The second efflorescence of Jewish poetry brings forth exotic romances, satires, verbose hymns, and humorous narrative poems. Such productions certainly do not justify the application of the epithet "theological" to Jewish literature. Solomon ben Sakbel composes a satiric romance in the Makamat[12] form, describing the varied adventures of Asher ben Yehuda, another Don Quixote; Berachya Hanakdan puts into Hebrew the fables of Æsop and Lokman, furnishing La Fontaine with some of his material; Abraham ibn Sahl receives from the Arabs, certainly not noted for liberality, ten goldpieces for each of his love-songs; Santob de Carrion is a beloved Spanish bard, bold enough to tell unpleasant truths unto a king; Joseph ibn Sabara writes a humorous romance; Yehuda Sabbataï, epic satires, "The War of Wealth and Wisdom," and "A Gift from a Misogynist," and unnamed authors, "Truth's Campaign," and "Praise of Women." A satirist of more than ordinary gifts was the Italian Kalonymos, whose "Touchstone," like Ibn Chasdaï's Makamat, "The Prince and the Dervish," has been translated into German. Contemporaneous with them was Süsskind von Trimberg, the Suabian minnesinger, and Samson Pnie, of Strasburg, who helped the German poets continue _Parzival_, while later on, in Italy, Moses Rieti composed "The Paradise" in Hebrew _terza-rima_. In the decadence of Jewish literature, the most prominent figure is Immanuel ben Solomon, or Manoello, as the Italians call him. Critics think him the precursor of Boccaccio, and history knows him as the friend of Dante, whose _Divina Commedia_ he travestied in Hebrew. The author of the first Hebrew sonnet and of the first Hebrew novel, he was a talented writer, but as frivolous as talented.