Jewish Literature and Other Essays Part 13

With amazement we see the Hebrew muse, so serious aforetimes, partic.i.p.ate in truly baccha.n.a.lian dances under Immanuel's guidance. It is curious that while, on the one hand, he shrinks from no frivolous utterance or indecent allusion, on the other, he is dominated by deep earnestness and genuine warmth of feeling, when he undertakes to defend or expound the fundamentals of faith. It is characteristic of the trend of his thought that he epitomizes the "Song of Songs" in the sentence: "Love is the pivot of the _Torah_." By a bold hypothesis it is a.s.sumed that in Daniel, his guide in Paradise (in the twenty-eighth canto of his poem), he impersonated and glorified his great friend Dante. If true, this would be an interesting indication of the intimate relations existing between a Jew and a circle devoted to the development of the national genius in literature and language, and the stimulating of the sense of nature and truth in opposition to the fantastic visions and grotesque ideals of the past.

Everywhere, not only in Italy, the Renaissance and the humanistic movement attract Jews. Among early Castilian troubadours there is a Jew, and the last troubadour of Spain again is a Jew. Naturally Italian Jews are more profoundly than others affected by the renascence of science and art. David ben Yehuda, Messer Leon, is the author of an epic, _Shebach Nas.h.i.+m_ ("Praise of Women"), in which occurs an interesting reference to Petrarch's Laura, whom, in opposition to the consensus of opinion among his contemporaries, he considers, not a figment of the imagination, but a woman of flesh and blood. Praise and criticism of women are favorite themes in the poetic polemics of the sixteenth century. For instance, Jacob ben Elias, of Fano, in his "s.h.i.+elds of Heroes," a small collection of songs in stanzas of three verses, ventures to attack the weaker s.e.x, for which Judah Tommo of Porta Leone at once takes up the cudgels in his "Women's s.h.i.+eld." At the same time a genuine song combat broke out between Abraham of Sarteano and Elias of Genzano. The latter is the champion of the purity of womanhood, impugned by the former, who in fifty tercets exposes the wickedness of woman in the most infamous of her s.e.x, from Lilith to Jezebel, from Semiramis to Medea. An anonymous combatant lends force to his strictures by an arraignment of the lax morals of the women of their own time, while a fourth knight of song, evidently intending to conciliate the parties, begins his "New Song," only a fragment of which has reached us, with praise, and ends it with blame, of woman. Such productions, too, are a result of the Renaissance, of its romantic current, which, as it affected Catholicism, did not fail to leave its mark upon the Jews, among whom romanticists must have had many a battle to fight with adherents of traditional views.

Meantime, neo-Hebraic poetry had "fallen into the sear, the yellow leaf." Poetry drooped under the icy breath of rationalism, and vanished into the abyss of the Kabbala. At most we occasionally hear of a polemic poem, a keen-edged epigram. For the rest, there was only a monotonous succession of religious poems, repeating the old formulas, dry bones of habit and tradition, no longer informed with true poetic, religious spirit. Yet the source of love and humor in Jewish poetry had not run dry. It must be admitted that the sentimentalism of the minneservice, peculiar to the middle ages, never took root in Jewish soil. Pale resignation, morbid despair, longing for death, unmanly indulgence in regret, all the paraphernalia of chivalrous love, extolled in every key in the poetry of the middle ages, were foreign to the sane Jewish mind.

Women, the object of unreasoning adulation, shared the fate of all sovereign powers: homage worked their ruin. They became accustomed to think that the weal and woe of the world depended upon their constancy or disloyalty. Jews alone were healthy enough to subordinate s.e.xual love to reverence for maternity. Holding an exalted idea of love, they realized that its power extends far beyond the lives of two persons, and affects the well-being of generations unborn. Such love, intellectual love, which Benedict Spinoza was the first to define from a scientific and philosophic point of view, looks far down the vistas of the future, and gives providential thought to the race.

While humor and romanticism everywhere in the middle ages appeared as irreconcilable contrasts, by Jews they were brought into harmonious relations.h.i.+p. When humor was banished from poetry, it took refuge in Jewish-German literature, that spiritual undercurrent produced by the claims of fancy as opposed to the aggressive, all absorbing demands of reason. Not to the high and mighty, but to the lowly in spirit, the little ones of the earth, to women and children, it made its appeal, and from them its influence spread throughout the nation, bringing refreshment and sustenance to weary, starved minds, hope to the oppressed, and consolation to the afflicted. Consolation, indeed, was sorely needed by the Jews on their peregrinations during the middle ages. Sad, inexpressibly sad, was their condition. With fatal exclusiveness they devoted themselves to the study of the Talmud.

Secular learning was deprecated; antagonism to science and vagaries characterized their intellectual life; philosophy was formally interdicted; the Hebrew language neglected; all their wealth and force of intellect lavished upon the study of the Law, and even here every faculty--reason, ingenuity, speculation--busied itself only with highly artificial solutions of equally artificial problems, far-fetched complications, and vexatious contradictions invented to be harmonized.

Under such grievous circ.u.mstances, oppression growing with malice, Jewish minds and hearts were robbed of humor, and the exercise of love was made a difficult task. Is it astonis.h.i.+ng that in such days a rabbi in the remote Slavonic East should have issued an injunction restraining his sisters in faith from reading romances on the Sabbath--romances composed by some other rabbi in Provence or Italy five hundred years before?

Sorrow and suffering are not endless. A new day broke for the Jews. The walls of the Ghetto fell, dry bones joined each other for new life, and a fresh spirit pa.s.sed over the House of Israel. Enervation and decadence were succeeded by regeneration, quickened by the spirit of the times, by the ideas of freedom and equality universally advocated. The forces which culminated in their revival had existed as germs in the preceding century. Silently they had grown, operating through every spiritual medium, poetry, oratory, philosophy, political agitation. In the suns.h.i.+ne of the eighteenth century they finally matured, and at its close the rejuvenation of the Jewish race was an accomplished fact in every European country. Eagerly its sons entered into the new intellectual and literary movements of the nations permitted to enjoy another period of efflorescence, and Jewish humor has conquered a place for itself in modern literature.

Our brief journey through the realm of love and humor must certainly convince us that in sunny days humor rarely, love never, forsook Israel.

Our old itinerant preachers (_Maggidim_), strolling from town to town, were in the habit of closing their sermons with a parable (_Mashai_), which opened the way to exhortation. The manner of our fathers recommends itself to me, and following in their footsteps, I venture to close my pilgrimage through the ages with a _Mashal_. It transports us to the sunny Orient, to the little seaport town of Jabneh, about six miles from Jerusalem, in the time immediately succeeding the destruction of the Temple. Thither with a remnant of his disciples, Jochanan ben Zakka, one of the wisest of our rabbis, fled to escape the misery incident to the downfall of Jerusalem. He knew that the Temple would never again rise from its ashes. He knew as well that the essence of Judaism has no organic connection with the Temple or the Holy City. He foresaw that its mission is to spread abroad among the nations of the earth, and of this future he spoke to the disciples gathered about him in the academy at Jabneh. We can imagine him asking them to define the fundamental principle of Judaism, and receiving a multiplicity of answers, varying with the character and temper of the young missionaries. To one, possibly, Judaism seemed to rest upon faith in G.o.d, to another upon the Sabbath, to a third upon the _Torah_, to a fourth upon the Decalogue. Such views could not have satisfied the spiritual cravings of the aged teacher. When Jochanan ben Zakka rises to give utterance to his opinion, we feel as though the narrow walls of the academy at Jabneh were miraculously widening out to enclose the world, while the figure of the venerable rabbi grows to the n.o.ble proportions of a divine seer, whose piercing eye rends the veil of futurity, and reads the remote verdict of history: "My disciples, my friends, the fundamental principle of Judaism is love!"

THE JEWISH STAGE

Perhaps no people has held so peculiar a position with regard to the drama as the Jews. Little more than two centuries have pa.s.sed since a Jewish poet ventured to write a drama, and now, if division by race be admissible in literary matters, Jews indisputably rank among the first of those interested in the drama, both in its composition and presentation.

Originally, the Hebrew mind felt no attraction towards the drama. Hebrew poetry attained to neither dramatic nor epic creations, because the all-pervading monotheistic principle of the nation paralyzed the free and easy marshalling of G.o.ds and heroes of the Greek drama.

Nevertheless, traces of dramatic poetry appear in the oldest literature.

The "Song of Songs" by many is regarded as a dramatic idyl in seven scenes, with Shulammith as the heroine, and the king, the ostensible author, as the hero. But this and similar efforts are only faint approaches to dramatic composition, inducing no imitations.

Greek and Roman theatrical representations, the first they knew, must have awakened lively interest in the Jews. It was only after Alexander the Great's triumphal march through the East, and the establishment of Roman supremacy over Judaea, that a foothold was gained in Palestine by the inst.i.tutions called theatre by the ancients; that is, _stadia_; circuses for wrestling, fencing, and combats between men and animals; and the stage for tragedies and other plays. To the horror of pious zealots, the Jewish h.e.l.lenists, in other words, Jews imbued with the secular culture of the day, built a gymnasium for the wrestling and fencing contests of the Jewish youth of Jerusalem, soon to be further defiled by the circus and the _stadium_. According to Flavius Josephus, Herod erected a theatre at Jerusalem twenty-eight years before the present era, and in the vicinity of the city, an amphitheatre where Greek players acted, and sang to the accompaniment of the lyre or flute.

The first, and at his time probably the only, Jewish dramatist was the Greek poet Ezekielos (Ezekiel), who flourished in about 150 before the common era. In his play, "The Exodus from Egypt," modelled after Euripides, Moses, as we know him in the Bible, is the hero. Otherwise the play is thoroughly h.e.l.lenic, showing the Greek tendency to become didactic and reflective and use the heroes of sacred legend as human types. Besides, two fragments of Jewish-h.e.l.lenic dramas, in trimeter verse, have come down to us, the one treating of the unity of G.o.d, the other of the serpent in Paradise.

To the ma.s.s of the Jewish people, particularly to the expounders and scholars of the Law, theatrical performances seemed a desecration, a sin. A violent struggle ensued between the _Beth ha-Midrash_ and the stage, between the teachers of the Law and lovers of art, between Rabbinism and h.e.l.lenism. Mindful of Bible laws inculcating humanity to beasts and men, the rabbis could not fail to deprecate gladiatorial contests, and in their simple-mindedness they must have revolted from the themes of the Greek playwright, dishonesty, violence triumphant, and conjugal infidelity being then as now favorite subjects of dramatic representations. The immorality of the stage was, if possible, more conspicuous in those days than in ours.

This was the point of view a.s.sumed by the rabbis in their exhortations to the people, and a conspiracy against King Herod was the result. The plotters one evening appeared at the theatre, but their designs were frustrated by the absence of the king and his suite. The plot betrayed itself, and one of the members of the conspiracy was seized and torn into pieces by the mob. The most uncompromising rabbis p.r.o.nounced a curse over frequenters of the theatre, and raised abstinence from its pleasures to the dignity of a meritorious action, inasmuch as it was the scene of idolatrous practices, and its _habitues_ violated the admonition contained in the first verse of the psalms. "Cursed be they who visit the theatre and the circus, and despise our laws," one of them exclaims.[55] Another interprets the words of the prophet: "I sat not in the a.s.sembly of the mirthful, and was rejoiced," by the prayer: "Lord of the universe, never have I visited a theatre or a circus to enjoy myself in the company of scorners."

Despite rampant antagonism, the stage worked its way into the affection and consideration of the Jewish public, and we hear of Jewish youths devoting themselves to the drama and becoming actors. Only one has come down to us by name: the celebrated Alityros in Rome, the favorite of Emperor Nero and his wife Poppaea. Josephus speaks of him as "a player, and a Jew, well favored by Nero." When the Jewish historian landed at Puteoli, a captive, Alityros presented him to the empress, who secured his liberation. Beyond a doubt, the Jewish _beaux esprits_ of Rome warmly supported the theatre; indeed, Roman satirists levelled their shafts against the zeal displayed in the service of art by Jewish patrons.

A reaction followed. Theatrical representations were pursued by Talmudic Judaism with the same bitter animosity as by Christianity. Not a matter of surprise, if account is taken of the licentiousness of the stage, so depraved as to evoke sharp reproof even from a Cicero, and the hostility of playwrights to Jews and Christians, whom they held up as a b.u.t.t for the ridicule of the Roman populace. Talmudic literature has preserved several examples of the buffooneries launched against Judaism. Rabbi Abbayu tells the following:[56] A camel covered with a mourning blanket is brought upon the stage, and gives rise to a conversation. "Why is the camel trapped in mourning?" "Because the Jews, who are observing the sabbatical year, abstain from vegetables, and refuse to eat even herbs.

They eat only thistles, and the camel is mourning because he is deprived of his favorite food."

Another time a buffoon appears on the stage with head shaved close. "Why is the clown mourning?" "Because oil is so dear." "Why is oil dear?" "On account of the Jews. On the Sabbath day they consume everything they earn during the week. Not a stick of wood is left to make fire whereby to cook their meals. They are forced to burn their beds for fuel, and sleep on the floor at night. To get rid of the dirt, they use an immense quant.i.ty of oil. Therefore, oil is dear, and the clown cannot grease his hair with pomade." Certainly no one will deny that the patrons of the Roman theatre were less critical than a modern audience.

Teachers of the Law had but one answer to make to such attacks--a rigorous injunction against theatre-going. On this subject rabbis and Church Fathers were of one mind. The rabbi's declaration, that he who enters a circus commits murder, is offspring of the same holy zeal that dictates Tertullian's solemn indignation: "In no respect, neither by speaking, nor by seeing, nor by hearing, have we part in the mad antics of the circus, the obscenity of the theatre, or the abominations of the arena." Such expressions prepare one for the pa.s.sion of another remonstrant who, on a Sabbath, explained to his audience that earthquakes are the signs of G.o.d's fierce wrath when He looks down upon earth, and sees theatres and circuses flourish, while His sanctuary lies in ruins.[57]

Anathemas against the stage were vain. One teacher of the Law, in the middle of the second century, went so far as to permit attendance at the circus and the _stadium_ for the very curious reason that the spectator may haply render a.s.sistance to the charioteers in the event of an accident on the race track, or may testify to their death at court, and thus enable their widows to marry again. Another pious rabbi expresses the hope that theatres and circuses at Rome at some future time may "be converted into academies of virtue and morality."

Such liberal views were naturally of extremely rare occurrence. Many centuries pa.s.sed before Jews in general were able to overcome antipathy to the stage and all connected with it. Pagan Rome with its artistic creations was to sink, and the new Christian drama, springing from the ruins of the old theatre, but making the religious its central idea, was to develop and invite imitation before the first germ of interest in dramatic subjects ventured to show itself in Jewish circles. The first Jewish contribution to the drama dates from the ninth century. The story of Haman, arch-enemy of the Jews, was dramatized in celebration of _Purim_, the Jewish carnival. The central figure was Haman's effigy which was burnt, amid song, music, and general merrymaking, on a small pyre, over which the partic.i.p.ants jumped a number of times in gleeful rejoicing over the downfall of their worst enemy--extravagance pardonable in a people which, on every other day of the year, tottered under a load of distress and oppression.

This dramatic effort was only a sporadic phenomenon. Real, uninterrupted partic.i.p.ation in dramatic art by Jews cannot be recorded until fully six hundred years later. Meantime the Spanish drama, the first to adapt Bible subjects to the uses of the stage, had reached its highest development. By reason of its choice of subjects it proved so attractive to Jews that scarcely fifty years after the appearance of the first Spanish-Jewish playwright, a Spanish satirist deplores, in cutting verse, the Judaizing of dramatic poetry. In fact, the first original drama in Spanish literature, the celebrated _Celestina_, is attributed to a Jew, the Marrano Rodrigo da Cota. "Esther," the first distinctly Jewish play in Spanish, was written in 1567 by Solomon Usque in Ferrara in collaboration with Lazaro Graziano. The subject treated centuries before in a roughshod manner naturally suggested itself to a genuine dramatist, who chose it in order to invest it with the dignity conferred by poetic art. This first essay in the domain of the Jewish drama was followed by a succession of dramatic creations by Jews, who, exiled from Spain, cherished the memory of their beloved country, and, carrying to their new homes in Italy and Holland, love for its language and literature, wrote all their works, dramas included, in Spanish after Spanish models. So fruitful was their activity that shortly after the exile we hear of a "Jewish Calderon," the author of more than twenty-two plays, some long held to be the work of Calderon himself, and therefore received with acclamation in Madrid. The real author, whose place in Spanish literature is a.s.sured, was Antonio Enriquez di Gomez, a Marrano, burnt in effigy at Seville after his escape from the clutches of the Inquisition. His dramas in part deal with biblical subjects. Samson is obviously the mouthpiece of his own sentiments:

"O G.o.d, my G.o.d, the time draws quickly nigh!

Now let a ray of thy great strength descend!

Make firm my hand to execute the deed That alien rule upon our soil shall end!"

Towards the end of the seventeenth century, the Portuguese language usurped the place of Spanish among Jews, and straightway we hear of a Jewish dramatist, Antonio Jose de Silva (1705-1739), one of the most ill.u.s.trious of Portuguese poets, whose dramas still hold their own on the repertory of the Portuguese stage. He was burnt at the stake, a martyr to his faith, which he solemnly confessed in the hour of his execution: "I am a follower of a faith G.o.d-given according to your own teachings. G.o.d once loved this religion. I believe He still loves it, but because you maintain that He no longer turns upon it the light of His countenance, you condemn to death those convinced that G.o.d has not withdrawn His grace from what He once favored." It is by no means an improbable combination of circ.u.mstances that on the evening of the day whereon Antonio Jose de Silva expired at the stake, an operetta written by the victim himself was played at the great theatre of Lisbon in celebration of the auto-da-fe.

Jewish literature as such derived little increase from this poetic activity among Jews. In the period under discussion a single Hebrew drama was produced which can lay claim to somewhat more praise than is the due of mediocrity. _Asireh ha-Tikwah_, "The Prisoners of Hope,"

printed in 1673, deserves notice because it was the first drama published in Hebrew, and its author, Joseph Pensa de la Vega, was the last of Spanish, as Antonio de Silva was the last of Portuguese, Jewish poets. The three act play is an allegory, treating of the victory of free-will, represented by a king, over evil inclinations, personified by the handsome lad Cupid. Though imbued with the solemnity of his responsibilities as a ruler, the king is lured from the path of right by various persons and circ.u.mstances, chief among them Cupid, his coquettish queen, and his sinful propensities. The opposing good forces are represented by the figures of harmony, Providence, and truth, and they eventually lead the erring wanderer back to the road of salvation.

The _dramatis personae_ of this first Hebrew drama are abstractions, devoid of dramatic life, mere allegorical personifications, but the underlying idea is poetic, and the Hebrew style pure, euphonious, and rhythmical. Yet it is impossible to echo the enthusiasm which greeted the work of the seventeen year old author in the Jewish academies of Holland. Twenty-one poets sang its praises in Latin, Hebrew, and Spanish verse. The following couplet may serve as a specimen of their eulogies:

"At length Israel's muse a.s.sumes the tragic cothurn, And happily wends her way through the metre's mazes."

Pensa, though the first to publish, was not the first Hebrew dramatist to write. The distinction of priority belongs to Moses Zacuto, who wrote his Hebrew play, _Yesod Olam_[58] ("The Foundation of the World") a quarter of a century earlier. His subject is the persecution inflicted by idolaters upon Abraham on account of his faith, and the groundwork is the Haggadistic narrative about Abraham's bold opposition to idolatrous practices, and his courage even unto death in the service of the true G.o.d. According to Talmudic interpretation a righteous character of this description is one of the corner-stones of the universe. It must be admitted that Zacuto's work is a drama with a purpose. The poet wished to fortify his exiled, hara.s.sed people with the inspiration and hope that flow from the contemplation of a strong, bold personality. But the admission does not detract from the genuine merits of the poem. On the other hand, this first dramatic effort naturally is crude, lacking in the poetic forms supplied by highly developed art. Dialogues, prayers, and choruses follow each other without regularity, and in varying metres, not dest.i.tute, however, of poetic sentiment and lyric beauties.

Often the rhythm rises to a high degree of excellence, even elevation.

Like Pensa, Zacuto was the disciple of great masters, and a comparison of either with Lope de Vega and Calderon will reveal the same southern warmth, stilted pathos, exuberance of fancy, wealth of imagery, excessive playing upon words, peculiar turns and phrases, erratic style, and other qualities characteristic of Spanish dramatic poetry in that period.

Another century elapsed before the muse of the Hebrew drama escaped from leading strings. Moses Chayyim Luzzatto (1707-1747) of Padua was a poet of true dramatic gifts, and had he lived at another time he might have attained to absolute greatness of performance. Unluckily, the sentimental, impressionable youth became hopelessly enmeshed in the snares of mysticism. In his seventeenth year he composed a biblical drama, "Samson and the Philistines," the preserved fragments of which are faultless in metre. His next effort was an allegorical drama, _Migdal Oz_ ("Tower of Victory"), the style and moral of which show unmistakable signs of Italian inspiration, derived particularly from Guarini and his _Pastor Fido_, models not wholly commendable at a time when Maffei's _Merope_ was exerting wholesome influence upon the Italian drama in the direction of simplicity and dignity. Nothing, however, could wean Luzzatto from adherence to Spanish-Italian romanticism. His happiest creation is the dramatic parable, _Layesharim Tehillah_ ("Praise unto the Righteous!"). The poetry of the Bible here celebrates its resurrection. The rhythm and exuberance of the Psalms are reproduced in the tone and color of its language. "All the fragrant flowers of biblical poetry are ma.s.sed in a single bed. Yet the language is more than a mosaic of biblical phrases. It is an enamel of the most superb and the rarest of elegant expressions in the Bible. The peculiarities of the historical writings are carefully avoided, while all modifications of style peculiar to poetry are gathered together to const.i.tute what may fairly be called a vocabulary of poetic diction."[59]

The allegory _Layesharim Tehillah_ is full of charming traits, but lacks warmth, naturalness, and human interest, the indispensable elements of dramatic action. The first act treats of the iniquity of men who prize deceit beyond virtue, and closes with the retirement of the pious sage to solitude. The second act describes the hopes of the righteous man and his fate, and the third sounds the praise of truth and justice. The thread of the story is slight, and the characters are pale phantoms, instead of warm-blooded men. Yet the work must be p.r.o.nounced a gem of neo-Hebraic poetry, an earnest of the great creations its author might have produced, if in early youth he had not been caught in the swirling waters, and dragged down into the abysmal depths of Kabbalistic mysticism. Despite his vagaries his poems were full of suggestiveness and stimulation to many of his race, who were inspired to work along the lines laid down by him. He may be considered to have inaugurated another epoch of cla.s.sical Hebrew literature, interpenetrated with the modern spirit, which the Jewish dramas of his day are vigorously successful in clothing in a Hebrew garb.

In the popular literature in Jewish-German growing up almost unnoticed beside cla.s.sical Hebrew literature, we find popular plays, comedies, chiefly farces for the _Purim_ carnival. The first of them, "The Sale of Joseph" (_Mekirath Yoseph_, 1710), treats the biblical narrative in the form and spirit of the German farcical clown dialogues, Pickelhering (Merry-Andrew), borrowed from the latter, being Potiphar's servant and counsellor. No dramatic or poetic value of any kind attaches to the play. It is as trivial as any of its models, the German clown comedies, and possesses interest only as an index to the taste of the public, which surely received it with delight. Strangely enough the princ.i.p.al scene between Joseph and Selicha, Potiphar's wife, is highly discreet.

In a monologue, she gives pa.s.sionate utterance to her love. Then Joseph appears, and she addresses him thus:

"Be welcome, Joseph, dearest one, My slave who all my heart has won!

I beg of thee grant my request!

So oft have I to thee confessed, My love for thee is pa.s.sing great.

In vain for answering love I wait.

Have not so tyrannous a mind, Be not so churlish, so unkind-- I bear thee such affection, see, Why wilt thou not give love to me?"

Joseph answers:

"I owe my lady what she asks, Yet this is not among my tasks.

I pray, my mistress, change thy mind; Thou canst so many like me find.

How could I dare transgress my state, And my great trust so violate?

My lord hath charged me with his house, Excepting only his dear spouse; Yet she, it seems, needs watching too.

Now, mistress, fare thee well, adieu!"

Selicha then says:

"O heaven now what shall I do?

He'll list not to my vows so true.

Come, Pickelhering, tell me quick, What I shall do his love to p.r.i.c.k?

I'll die if I no means can find To bend his humor to my mind.

I'll give thee gold, thou mayst depend, If thou'lt but help me to my end."

Pickelhering appears, and says:

"My lady, here I am, thy slave, My wisest counsel thou shalt have.

Thou must lay violent hand on him, And say: 'Unless thou'lt grant my whim, I'll drive thee hence from out my court, And with thy woes I'll have my sport, Nor will I stay thy punishment, Till drop by drop thy blood is spent.'