Works
On his recovery he recommitted to paper from memory the following works, the original manuscripts of which had been lost in Portugal:
- Eshkol ha-Kofer (A Cluster of Camphire), a commentary on the Book of Ruth and Book of Esther
- Ẓerorha-Ḥayyim (Bundle of Life), commentaries on the Song of Songs and the treatise Berakot
- Ẓeror ha-Mor (Bundle of Myrrh), a commentary on the Pentateuch, containing interpretations according to both the ordinary sense and the mystical method of the Zohar
- Ẓeror ha-Kesef (Bundle of Silver), legal decisions (compare Monatsschrift, 1853, pp. 246, 247, and the Leiden Catalogue, pp. 94, 96).
- A manuscript of his commentary on the Book of Job was in Jellinek's library. Saba wrote also a commentary on Pirkei Avot, mentioned in his commentary on Genesis, pp. 3 and 5.
According to Azulai ("Chida", Shem ha-Gedolim), who read the anecdote in a work entitled Dibre Yosef, Abraham in journeying from Fez to Verona became sick on the ship in mid-ocean during a great storm. The captain, unable to control the ship, had given up all hope, and implored Rabbi Abraham to pray for divine assistance. Abraham stipulated that in case of his death his body should be delivered to the Jewish community of Verona, and then prayed for the safety of the vessel. His prayer was heard, the storm abated, and the ship went safely on. Two days later Abraham died, and the captain, keeping his promise, brought the body to Verona, where it was buried with great honors.
Abraham Saba is not to be confounded with R. Abraham Saba of Adrianople, who is mentioned in the responsa of R. Elijah Mizraḥi, No. 52.
Read more about this topic: Abraham Saba
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“To receive applause for works which do not demand all our powers hinders our advance towards a perfecting of our spirit. It usually means that thereafter we stand still.”
—G.C. (Georg Christoph)
“Was it an intellectual consequence of this ‘rebirth,’ of this new dignity and rigor, that, at about the same time, his sense of beauty was observed to undergo an almost excessive resurgence, that his style took on the noble purity, simplicity and symmetry that were to set upon all his subsequent works that so evident and evidently intentional stamp of the classical master.”
—Thomas Mann (1875–1955)