Ghetto Comedies by Israel Zangwill (sites to read books for free .txt) 📕

a boy—this pious task-work that almost spoilt the anticipation of meals! But to-night, after so long an interval, he could look at it without prejudice, and with artistic aloofness render to himself a true impression of its spiritual value.

'We thank Thee, O Lord our God, because Thou didst give as an heritage unto our fathers a desirable, good, and ample land, and because Thou didst bring us forth, O Lord our God, from the land of Egypt, and didst deliver us from the house of bondage——'

Barstein heard no more for the moment; the paradox of this retrospective gratitude was too absorbing. What! Sir Asher was thankful because over three thousand years ago his ancestors had obtained—not without hard fighting for it—a land which had already been lost again for eighteen centuries. What a marvellous long memory for a race to have!

Delivered from the house of bondage, forsooth! Sir Asher, himself—and here a musing smile crossed the artist's lips—had never even known a house of bondage, unless, indeed, the House of Commons (from which he had been delivered by the Radical reaction) might be so regarded, and his own house was, as he was fond of saying, Liberty Hall. But that the Russian Jew should still rejoice in the redemption from Egypt! O miracle of pious patience! O sublime that grazed the ridiculous!

But Sir Asher was still praying on:

'Have mercy, O Lord our God, upon Israel Thy people, upon Jerusalem Thy city, upon Zion the abiding place of Thy glory, upon the kingdom of the house of David, Thine anointed....'

Barstein lost himself in a fresh reverie. Here was indeed the Palestinian patriarch. Not with the corporation of Middleton, nor the lobbies of Westminster, not with his colossal business, not even with the glories of the British Empire, was Sir Asher's true heart. He had but caught phrases from the environment. To his deepest self he was not even a Briton. 'Have mercy, O Lord, upon Israel Thy people.' Despite all his outward pomp and prosperity, he felt himself one of that dispersed and maltreated band of brothers who had for eighteen centuries resisted alike the storm of persecution and the sunshine of tolerance, and whose one consolation in the long exile was the dream of Zion. The artist in Barstein began to thrill. What more fascinating than to catch sight of the dreamer beneath the manufacturer, the Hebrew visionary behind the English M.P.!

This palatial dwelling-place with its liveried lackeys was, then, no fort of Philistinism in which an artist must needs asphyxiate, but a very citadel of the spirit. A new respect for his host began to steal upon him. Involuntarily he sought the face of the daughter; the secret of her beauty was, after all, not so mysterious. Old Asher had a soul, and 'the soul is form and doth the body make.'

Unconscious of the effect he was producing on the sensitive artist, the Rembrandtesque figure prayed on: 'And rebuild Jerusalem, the holy city, speedily and in our days....'

It was the climax of the romance that had so strangely stolen over the British dinner-table. Rebuild Jerusalem to-day! Did Jews really conceive it as a contemporary possibility? Barstein went hot and cold. The idea was absolutely novel to him; evidently as a boy he had not understood his own prayers or his own people. All his imagination was inflamed. He conjured up a Zion built up by such virile hands as Sir Asher's, and peopled by such beautiful mothers as his daughter: the great Empire that would spring from the unity and liberty of a race which even under dispersion and oppression was one of the most potent peoples on the planet. And thus, when the ladies at last rose, he was in so deep a reverie that he almost forgot to rise too, and when he did rise, he accompanied the ladies outside the door. It was only Miss Aaronsberg's tactful 'Don't you want to smoke?' that saved him.

'Almost as long a grace as the dinner!' Tom Fuller murmured to him as he returned to the table. 'Do the Jews say that after every meal?'

'They're supposed to,' Barstein replied, a little jarred as he picked up a cigar.

'No wonder they beat the Christians,' observed the young Radical, who evidently took original views. 'So much time for digestion would enable any race to survive in this age of quick lunches. In America, now they should rule the roast. Literally,' he added, with a laugh.

'It's a beautiful grace,' said Barstein rebukingly. 'The glamour of Zion thrown over the prose of diet.'

'You're not a Jew?' said Tom, with a sudden suspicion.

'Yes, I am,' the artist replied with a dignity that surprised himself.

'I should never have taken you for one!' said Tom ingenuously.

Despite himself, Barstein felt a thrill of satisfaction. 'But why?' he asked himself instantly. 'To feel complimented at not being taken for a Jew—what does it mean? Is there a core of anti-Semitism in my nature? Has our race reached self-contempt?'

'I beg your pardon,' Tom went on. 'I didn't mean to be irreverent. I appreciate the picturesqueness of it all—hearing the very language of the Bible, and all that. And I do sympathize with your desire for Jewish Home Rule.'

'My desire?' murmured the artist, taken aback. Sir Asher here interrupted them by pressing his '48 port upon both, and directing the artist's attention in particular to the pictures that hung around the stately dining-room. There was a Gainsborough, a Reynolds, a Landseer. He drew Barstein round the walls.

'I am very fond of the English school,' he said. His cap was back in his coat-tail, and he had become again the bluff and burly Briton.

'You don't patronize the Italians at all?' asked the artist.

'No,' said Sir Asher. He lowered his voice. 'Between you and I,' said he—it was his main fault of grammar—'in Italian art one is never safe from the Madonna, not to mention her Son.' It was a fresh reminder of the Palestinian patriarch. Sir Asher never discussed theology except with those who agreed with him. Nor did he ever, whether in private or in public, breathe an unfriendly word against his Christian fellow-citizens. All were sons of the same Father, as he would frequently say from the platform. But in his heart of hearts he cherished a contempt, softened by stupefaction, for the arithmetical incapacity of Trinitarians.

Christianity under any other aspect did not exist for him. It was a blunder impossible to a race with a genius for calculation. 'How can three be one?' he would demand witheringly of his cronies. The question was in his eye now as he summed up Italian art to the sculptor, and a faint smile twitching about his lips invited his fellow-Jew to share with him his feeling of spiritual and intellectual superiority to the poor blind Christians at his table, as well as to Christendom generally.

But the artist refused to come up on the pedestal. 'Surely the Madonna was a very beautiful conception,' he said.

Sir Asher looked startled. 'Ah yes, you are an artist,' he remembered. 'You think only of the beautiful outside. But how can there be three-in-one or one-in-three?'

Barstein did not reply, and Sir Asher added in a low scornful tone: 'Neither confounding the persons, nor dividing the substance.'

III

A sudden commission recalled Barstein to town before he could even pay his after-dinner call. But the seed sown in his soul that evening was not to be stifled. This seed was nothing less than the idea of a national revival of his people. He hunted up his old prayer-books, and made many discoveries as his modern consciousness depolarized page upon page that had never in boyhood been anything to him but a series of syllables to be gabbled off as rapidly as possible, when their meaning was not still further overlaid by being sung slowly to a tune. 'I might as well have turned a prayer-wheel,' he said regretfully, as he perceived with what iron tenacity the race beaten down by the Roman Empire and by every power that had reigned since, had preserved its aspiration for its old territory. And this mystery of race and blood, this beauty of unforgetting aspiration, was all physically incarnate in Mabel Aaronsberg.

He did not move one inch out of his way to see her, because he saw her all day long. She appeared all over his studio in countless designs in clay. But from this image of the beauty of the race, his deepening insight drove him to interpret the tragedy also, and he sought out from the slums and small synagogues of the East End strange forlorn figures, with ragged curls and wistful eyes. It was from one of these figures that he learnt to his astonishment that the dream of Zion, whereof he imagined himself the sole dreamer, was shared by myriads, and had even materialized into a national movement.

He joined the movement, and it led him into strange conventicles. He was put on a committee which met in a little back-room, and which at first treated him and his arguments with deference, soon with familiarity, and occasionally with contempt. Hucksters and cigar-makers held forth much more eloquently on their ideals than he could, with far greater command of Talmudic quotation, while their knowledge of how to run their local organization was naturally superior. But throughout all the mean surroundings, the petty wrangles, and the grotesque jealousies that tarnished the movement he retained his inner exaltation. He had at last found himself and found his art. He fell to work upon a great Michel-angelesque figure of the awakening genius of his people, blowing the trumpet of resurrection. It was sent for exhibition to a Zionist Congress, where it caused a furore, and where the artist met other artists who had long been working under the very inspiration which was so novel to him, and whose work was all around him in plaque and picture, in bust and book, and even postcard. Some of them were setting out for Palestine to start a School of Arts and Crafts.

Barstein began to think of joining them. Meantime the Bohemian circles which he had adorned with his gaiety and good-fellowship had been wondering what had become of him. His new work in the Exhibitions supplied a sort of answer, and the few who chanced to meet him reported dolefully that he was a changed man. Gone was the light-hearted and light-footed dancer of the Paris pavement. Silent the licentious wit of the neo-Pagan. This was a new being with brooding brow and pained eyes that lit up only when they beheld his dream. Never had Bohemia known such a transformation.

IV

But a change came over the spirit of the dream. Before he could seriously plan out his journey to Palestine, he met Mabel Aaronsberg in the flesh. She was staying in town for the season in charge of an aunt, and the meeting occurred in one of the galleries of the newer art, in front of Mabel's own self in marble. She praised the Psyche without in the least recognising herself, and Barstein, albeit disconcerted, could not but admit how far his statue was from the breathing beauty of the original.

After this the Jewish borderland of Bohemia, where writers and painters are courted, began to see Barstein again. But, unfortunately, this was not Mabel's circle, and Barstein was reduced to getting himself invited to that Jewish Bayswater, his loathing for which had not been overcome even by his new-found nationalism. Here, amid hundreds of talking and dancing shadows, with which some shadowy self of his own danced and talked, he occasionally had a magic hour of reality—with Mabel.

One could not be real and not talk of the national dream. Mabel, who took most of her opinions from her brother Julius, was frankly puzzled, though her marmoreal gift of beautiful silence saved her lover from premature