaries (manuals on animals, real or imaginary, with symbolic or moralistic interpretations). Bears, according to the bestiaries, lack mother’s milk; hares and hyenas can change sex; only one pair of unicorns exists at a time; and there is a gigantic bird (ziz) that reaches from earth to sky.
Contribution of Haggada to Christian and Islamic legends
Several of the stories related in Haggadic literature were later adapted by Christian writers. The legend that Adam was created out of virgin soil was taken to prefigure the virgin birth of the second Adam (i.e., Jesus); while the story that the soil in question was taken from the site of the future Temple was transformed into the claim that Adam had been molded out of the dust of Calvary. Similarly, the legend that, at the dedication of the Temple, the doors swung open automatically to admit the Ark of the Covenant was transferred to the consecration of a church by St. Basil (329–379); and the Talmudic tale that the bronze Nicanor gates of the Temple had floated to Jerusalem when cast overboard during their shipment from Alexandria was applied to the doors of a sacred edifice erected in honour of St. Giles (fl. 7th century).
Nor was it only the Christians who absorbed Haggadic legends. The Qurʾān, the sacred book of Islam, likewise incorporates a good deal of such material in its treatment of biblical characters such as Joseph, Moses, David, and Solomon.
Myth and legend in the medieval period
Jewish contributions to diffusion of folktales
The Middle Ages was a singularly productive period in the history of Jewish myth and legend. Medieval Jews played a prominent role in the transmission of Middle Eastern and Asian tales to the West and enhanced their own repertoire with a goodly amount of secular material. Especially in Spain and Italy, Arabic versions of standard collections of folktales were translated into Hebrew and then into Latin, thus enabling the stories to spread to the Christian world. The Indian collection of animal tales known as The Fables of Bidpai (Sanskrit: Panca-tantra), for example, was rendered into Hebrew from the 8th-century Arabic version of ʿAbd Allāh ibn al-Muqaffaʿ; and, in the 12th century, John of Capua’s Directorium humanae vitae (“Guide for Human Life”), one of the most celebrated repositories of moralistic tales (exempla) used by Christian preachers, was developed from this Hebrew translation. So too the famous Senbād-nāmeh (“Fables of Sinbad”)—one of the sources, incidentally, of Boccaccio’s Decameron—was rendered from Arabic into Hebrew and then into Latin. The renowned romance of Barlaam and Josaphat—a Christian adaptation of tales about the Buddha—found its Jewish counterpart in a compilation titled The Prince and the Dervish, adapted from an Arabic text by Abraham ben Samuel ibn Ḥisdai, a leader of Spanish Jewry in the 13th century.
Hebrew versions of medieval romances
Hebrew translations were also made from Latin and other European languages. There are several Hebrew adaptations of the Alexander Romance, based mainly (though not exclusively) on a Latin rendering of the Greek original by Callisthenes (c. 360–327 bce). The central theme is the exploits of Alexander the Great, and the narrative includes fanciful accounts of his adventures in foreign lands and of the outlandish peoples he encounters. There is a Hebrew reworking of the Arthurian legend, in the form of a secular sermon in which Arthurian and biblical scenes are blithely mixed together. Finally, there is a Hebrew Ysopet (the common title for a medieval version of Aesop) that shares several of its fables with the famous collection made by Marie de France in the late 12th century.
Jewish contributions to Christian and Islamic tales
Apart from these Hebrew translations of Arabic and European works, a good deal of earlier Haggadic material is embodied in the Disciplina clericalis of Peter Alfonsi (died after 1122), a baptized Jew of Aragon originally known as Moses Sephardi. This book is the oldest European collection of novellas; it served as a primary source for the celebrated Gesta Romanorum (“Deeds of the Romans”) of the same period—itself a major source for European storytellers, poets, and dramatists for many centuries.
Haggadic material was also absorbed by Arabic writers during this period. Not only does the Qurʾān incorporate such material, but the Egyptian recension of The Thousand and One Nights seems to have drawn extensively on Jewish sources. Its tales of The Sultan and His Three Sons, The Angel of Death, Alexander and the Pious Man, and the legend of Baliqiyah most likely come from a Jewish source.
Major medieval Hebrew collections
From the 11th to the 13th century, comprehensive collections of tales and fables were compiled in Europe, both for entertainment and edification; standard examples are the Spanish El novellino and the aforementioned Disciplina clericalis and Gesta Romanorum. Jews, especially in Morocco and in Islamic Spain, produced similar collections. Two of the most important were The Book of Comfort by Nissim ben Jacob ben Nissim of Al-Qayrawān (11th century) and The Book of Delight by Joseph ben Meir ibn Zabara of Spain (end of the 12th century). The former, composed in Judeo-Arabic, is a collection of some 60 moralizing tales designed to comfort the author’s father-in-law on the loss of a son. Belonging to a well-known genre of Arabic literature and derived mainly from Arabic sources, it is permeated by a preoccupation with divine justice, which was typical of the Muʿtazilite school of Islamic theology. It was later translated into Hebrew. The Book of Delight consists of 15 tales, largely about the wiles of women, exchanged between two travelling companions—a form of cadre, or “enclosing tale,” later adopted on a more extensive scale in the 14th century in the Canterbury Tales by Chaucer (c. 1342–1400). Typical is the tale of The Silversmith and His Wife, which relates how a craftsman, persuaded by his greedy wife to make a statue of a princess, gets his hands cut off by the king for violating the Islamic law against making images, while his wife reaps rich rewards from the flattered princess. Although most of the stories are taken from Arabic sources, some have parallels in rabbinic literature—including the famous tale of the matron of Ephesus, who, while keeping vigil over her husband’s tomb, makes love with a guard posted nearby to watch over the corpses of certain crucified robbers. When, during one of their trysts, one of the corpses is stolen and her lover therefore faces punishment, the shrewd woman exhumes the body of her husband and substitutes it. This tale is found already in the Satyricon of Petronius (died 66 ce) and was later used by Voltaire (1694–1778) in his Zadig and by the 20th-century English playwright Christopher Fry in his A Phoenix Too Frequent.
Of the same genre but deriving mainly from west European rather than Arabic sources are the Mishle shuʿalim (“Fox Fables”) of Berechiah ha-Nakdan (“the Punctuator”), who may have lived in England near the end of the 12th century. About half of these tales recur in Marie de France’s Ysopet, and only one of them is of specifically Jewish origin. Berechiah’s work was translated into Latin and thereafter became a favorite of European storytellers.
Among anonymous compendiums of this type is The Alphabet of Ben Sira, extant in two recensions, probably of the 11th century. This is basically a collection of proverbs attributed to the famous sage of the apocryphal book Ecclesiasticus (Wisdom of Jesus the Son of Sirach). In one of the recensions the proverbs are illustrated by appropriate tales. The author is represented as an infant prodigy who performs much the same feats of sapience as are attributed to Jesus in some of the Infancy Gospels.
Medieval legendary histories and Haggadic compendiums
Two other developments mark the history of Jewish myth and legend during the Middle Ages. The first was a revival of the Hellenistic predilection for large-scale compendiums in which the history of the Jews was “integrated,” in legendary fashion, with that of the world in general and especially with Classical traditions. Two major works of this kind, both composed (apparently) in Italy during the 9th century, are Josippon, by a certain Ben Gorion, which presents a fanciful record from the Creation onward and contains numerous references to foreign nations; and the Book of Jashar, a colourful account from Adam to Joshua, named for the ancient book of heroic songs and sagas mentioned in the Bible (Joshua 10:13; 2 Samuel 1:18). There is also the voluminous Chronicles of Jerahmeel, written in the Rhineland in the 14th century, which draws largely on Pseudo-Philo’s earlier compilation and includes Hebrew and Aramaic versions of certain books of the Apocrypha.
The other development was the gathering of Haggadic legends and tales into comprehensive, systematic compendiums. Works of this kind are Yalquṭ Shimʿoni (“The Collection of Simeon”), attributed to Rabbi Simeon of Frankfurt am Main; Midrash ha-gadol (“The Great Midrash”), composed after the death in 1204 of Moses Maimonides, whom it quotes; and the Midrash of David ha-Nagid, named after the grandson of Maimonides. About 100 years later a similar work on the Prophets and holy writings, Yalquṭ ha-Makiri (“The Collection of Makhir”), was compiled by Makhir ben Abba Mari in Spain. It has been suggested that the production of such works was spurred by the necessity of providing “ammunition” for the public disputations with Christian ecclesiastics that the church forced upon Jewish scholars during this period.
