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The Yiddish Drama a Comparativ Study in Dramatic Development

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The Yiddish Drama a Comparativ Study in Dramatic Development + - * ' * Ik UNIVERSITY OF ILLINOIS LIBRARY i. J- Book <£ 4- l^Vb * 4 4 f 4 ilk-; * 4 4 MrlO-20M ' ^ ^ f # i-- * 4 4 f 4 4 4 4 - * * * * * | | + * • f- f * 4 f. 4- if < ,,, ^ ^ 4 4 * * ' * * f ;/ - 4 4 4 ' " 4- | 4 4 4 * . * # 4 # ^ +• -4K f- I 4 4 f # f ' f- * 4 * 1 -4 1 4 * 4 -f^ f 4 * f * 4 * * + * ^ * ^ * + 4 ; ' *. ^v:;-^ * , * * * + * 4 4 ' 4 4 # 4 * * 4 * I 4 # f * + + f * * + 4 | * jff'\ : 'f 4 4 |p f 4 4 4 + * lluw^^ 4 4 ^ # --f * f -f ^. 4 4 4 4 ^ * 4 * Ill * * # 4- ; 4-v f 4 : 1 7* t* 4. ' 4 f f 4r '4 ' 4 '4k i1 The person charging this material is re- sponsible for its 4 4* ' 4- return to the library from 4: # which it was withdrawn on or before the WE Latest Date stamped below. Theft, mutilation, and underlining of books are reasons for disciplinary action and may result in dismissal from the University. UNIVERSITY OF ILLINOIS LIBRARY AT URBAN A-CHAMPAIGN BUILDING I I SEP 2 *it <£. , siL * * t 1 1 #; # # f ,.. , 4h . 4 * f -4- v + + * . IN ^ t * M T f :. - # L161 — O-1096 if i ' 4- f. |t I 1 1 1 I 4 f f' #; *ff 4- s*- 4- + *f- , # Digitized by the Internet Archive in 2013 http://archive.org/details/yiddishdramacompOOravi THE YIDDISH DRAMA A COMPARATIV STUDY IN DRAMATIC DEVELOPMENT BY MAX RAVITCH A. B. University of Missouri, 1909 THESIS Submitted in Partial Fulfillment of the Requirements for the Degree of MASTER OF ARTS IN ENGLISH IN THE GRADUATE SCHOOL OF THE UNIVERSITY OF ILLINOIS Bio ~ UNIVERSITY OF ILLINOIS THE GRADUATE SCHOOL May 12 i9<10 UNDER MY SUPERVISION BY 1 HEREBY RECOMMEND THAT THE THESIS PREPARED MAX RAVITCH entitled The Yiddish Drama; a Comparative Study in Dramatic Development BE ACCEPTED AS FULFILLING THIS PART OF THE REQUIREMENTS FOR THE degree of Master of Arts In Charge of Major Work Head of Department Recommendation concurred in: \ Committee Final Examination 169150 1 jewi 3li Drame before the Nineteenth Century . bibliografy is that . general ( Bibll . The most important TT Tiib. .Asi^r, Lennox, prepared by r. A.S. ^reidus ( Pull . 1T« Y. Public limited, how- , no. Jan. , 1907.). It is and Tilden Found , .vol. XI. 1, Wiener ( Yiddish Liter- ever, to books possest by the Astor. Library. makes one or ature of the Nineteenth Century, chap. XV., footnote?) Hebrew, see ^arpeles,^e- two necessary additions. -For the drama in Berlin, 1886, and esp.the essay by SCI, icI:t , der iue dischen LJUeraJur, other Essay_s;Phila. ,1895; him on "The Stage" in his -Jewish Lit, and 1894; Berliner' in- I,oew,Me Lebensalter in der jued. Lit Berlin, s and Delizsch.Zur troduction to the Yesod Ol.am of Moses ?acuto* *lso the article in the Jewis* Oeseh der jued. Poesie* Leipzig,1889. Purim mimes hav^been Encyclopedia, s.y.Prama, Hebrew. -The early the Middle (London, treated by Abrahams, in his Jewish Life in "The StageMsu£raj 1893.)T-arpeles devotes a portion of his essay on contributed on the subject has been to them; and general article .Purim Plays) . -The Henry -alter ( s. v to the Jewish Encyclopedia by popular stage in attempt at . Jewish source for all writers on the is Seh*dfs Juedische mmmm^' the early eighteenth century 507-317. <ee,however, the interest- Pt . II . ,PP- en- (Pranlc.a.M.,1714) 184-8/49, in the ^eum for ing bibliografy by Steinschneider fuer Puri.m und P^odie^n^schr. .64/66/69., and. his article to me. • been inaccessible ~T^sTr articles with hav Geschichte und W:' cl ft do;- . Jutlsr. tuua. Band 47, Heft 1-2, J n- Peb., 1903, pp. 1025-7; and the chapter on The Jewish Theater in »j mer. ) It has often been observed that Jewish literature has m&de no contribution to the drama, — that, for 4,000 years, the most reli gious nation in history, living in all climes and speaking a diver sity of languages, ha a produced nothing of that literary species which, more than any other, is rootea in religion. bti bhe Bible hav been struck by the fact that there is nothing in the Scriptures that approaches the dramatic, whether in form or spirit; v nutcu bu. < and investigators Gjl tiie Je n. liturgies nav m^i ci v alous f enomenon that, while Chi'istian services,.and others be; them, gradually assumed the racter of dramatic representation; the Jewish seemd. to persist their original hymnal form. In m< recent years scholars hav discoverd dramatic qualities in Job, the Books. The purpose of Song of Sonfls . snd portions of the. frofetic character of the this essay is 10tn direct/ pt&.t Mention° iniwi tobo theniw. dramaticBmt^w repre- Jewish festivals and to some unique specimens of liturgical of ; to trace ia evolution sentations which they hav develop t then of t] artistic drame fcVia semi-religious Purim plays and the rise in the nineteenth century. campains of Alex- The Jews first learned of the dr? hen the with Greek culture; ander in th East brought them i.nto^ cc t the Romans was there and only after Jerusalem had been con< by religioui ments of the" nation did a playhous bilt in Judee.The ,„ Yet p ano.q' xaio. it-\j underu . the ban. zed it as " a seat of the scornful, constantly gaind in popular in spite of all opposition, the drama 3 on the one hand among the enthusiastic lovers of Greek art and thought who saw in it a means for the rapid introduction of the new culture, and on the other, among the crowds of frivolous plesure- seekers. As early as 160 B.C., the Alexandrian Ezekielos wrots the first drama known to hav come from the pen of a Jew. Somewhat later we hear of Jewish actors at Rome and elswhere; and one of them, men tiond by Flavius Josephus, was so skilful that he became a favorit at court. But the masses of the Jewish people at home remaind stran gers to the theater, participating in it merely as spectators. The most ardent admirer* of the drama lookt upon it as a foren import- ation, a luxuriant growth transplanted from a strange soil. Pre- servd fragments of even Ezekielos' play show unmistakable traces of Euripidsan influence. Nevertheless, this first Jewish playwright is extremely interesting. As appears fro» the subject of his play, he seems to hav attempted to lay the foundation for a national Jewish drama; for it is nothing less than a dramatization of the Exodus with Moses as its hero. This last fact is very characteristic. We shall presently see that it was the wtory of the Exodus that containd the germ of what must be considerd the first genuin Jewish drama. As is well known, France in the middle ages developt two distinct dramatic types, the religious and the farcical. The one was a product of the Catholic liturgy, and, but for the classic revival, might eventually hav given rise to a nativ serious drama. The other sprang directly from the pent-up energy of a people naturally given to mirth, and gave the impuls to the comedy of Moliere. Something of the same order took place among the medieval Jews. The Jewish middle ages, however, be- gan six centuries before the French. After the fall of the second -d*u/«»Iq ttuoloviil mb*o-i^ axtt aacuu. o tmii ail* ao inn % »mfluo uU a*onw • clml^msSi a*Xibamx*Lk axtf .£;.•! 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