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The Americanization of Tevye Or Boarding the Jewish The Americanization of Tevye or Boarding the Jewish "Mayflower" Author(s): Seth L. Wolitz Source: American Quarterly, Vol. 40, No. 4 (Dec., 1988), pp. 514-536 Published by: The Johns Hopkins University Press Stable URL: http://www.jstor.org/stable/2713000 . Accessed: 10/01/2014 17:27 Your use of the JSTOR archive indicates your acceptance of the Terms & Conditions of Use, available at . http://www.jstor.org/page/info/about/policies/terms.jsp . JSTOR is a not-for-profit service that helps scholars, researchers, and students discover, use, and build upon a wide range of content in a trusted digital archive. We use information technology and tools to increase productivity and facilitate new forms of scholarship. For more information about JSTOR, please contact [email protected]. The Johns Hopkins University Press is collaborating with JSTOR to digitize, preserve and extend access to American Quarterly. http://www.jstor.org This content downloaded from 150.210.226.99 on Fri, 10 Jan 2014 17:27:11 PM All use subject to JSTOR Terms and Conditions The Americanizationof Tevye or Boarding the Jewish Mayflower SETH L. WOLITZ University of Texas, Austin WHEN THE MUSICAL, FIDDLER ON THE ROOF, OPENED ON BROADWAYIN 1964, Zero Mostel in the characterof Tevye introduceda new archetypeinto Amer- ican culturalhistory: the "old country"immigrant. The success of the musical and its film sequel (1971) startledthe producersand creatorsof the musical as much as it delighted audiences of Broadway, the United States, and later the world. Tevye encapsulatedthe world of traditioncoming to terms with modernization,and in particularAmericanization. Tevye was not a new figure for Jewish-Americanaudiences. He was re- membered somewhat distantly as a beloved figure in the Yiddish stories of Sholem Aleykhem, the most popularand perhapsthe greatest Yiddish writer of the immigrantgeneration. At least four of his Tevye stories provided the charactersand plot materialfor the musical. Sholem Aleykhem (1859-1916), the pen name of Sholem Rabinowitz, pro- jected the image of a warm comic writer who capturedthe bittersweetlives and tribulationsof his generationtorn out of the traditionalworld of Eastern Europe and forced in many cases to distant emigrations.' The stormy life of Sholem Rabinowitz, the man, in fact, parallels that of his readers. Although quite famous by 1900, the writerwas not successful in his financialdealings. In the vain hope of improving his economic lot he immigratedto the United States and arrivedin New York in 1906. He producedtwo plays which failed. Exploited by the local Yiddish press, he returnedto Europe in 1907, sorely disappointed. WhenWorld War I brokeout, ratherthan return to TsaristRussia, he ventured across the Atlantic again and was given a splendidreception at CarnegieHall. Seth L. Wolitz is the Gale Professor of Jewish Studies at the University of Texas, Austin. He is a professorof Frenchand ComparativeLiterature and teaches in the AmericanStudies Program. His presentpublications have been on Yiddish American Poetry, Moshe-Leyb Halpernand Aba Shtoltsenberg,and he has published books on Marcel Proust and Bernartde Ventadorn. 514 This content downloaded from 150.210.226.99 on Fri, 10 Jan 2014 17:27:11 PM All use subject to JSTOR Terms and Conditions THE AMERICANIZATIONOF TEVYE 515 His health cares and financialwoes, however, were not assuaged. He worked incessantly to feed his large family and in two years completed the American chaptersof his unfinishednovel, Moti; the main part of his autobiographical novel, Funem Yarid (The Great Fair); a new comedy, and a dramatization of his finest shortstory cycle, Tevyethe Dairyman. He died on May 13, 1916, and over 250,000 Jewish immigrantsescorted his bier to a simple plot in a Brooklyn cemetery.2This massive turnoutputs into perspective the extraor- dinary bond that existed between the immigrantsand their favorite Yiddish writer whose good humor eased their burdened lives. Perspicaciously, he captured in his stories the struggling "greenhorn" who, like himself, was adaptingambivalently to the new realities. He was the forerunnerof immigrant Yiddish writers Sholem Asch and I. B. Singer, who also interpretedboth the old countryand the new one to fellow immigrants,and, in English translation to a general American readership. Sholem Aleykhem also influenced much of the comic grotesquelurking in Jewish-Americanwriting. BernardMalamud and Saul Bellow are direct heirs to Sholem Aleykhem's humor and pathos. The adaptationof Sholem Aleykhem's Tevye stories for Fiddler on the Roof, is not, therefore, accidental, for his stories continue to serve as a source for Jewish-Americanaesthetic creativity. Tevye first appearedin print in 1895. Originally Tevye was a mere wagon driver, a lowly position in the Jewish social hierarchy.The characterization was so successful that Sholem Aleykhem developed the personage and added self-containedstories cast as monologues between 1895 and 1916 which were finally broughttogether for his collected works under the heading Tevye the 3 Dairyman. In all of the monologues Tevye addresses his friend, "Mr. Sholem Aley- khem," the author,who framesthe story and mediatesbetween the loquacious Tevye and the reader. Intimacy is quickly established by placing the author as silent participanton an equal footing with the hero, who feels free to talk directly and intimately. Throughthe frame of "Mr. Sholem Aleykhem," the readerassumes the writer's role and directly experiences the verbal embrace of Tevye. Tevye is in an unenviable situationin a traditionalsociety because he has seven daughterswithout dowries and no male heir. Marryingoff each daughterconstitutes the basic problemof each monologue. Groupedtogether, a family saga emerges. In these monologues, writtenover the space of twenty years, Sholem Aleykhem recordsthe effects of contemporaryevents upon the lives of Tevye and his family, that is, the Jewish people. Tevye, whether of 1895 or of 1964, appears as the quintessentialEastern EuropeanJewish folk type defending "tradition"to his peers yet privately questioningGod's ways. His hopes, doubts, experiences and reactionsreflect a traditional culture under siege internally and externally. Both Tevyes are cloaked in nostalgia, but crucial distinctions separate them. Sholem This content downloaded from 150.210.226.99 on Fri, 10 Jan 2014 17:27:11 PM All use subject to JSTOR Terms and Conditions 516 AMERICANQUARTERLY Aleykhem's Tevye attemptsto defend a worldhe believes in but cannotprotect, leaving him bitter and isolated, whereas the AmericanTevye of 1964 joyfully prepareshis shtetl (small Jewish township), Anatevka, for boardingthe Jewish Mayflowerfor the Golden Land. The maintenanceof the propernoun Tevye is required for cultural continuity, but his signification shifts over time to reflect the needs of the contemporaryaudience. Each Tevye recasts Jewish cultural history according to a contemporary ideology in orderto absorbthe pain-ladenpast of TsaristRussia, the Holocaust, and Americanization.The musical Tevye becomes a Jewish Pilgrim, a victim of religious persecution, fleeing intolerantEurope to the land of fulfillment, America. From the stubbornbut passive traditionalistof Sholem Aleykhem's hero, Tevye becomes an almost progressive grandfatherfigure, a legitimizer of change. This study will show that the Americanizationof Tevye reflects the efforts of Yiddish and Jewish-Americanartists to capture different stages and ide- ologies of their group's acculturationto Westernsecularism. In reworkingthe characterof Tevye to fill the needs of Jewish culturaladaptation, these artists over the course of one century manipulatedyearnings for a lost "pastoral" past, acknowledgedsurreptitiously the woundsof the Holocaust, andexpressed the need for historical-culturalrecognition and legitimation. The American- ization of Tevye expressed the validation of Jewish-Americanparticipation in American life.4 * * * Sholem Aleykhem's Tevye reflects the traditionalJewish ethical guide, the Pirke Avot (Sayings of the Fathers): "Be submissive to the Ruler, patient under oppression and receive everyone with cheerfulness" (3, 16). Because Tevye is steeled by his sense of inheritanceand place in the EasternEuropean Jewish Weltanschauung,he can bear large amounts of physical or emotional adversity.But once his heritageis challengedintellectually by his own daugh- ters and their swains, he must defend himself by appeals to tradition and irony. He becomes a comic figure, like Don Quixote, because he fights with obsolete weapons in supportof a system in which he ferventlybelieves without a clear understandingof its intellectual underpinnings.Tevye is a snob who believes himself descended from a learned line fallen on hard times. This subterfugeto escape his low caste is both comic andpathetic for his pretensions to rabbiniclearning become obsolete in an emerging capitalistic society-of which he is ignorant-where wealth outranksrabbinical knowledge and treats it with contempt. Tevye's inability to comprehendthe inexorable pressureof the new in Sholem Aleykem's text contributesto his ultimate discomfiture. Ironically, the outside world is the source both of his "upwardmobility" This content downloaded from 150.210.226.99 on Fri, 10 Jan 2014 17:27:11 PM All use subject to JSTOR Terms and Conditions THE AMERICANIZATIONOF TEVYE 517 and his painful ruin. In the first monologue, Tevye is raised from a lowly draymanto a dairymanas a reward for having helped some nouveau-riche Jewish women, lost in the countryside,
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