This post is part of a series of posts regarding illustrations adorning manuscript and print Haggadot. Our first post dealt with a new work on the topic and can be viewed here. In this post we will focus upon the some of the Halachik implications of these illustrations. In many Ashkenazic manuscripts, the Passover illustrations begin chronologically earlier than the Seder. Many begin with the preparation of the matzah. For example, in the Second Nuremberg Haggadah[1], (the manuscript is online here) a 15th century Ashkenazic haggadah, contains ten scenes devoted to the matzah process. A similar haggadah, likely illustrated by the same artist, also includes numerous matzah baking scenes. All of these, however, begin with the bringing of the grain to the miller. This is in contrast to today’s practice whereby the matzah producing process begins earlier, with the cutting of the wheat.
(All images may be clicked for larger viewing.)
That is, for many today, matzah shmurah means shmurah (watched) from the time of harvest and not from the time of grinding. But, in reality the reason for the illustrations beginning where these haggadot do, is simply because they reflect the practice in Ashkenaz, based upon the R. Ya’akov ben Asher, the author of the Tur, that only from the time of grinding is it necessary to “watch” the grain. Matzah Shmurah in Ashkenaz in the medieval period meant grain which had been watched from the time of grinding not cutting.[2] Turning to a Sefardic custom, the Barcelona Haggadah, produced after 1350, is the earliest record of the custom to place the Seder Plate on someone’s head during the recitation of Ha Lahma Ania (Ashkenazim remove the plate from the table).Only some three hundred years later is this custom mentioned in printed sources. Additionally, there is a difference between the Sefardic and Ashkenazic haggadot regarding what the Seder Plate actually was, with the Ashkenaz depicting a plate, whereas the Sefardic manuscripts depict a basket.[3]
When it comes to marror and what vegetable that is, we have at least two different types depicted in various manuscripts. In the Brother to the Rylands Haggadah, marror is depicted as an artichoke, as is in the case with the Sarajevo Haggadah.

While in many manuscripts, marror is a leafy vegetable.[4]
Setting aside the issue of what marror is, another custom related to marror can be found in both printed and manuscript haggadot. In the Prague, 1526, the first illustrated printed haggadah, there is a picture of a man pointing at his wife with the legend, “there is a custom that a man points to his wife when mentioning marror based upon the verse Ecclesiastes 7:26 “Now I find woman more bitter than death.”
A.Y. Hyman the scholar of Jewish liturgy was appalled when he came across this. In his autobiography, he claims that there is no basis whatsoever for this “custom.” Hyman is wrong.[5] If you look at the Brother to the Rylands Haggadah you can see that it shows this custom. As does the Washington Haggadah. Likewise, the Rothschild Miscellany shows the same custom.

It’s worth noting that the Rothschild Miscellany shows another custom at the time, mid-14th century, that of mixed dancing.

The mixed dancing is that of couples, husband and wives dancing with each other, and not that of unmarried men and women dancing[6] In Italy, where this manuscript was composed, mixed dancing was apparently common during this period.[7] Returning to the gesturing at one’s wife at marror, in the Hiluq and Biluq Haggadah this custom takes on a somewhat more humorous dialogue with the wife no longer passive but instead returns the compliment. In that haggadah it includes speech balloons and they record the following: The husband states “touching marror I must recall that this one, too is bitter [as gall].” To which the wife replies, “It is you [my husband] is one of the causes of bitterness as well.” After which, we have a play on the 13 attributes of Rabbi Yishmael and the haggadah provides that “the third comes between them [perhaps the marror itself] and makes a stink” – or in Hebrew ve-yavo ha-shlishei ve-yakhriach benehem.[8]

Similarly, in some Ashkenazic haggadot manuscripts, they show the the husband and wife pointing at one another.[9] Finally we get to a halachik error in a manuscript haggadah. The Washington Haggadah was written by a scribe calledJoel ben Simon. This haggadah was first printed as part of the Diskin Orphan House haggadah series in 1965. The Library of Congress didn’t publish its facsimile edition until 1991, and last year another facsimile edition of this haggadah was published as well.[10] Although this haggadah was written close to 300 years prior to Diskin publishing it, until that time a significant scribal error escaped notice. Specifically, in the text for eruv tavshilin rather than just saying “with this eruv I am allowed to cook from Yom Yov for Shabbat,” it continues and says “and on Shabbat for Yom Tov.”

Needless to say this did not escape the eagle eyes of some who feared that someone may use this haggadah (we note that contrary to the other reproductions mentioned, the Diskin version is a poor copy) and inadvertently think it is permissible to cook on Shabbat. So, the ever wise Aggudat ha-Rabbonim took out ads in the Yiddish daily, Der Tag, and the Forward to let its readers know of this error. The publishers took this one step further and mailed out a letter, with the provocative title, “Heresy or Blunder,” after Passover indicating the error and also included a letter from Cecil Roth, who had written about manuscript haggadot.

In his letter he indicates that indeed this was most likely inadvertent and that Joel did not have a different tradition regarding eruv tavshilin. Indeed, we know from Joel’s other manuscripts, where he records the correct blessing, that the Washington Haggadah’s version was simply a scribal error.

This is not the only error related to halakha and haggadah illustrations. R. S.H. Kook, criticizes two aspects of illustrations that appear in the Prague 1526 Haggadah. Both of these issues center around how the wine glass is depicted. Specifically, he takes issue with the fact that in many of the illustrations show the wine glass in the left hand and not the right. Additionally, he complains that the illustration show the holder grasping the glass at the stem and not at with his fingers cupping the bottom of the glass.
Regarding the first issue, that of left handedness, this anomaly may be attributed to the fact that this was the first completely illustrated woodcut haggadah. And, as it was the first, it was not necessarily perfectly executed. But, before we continue we must digress and explain about woodcuts in order to get to the left handedness. A woodcut when inked and put on paper produces a mirror image of whatever the woodcut depicts. Thus, if the woodcut was of a right hand, when pressed on paper would produce a left handed image. Additionally, when copies were made, the copyist were not careful and would reverse the images. That is, they were working off the printed image and would copy it directly rather than accounting for reversing the image to ensure that when it was used it would produce the same and not a mirror image. So, as has been explained, during the early history of woodcuts “copies [of woodcuts] were constantly being made, with or without leave, for copyright hardly existed, and the same printer would often have to replace worn cuts by new blocks in successive editions. It is not always an easy task to distinguish copy from original. Immediately recognizable as from different blocks are subjects which appear in reverse directions, for the copyist who does not take the trouble to reverse his drawing from the original print, will make a block that will print the subject reversed.”[11] We can now explain why the images are left handed, presumably, they were copied and the woodcutter was not careful to reverse the image, thus producing a left handed image. As an aside, another example of copying which reverses the images may be seen when the Prague 1526 Haggadah was itself used as a model for a woodcut. The border surrounding Shefokh was reused in the Levush. As is apparent, the images are that appear on the right in the Prague 1526 Haggadah appear on the left in the Levush. And, those on the left appear on the right.

Regarding the second point, the failure to cup the glass rather than grasp the stem, this can be attributed to an error on R. Kook’s part and not the woodcutter. While today it may be commonplace to cup the glass, this was only popularized by R. Yeshaya Horowitz, in his book, Shnei Luchot ha-Brit, (Shelah). R. Horowitz wasn’t born when the Prague 1526 Haggadah was printed – he lived between 1565-1630. Moreover, his book was published posthumously, in 1648, more than 120 after the Prague 1526 Haggadah was published. Thus, it is unremarkable that the Prague 1526 Haggadah failed to account for a custom that didn’t exist at that time. This is another example of why bibliography is important, for other examples see here. Finally, we conclude this part of the series regarding halachot and Passover in general, and specifically, the notion that on Passover we are stricter than normal. At times it appears that some go overboard with the various humrot on Passover as well as cleaning all sorts of items that seemingly don’t require cleaning. But, from the evidence of manuscript illustrations, this notion of stringency is not a new one. The Golden Haggadah, circa 1320, includes this very nice image of cleaning and searching for leaven. If one looks closely they will note that the woman on the left is apparently sweeping the ceiling! Thus, indicating that perhaps going overboard has been the case for some while. Also of note is that the father is performing bedikat hametz and he is bareheaded (as is the son).[12]
[1] Its title is a reference to the fact that from the mid-nineteenth century until 1957 it was housed in Nuremberg, after which it moved to the Schocken Library, and then to a private collector. The reason it is the the Second, is because Nuremberg also had another manuscript haggadah – now known as the First Nuremberg Haggadah. It too is no longer in Nuremberg. Today it is in the Israel Museum.
[2] See Steven Fine, “The Halakhic Motif in Jewish Iconography: The Matzah-Baking Cycles of the Yahuda and Second Nurnberg Haggadahs,” in A Crown for a King, Gefen, Jerusalem-New York: 2000, pp. 106-07. [3] See Evelyn M. Cohen, “Seder Foods & Customs in Illuminated Medieval Haggadot,” in The Experience of Jewish Liturgy, D.R. Blank ed., Brill, Leiden:2011, 24-25. We note that while this article provides a summary of some of the images and text accompanying medieval haggadot, the article provides little context for various practices. Indeed, the article fails to provide sources which support many of the illustrations and texts and instead merely parrots what the the manuscripts say or depict. [4] On this issue of which vegetable is preferable for marror see Zohar Amar, Merorim, n.p., 2008. [5] His comments appear in the Misrad Hasikon 1965 reprint of the Prague 1526 Haggadah at pp. 14-15. [6] See Therese & Mendel Metzger, Jewish Life in the Middle Ages, Chartwell Books, Inc.:1982, 216-17. [7] See the sources collected by R. Henkin, Shu”t Benei Banim, vol. 1, Jerusalem: 1998, no. 37, esp. section 5 where he discusses Italian sources. Thanks to R. Weinfeld for bring this source to our attention. [8] See Bezalel Narkiss, “Art of the Washington Haggadah,” in The Washington Haggadah, Commentary, M. Weinstein, ed., Washington D.C.: 1991, pp. 73-75, discussing manuscripts that contain the marror/wife images, as well as the source in the following note. [9] See R. Yisrael Mordechi Peles, “Controversies Regarding Customs That Can Be Gleaned from Haggadot,” in HaMaayan, Nissan: 5771 (51,3), pp. 13-14, available here. [10] The 1991 edition was accompanied by a commentary volume. The 2011 edition also includes some articles with the color reproduction of the haggadah. [11] Arthur M. Hind, An Introduction to the History of Woodcut, Boston: 1935, vol. 1, pp. 284-85, quoted in R. Charles Wengrov, Haggadah and Woodcut, New York: 1967, pp. 87-88. In general Wengrov’s book provides a wealth of information regarding the images contained in the Prague 1526 Haggadah.[12] Mendel Metzger, Jewish Life in the Middle Ages, supra, p. 148 discussing generally medieval manuscripts and depictions of headcovering or lack thereof.

The Legend of R. Yehuda Halevi’s Death: Truth or Fiction & the Cairo Genizahby Eliezer Brodt

A few years ago on the Seforim Blog I dealt with the famous legend of R. Yehuda Halevi’s death (link). More recently in Ami Magazine (# 32) I returned to this legend and related topics. This post contains new information as well as corrections that were not included in those earlier articles.

R. Yehuda Halevi was born in the year 1075 in Toledo, Spain, and died in 1141.[1] He is famous in Jewish history for being a great paytan,[2] authoring hundreds of beautiful piyutim. However, he is even more famous for authoring one of the most important Jewish philosophical works of all time, the Kuzari. This work is written in dialog form between a king and a Jew who is persuaded to convert to Judaism. The Jew defends Yiddishkeit, dealing with many issues of philosophy and various Mitzvos among other topics. This work was written by R. Yehuda in Arabic, but was translated into Hebrew in 1167. It was learned by many throughout the centuries, and numerous works were written to explain it.[3] The Kuzari had a tremendous impact on Jewish thought through the centuries and continues to do so today. In this article, I hope to deal with two legends told about R. Yehuda Halevi: one about how he met an untimely death when he got toEretz Yisroel [4] and the other about him being the father-in-law of Ibn Ezra.

Among the more famous kinos that we recite on Tisha B’Av is Tzion Halo Tishali. This piyut is about the author’s passion to walk on the holy soil of Eretz Yisrael and to pray at the Kevarim. Throughout the Kuzari and in many of his piyutim we find a strong emphasis of his love for Eretz Yisroel[5]. R’ Yosef Dov Soleveitchik, when talking about R’ Yehuda Halevi in his lectures on the Kinos, said “Rabbi Yehuda Halevi adored everything about Eretz Yisroel; he was madly in love with Eretz Yisroel. I have never known anyone so in love with Eretz Yisroel as Rabbi Yehuda Halevi. There were many others who went to Eretz Yisroel, but they did not confess their love for the land in such terms as he did”.[6]

Already in the Machzor from Worms written in 1272 and in the Nuremburg Machzor written in 1331 we find this kinah was said on Tisha Bav. The piyut, however has become famous for a different reason.[7]

In the Artscroll commentary on the Kinos, R. Avraham Chaim Feuer writes:

An ancient manuscript states that R. Yehuda Halevi composed this kina while journeying towards Eretz Yisroel and recited it when he reached Damascus, facing the direction of Zion. Although many historians believe that R. Yehuda Halevi only got as far as Egypt, never even reaching Damascus, tradition has it that he finally reached Jerusalem (circa 1145).[8] There he fell to the ground in a state of ecstasy… As he was embracing the dust near the temple mount, he was trampled and killed by an Arab horseman.[9]

R’ Yosef Dov Soleveitchik, when talking about R’ Yehuda Halevi in his lectures on the kinos, said,

“While we know that he left for Eretz Yisroel, we know nothing about him from the date of his departure from Egypt. A story is told, I do not know if it’s true, that when he arrived in Eretz Yisroel, he fell on the soil… at that very moment a Bedouin on a horse rode over him and killed him. Now they say there is documentary evidence that he died in Egypt on his way to Eretz Yisroel. I do not know about it.”[10]

The story has certainly entered Jewish popular culture. In 1851 Heinrich Heine published his Romanzero, and in the section of ‘Hebrew Melodies’ he writes of “Jehuda ben Halevy’s” death at the hands of an “impious Saracen” horseman:

Calmly flow’d the Rabbi’s life-blood,

Calmly to its termination

Sang he his sweet song.—his dying

Sigh was still—Jerusalem!

In this article I intend to discuss this legend of R. Yehuda Halevi’s death. Did he actually reach Eretz Yisrael? When did he compose the piyut of Zion Haloeh Tishali? Why did he want to go to Eretz Yisroel so badly, considering that it was very dangerous in his time?

By the way of introduction, it is worth noting the words of R’ Elazar Ezkiri in his classic work Sefer Chareidim. He says that everyone is supposed to love Eretz Yisroel and go there… therefore the Amoraim would kiss the ground when they came,[11] and it’s good to recite the piyut Shir Yedidus composed by R’ Yehuda Halevi . . . [12] Apparently Rav Yehuda Halevi is considered a first stop for expressing such affection.

R. Abraham Zacuto (1452-1514) in Sefer Yuchsin (first printed in 1566) writes that “R. Yehuda Halevi was fifty [years old] when he came to Eretz Yisroel and he is buried together with his first cousin, Ibn Ezra.”[13] Later, however, R. Zacuto writes that R. Yehuda Halevi is buried with R. Yehuda bar Ilay in Tzefat.[14] Setting aside the apparent contradiction regarding R. Yehuda Halevi’s burial place, in both of these descriptions R. Yehuda Halevi is depicted as having actually made it to Eretz Yisrael. Notably absent, however, is the legend of an Arab/Bedouin horseman killing him.

Adam Shear called attention to an edition of the Kuzari printed in 1547 which says on the front page:כוזרי חברו בלשון ערבי החכם הגדול אבי כל המשוררים רבי יהודה הלוי הספרדי ז”ל אשר קדש שם שמים בויכוחו הישר הזה… (ראה: ארשת א, עמ’ 67).

This term is usually used for martyrdom. Shear suggests that perhaps it comes from this story, later mentioned by the Shalsheles Hakabbalah,[20] although he concludes that the idea is far-fetched.

In 1840 R. Shmuel David Luzzatto (ShaDaL) in his collection of the Diwan containing the poems of R. Yehuda Halevi, Besulas Bas Yehuda, questions the legend on the grounds that Jerusalem was in the hand of Christians at the time, and Arabs were not allowed in the city. Furthermore, even if there were Arabs around, they would not have done such a brazen act right at the city gate.[21] So Shadal concludes that he died on his way from Egypt, never even reaching Eretz Yisroel.[22] S. Fuenn accepts the conclusion of Shadal.[23] R. Michael Sachs in his work Die religiöse Poesie der Juden in Spanien also accepts Shadal’s conclusion because he notes that while Ibn Ezra refers to him in his work on Chumash he does not mention anything unique about his death,[24] he just says שאלני ר’ יהודה הלוי מנוחתו כבוד.Around the same time R. Matisyahu Strashun reached the same conclusion, perhaps independently. In a letter written in 1841, he questioned the veracity of the legend,[25] alsopointing out that Jerusalem in the times of R. Yehuda Halevi was ruled by Christians and not by Arabs. R. Strashun allows that although it is possible that R. Yehuda Halevi composed Zion Halo Tishali when he got to Jerusalem — not that we know that he did — the part of the story about the Arab killing him is certainly not true. As a general matter, R. Strashun notes that it is well known that the Shalsheles Hakabbalah is an unreliable source.[26]Simon Dubnov suggests that there is a kernel of truth to the story –that some Crusader must have killed a Jew right after he arrived in Eretz Yisroel.[27]Israel Zinberg suggests that, most likely, R. Yehuda Halevi returned home to Spain after visiting Eretz Yisrael, based on the fact that R. Shlomo Parchon, a student of R. Yehuda Halevi who lived in Spain, quotes a statement from R. Yehuda Halevi “after R. Yehuda Halevi was in Egypt”.[28]Specifically, R. Yehuda Halevi had told Parchon that he was doing teshuva and therefore no longer composing.[29] Zinberg therefore argues that this statement to Parchon must have taken place after R. Yehuda Halevi was in Egypt; thus R. Yehuda Halevi must have returned to Spain.[30] David Kaufmann also used R. Shlomo Parchon as a source to deduce how R. Yehuda Halevi died. Kaufmann points out that had R. Yehuda Halevi died in such a spectacular fashion as the legend has it, R. Shlomo Parchon would have been sure to note it. Since R. Parchon makes no note of this extraordinary death, R. Yehuda Halevi must have died a natural death.[31] InAmudei Avodah, Landshuth also questions the legend due to lack of evidence that R. Yehuda Halevi ever made it to Eretz Yisrael.[32]

In regard to the piyut, Zion Haloh Tishali, Leser Landshuth cites different opinions about where it was written: either in Spain, Damascus, or Syria.[33] Yitzhak Baer[34] and David Kaufmann cite a manuscript housed at Oxford which says that R. Yehuda Halevi said this piyut when he got to Yerushalayim.[35]

Earlier I mentioned that the Sefer Yuchasin writes that R. Yehuda Halevi was fifty years old when he came to Eretz Yisrael, and he is buried with his first cousin, Abraham Ibn Ezra. Later he writes that he is buried with R. Yehuda bar Ilay in Tzefas. In the Travels of R. Benyamin of Tudela, written around the year 1170, which is only thirty years after the R. Yehuda Halevi died, R. Benjamin records that he visited the grave of R. Yehuda Halevi in Tiveriah.[36] It’s interesting to note that in the travels of R. Pesachya of Regensburg which were written right after R. Benyamin of Tudela’s (around 1180) there is no mention of the grave of R. Yehuda Halevi.[37]

In the travels of R. Yitzchak ben Alfurah, written around 1441, he also writes that he visited the graves of Ibn Ezra and R. Yehuda Halevi.[38] In a different anonymous list of Kevarim in Eretz Yisroel from the fifteenth century, recently printed from manuscripts from the Ginsburg Collection, it also records that Ibn Ezra and R. Yehuda Halevi are buried next to each other.[39]All of these sources provide strong evidence that R. Yehuda Halevi actually made it to Eretz Yisrael. Nevertheless, an anonymous traveler in 1473[40] and R. Yosef Sofer in 1762 write that they visited the grave of Ibn Ezra but make no mention that R. Yehuda Halevi is buried there as well.[41] In the travels of R. Moshe Yerushalmi from 1769, he writes that he visited the graves of Ibn Ezra and R. Shlomo Ibn Gabirol , but no mention is made of the grave of R. Yehuda Halevi.[42] A manuscript from the author of the Koreh Hadoros, seems to indicate that R. Yehuda Halevi was buried in Jerusalem.[43] It should of course be noted that the location of Ibn Ezra’s death in Eretz Yisroel is itself problematic. Although Sefer Yuchasin brings the opinions that he is buried in Eretz Yisroel, he initially states that he died in Calahorra, Spain. Furthermore, Rabbi Moshe of Taku – an earlier source than Sefer Yuchasin – writes of a legend told to him by Jews of England that Ibn Ezra died there, after encountering a number of sheidimwhich appeared to him as black dogs.

Another piece of evidence can be found inn some early manuscripts, where we find before the kinah the following superscription:

זאת הקינה יסד ר’ יהודה קשטלין לפני הר ציון

But even more than that Rabbi Holzer discovered in a manuscript written before 1300 (which he is preparing for print) , which has the following statement:

יסוד רבינו יהודה הלוי הקשטלין אשר יסדה תחת הר ציון בבואו לירושלים עם המלך מספרד וראה הר ציון שמ(ו)[ם] נשא את קולו ובכה על חורבנו ואמר ציון הלא תשאל

See The Rav Thinking Aloud, p. 222. I would like to thank Zecharia Holzer for bringing this source to my attention. What is important about these sources is that they are before theShalsheles Hakabbalah.

One area that benefited greatly from the later discoveries of Goitein was the history of R. Yehuda Halevi. Before this discovery, the biography of R. Yehuda Halevi was written by the early scholars of Jewish history such as Shadal[47], David Kauffman, Chaim Schirmann and many others. Their work was based heavily on the poems of R. Yehuda Halevi, for this was just about the only source. These poems existed in many manuscript collections. For example, R. David Conforte (1618-1678) in his Koreh Hadoros mentions seeing one such collection.[48] Before the aforementioned discoveries, all that was known about R. Yehuda Halevi was that he was a great poet, a medical doctor,[49] and an Askan. He was possibly a talmid of the Rif[50]and was certainly close with the Ri Migash, and may have even been his secretary for a short time.[51]And of course, in addition to his piyutim he was most famous for his important work of Jewish thought, the Kuzari.

However, among the Genizah discards Shlomo D. Goitein found many documents relating to R. Yehuda Halevi, all written around 1130-1141, including many in R. Yehuda Halevi’s own handwriting! Many of these documents can be viewed online today. Starting in 1954, Goitein printed his discoveries with his explanations of the material, in various journals, mostly inTarbitz. Later on, in his classic multi-volume A Mediterranean Society (volume V, pp. 448-468), he included an excellent chapter on R. Yehuda Halevi based on all the material which he had found over the years. Most of his interpretations of the material he discovered have been accepted by Professors C. Schirmann and Ezra Fleischer, renowned experts on Piyut.

What follows is a brief time-line of R. Yehuda Halevi’s journey to Eretz Yisrael based on the research of the aforementioned professors.[56] In 1129, when R. Yehuda Halevi was fifty four years old, he decided to make the journey to Eretz Yisrael. In the year 1130, R. Yehuda Halevi began his journey. He intended to travel through Egypt. We don’t know why he didn’t. But we do know that he ended up in North Africa. In North Africa, he became good friends with Ibn Ezra. For some unknown reason, he ended up back in Spain.[57] Not too much information is known about why this journey to Eretz Yisrael did not end up happening. Ten years later, in 1140, R. Yehuda Halevi began the journey again. He ended up in Alexandria on September 8. He had intended to leave from Egypt to Eretz Yisrael immediately, but was delayed. He ended up staying in Cairo until Pesach. After that he returned to Alexandria. A few days before Shavuos of 1141, he boarded the boat, and on Shavuos, he set sail to Eretz Yisrael.[58] A letter written about 6 months later indicates that R. Yehuda Halevi was no longer alive. It seems that he was alive for 2 months in Eretz Yisrael and that he died in either Tammuz or Av.[59] We don’t have any information about his stay in Eretz Yisrael. It would seem that either he got sick or died a natural death. From the documents there is no clear answer as to whether the legend is true or not (except by omission). It’s rather disappointing that with all the manuscripts discovered in the Cairo Geniza that enriched us with an in-depth, heavily detailed history of R. Yehuda Halevi’s last years until he left to Eretz Yisrael, we do not know anything more, but of course the documents could not refer to the unnatural death if that had not happened or been dreamed of yet.

However, there is one letter written three months after the death of R. Yehuda Halevi that does seem to indicate that perhaps the legend is true. The letter reads as follows (the ellipses appear in the original):

ולא נעלם ממנה אודות רבינו יהודה הלוי הצדיק החסיד זק”ל אשר עליו באמת ניבאו נביאי האמת עין לא ראתה, ההיה גבור ביראת אלהים ובתורתו, ומאמרי פעליו מעידים צדקו, באודותיו ירונו כצפורים בעתותן למנוחת עולם הוטע כבוד גן אלהים, וברמה הוא נשא נס גדולותיו והליכות גבורותיו, אשר תרונה ביקרו, והתיקר… וביקרו, ותמונת ה’ הביט… בשדה צען להאירה… זק”ל לא… צור… מחנה שדי… להתנחל לרשת… עזי…וישם… בדמות השכינה ובמראה… בשערי ירושלים

This letter was first printed by Jacob Mann in 1920 but he dismissed the possibility that it was referring to the author of the Kuzari.[60] Goitein highlights the line “ולא נעלם ממנה אודות רבינו יהודה הלוי הצדיק החסיד זק”ל,” which would seem to indicate that his death was not natural (calling him a kadosh is typically reserved for martyrs). Note that the last words, בשערי ירושלים, would seem to support the legend. However, the letter is damaged and hard to read so one cannot say anything conclusively. However Fleischer is willing to use the letter, even with its missing parts, to support the legend. Especially since, he says, the author of the letter used the word קדוש twice in the phrase זק”ל instead of the usual ז”ל. He also has other proofs from a careful reading of the letter. Fleischer concludes from this that the legend about R. Yehuda Halevi’s death is not so far-fetched. In light of this possibility, Fleisher notes, that one should be careful not to make fun of legends.[61] Additionally ,there is also another letter in this collection that refers to R. Yehuda Halevi as a kadosh.[62]

We have shown, in light of the documents discovered in the Cario Genizah that R. Yehuda Halevi did indeed make it to Eretz Yisroel. And it would seem that there is also a good chance that the story that the Shalsheles Hakabbalah brings is true, and that he died a strange death through unnatural causes. The question remains as to why he decided to go to Eretz Yisroel at that time.[63] There were no real communities of any sort there, traveling was dangerous, and he was an older man. It is clear from many of his poems and especially from specific passages that he had a tremendous love for Eretz Yisroel. Professor Elchanan Reiner notes that he was one of the first known people that actually made the dangerous voyage to Eretz Yisroel in the times of the Rishonim. Reiner says that it was due to his strong desire to daven there, especially at various Kevarim.[64] There is strong support for this, especially in his kina Zion Halo Tishali,where he mentions this desire to daven at the kevarim. Ezra Fleischer suggests that R. Yehuda Halevi thought others would follow him to Eretz Yisroel.[65]

Goitein writes: “one might argue that the themes of Israel’s uniqueness, of the holiness of Palestine… are overdone in the Kuzari and in Ha-levi’s poetry. They are but for good reasons. It was a time of extreme urgency. Constant and gruesome warfare was going on in Spain. As Judah Ha-Levi emphasizes in his poems, whenever Christians and Muslims fought each other, the Jews were affected most by the disturbance of peace. The feeling of impotence in the absence of any signs of relief was dangerous forebodings of despair and loss of faith… All in all, the voice of encouragement ringing out from Ha-levi’s poems was stronger than whimpers of despair.”[66]

Rabbi Yehuda Leib Gerst, without seeing what Goitein wrote, suggested that since this was a time that Jews were downhearted, especially about Eretz Yisroel, he wanted to reawaken love for Eretz Yisroel. Even though it was dangerous to go at that time and it seems that many tried to convince him not to go, he still gave up everything: family, friends and a comfortable life style. He writes that even if the story of the Shalsheles Hakabbalah did not happen exactly as he heard it, his trip to Eretz Yisroel still caused a tremendous Kiddush Hashem.[67]

Although R. Yehuda Halevi’s trip did increase the Jewish people’s hope and did increase its emphasis on Eretz Yisrael, it is not clear that this was his own personal intention for going. In one of the letters discovered in the Geniza, it sounds as if he wanted to go quietly. He knew his days were numbered and he wanted to be in Eretz Yisrael alone.[68]

There is one last point worth mentioning: R’ Shlomo Yosef Zevin wrote a beautiful piece that shows that in addition to the Kuzari being a philosophical work, it also has many halachic aspects and was accordingly used by many.[69] One recent example is in the famous controversy between the Chazon Ish and many other gedolim regarding the placement of the International Dateline – specifically regarding which day the bochurim of the Mir yeshiva should celebrate Yom Kippur in Japan. One of the main sources on the topic of the Chazon Ish was the Kuzari.[70]Regarding the halachic aspect of going to Eretz Yisroel, the Kuzari writes that it is a Mitzvah even nowadays, making him one of the earliest sources to say such a thing. Even more importantly, he says one should go even if it’s dangerous.[71] In this light, it is evident why he made this trip: he held that he was halachically obligated to even though it was dangerous![72]

I would like to conclude with one last point that is related to all this. I mentioned earlier that R. Abraham Zacuto in Sefer Yuchasin writes that “R. Yehuda Halevi was fifty [years old] when he came to Eretz Yisroel and he is buried together with his first cousin, Ibn Ezra.[73] Now we know that there was certainly a strong connection between Ibn Ezra and R. Yehuda Halevi. D. Kaufmann gives a listing of the many times which Ibn Ezra quotes R. Yehuda Halevi throughout his works.[74] In addition, there are many other places in his works which clearly indicate that R. Yehuda Halevi had a great influence on his works.

R. Azariah de Rossi, in his Me’or Eynaim, writes that R. Yehuda Halevi was Ibn Ezra’s father-in-law (chapter 42). Koreh hadoros also brings this down. R. Immanuel Aboab in his Bemavak ‘al Erko shel Torah, written in 1615, claims that Ibn Ezra was both R. Yehuda Halevi’s son-in-law as well as a cousin.[75]

The Shalsheles Hakabblah brings a legend which he had heard about how exactly Ibn Ezra became the son-in-law of R Yehuda Halevi.[76] The gist of the story was that R. Yehuda Halevi was working on a poem and he got stuck. He left his notebook open and went away, and when he returned, he found the poem completed. It turned out that Ibn Ezra had completed it, and because of this, R. Yehuda Halevi let him marry his only daughter. There are many versions of this story, but strangely, if this were true, in the many times that Ibn Ezra quotes the Kuzari in his works, he never once refers to him as his father-in-law.[77]

R. Yehuda Al-charizi writes in his Sefer Tachkemoni, (written between 1195-1234) that Ibn Ezra had a son Yitzhak who was also a great poet but he tragically left the proper path, apparently converting to Islam.[78] Some took this as a license and went so far as too say that any of the problematic ideas[79] mentioned in the writings of Ibn Ezra were added in by this son.[80] For many years scholars were searching for more details about this sad saga. Finally they found a collection of Yitzchak’s poems which they hoped would shed some light on the matter, but the owner wanted a ridiculous sum of money for it. It was not purchased, and during the Second World War it was lost. Eventually, the collection was found and printed but it turned out that it did not really shed much light on this story.

However, in the same documents that Goitein found about R. Yehuda Halevi, there were many mentions of Yitzchak Ibn Ezra (some in the documents written by R. Yehuda Halevi himself). Both Goitein and Fleischer concluded that although R. Yehuda Halevi was not the father-in-law of Ibn Ezra, his son Yitzchak did marry R. Yehuda Halevi’s only daughter.[81] They go so far as to show that Yitzchak and his wife, R. Yehuda Halevi’s daughter, were supposed to follow him to Eretz Yisroel eventually. So there was indeed a family connection between Ibn Ezra and R. Yehuda Halevi. There is even a letter with instructions from R. Yehuda Halevi for a Yehuda ibn Ezra which some want to suggest was his grandson, son of Yitzchak![82] In Sefardi communities it is not unique at all to name after a living relative.

In conclusion I have shown based on documents from the Cario Genizah that it is likely that the legend recorded by Shalsheles Hakabbalah regarding R. Yehuda Halevi is true and he did indeed make it to Eretz Yisroel and that he died an unusual death. We also see from these documents that the legend which is brought by many that there was a family connection between R. Yehuda Halevi and Ibn Ezra is also true, as Yitzchak, Ibn Ezra’s wayward son married R. Yehuda Halevi daughter.

I would just like to conclude with a great quote from the Chazon Ish which I think is very appropriate here:

דברי הימים וקורות עולם הם מאלפים הרבה את החכם בדרכו, ועל תולדות העבר ייסד אדני חכמתו. ואמנם בהיות האדם אוהב לחדש ולהרצות לפני הקהל, נצברו הרבה שקרים בספרי התולדות, כי בן אדם אינו שונא את הכזב בטבעו, ורבים האוהבים אותו ומשתעשעים בו שעשועי ידידות, ועל החכם להבר בספורי הסופרים לקבל את האמת ולזרות את הכזבים, וכאן יש כר נרחב אל הדמיון, כי טבע הדמיון למהר ולהתקדם ולהגיד משפט, טרם שהשכל הכין מאזני משפט לשקול בפלס דבר על אפנו, והדמיון חוץ משפטו כרגע, מהו מן האמת ומהו מן הכזב (אמונה ובטחון, פרק א אות ח).

[24] Die religiöse Poesie der Juden in Spanien, Berlin: Veit, 1845, pp. 287-291.

Interestingly enough the Meiri in his Seder Hakabbalah and the Sha’ari Zion make no mention of this relationship between Ibn Ezra and R. Yehuda Halevi.