Hebrew literature -- History and criticism; Jewish literature -- History and criticism; Jews in literature
Gutzkow was attracted to the subject by his own devotion to freedom.
In the stormy movements which culminated in the outbreaks of 1848,
Gutzkow was directly implicated. He was born in 1811, and, when barely
twenty, suffered imprisonment as a leader of the “Young Germany”
party. Besides, Gutzkow had many close Jewish friends, among them
Berthold Auerbach, who, perhaps, introduced Uriel Acosta to his
notice. When Gutzkow wrote his play on the subject, Europe was on the
eve of revolution. It is significant, in face of the anti-Semitism
which really originated on the failure of the Liberals, that Gutzkow
selected, in 1847, a Jewish _mis-en-scène_, in order to depict the
struggle between the old order and the new. And it is impossible to
refuse admiration to the insight and skill which enable the author,
while obviously sympathizing with the new, to treat the old with
justice and even with tenderness. The characters are all types.
Menasseh, father of Judith, is the fair-dealing merchant, accepting the
current religion of his people without enthusiasm for or against its
demands. Judith, the heroine, more or less betrothed to Jochai, the
villain of the piece, is vaguely susceptible to the newer ideas of her
tutor and lover Uriel. Jochai is a rather conventionally drawn rascal.
But the strength of the play is the contrast, on the one hand, between
Uriel and the Rabbis, and, on the other, between the various schools
of Rabbis among themselves. Da Silva has the tolerance of uncertainty
as to his own position, Akiba has the broad generosity which comes
from confidence in his old-world loyalty. The scenes between Uriel
and Silva, and between the former and Akiba would make a success on
any stage. “May you never repent of this repentance,” cries Da Silva
to Akiba when there is talk of Uriel’s recantation. There is strong
emotional interest in this recantation. Shall Uriel recant for Judith’s
sake? Hardly. But he cannot resist the appeal of his blind mother. “I
tremble before thy sightless eyes; shut thine eyes, mother! Yea, I will
do it.”
Public-domain text, read in full here on John Shaqi.
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