Alas, this call to a more natural life, after centuries of physical
degeneration and suppression of all feeling for nature, could not be
understood, nor even taken seriously, in surroundings in which air,
sunlight, the very right to live, had been refused or measured out
penuriously. The drama remained in manuscript, and did not become known
to the public at large.

It was Luzzatto's chief work that exercised decisive influence on the
development of Hebrew literature. _La-Yesharim Tehillah_ ("Glory to
the Righteous"), another allegorical drama, which appeared in 1743, is
considered a model of its kind until this day. It introduced a new
epoch, the modern epoch, in the history of Hebrew literature. The master
stands revealed by every touch. Everything betrays his skill--the style,
at once elegant, significant, and precise, recalling the pure style of
the Bible, the fresh and glowing figures of speech, the original poetic
inspiration, and the thought, which bears the imprint of a profound
philosophy and a high moral sense, and is free from all trace of
mystical exaggeration.

From the point of view of dramatic art, the piece is not of the highest
interest. The subject, purely moral and didactic, gives no opportunity
for a serious study of character, and, as in all allegorical pieces, the
dramatic action is weak.

The theme was not new. Even in Hebrew and before Luzzatto, it had been
treated several times. It is the struggle between Justice and Injustice,
between Truth and Falsehood. The allegorical personages who take part in
the action are, arrayed on one side, Yosher (Righteousness) aided by
Sekel (Reason) and Mishpat (Justice), and, on the other side, Sheker
(Falsehood) and her auxiliaries, Tarmit (Deceit), Dimyon (Imagination),