Zechariah Aldahiri's Sefer Hamusar is a lively work of literary fiction, modeled on the Arabic Maqamat of Abu Ί-Hasan al-Hariri (10541122), the Tahkemoni of Judah Alharizi (c. 1165-1225), and the Mahbarot of Immanuel of Rome (c. 1265-1335). Composed between 1568 and 1580, it is one of the last in a series of medieval Hebrew rhymed prose narratives written over a period of four hundred years.1 Sefer Hamusar consists of forty-five self-contained chapters, or maqamat (Hebrew: mahbarot), which do not feature one continuous plot, but are unified by the consistent presence of their peripatetic narrator, Mordecai the Sidonian, and mercurial hero, Abner ben Helek the Yemenite. In much of the work, Abner appears as a wandering poet, a shrewd prankster, and a spirited adventurer. Often, he turns up in disguise, watched but not recognized by his friend Mordecai until he reveals his true identity. Like the protagonists of other maqamat, Abner is celebrated for his extraordinary eloquence, which is evident in his well-turned epistles, carefully crafted poems, and witty repartee. He is as comfortable telling folk tales and posing riddles as he is exhorting his audience to piety or engaging in philosophical meditations. Abner's outstanding rhetorical and compositional skills suit the twin aims of Sefer Hamusar, which, in the tradition of such belletristic works, is at once didactic and amusing, instructive and diverting. The very term
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