See also:

• MOSES (Gr. Mwvo c, Mcoo-i3s)
• MOSES, ASSUMPTION OF

MOSES HAYIM See also:

• MOSES HAYIM LUZZATTO (1707-1747)
• LUZZATTO, SAMUEL DAVID (1800-1865)

LUZZATTO (1707-1747)  , See also:

• HEBREW

Hebrew dramatist and mystic, was See also:

• BORN, IGNAZ, EDLER VON (1742–1791)

born in See also:

• PADUA (Lat. Patavium ; Ital. Padova)

Padua 1707, and died at See also:

• ACRE
• ACRE, or AQUIRY

Acre 1747 . He was influenced by See also:

• ISAAC (Hebrew for " he laughs," on explanatory references to the name, see ABRAHAM)

Isaac See also:

• LURIA, ISAAC BEN SOLOMON (1534-1572)

Luria (q.v.) on the mystical See also:

• SIDE
• SIDE (mod. Eski Adalia)

side, and on the poetical side by See also:

• ITALIAN

Italian See also:

• DRAMA (literally "action," from Gr. Snail, act or do)

drama of the school of See also:

• GUARINI
• GUARINI, GIOVANNI BATTISTA (1537-1612)

Guarini (q.v.) . He attacked See also:

• LEON
• LEON, LUIS PONCE DE (1527-1591)
• LEON, MOSES BEN SI
• LEON, or LEON DE LAS ALDAMAS

Leon of See also:

• MODENA (ancient Mutina)

Modena's See also:

• ANT
• ANT (O. Eng. aemete, from Teutonic a, privative, and maitan, cut or bite off, i.e. " the biter off "; aemete in Middle English became differentiated in dialect use to (mete, then amte, and so ant, and also to emete, whence the synonym " emmet," now only u

ant: Kabbalistic See also:

• TREATISES

treatises, and as a result of his conflict with the Venetian Rabbinate See also:

• LEFT

left See also:

• ITALY
• ITALY (Italia)

Italy for See also:

• AMSTERDAM
• AMSTERDAM (NEw AMSTERDAM)

Amsterdam, where, like See also:

• SPINOZA, BARUCH (1632-1677)

Spinoza, he maintained him-self by grinding lenses . Here, in 1740, he wrote his popular religious See also:

• MANUAL

manual the Path of the Upright (Messilath Yesharim) and other ethical See also:

• WORKS

works . He visited See also:

• LONDON

London, but finally settled in See also:

• PALESTINE

Palestine, where he died . See also:

• LUZZATTO, MOSES HAYIM (1707-1747)
• LUZZATTO, SAMUEL DAVID (1800-1865)

Luzzatto's most lasting See also:

• WORK

work is in the See also:

• REALM

realm of Hebrew drama . His best-known compositions are: the See also:

• TOWER (Lat. turris; Fr. tour, clocker; Ital. torre; Ger. Thurm)

Tower of Victory (Migdal `Oz) and See also:

• GLORY (through the O. Fr. glorie, modern gloire, from Lat. gloria, cognate with Gr. KXebs, abets)

Glory to the Upright (Layesharim Tehillah) . Both of these dramas, which were not printed at the See also:

• TIME (0. Eng. Lima, cf. Icel. timi, Swed. timme, hour, Dan. time; from the root also seen in " tide," properly the time of between the flow and ebb of the sea, cf. O. Eng. getidan, to happen, " even-tide," &c.; it is not directly related to Lat. tempus)
• TIME, MEASUREMENT OF
• TIME, STANDARD

time but were widely circulated in See also:

• MANUSCRIPT

manuscript, are of the type which preceded the Shakespearean See also:

• AGE (Fr. age, through late Lat. aetaticum, from aetas)

age—they are allegorical and all the characters are types . The beautiful Hebrew See also:

• STYLE
• STYLE (from Gr. a-6'1ms, a column; a different word from that used in literature, see below)

style created a new school of Hebrew See also:

• POETRY

poetry, and the Hebrew See also:

• RENAISSANCE, THE

renaissance which resulted from the career of See also:

• MOSES (Gr. Mwvo c, Mcoo-i3s)
• MOSES, ASSUMPTION OF

Moses Mendelssohn owed much to Luzzatto . See Gratz, See also:

• HISTORY

History of the See also:

• JEWS
• JEWS (Heb. Y8hudi, man of Judah; Gr. 'Iovbaiot; Lat. Judaei)

Jews, v. ch. vii . ; I . Abrahams, Jewish See also:

• LIFE

Life in the See also:

• MIDDLE

Middle Ages, pp .

19o, 268; N . Slouschz, The Renascence of Hebrew Literature, ch. i . (I .