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This is a Chronicle of Dreamers, who have arisen in the Ghetto from its establishment in the sixteenth century to its slow breaking-up in our own day. Some have become historic in Jewry, others have penetrated to the ken of the greater world and afforded models to illustrious artists in letters, and but for the exigencies of my theme and the faint hope of throwing some new light upon them, I should not have ventured to treat them afresh; the rest are personally known to me or are, like "Joseph the Dreamer," the artistic typification of many souls through which the great Ghetto dream has passed. Artistic truth is for me literally the highest truth: art may seize the essence of persons and movements no less truly, and certainly far more vitally, than a scientific generalization unifies a chaos of phenomena. Time and Space are only the conditions through which spiritual facts straggle. Hence I have here and there permitted myself liberties with these categories. Have I, for instance, misplaced the moment of Spinoza's obscure love-episode-I have only followed his own principle, to see things sub specie �ternitatis, and even were his latest Dutch editor correct in denying the episode altogether, I should still hold it true as summarizing the emotions with which even the philosopher must reckon. Of Heine I have attempted a sort of composite conversation-photograph, blending, too, the real heroine of the little episode with "La Mouche." His own words will be recognized by all students of him-I can only hope the joins with mine are not too obvious. My other sources, too, lie sometimes as plainly on the surface, but I have often delved at less accessible quarries. For instance, I owe the celestial vision of "The Master of the Name" to a Hebrew original kindly shown me by my friend Dr. S. Schechter, Reader in Talmudic at Cambridge, to whose luminous essay on the Chassidim, in his Studies in Judaism, I have a further indebtedness. My account of "Maimon the Fool" is based on his own (not always reliable) autobiography, of which I have extracted the dramatic essence, though in the supplementary part of the story I have had to antedate slightly the publication of Mendelssohn's "Jerusalem" and the fame of Kant. In fine, I have never hesitated to take as an historian or to focus and interpret as an imaginative artist.

Excerpt from Dreamers of the Ghetto The first thing the child remembered was looking down from a window and seeing, ever so far below, green water flowing, and on it gondolas plying, and fishing-boats with colored sails, the men in them looking as small as children. For he was born in the Ghetto of Venice, on the seventh story of an ancient house. There were two more stories, up which he never went, and which remained strange re gions, leading towards the blue sky. A dusky staircase, with gaunt whitewashedwalls, led down and down - past doors whose lintels all bore little tin cases containing holy Hebrew words - into the narrow court of the oldest Ghetto in the world. A few yards to the right was a portico lead ing to the bank of a canal, but a grim iron gate barred the way. The water of another canal came right up to the back of the Ghetto, and cut off all egress that way and the oth er porticoes leading to the outer world were likewise pro vided with gates, guarded by Venetian watchmen. These gates were closed at midnight and opened in the morning, unless it was the Sabbath or'a Christian holiday, when they remained shut all day, so that no Jew could go in or out of the court, the street, the big and little square, and the one or two tiny alleys that made up the Ghetto. There were no roads in the Ghetto, any more than in the rest of Venice. About the Publisher Forgotten Books publishes hundreds of thousands of rare and classic books. Find more at www.forgottenbooks.com This book is a reproduction of an important historical work. Forgotten Books uses state-of-the-art technology to digitally reconstruct the work, preserving the original format whilst repairing imperfections present in the aged copy. In rare cases, an imperfection in the original, such as a blemish or missing page, may be replicated in our edition. We do, however, repair the vast majority of imperfections successfully; any imperfections that remain are intentionally left to preserve the state of such historical works.

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