_Shepherd_: I cannot eat with thee, for I have already promised another greater than thee. _King_: Who is that? _Shepherd_: God, who has invited me to fast. _King_: But why fast on such a hot day? _Shepherd_: I fast for a day still hotter than this. _King_: Eat to-day, fast to-morrow. _Shepherd_: Yes, if you will guarantee that I shall see to-morrow. Such stories are sure to see many a to-morrow. And among the best records of them, among the most notable repertoires of the world’s wit and wisdom, Bar Hisdai’s _Prince and Dervish_ has a sure place. THE SARAJEVO HAGGADAH Sarajevo, scene of the crime which led to the outbreak of the European War, has its more pleasant associations. The place is forever connected with the history of Jewish art, and in particular with the illumination of the Passover Home-Service or Haggadah. Wonderful in the old sense of the word--that is to say, astonishing--is the fact that, though the Sarajevo Haggadah was printed a good many years ago (in 1898), there have been no imitations. The splendid Russian publication of Stassof and Günzburg certainly came more recently (1905), but it cannot be compared with the Hungarian work of Müller and Von Schlossar. “L’Ornement Hebreu” is scrappy; the “Haggada von Sarajevo,” though it includes many selections from other manuscripts, is a unity. In one point, however, the Russians were right. For a Jewish illuminative art we must look rather to masoretic margins than to full-page pictures. The former must be characteristically Jewish, the latter, though found in Hebrew liturgies and scrolls, are often non-Jewish types. This is clearly shown by the famous picture in the Sarajevo Haggadah wherein is probably depicted the Deity resting after the work of creation. But for all that, the Sarajevo book must remain supreme as an introduction to Jewish art, so long as it continues to be the only completely reproduced Hebrew illuminated manuscript of the Middle Ages.