218 r Libby Garshowitz
Yoshefe is mortified to discover that he has been kidnapped by a
woman, not a man. Women have fought over him and prevailed, not he,
the self-styled intrepid warrior. Yoshefe, who is paradoxically referred to
as “a wise and perceptive son” (ben hakham ve-navon, ll. 6–7) at the begin-
ning of this tale, is outwitted by two women and comments on the perfidi-
ous nature of the female species whose weapons are deceit and treachery,
seemingly ignoring the “real” weapons they brandished which had ter-
rified him (ll. 219–20). Yoshefe is willing to overlook these perversities
because of the damsels’ profound beauty (ll. 229–33), saying, while still
abreast Yemima,
Treachery becomes women.
They have embraced its legacy.
Like their unshared equity,
It’s women’s sole property.
Unremittingly plotting against me,
Covering my face with notoriety,
If not for her great beauty,
Whose male conquest is her duty,
Seizing the sun’s light,
Like death is love’s might.
(Song of Songs 8:6)A weeping Yefefia both consoles and is consoled. Her feverish wandering
(nedod) in search of her beloved has paid off. The two joyfully resume
their play while an embittered Yemima sobs noisily.
Pulchritude and play obsess Yoshefe, but it is poetry making that is
both Yefefia’s and Yemima’s venture. Says Yefefia,
Now, my sister, [stop crying], be quiet.
Plead profusely before him.
Prostrate yourself because he’s your lord.
If you’re shamed to utter separate words (devarim nifradim),
String them together as one (ve-hayu le-’ahadim).
(ll. 257–58)Thus Jacob ben Elazar pleads his case for the sorry state of the Hebrew
language in the Jewish communities. Make poetry, not war, is his message.
Despite the fierce rivalry between Yefefia and Yemima,^40 the former
surprises the reader with her magnanimity: after a lyric, lengthy, and