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note. Joseph Penso boldly undertook a most difficult task; he composed a Hebrew drama. Since Immanuel Romi had written his witty tales in verse, the neo-Hebraic muse had been stricken with sterility, for which the increasing troubles of the times were not alone to blame. Moses da Rieti and the poetic school of Salonica composed verses, but did not write poetry. Even the greatest of Jewish poets, Gebirol and Jehuda Halevi, had produced only lyric and didactic poetry, and had not thought of the drama. Joseph Penso, inspired by the poetical air of Spain, the land of his birth, where Lope de Vega's and Calderon's melodious verses were heard beside the litany of the monks and the cry of the sacrificial victims, transferred Spanish art forms to neo-Hebraic poetry. Penso happily imitated the various kinds of metre and strophe of European poetry in the language of David and Isaiah.

      One may not, indeed, apply a severe standard to Joseph Penso's drama, but should endeavor to forget that long before him Shakespeare had created life-like forms and interests. For, measured by these, Penso's dramatic monologue and dialogue seem puerile. However free from blame his versification is, the invention is poor, the ideas commonplace. A king who takes a serious view of his responsibilities as ruler is led astray, now by his own impulses (Yezer), now by a coquette (Isha), now by Satan. Three other opposing forces endeavor to lead him in the right way – his own judgment (Sechel), divine inspiration (Hashgacha), and an angel. These are the characters in Penso's drama "The Captives of Hope" (Asiré ha-Tikwah). But if one takes into consideration the object which Penso had in view, viz., to hold up a mirror to Marrano youths settled at Amsterdam, who had been used to Spanish licentiousness, and to picture to them the high value of a virtuous life, the performance of the youthful poet is not to be despised. Joseph Penso de la Vega composed a large number of verses in Spanish, occasional poetry, moral and philosophical reflections, and eulogies on princes. His novels, entitled "The Dangerous Courses" (los Rumbos peligrosos), were popular.

      Marrano poets of mediocre ability were so numerous at this time in Amsterdam, that one of them, the Spanish resident in the Netherlands, Manuel Belmonte (Isaac Nuñes), appointed count-palatine, founded an academy of poetry. Poetical works were to be handed in, and as judges he appointed the former confessor, De Rocamora, and another Marrano, who composed Latin verses, Isaac Gomez de Sosa. The latter was so much enraptured of Penso's Hebrew drama, that he triumphantly proclaimed, in Latin verse:

      "Now is it at length attained! The Hebrew Muse strides along on high-heeled buskin safe and sound. With the measured step of poetry she is conducted auspiciously by Joseph – sprung from that race which still is mostly in captivity. Lo! a clear beam of hope shines afresh, that now even the stage may be opened to sacred song. Yet why do I praise him? The poet is celebrated by his own poetry, and his own work proclaims the praise of the master."

      Another of the friends of the Jewish dramatist was Nicolas de Oliver y Fullana (Daniel Jehuda), poet, and colonel in the Spanish service; he was knighted, entered the service of Holland, and was an accurate cartographer and cosmographer. There was also Joseph Szemach (Sameh) Arias, a man of high military rank, who translated into Spanish the work of the historian Josephus against Apion, which controverted the old prejudices and falsehoods against Jews. This polemic was not superfluous even at this time. Of the Jewish Marrano poetesses, it will suffice to name the fair and gifted Isabel Correa (Rebecca), who twined a wreath of various poems, and translated the Italian popular drama, "The True Shepherd" (Pastor Fido, by Guarini) into beautiful Spanish verse. Isabel was the second wife of the poet-warrior, De Oliver y Fullana.

      Of a far different stamp was the Marrano Thomas de Pinedo (Isaac, 1614–1679) of Portugal, educated in a Jesuit college at Madrid. He was more at home in classical than in Jewish antiquity, and applied himself to a branch of study little cultivated in Spain in his time, that of ancient geography. He, too, was driven out of Spain by the Inquisition, and deemed himself fortunate to have escaped unhurt. The philologist De Pinedo dwelt later on in Amsterdam, where he printed his comprehensive work. He composed his own epitaph in Latin.

      We must not leave unmentioned a personage celebrated at that time perhaps beyond his deserts, Jacob Jehuda Leon (Templo, 1603–1671). If not a Marrano, he was of Marrano descent, and resided first at Middelburg, then at Amsterdam, and was more an artist than a man of science. Leon devoted himself to the reproduction of the first Temple and its vessels, as they are described in the Bible and the Talmud. He executed a model of the Temple on a reduced scale (3 yards square, 1½ in height), and added a concise, clear description in Spanish and Hebrew. Work of so unusual a character attracted extraordinary notice at a time when every kind of antiquarian learning, especially biblical, was highly prized. The government of Holland and Zealand gave the author the copyright privilege. Duke August of Brunswick, and his wife Elizabeth, wished to possess a German translation of Leon's description, and commissioned Professor John Saubert, of Helmstädt, to undertake it. While corresponding with the author so as to ensure thoroughness, he was anticipated by another man who brought out a German translation at Hanover. This circumstance caused great annoyance to Professor Saubert. Templo, as Leon and his posterity were surnamed from his work in connection with the Temple, engaged in controversies with Christian ecclesiastics on Judaism and Christianity, and published a translation of the Psalms in Spanish.

      In this cultivated circle of Spinoza's contemporaries were two men who lived alternately at Hamburg and Amsterdam, David Coen de Lara and Dionysius Musaphia, both distinguished as philologists, but not for much besides. With their knowledge of Latin and Greek they explained the dialect of the Talmud, and corrected errors which had crept into the earlier Talmudical lexicons. David de Lara (1610–1674) was also a preacher and writer on morals; but his efforts in that direction are of small value. He associated too much with the Hamburg preacher, Esdras Edzardus, who was bent on the conversion of the Jews. The latter spread the false report that De Lara was almost a Christian before he died. Dionysius (Benjamin) Musaphia (born about 1616, died at Amsterdam, 1676), a physician and student of natural science, was up to the date of the monarch's death in the service of the Danish king Christian IV. He was also a philosopher, and allowed himself to question various things in the Talmud and the Bible. Nevertheless he held the office of rabbi at Amsterdam in his old age.

      Much more important than the whole of this circle was Balthasar Orobio de Castro (1620–1687). He also sprang from Marrano parents, who secretly continued to cling to Judaism, in that they abstained from food and drink on the Day of Atonement. In this meager conception of Judaism, Orobio was brought up. Endowed with clear intellect, he studied the decayed and antiquated philosophy still taught in Spanish academies, and became professor of metaphysics in the University of Salamanca. This fossilized philosophy appears neither to have satisfied him nor to have brought him sufficient means of subsistence, for he applied himself in riper years to the study of medicine. In this pursuit Orobio was more successful; he gained a reputation at Seville, was physician to the duke of Medina-Celi, and to a family in high favor with the court, and amassed considerable wealth. He was a happy husband and father, when the Inquisition cast its baleful glance upon him. A servant, whom he had punished for theft, had informed against him. Orobio was seized, accused of Judaism, and thrown into a narrow, gloomy dungeon, where he had not room to move, and where he spent three years (about 1655–1658).

      At first he filled up his time with philosophical subtleties, as pursued at the Spanish universities. He undertook to defend a thesis, acting at the same time in imagination as the opponent, who interposes objections, and as the judge, who sums up and sifts the arguments. By degrees his mind grew so perplexed that he often asked himself, "Am I really Don Balthasar Orobio, who went about in the streets of Seville, and lived in comfort with his family?" His past seemed a dream, and he believed that he had been born in prison, and must die there. But the tribunal of the Inquisition brought a change into his empty dream-life. He was ushered into a dark vault, lighted only by a dull lamp. He could hardly distinguish the judge, the secretary, and the executioner, who were about to deal with his case. Having been again admonished to confess his heresy, and having again denied it, the hangman undressed him, bound him with cords, which were fastened to hooks in the wall, brought his body into a swinging movement between the ceiling and the floor, and drew the cords so tight, that the blood spurted from his nails. His feet, moreover, were strongly bound to a small ladder, the steps of which were studded with spikes. Whilst being tortured, he was frequently admonished to make confession, and was threatened, in case he persisted in denial, with the infliction of still more horrible pains, for which,

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