The name Abenatar belongs to that onomastic constellation of Iberian Jews whose history embodies, more than any other family narrative, the tragic and grandiose destiny of the conversos — those New Christians compelled to baptism and then scattered, across the Atlantic and Mediterranean basin, by the machinery of the Inquisition. A surname bearing the characteristic form of Judeo-Iberian names in Aben- (from the Arabic ibn, "son of"), Abenatar reads as "son of ʿAṭṭār" or "son of Aṭar," related to the great family of the Ibn ʿAṭṭār / Aben Attar, whose branches flourished in Morocco, Spain, and the western Sephardic communities. The suffix Aben-, inherited from the Judeo-Arabic coexistence of al-Andalus, signals an ancestry rooted in the medieval Iberian Peninsula, before the expulsions of 1492 (Castile and Aragon) and of 1497 (Portugal).
The history of this lineage has not reached us through the annals of a celebrated court or rabbinical dynasty, but through a documentary thread of singular intensity: that of one man, David Abenatar Melo, Marrano poet, survivor of the Inquisition, whose work constitutes in itself a monument of Sephardic Memory. Around him gravitates a family — sons, grandsons — who prolonged, from generation to generation, the function of ḥazzan (cantor) within the Portuguese communities of Amsterdam and Rotterdam. It is, therefore, a lineage of the sacred word: a word silenced under Iberian constraint, a word recovered and sung in Dutch freedom.
The present work proposes to reconstruct, from the authoritative sources available — the Encyclopaedia Judaica, the Jewish Encyclopedia of 1906, the studies of Meyer Kayserling, of Cecil Roth, and of Herman Prins Salomon —, the portrait of a family emblematic of western Sephardic Judaism, rigorously distinguishing what the archive establishes, what tradition transmits, and what the historian can only conjecture.
The patronym Abenatar belongs to the onomastic type of the Jews of al-Andalus, in which the prefix Aben- (a Romanized variant of the Arabic ibn) introduces a name of filiation. The root ʿAṭṭār designates in Arabic and Hebrew the merchant of perfumes, aromatics, and spices — a prestigious and learned trade in the medieval world. Thus Abenatar appears as a parallel form, in Christian Iberian territory, of the great Ibn ʿAṭṭār / Ben Attar families, the most celebrated illustration of which remains the Moroccan biblical commentator Ḥayyim ben Attar (the Or ha-Ḥayyim, 1696–1743). While no source allows the establishment of a direct lineage between these branches, their shared onomastic root inscribes the name within the vast Sephardic-Maghrebi network.
In the case of the branch whose trace we follow, the name Abenatar is attested on the Iberian Peninsula under the regime of the New Christians — that is, Jews forcibly converted to Catholicism and their descendants. According to the Encyclopaedia Judaica, David Abenatar Melo was born on the Iberian Peninsula, probably under the name Antonio Rodriguez Mello. This double nominal system — an official Christian name and a clandestine or reclaimed Jewish name — constitutes the very signature of the Marrano condition: the patronym Abenatar Melo is the one the poet assumed upon his public return to Judaism, fusing the Memory of Jewish ancestry (Abenatar) with the Portuguese civil identity (Melo).
The presence of the Melo family within converso networks is corroborated by other Inquisitorial records. The Encyclopaedia Judaica notes that Diego Henriques Melo very likely belonged to the same family; after having been tried by the Inquisition of Toledo, he escaped in 1618 to Amsterdam with his father, his sister, and his nephew. This indication, formulated in the conditional by the editors themselves, illustrates the caution required: family ties between
The founding and best-documented figure of the lineage is without question David Abenatar Melo (died around 1646 according to the Encyclopaedia Judaica). Born in Spain — or more broadly on the Iberian peninsula — most likely around the middle of the 16th century, he experienced the violence of the Inquisition in his own flesh. He was arrested by the Inquisition and survived years of imprisonment and torture; after appearing as a penitent at an auto-da-fé, he escaped to Amsterdam and returned to Judaism.
The sources concur on this journey of suffering and liberation. The Jewish Encyclopedia of 1906 specifies that he was a rabbi and poet, born in Spain around 1550; his translation of certain Psalms into Spanish verse brought him under the suspicion of the Inquisition, and he was imprisoned. On the exact cause of his incarceration, scholars diverge; the McClintock and Strong Biblical Cyclopedia honestly summarizes the uncertainty: it is not known whether he was imprisoned because he was suspected of not being a true Christian, or to extract from him the denunciation of those close to him, or, according to Kayserling, because he had translated certain Psalms of David into Spanish.
His liberation marks the turning point. After several years of torture, he was acquitted in 1611, left Spain and emigrated to Amsterdam, where, according to the same source, a multitude of his compatriots and co-religionists had settled; he soon became the head of the Amsterdam synagogue, while also teaching at the De los Pintos Academy.
The trajectory of David Abenatar Melo thus embodies the paradigmatic fate of the Marrano: born into concealment, broken by the apparatus of repression, then reborn under open skies in the Jerusalem of the North that was the tolerant Amsterdam of the Dutch Golden Age.
The pinnacle of the Abenatar heritage is a printed work: the translation-paraphrase of the Psalter in Spanish verse, published in 1626. The Encyclopaedia Judaica describes it as a remarkable translation of the Book of Psalms in Spanish verse (Los cl. Psalmos de David: in lengua española en uarias rimas), dedicated "to the blessed God and to the Holy Company of Israel and Judah, dispersed throughout the world."
This dedication is no conventional formula: it seals the poet's solidarity with the people in exile. The work is less a literal translation than a literary re-creation laden with allusions to the present. The volume is more a paraphrase than a translation and contains several allusions to contemporary events and to the tyrannies of the Inquisition. Personal testimony surfaces openly: the Kestenbaum house catalogue notes that the prologue provides an account of Melo's sufferings in Portugal, and the text of the Psalms itself contains several allusions to the tyrannies of the Inquisition, in particular Psalm 30, where Melo recounts the auto-da-fé at which he himself appeared alongside eleven other Judaizers, all burned at the stake.
It is here that Memory (the autobiographical account of martyrdom) and History (the attested event of the auto-da-fé) answer one another within a single text: sacred Scripture becomes the receptacle of historical testimony. The work also presents a singular bibliographical interest. Although the title page bears the mention "FRanquaForte" (Frankfurt), scholars agree that this place name was used to evade the censors, with the actual place of printing debated between Amsterdam and, more probably according to Salomon, Hamburg. Salomon goes so far as to suggest that it is, as far as can be determined, the first book in Spanish printed within the boundaries of what is today called Germany, and perhaps the first Jewish book printed in Hamburg.
The poet Daniel Levi de Barrios, himself a bard of the Amstelodamian diaspora, hailed David Abenatar Melo, according to the Biblical Cyclopedia, as the "harmonious translator of the mysterious Psalter."
Beyond the poet, David Abenatar Melo was an institutional pillar of the nascent Séfarade community of Amsterdam. The Encyclopaedia Judaica attests that in 1616 he was a founding member of the Talmud Torah society (Eṣ Ḥayyim) of Amsterdam, and that the following year he subsidized the publication of a prayer book in Spanish (Orden de Roshasana y Kipur); in 1622 he likewise printed a Passover Haggadah.
This activity as a liturgical patron reveals a man of means and devotion. The Kestenbaum catalogue confirms that, a man of modest fortune, he subsidized the publication of a High Holiday prayer book (1617) and a Passover Haggadah (1622) — both in Spanish and of exceptional rarity. His education and rise within learned institutions are likewise traced there: a founding member of the Talmud Torah Eṣ Ḥayyim, after a solid grounding in the principles of Jewish faith and learning, he became a lecturer at the rabbinical Academy De los Pintos (formerly of Rotterdam).
Recognition came with a foremost liturgical office: he was subsequently appointed rabbi and ḥazzan of the Portuguese synagogue of Amsterdam, Beit Yisrael. This twofold dimension — patron of the Hebrew and Hispano-Jewish printing press on the one hand, liturgical dignitary on the other — makes David Abenatar Melo a central figure in this refounding of Séfarade Judaism on Dutch soil, where the former Marranos rebuilt, book by book and synagogue by synagogue, the edifice of the Law they had been forced to abjure in Iberia.
The legacy of the Abenatar did not die with the poet: it continued through a lineage of ḥazzanim who ensured the continuity of the cantorial function across three generations. The Encyclopaedia Judaica, while marking genealogical caution with the adverb "probably," establishes this transmission. David Abenatar Melo was probably the father of Immanuel Abenatar Melo, ḥazzan of the Sephardic community of Rotterdam until 1682 and then of Amsterdam, and the grandfather of David Abenatar Melo, member of the Yeshiva de los Pintos and later preacher and ḥazzan in Amsterdam.
Thus emerges a true dynasty of the sung word: the grandfather, poet and translator of the Psalms; the son Immanuel, cantor attached successively to Rotterdam and Amsterdam; the grandson and namesake, trained in the very academy — the Yeshiva de los Pintos — where his ancestor had taught, and himself in turn a preacher and cantor. This circulation between Rotterdam and Amsterdam reflects the geography of the Portuguese communities of the United Provinces, closely bound to one another through marriages, rabbinical offices, and mercantile solidarities.
The epistemic status of these links must be underscored: the editors of the Encyclopaedia Judaica themselves resort to the register of the probable, a sign that the filiation, plausible in light of the shared name and continuity of functions, does not rest upon a cited birth record or parish register. This methodological honesty is precious: it distinguishes the slender yet solid thread of onomastic attestation from hazardous reconstructions. The repetition of the given name David from grandfather to grandson — a frequent Sephardic usage paying tribute to the ancestor — nonetheless strongly reinforces the coherence of the proposed genealogy.
The figure of David Abenatar Melo has traversed the centuries as an emblem of Marrano resistance through poetry. Nineteenth-century Jewish historiography, and notably Heinrich Graetz's History of the Jews, reserved a prominent place for him among the voices of the Amsterdam diaspora. According to the French translation of Graetz, this double sentiment — rediscovered fervor and the memory of torments — is expressed with vigorous eloquence in the Spanish verse imitation of the Psalms of David published by a Marrano poet, David Abenatar (c. 1600–1625). One should note the divergence in dating: whereas the Encyclopaedia Judaica places his death around 1646, the nineteenth-century historiographical tradition proposed earlier boundaries ("c. 1600–1625"), illustrating the uncertainties that still weigh upon the precise chronology of this figure.
The Memory of the name Abenatar was also preserved by the archives of the Moroccan and contemporary Sephardic diaspora. The Archive juive marocaine offers a synthetic entry: ABENATAR David Mélo, of Spanish origin, from a Marrano family; a poet arrested and tortured by the Inquisition, he succeeded in leaving Spain for Amsterdam where he returned to Judaism; a founding member of the Talmud Torah society, he is the author of a book of Psalms in Spanish — whose preface recounts his experience with the Inquisition — as well as prayer books and other liturgical works. This inscription of the name within an archive of Maghrebi orientation, even though the figure himself is Iberian and Amsterdamian, testifies to the circulation of the surname Abenatar / Ben Attar across the entire Sephardic world and to an awareness of a broader onomastic kinship.
Here, tradition and archive converge: the transmitted narrative of the poet-martyr coincides with the printed document that is his Psalter, and the family memory of the name overlaps with the bibliographic trace. It is this convergence — of testimony and archive — that establishes the solidity of the Abenatar dossier, while leaving open the questions of dating and precise lineage that only new documentary discoveries will be able to resolve.
The Abenatar lineage, as authoritative sources allow us to reconstruct it, is not a dynasty of the powerful but a family of witnesses. Its history condenses, within a few generations, the odyssey of Western Sephardic Judaism: the Iberian rootedness signaled by the Aben- prefix, the Marrano ordeal under the Inquisition, the flight toward Dutch freedom, and the refounding of a full Jewish life within the Portuguese communities of Amsterdam and Rotterdam. David Abenatar Melo stands as its central and best-established figure: survivor of an auto-da-fé, founder of a pious society, patron of liturgical printing, and above all poet of the Psalter, he transformed his suffering into song and made Scripture the vessel of a historical Memory.
Around him, a probable lineage of cantors — his son Immanuel, his grandson David — ensured the transmission of the sacred word, perpetuating the liturgical vocation of the name. The dossier remains marked by uncertainties that the finest sources themselves acknowledge: the poet's exact chronology, the precise filiation of subsequent generations, the hypothetical links with other Melo or Ben Attar branches. Far from weakening the narrative, these areas of shadow guarantee its honesty: the Abenatar lineage reaches us as an authentic testimony, at once luminous in its documentary core and suffused with the uncertainty proper to all memory of exile.
