In the Middle Ages, Jewish histories mostly took the form of uncritical Chronicles, which included legends and traditions as well as assured facts. Their interest and importance lie in the personal and communal details with which they abound. Sometimes they are confessedly local. This is the case with the "Chronicle of Achimaaz," written by him in 1055 in rhymed prose. In an entertaining style, he tells of the early settlements of the Jews in Southern Italy, and throws much light on the intercommunication between the scattered Jewish congregations of his time. A larger canvas was filled by Abraham Ibn Daud, the physician and philosopher who was born in Toledo in 1110, and met a martyr's end at the age of seventy. His "Book of Tradition" (_Sefer ha-Kabbalah_), written in 1161, was designed to present, in opposition to the Karaites, the chain of Jewish tradition as a series of unbroken links from the age of Moses to Ibn Baud's own times. Starting with the Creation, his history ends with the anti-Karaitic crusade of Judah Ibn Ezra in Granada (1150). Abraham Ibn Daud shows in this work considerable critical power, but in his two other histories, one dealing with the history of Rome from its foundation to the time of King Reccared in Spain, the other a narrative of the history of the Jews during the Second Temple, the author relied entirely on "Josippon." This was a medieval concoction which long passed as the original Josephus. "Josippon" was a romance rather than a history. Culled from all sources, from Strabo, Lucian, and Eusebius, as well as from Josephus, this marvellous book exercised strong influence on the Jewish imagination, and supplied an antidote to the tribulations of the present by the consolations of the past and the vivid hopes for the future. For a long period Abraham Ibn Daud found no imitators. Jewish history was written as part of the Jewish religion. Yet, incidentally, many historical passages were introduced in the works of Jewish scholars and travellers, and the liturgy was enriched by many beautiful historical Elegies, which were a constant call to heroism and fidelity. These Elegies, or _Selichoth_, were composed throughout the Middle Ages, and their passionate outpourings of lamentation and trust give them a high place in Jewish poetry. They are also important historically, and fully justify the fine utterance with which Zunz introduces them, an utterance which was translated by George Eliot as follows: If there are ranks in suffering, Israel takes precedence of all the nations--if the duration of sorrows and the patience with which they are borne ennoble, the Jews are among the aristocracy of every land--if a literature is called rich in the possession of a few classic tragedies, what shall we say to a National Tragedy lasting for fifteen hundred years, in which the poets and the actors were also the heroes?