DAS Städtchen is also a book of sketches. In this, however, the different high points—the Sabbath eve, the holidays, the marriage ceremony and others in Russian Jewish village life, are treated. Character is not emphasized, although one man appears through all the sketches. The book does not come up to Die Bilder aus dem Ghetto.
Asch is essentially a dramatist. In his sketches, in his novels and in his stories, the dramatic point of view is not lost. His plays consequently always move, are always full of action and tense situation. The same elemental strength and purity of emotion that is found in his prose is always present in his dramas. In the concluding part of this essay, I shall touch upon five of his plays in the order of their importance.
Editors' Note—The third and concluding part of Mr. Shostac's prize essay, dealing with Shalom Asch as a Dramatist, will appear in the next issue.
THOSE of us in England who know how much harshness and injustice the Jews have had to suffer will join in your hopes that after the war some means may be found of permanently ameliorating their lot. You may feel the more sure of our sympathy in this because, as you know, England is the European country in which, since Oliver Cromwell sanctioned their return nearly three centuries ago, the Jews have been best treated, being freely admitted to all posts of power and honor, and not exposed to any sort of social disparagement. They have held places in our Cabinets and been among the most eminent lawyers and judges. Such a one was Sir George Jessel, the famous Master of the Rolls. We have no more patriotic citizens, nor more generous benefactors to works of charity and to public purposes supported by private liberality. With those members of the race who have suffered injustice or violence in other countries, there has always been a warm sympathy in Great Britain.—Viscount Bryce, in a Letter to The Menorah Journal.
Liberalism and the Jews
By Joseph Jacobs
