Degenerate Art and the Jewish Grandmother

The story of the family behind the Nazi-era art trove
Degenerate Art and the Jewish Grandmother
Horse in a Landscape, 1910, by the German Expressionist Franz Marc, denounced by the Nazis as a "degenerate" artist. Courtesy Wikipaintings.
 
Observation
Walter Laqueur
Dec. 4 2013 12:39AM

Early in November, a major sensation erupted when it was reported that some 1,400 highly valuable works of art, most of them unseen for decades, had been discovered hidden in an apartment in Munich, Germany.

The apartment’s owner, Cornelius Gurlitt, is an eighty-year-old art dealer and recluse whose father, Hildebrand, was one of four dealers commissioned by the Nazis to sell their looted art abroad in exchange for much-needed foreign currency. Many of the works in the Gurlitt apartment appear to belong to this category of art works stolen from their owners by the Nazi regime, while others may have been consigned to the elder Gurlitt by Jews and others fleeing Hitler’s Germany while they could. A significant number are by artists, Jewish and non-Jewish alike, officially condemned by the Nazis as “degenerate.”

Many thousands of such works remain unrecovered to this day. Nor have directors of the museums where some of them ended up in the postwar years been noticeably eager to cooperate with efforts to restore them to their original owners or their heirs.

And little wonder: over time, the value of most of the works has appreciated enormously. After the German Expressionist Ernst Ludwig Kirchner (not Jewish) committed suicide in 1938, a year after being included in the Nazis’ notorious exhibit of “Degenerate Art,” his widow was lucky to obtain several hundred dollars for one of his paintings; a few years ago, Kirchner’s Berlin Street Scene was auctioned by Sotheby’s and acquired by Ronald Lauder for $38 million. Another painting, Two Horsemen on the Beach, a particular favorite of mine by the “degenerate” Max Liebermann (Jewish, and the leading German Impressionist of his time), was virtually unsellable after the Nazis came to power. It was found among the works hidden in the Munich apartment; although Liebermann’s work has not yet come back into vogue, the painting would likely sell for at least $1 million today.

Liebermann Self Portrait

Self-portrait by Max Liebermann, the “degenerate” German-Jewish Impressionist whose Two Horsemen on the Beach was found in Cornelius Gurlitt’s apartment. Courtesy Wikipaintings.

 

But who are the Gurlitts? Although press stories on the Munich finds have tended to focus on the Jewish admixture in their history, the family, whose origin is German-Danish, is well known for other reasons to students of German art, music, and literature. Hildebrand’s grandfather, Louis Gurlitt, was a well-known landscape painter, and his son Cornelius—Hildebrand’s father and grandfather of the present-day Cornelius—was an architectural historian of note. Nor were these the only culturally prominent members of the clan. As for the Jewish link, which consists of Louis Gurlitt’s wife Elisabeth, that is rather attenuated by now.

Thus, to use the metric applied by the Nazi-era Nuremberg laws, the reclusive Cornelius (Elisabeth’s great-grandson) is just one-eighth Jewish, while his art-dealer father Hildebrand, who died after World War II in a car accident, was a quarter-Jew. In Nazi Germany, this was considered a blemish but did not automatically mean Auschwitz. With a little effort and good will on the part of the authorities, one could always claim a fleeting episode of marital infidelity somewhere along the line, nugatory enough to turn a quarter-Jew like the Hildebrand Gurlitt into an almost-full Aryan. Of course, in order to remain unharmed, anyone so tainted was also well advised to exercise caution and above all not to make enemies.

As it just so happens, however, Elisabeth Lewald, Hildebrand Gurlitt’s embarrassing Jewish grandmother, came from a very interesting family herself, and their story is well worth telling—less because it somehow explains or excuses Cornelius’s behavior, as is typically insinuated by the press, than because of the window it offers onto the fraught and endlessly fascinating saga of Jewish assimilation in continental Europe.

In the case at hand, the story begins in Koenigsberg, East Prussia (now Kaliningrad, a Russian enclave), where Elisabeth, one of nine children, was born in 1822 to David Markus and Tzipora Asur. Markus was a well-to-do businessman and banker who, in 1831, would change the family name to Lewald. Although the exact thinking behind his choice of name remains a mystery, in general Jews looking to embellish their backgrounds in those days had to be inventive. (A branch of my family that found itself in Russia around 1810, and made influential friends there, claimed the name de Laquière and a background among the French aristocracy. Some of their descendants have persuaded themselves that the story is gospel truth.)

If changing names was easy, changing religion was more complicated. When the Lewald parents gave two of their sons permission to convert and undergo baptism so as to marry out of the faith, the sons refused unless the parents agreed to convert as well. Gradually the whole family became Christian, if without much enthusiasm.

In this, they formed a contrast to an earlier wave of German Jewish converts to Christianity around the turn of the 19th century. Some of the young Jewish-turned-Christian ladies of that former time became the leading salonnières of Berlin, and were genuinely convinced of the spiritual superiority of the Christian dispensation; their number included the daughter of the great Enlightenment figure Moses Mendelssohn. Only for later converts—like Elisabeth’s elder sister Fanny—had conversion become, as it was for Heinrich Heine, merely an “entrance ticket to European civilization.” In her six-volume autobiography, Fanny confessed that she did not really believe in any of the dogmas of Christianity.

Kirchner_Berlin_Street_Scene_1913-SMALL

From Berlin Street Scene 1913 by Ernst Ludwig Kirchner. A previously unknown painting by the “degenerate” Kirchner was discovered in the Munich apartment. Courtesy Wikimedia Commons.

 

Fanny, a novelist, was by far the most famous of the Lewald children; her collected works were published in the 1860s, and some have recently been reissued in Germany. More important than the novels is her autobiography, part of which is available in English translation (The Education of Fanny Lewald, 1992). In these recollections she cites some curious (to her) Jewish customs and traditions, like shiva, that in her youth, she writes, both attracted and repelled her. She also states that she and her siblings were never told they were Jewish; instead, they learned it in the street when, clothed in their beautiful little fur coats on their way to school, they were greeted with obscenities on the part of the neighborhood riffraff.

Fanny eventually moved to Berlin, where she established a literary salon attended by some of the leading German writers of the day as well as visiting foreign luminaries like Giuseppe Garibaldi. She fell in love with a German writer—married, with five children—who eventually left his family to join her.

There were instructive differences between Fanny’s salon and its predecessors of 50 years earlier. Where Mendelssohn’s daughter Dorothea Schlegel and her friend Henriette Herz conducted mainly literary gatherings, Fanny was at least as interested, if not more so, in social and political issues. True, the salons of 1800 had also become gradually politicized, willy-nilly, as many of their non-Jewish frequenters developed strongly nationalistic and even anti-Semitic attitudes. In general, history has not been kind to the Jewish salonnières of 1800 and their high-strung followers with their darkly negative attitude toward their origins. For Rahel Varnhagen, the central figure of that wave, Jewishness was a horrible injury that would never heal; “I shall never accept,” she wrote to a male friend, “that I am a schlemiel and a Jewess.”

For her part, Fanny Lewald writes in her autobiography that even as a child, before she went to school, she was aware that her Jewishness was a disaster. But she reacted differently, becoming in later years not only an important (if not, indeed, the most important) fighter for women’s rights of her era but also a staunch champion of emancipation for the Jews.

 

By the time Fanny died in 1889—her sister Elisabeth would outlive her by twenty years—the Jewish origins of the Gurlitt-Lewald clan were all but forgotten. Germany had changed: women, although they hadn’t yet secured the vote, had won most other rights, and a Jew who had been properly baptized could be a minister of the crown.

Take the case of Theodor Lewald, Fanny and Elisabeth’s nephew, born in 1860. A senior civil servant, he was highly educated, of impeccable manners, and sufficiently diffident in his behavior as not to raise suspicion. He made friends everywhere, faithfully serving not only the last German emperor, Kaiser Wilhelm II, and then the Weimar Republic, but eventually even Hitler’s Third Reich. Photographs show a man of imposing stature, far more Nordic-Aryan in appearance than the “typical” Jew of Nazi race theory.

It was, in fact, owing to Theodor Lewald that Nazi Germany achieved one of its major early triumphs: the Berlin Olympic Games of 1936. This is a story with a back story. Uninterested in sports as a youngster, Lewald, who spoke English well, had become involved in the St. Louis World Fair of 1904 and counted many influential Americans among his friends. It was thus that he found himself on a German committee dealing with the international Olympics organization.

The 1916 games, which had been planned for Berlin, never materialized because of the outbreak of World War I; in the war’s aftermath, Germany was barred from participating in the 1920 and 1924 games. Only in 1928, thanks to Lewald and his networking, was Germany fully reinstated; two years later, Berlin was chosen as the site of the 1936 games. For Hitler and Goebbels, the risk in hosting an international event of this kind, with so many non-Aryans competing and possibly even winning the gold, was outweighed by the potential propaganda value of the event and the unique opportunity to enhance the Third Reich’s standing in the world.

Lewald’s prior successes had, however, created enemies. One of them was a high Nazi-party official named Hans von Tschammer und Osten who also bore the title of “Reich Sports Leader.” In April 1933, an article appeared in the Nazi paper, the Voelkische Beobachter, declaring it intolerable that someone of part-Jewish extraction should be playing a key role in the forthcoming games. But Lewald’s rivals had greatly underestimated his ability to pull strings while keeping discreetly in the background. He alerted his American connections, who in turn mobilized much of the Olympics world in a wave of protests that turned out to be effective.

This was a little surprising. Avery Brundage, the head of the American Olympics committee, was rather sympathetic toward the Nazis and not known as a friend of the Jews. But the appeal to Olympic ideals—peace, fair play, friendship among nations, and the rest—was irresistible. The Voelkische Beobachter was put on notice, and Lewald retained his position. Only after the games, when the Nazis no longer had much use for him, did the going become rougher for Theodor. Still, even during the war years he was able to obtain extra food rations and help a girlfriend escape deportation to Theresienstadt. He died in Berlin in 1947 at the ripe age of eighty-seven.

Marc,_Franz_-_Pferde_in_Landschaft

Horses in Landscape by Franz Marc. This painting was discovered in Cornelius Gurlitt’s apartment. Courtesy Wikimedia Commons.

 

By this winding path we can now return to the 1,400 artworks recovered in Munich and claimed by Cornelius Gurlitt as his family property. Although a full inventory does not yet exist, some number of them, as I mentioned early on, seem to have come from the Nazis’ notorious “Degenerate Art” exhibit of 1937. The whole concept of degenerate art was confused and controversial. Included in the 1937 exhibit were works by two of the most prominent figures of German Expressionism, August Macke and Franz Marc; neither was Jewish, and both happened to be war heroes, having been killed in battle in World War I.

Another early Expressionist included in the exhibit was Emil Nolde, a German nationalist and an early Nazi whose work had been supported by Goebbels and others. But Hitler, who abominated all forms of modernism in art, overruled them. After the war, Nolde received the Grand Order of Merit from the West German government. Two years ago, Sotheby’s sold his Flower Garden for $3.2 million. As for specifically Jewish painters, the most prominent at the time was Liebermann; but he, too, should never have been included in the exhibit since he never produced abstract paintings.

In addition to products of German art, Jewish and otherwise, the Gurlitt collection also boasts works by such eminent non-German modernists as Picasso and Chagall, probably bought by German collectors before 1933 or seized in occupied France, as well as perfectly respectable items of older vintage by the likes of Canaletto and Rodin. It is said that eventually some 600 paintings in the Gurlitt collection will be made available for viewing on the Internet.

What will eventually happen to these pictures? Even if the original owners or their heirs or representatives can be located, it is quite possible that few will be able to prove a legally valid claim. So Cornelius Gurlitt might keep at least some of his treasure after all. What will it be worth? The highest price ever registered at auction for a single work, $268 million, was paid by the government of Qatar in 2011 for Cézanne’s Card Players. It is unlikely that any picture in the Gurlitt collection would command a similar price—but there may be no end of surprises in this saga.

Indeed, the final such surprise may belong posthumously to Fanny Lewald, who spent the last years of her life in a hotel in Dresden. Since 1993, a street in that city, Fanny Lewaldstrasse, has been named for her. Its original name was nothing less than Friedrich Auguststrasse, honoring the last emperor of Saxony. Under the Communists, it became Wilhelm Pieckstrasse, after the president of the former East Germany.

But if things were different in 1889, when Fanny died, they are more different now. Even in her wildest dreams she could not have imagined that one day not only would women in her homeland have equal rights but a woman would be serving as prime minister. Perhaps most surprising to her of all, a day would come when a Jewish grandmother in the family closet would no longer be regarded as a shameful embarrassment but as a mitigating circumstance, an excuse, even an asset.

__________

Walter Laqueur is the author of, among other books, Weimar, A History of Terrorism, Fascism: Past, Present, Future, and The Dream that Failed: Reflections on the Soviet Union. His newest book, Optimism in Politics and Other Essays, is due out from Transaction in January.

More about: Art, Berlin, Gurlitt, Nazism, olympics

 

The Tectonic Shift in Obama's Iran Policy

A nuclear deal is only the beginning. The president’s goal, at the expense of America’s allies, is full-fledged détente with Iran.

The Tectonic Shift in Obama's Iran Policy
Official White House photo by Pete Souza.
 
Observation
April 22 2015 12:01AM
About the author

Michael Doran, a senior fellow at the Hudson Institute, is a former deputy assistant secretary of defense and a former senior director of the National Security Council. He is finishing a book on President Eisenhower and the Middle East. He tweets @doranimated.


When President Obama took to the podium in the White House rose garden on April 2, his mood was victorious. With evident pride, he announced that negotiators in Lausanne had reached a “historic understanding with Iran, which . . . will prevent it from obtaining a nuclear weapon.”

In truth, the negotiators had reached no understanding, historic or otherwise. Obama was celebrating something that did not exist—at least not yet. Secretary of State John Kerry and Iranian Foreign Minister Javad Zarif had failed to agree on a text describing the terms of the so-called “Lausanne framework.” In its place, each issued a separate “fact sheet.” On some key issues the documents contradicted each other; on others they were entirely mute. Statements from officials did little to clarify the discrepancies or rectify the omissions. One official statement even seemed to widen the areas of disagreement.

In his own speech dedicated to the Lausanne framework, Ali Khamenei, the Supreme Leader of Iran, flatly denied that an understanding had been reached. He also disputed specific provisions of the emerging deal as described by the Americans. For example, he dismissed Obama’s assertion that the framework would permit “intrusive” inspections. On the contrary, military sites were off-limits to inspectors, because, he explained, “one must absolutely not allow infiltration of the security and defense realm of the state on the pretext of inspections.”

If the gap between the two sides was this big, what possessed Obama to announce a historic breakthrough? The answer is that the president was eager to produce tangible proof of progress in order to prevent the Republicans in Congress from branding the negotiations a failure. He could fend off the Republican challenge, he calculated, by telling a tale of progress—by depicting the remaining disagreements as details to be ironed out rather than as insurmountable roadblocks.

Exaggerating the successes of Lausanne may have been a savvy maneuver against the president’s domestic critics, but it weakened his hand against the Iranians by telegraphing his deep personal investment in the negotiations. Failure to get a deal would now be a major embarrassment. Knowledge of this fact gave Khamenei an opening, which he exploited with his defiant speech. Not so fast, the speech signaled to Obama. In order to get the agreement that you’re already celebrating, you must pay—in the form of more concessions to me.

If past behavior is anything to go by, Obama will give Khamenei what he wants. Indeed, American concessions have propelled the negotiations forward at every stage. A good example of the established pattern is the fate of Fordow, the bunker under the mountain near Qom. At the beginning of the negotiations, Obama publicly stated that the existence of the facility was inconsistent with a peaceful nuclear program. But after Khamenei announced his refusal to dismantle Iran’s nuclear infrastructure, Obama agreed that Fordow would not close. In the latest round of negotiations, his position softened further. The bunker would not only remain open; it would also contain operational centrifuges.

 

Thanks to retreats like this one, it is Khamenei’s red lines, not Obama’s, that have determined the shape of the emerging deal—a fact that prompts the president’s critics to accuse him of fecklessness and/or naïveté. But these descriptions miss the mark. The president is not wedded to any set of specific demands. For him, the specific terms of the nuclear agreement are far less important than its mere existence. One of Obama’s greatest diplomatic successes is to have persuaded much of the world, including many of his critics, that the primary goal of his Iran diplomacy is to negotiate a nuclear arms-control agreement. In fact, the primary goal is détente with Iran.

In the president’s thinking, détente will restrain Iranian behavior more effectively than any formal agreement. In addition, it will also open the way to greater cooperation with Iran on regional security. Détente will permit the United States to pull back from the Middle East and focus more on its domestic priorities. Finally, it will vindicate Obama’s ethos of “engagement,” which he sees as a superior alternative to the military-driven concepts of American leadership championed by his Republican opponents. In short, détente will secure Obama’s legacy.

By contrast, Khamenei is pursuing highly specific goals. Three stand out above all others. He is seeking, first, to preserve Iran’s entire nuclear infrastructure; second, to repeal the sanctions on the Iranian economy; and third, to abolish the international legal regime that brands Iran a rogue state. In all three areas, Obama has already satisfied his core demands.

True, significant disagreements still remain. One of the thorniest is the timing of sanctions relief, another dispute that Khamenei emphasized in his defiant speech. Whereas Obama says that sanctions should be lifted in a staged manner, Khamenei is calling for abolishing them immediately. Sanctions, he demanded, “must all be completely removed on the day of the agreement.”

How will Obama bridge the gap? He has two tools at his disposal. First, he will offer Khamenei what amounts to a signing bonus. Every piece of sanctions legislation passed by Congress gives the president the discretion to waive it if he perceives a national imperative for doing so. Using this waiver authority, Obama will unlock Iranian escrow accounts in China, India, Turkey, and elsewhere—accounts that hold somewhere between $100 and $120 billion. Some significant fraction of that amount, $50 billion according to one credible report, will be handed to the Iranians the moment they sign on the dotted line.

Next, the president will seek, and certainly receive, the UN Security Council’s approval of the agreement. Its stamp of approval will free the Europeans, the Russians, and the Chinese, among others, to expand their commercial ties with Iran. And trade is not all that will grow. The deal will also generate increased Iranian-Russian military cooperation. Vladimir Putin’s recent announcement of his intention to deliver S-300 anti-aircraft missiles to Iran offered a foretaste of that cooperation.

The president’s offer of a signing bonus will be difficult for Khamenei to resist, because it will not limit his options in any way. On the contrary, it will increase them. Even if he has no true intention of honoring the terms of the agreement, it still makes sense for him to ratify it, if only to pocket the bonus and collect the other benefits that will thereupon accrue immediately. Later on, when Iran begins violating the agreement, the United States will likely try to re-impose sanctions. But it will now find the job of convincing the Security Council harder than ever before, for the simple reason that a powerful European commercial lobby will have come into being with a vested interest in doing business with Iran. Nor will there be any guaranteeing the support of the Russians and the Chinese for a resumption of sanctions. No matter what, Iran will negotiate from a position of much greater strength than currently.

Alarmed by this threat, the U.S. Congress is working on a bill that will give it the right to vote its approval or disapproval of the deal with Iran. However, a vote of disapproval can stop Obama only if it passes the House and Senate with a veto-proof majority—a very high bar to clear. So long as the president can convince just one- third of either the Senate or the House to support his diplomacy, he will be free to pursue his plan. Although there’s no guarantee the president will win the fight with Congress, the odds are strongly in his favor.

 

Détente may sound like a minor shift in American policy, but in truth it is nothing less than tectonic.

Obama has put an end to containment of Iran as a guiding principle of American Middle East policy. To be sure, he continues to pay lip service to the idea of countering Iran’s influence, but his actions do not match his rhetoric. In Syria and Iraq, especially, Obama has long been respectful of Iranian interests while treating Tehran as a silent partner against Islamic State (IS).

Détente requires Obama to demote all of those allies who perceive a rising Iran as their primary security threat. The process, which has been under way for many months already, is most advanced in the case of Israel. Of course, Obama has never admitted that he is demoting Israel. He and his senior officials prefer, instead, to blame the deterioration in relations on the personal failings of the Israeli prime minister. They have spared no effort to inform us of Benjamin Netanyahu’s myriad faults. His attitude toward Arab citizens of Israel, we are told, is bigoted; his failure to reinvigorate the peace process is indefensible; his readiness to serve as a pawn of the GOP is abject; and his supposed readiness to conduct espionage against the United States is treacherous.

The attacks on Netanyahu have been extraordinarily personal. Since the Israeli prime minister is the most persuasive opponent of the Iran deal, Obama is working to discredit him much as a defense attorney works to tarnish the character of the prosecution’s star witness. He is also teaching a lesson to other allies who might be tempted to speak out. And potential critics of the Iran deal are not in short supply. In private, the French, the Saudis, and most other Arabs all bemoan Obama’s policy. None of them, however, has stood up and directly attacked it in the manner of Netanyahu.

To reinforce the lesson, the president has given the Gulf Arabs a small taste of the chastisement he is holding in reserve for them. For example, in a recent interview with Thomas Friedman, Obama discussed the Gulf allies’ fears of Iran. These fears, he implied, were misplaced. In fact, Iran was not the biggest threat to their security; of greater concern is internal unrest. Young people, he explained, have no legitimate means to express their grievances, and so the top priority must be domestic political reform. In his interview, the president expressed keen interest in discussing with the Gulf states “how we can we strengthen the body politic in these countries, so that Sunni youth feel that they’ve got something other than [Islamic State] to choose from.”

Obama stopped short of accusing America’s allies of fueling the sectarianism and violence sweeping the Middle East, but the veiled threat was obvious. A week later, moreover, he made it more explicit when, in a discussion of Libya, he said the Gulf states sometimes “fan the flames of military conflict.” Whether to Israel or to the Gulf countries, Obama’s general message is the same: Iran is not the problem; you are. Get your own house in order.

While criticizing allies for their parochialism, Obama and his senior officials have a habit of praising Iran for its supposedly ecumenical spirit. “I think what the Iranians have done,” the president said in an interview last August, “is to finally realize that a maximalist position by the Shias inside of Iraq is, over the long term, going to fail. And that’s, by the way, a broader lesson for every country: you want 100 percent, and the notion that the winner really does take all, all the spoils. Sooner or later that government’s going to break down.” To hear the White House tell it, Iran could even serve as a role model for the Gulf Arabs.

 

Behind such statements is a new vision of the American role in the Middle East. In Obama’s eyes, the United States no longer leads a coalition dedicated to bringing order to the region. Instead, it is the convener of a grand negotiation between Shiite Iran and the Sunni powers. For over a year now, when describing the goal of his diplomacy the president has repeatedly returned to the same word: “equilibrium.” If the United States does its job correctly, he told Friedman, “what’s possible is you start seeing an equilibrium in the region, and Sunni and Shia, Saudi and Iran start saying, ‘Maybe we should lower tensions and focus on the extremists like [IS] that would burn down this entire region if they could.’”

The president believes that his détente policy—especially his willingness to compromise on the nuclear program—will convince the leaders in Tehran that the United States no longer sees their regime as an adversary. They will then work more cooperatively with Washington, especially in places like Iraq and Syria, where we supposedly share a common interest in stability and in defeating the Islamic State. At first this shift may alarm America’s traditional allies, but thanks to American mediation they will eventually drop their paranoid fears of Iran, and equilibrium will ensue.

The Saudi answer to Obama’s pursuit of equilibrium came recently when Riyadh organized a coalition of Sunni allies and intervened in Yemen. The intervention is certainly an effort, as advertised, to counter the Iranian-backed Houthi rebels in Yemen. But it was also meant to send a message to Obama: if you won’t organize the region to contain Iran, we will. To drive home the point, the Saudis gave Washington only an hour’s notice before commencing the operation.

Riyadh’s project of organizing the Sunnis, however, is fraught with difficulty. The three most influential powers—Saudi Arabia, Egypt, and Turkey—all agree, generally speaking, that an Iranian-dominated Middle East is undesirable. But beyond that, they have no unified vision. The three cannot even agree on a common Syria policy, let alone a strategy for the entire region. The stark fact is that there is no such thing as a Sunni bloc.

There is, however, an Iranian bloc: the self-styled “resistance alliance” that includes Syria, Hizballah, and a network of Shiite militias now operating in Iraq, Syria, and, increasingly, Yemen. The glue holding this system together is the Revolutionary Guard’s Quds Force. By means of subversion and extortion, and by playing on sectarian divisions, the Quds Force is expanding Iranian influence throughout the region. No Sunni state has a military branch analogous to the Quds Force.

In short, Obama’s pursuit of equilibrium is strengthening the player, Iran, with the greatest tools for projecting power and influence and with the least respect for the sovereignty of its neighbors.

Other than Iran, the only power in the region truly capable of projecting military power effectively is Israel. But its small size limits its ability to carry out a strategy regional in scope. Moreover, the realities of the Arab-Israeli conflict hinder cooperation with the Sunni powers. While the interests of Saudi Arabia and Israel now dovetail to a remarkable degree, a historical chasm continues to separate Riyadh and Jerusalem. The two sides can coordinate quietly, but the impediments to overt cooperation will likely prove insurmountable.

The disarray and atomization among the anti-Iranian states in the Middle East means that they (like the American Congress) will likely prove incapable of mounting a decisive opposition to Obama’s détente. But their inability to stop it does not mean they will ever accept it. They will remain dedicated to contesting Obama’s policy, and they will continue to fight back against Iran and its proxies in Yemen, Syria, and Iraq—not to mention new venues that will appear over time.

Détente, therefore, will deliver disequilibrium, the exact opposite of the effect intended. By negotiating an arms-control agreement, the president has shifted the tectonic plates of the Middle East order. And for tectonic plates, it takes a move of just inches to level whole cities.

More about: Barack Obama, Foreign Policy, Iran, Iran nuclear program, Politics & Current Affairs

 

Why Israel's Memorial Day Turns into Its Independence Day

And why this week’s Torah portion fits into the spirit of both days.

Why Israel's Memorial Day Turns into Its Independence Day
Photo by Ari Bronstein/Flickr.
 
Atar Hadari
Observation
April 21 2015 12:01AM
About the author

Atar Hadari, born in Israel and raised in England, is a poet and translator whose Rembrandt’s Bible, a collection of biblical monologues, was recently published in the UK by Indigo Dreams. He writes regularly for Mosaic.


But the Lord spoke to Moses and Aaron, saying:
As you come to the land of Canaan
Which I’m giving you as your estate
And I put a plague of leprosy in a house
On the land of your estate,
Let him who owns the house come and tell the priest, saying:
Something like a plague has appeared to me in my house.
And the priest will command them to clear the house
Before the priest comes to view the plague
So that everything in the house won’t be contaminated.
And then the priest will come to view the house.

This week’s double portion of Tazria-Metsora (Leviticus 12:1 – 15:33) is a curious amalgam of physiology and metaphysics. In Tazria we have what appear to be prescriptions, medical and social, for treating a class of illnesses that spread from people’s flesh to their clothes and call for them to be isolated lest they contaminate the community at large. In Metsora, where my opening quotation appears, the discussion moves on from persons to houses, and its prescriptions come into play only once the Jews enter the land of Israel.

This order—persons first, domiciles second—makes sense on a practical level, since the Israelites do not own houses in the desert. But on some other level it seems significant that only in the land of Israel can a contamination of buildings take place. What is it about the land that causes your house to be vulnerable to plague? In thinking about this Torah reading, I can’t help being struck by the fact that in the annual calendar of the synagogue it falls right around the time of Israel’s national memorial day, which is succeeded immediately by the celebrations of Independence Day.

And he’ll view the plague and if there’s a plague in the walls of the house
Greenish or reddish dips that appear indented in the wall
Then the priest will come out of the house to the door of the house
And quarantine the house for seven days.
And the priest will return on the seventh day
And see if the plague in the walls of the house has spread.

Then the priest will command them to extract the stones
Containing the plague and throw them outside the city
To an impure place.
And he should scrape the house clear of any house around it
And pour the soil they’ve scraped outside the city
In an impure place.
And let them take other stones
And bring them to replace the stones
And take other soil and plaster the house.

But if the plague returns like a rash
In the house after he’s extracted the stones
And after scraping the house and after plastering,
Then the priest will come to view
And if the plague in the house has spread
It’s a corrosive leprosy in the house; it’s impure.
And he’ll tear down the house and its stones
And its beams and all the soil of the house
And take it out of the city to an impure place.

In interpreting the two sets of plagues, the rabbis were themselves of different minds. They tended to treat leprosy, an “eruption” in the flesh, as a stand-in for a variety of personal and moral failings. When it came to the leprosy of a building, they turned practical, looking for ways to reduce the cost to the owner of treating it. Thus, they allowed the householder considerably more time to avoid demolition than the seven days mandated by the Torah; they even speculated, rather wistfully, whether the plague might have been sent in order to help him find money hidden in the walls by the previous Canaanite owner.

But there is no question that the source of the plague, whether in a person or in property, is metaphysical:

Rabbi Shmuel bar Nahmani quoted Rabbi Yohanan: plagues come for seven things: slander and violence and false oaths and incest and rudeness and theft and miserliness. (Tractate Arakhin)

Midrash Rabba divides the category of theft into two—taking what belongs to another, and stealing from the public—and adds blasphemy, cursing the Lord, and idol worship.

The Torah itself endows leprosy with a curious metaphysical duality. In Numbers 12, it is a punishment meted out to Moses’ sister Miriam for slandering her brother’s wife Tsiporah. Much later, when Uzziah king of Judea seeks to offer up incense in the Temple, thereby violating priestly prerogatives, he, too, is punished with leprosy and remains an outcast until he dies.

But something like the opposite occurs in Exodus 4:6 when Moses asks the Lord for a sign that will help him control the obstreperous Israelites. Along with His more dramatic wonders—burning bushes, staffs that turn into snakes—the Lord simply gives Moses a leprous hand that he can display as needed to catch and hold their attention. Here the plague doesn’t resemble a punishment so much as a divine miracle.

 

In short, these laws are not about containing the spread of leprosy; a non-Jew does not become contaminated by leprosy, nor does a non-Jew’s house. They are about the Israelites’ spiritual purity, and leprosy is taken as an external indicator of the level of that purity within the individual and/or the community. Moses’ God-given ability to produce leprosy on his flesh symbolizes his control of this commodity. One might see in the flashing of his leprous hand a prelude to the role played by the tribe of Levites, the descendants of his brother Aaron the high priest. In their future service in the Temple and its sacrificial system, they will become the diagnosticians and therapists of spiritual eruptions within the other tribes inhabiting the promised land.

But if the priest comes to call and view
And the plague has not spread in the house
After he plastered the house
Then the priest will purify the house
For the plague is healed.
And to atone for the house he’ll take
Two birds and a pine branch and two dyed hanks of wool and hyssop

And he’ll slaughter one bird over a clay vessel filled with spring water
And he’ll take the pine branch and the hyssop and two dyed hanks of wool
And the surviving bird
And dip them in the blood of the slaughtered bird and the spring water
And spatter the house seven times
And he’ll atone for the house with the blood of the bird and the spring water
And the surviving bird and the pine branch and hyssop and two hanks of dyed wool.
But he’ll release the surviving bird outside the city
In an empty field and atone for the house
And it will be pure.

It’s this ceremony, in which one bird is killed and another remains alive and is released after being dipped in the blood of the dead one, that conjures up for me the time of year when the reading of Tazria-Metsora coincides with the annual ceremony developed in Israel to allow the transition from mourning to celebration, from Memorial Day to Independence Day.

 

It took a while. In 1949-50, the newly independent nation tried to mark both things—to celebrate independence and mourn those who died fighting for it—on the same day. It didn’t work. You cannot mourn and celebrate at the same time. Mourners are isolated in their grief, quarantined like an impure house and shut up in it with their grief for seven days.

In 1951, the families of fallen soldiers petitioned the government for a change. David Ben-Gurion, who at the time was both prime minister and defense minister, established a “public council for soldiers’ commemoration,” which duly recommended that the day previous to Independence Day be set aside as a “general memorial day for the heroes of the war of independence.” Still later, the scope of the mourning was expanded; now it is a “day of remembrance for the fallen soldiers of Israel and victims of terrorism.”

The day begins at sunset the evening before, with the sounding of a one-minute siren across the land; all stop in their tracks and observe a moment’s silence. The Israeli flag is lowered to half-mast at the Western Wall, and religious Zionists add prayers for the fallen soldiers in the evening service. The following morning at 11.00, a two-minute siren is sounded, and official mourning ceremonies begin at cemeteries all over the country. Many people take that day to visit their loved ones’ graves. The day draws to a close with the start of Independence Day celebrations at the national military cemetery on Mount Herzl, where the flag of Israel is restored to full staff and mourning merges into gladness and joy.

The sequence is designed to comfort the bereaved with the idea that their loss has secured the country’s independence. You may see the same symbolism at work in the bird that survives to be released into open country. The priest dips the live bird in the slaughtered bird’s blood, which has been mingled with the clean spring water, and together the two atone for whatever sin caused the plague in the first place.

The sages do not specify what those sins are, but, in keeping with their view that the laws of leprosy-in-a-house seek to quantify the particular challenges of being a decent human being if you’re a Jew in the land of Israel, they suggest guidelines. It’s a land, they say, that spits out the unjust. It’s a land in which moral failings will rot not just your insides, but your very walls.

Today’s mourners in Israel are impure not because they’re plagued, they’re impure because of their symbolically renewed contact with their dead; and so are all of their countrymen. Memorial Day allows all Israel to feel the loss again and to let go of it. Every year, Memorial Day relives the terrible cost of holding on to the land, thereby accentuating the great joy of possessing it that is celebrated the next day. One bird is dead, one is released to fly free, and we hope that when the priest walks away the house is pure and will continue to stand.

More about: Hebrew Bible, Israeli Independence Day, Leprosy, The Monthly Portion, Torah

 

An Unknown Yiddish Masterpiece That Anticipated the Holocaust

Written in 1923, “In the Crucifix Kingdom” depicts Europe as a Jewish wasteland. Why has no one read it?

An Unknown Yiddish Masterpiece That Anticipated the Holocaust
From a portrait of Uri Zvi Greenberg by the Israeli painter Ziona Tager. Wikipedia.
 
Observation
April 15 2015 12:01AM
About the author

Michael Weingrad is professor of Jewish studies at Portland State University, and the editor and translator of Letters to America: Selected Poems of Reuven Ben-Yosef (forthcoming from Syracuse University Press). He is a frequent contributor to Mosaic and the Jewish Review of Books, and he also writes at the website Investigations and Fantasies.

 


In a dark Yiddish masterpiece that predated the Holocaust by two decades, the poet Uri Zvi Greenberg envisioned the annihilation of Jewish life in Europe. Today, seven decades after that vision became cataclysmic reality, as Jews this week observe the annual commemoration of the Holocaust on Yom Hashoah, and as the Jewish horizon in Europe darkens once again, his work speaks with fresh immediacy.

Greenberg (1896-1981) was not only one of Yiddish literature’s foremost modernists but arguably the greatest Hebrew poet of the last hundred years. If his name is unfamiliar today, that is because he inhabits a strange kind of cultural quarantine. Literary critics in Israel acknowledge his titanic stature, yet in a country that pays high honor to its writers, he has never been part of Israel’s school curriculum, and you won’t find him among the quartet of 20th-century Hebrew poets whose faces were recently added to Israeli banknotes. Nor is much of his work—including In malkhes fun tseylem (“In the Crucifix Kingdom”), which I offer here for the first time in English translation—available in English.

Raised in a Ḥasidic household in the city of Lvov, Greenberg began publishing poems in both Hebrew and Yiddish when he was sixteen. He experienced the horrors of World War I as a soldier impressed into the Austrian army, one of the few in his platoon to survive the bloody assault on Belgrade. After his return from the Serbian front to the devastated Jewish community of Galicia, he and his family were nearly murdered during one of the many postwar pogroms carried out by Russians, Poles, and Ukrainians. By the early 1920s, having moved to Warsaw and then Berlin, Greenberg concluded that both European civilization and the Jews’ place in it were on the verge of collapse, and that drastic steps needed to be taken.

At the end of 1923, putting Yiddish aside in favor of Hebrew, the poet emigrated to Palestine, where at first he placed his pen at the service of the Zionist left. By the late 20s, however, increasingly disillusioned with leftist ideology, he found a new home in Revisionism, the right-wing Zionist movement led by his fellow writer-activist, Ze’ev Jabotinsky. For this apostasy, Greenberg was reviled by the left-dominated cultural establishment of Jewish Palestine and effectively hounded out of the country.

Back in Poland for most of the 1930s, renewing his literary activity in Yiddish, Greenberg urgently advocated Jewish emigration from Europe. His critique of the Zionist leadership in Palestine, which he viewed as both derelict in protecting Jewish life against rising Arab violence and perverse in its support for worldwide socialist revolution, found expression in an extraordinary collection of Hebrew poems, Sefer hakitrug veha’emunah (“The Book of Accusation and Faith,” 1937). Brilliant though they were, these caustic political poems sealed his fate as a cultural outlier from then onward.

It was Greenberg’s Holocaust poetry that gained him partial readmission to the Israeli canon. At the outbreak of World War II, having been warned that as a Zionist activist he was in mortal danger, Greenberg fled back to Palestine; his parents and sisters, who remained behind, were murdered in the Holocaust. After the war, he gave expression to his guilt, his rage, and his agonized love for the victims in a body of poetry collected in the 1951 volume Reḥovot hanahar (“Streets of the River”). While these poems, too, have had their political detractors, they were received by Israeli readers as indispensable literary testimony to the impact of the Shoah, and within that context it became, and has remained, “legitimate” to appreciate Greenberg’s work.

 

That is certainly the case with “In the Crucifix Kingdom.” Written in Yiddish in 1923 just before Greenberg’s first emigration to Palestine, the poem is a nightmarish depiction of Europe as a land of Jewish agony and death. Corpses hang from the continent’s trees, its rivers disgorge the naked bodies of murdered women, its soil is toxic with Jewish blood. Europe, in the poet’s description, is a land that produces not trees but “grieftrees” (veybeymer), not towns but “grieftowns” (veyshtet). The poet imagines his mother beheaded by a mob, his father freezing to death while waiting in vain for messianic deliverance.

The poem’s indictment of Christian Europe is searing and relentless. The impossible situation of the Jews in Europe, symbolized by the maddening and ever-present sound of pealing church bells, is to have been trapped within their role as the mythical Wandering Jew in a 2,000-year-long passion play. “Through the streets they bear with joy the man from Galilee,” writes Greenberg, “Yet I am of those other creatures, those blood-sucking Jews / In tattered prayer-shawls and straps around their arms.” Like other Jewish works of art from the first half of the 20th century—Marc Chagall’s crucifixions being the most iconic—the poem appropriates Jesus and Mary in order to decry the glaring illogic of a Christian culture that worships Jews while engaging in violence against them.

But, for Greenberg, no more reliable guarantor of Jewish safety is to be found in Enlightenment liberalism: another European artifact with Jewish roots. “And now we descend,” the poet writes acidly, “we come down from the ladder /We [ourselves] fashioned and raised: the spirit of Europe. / A love, universal, even for Jew-haters.” And while the poem ends with a hopeful vision of return to the ancestral Jewish homeland, with the speaker ready to exchange his European garb for an “Arab abaya” and Jewish tallis, it also expresses deep apprehension regarding Arab hostility and the crescent of Islam that “falls / Like a scythe upon my neck.” If Europe is a ghastly dead end for Jews, their future in the Middle East, scene of the murderous Arab riots of 1921, looms uncertain as well.

 

Resonant with other contemporary works in its expressionism and its apocalyptic tenor, “In the Crucifix Kingdom” is one of the great achievements of 20th-century Yiddish literature and of interwar modernism in any language. The English-language reader will at points recall T. S. Eliot’s “The Waste Land,” written at nearly the same time, with its “empty cisterns and exhausted wells.” (“For so long there has been no water in the wells,” writes Greenberg, “only curses.”) In my translation, I have tried to reflect the poem’s visionary intensity, its rhythmic force, as well as its unnerving emotional register, a hunted stoicism intertwined at times with the blackest of black humor.

The poem is often described as prophetic of the Holocaust. Even were it not for Greenberg’s later redefinition as a Holocaust poet, one can understand the tendency to view it this way, what with its imagery of genocide and poison gas. (The connection is reinforced in, for instance, the video accompanying this performance of Daniel Galay’s art-song setting of parts of the poem, sung by the talented Noa Bizansky.) Yet as in the case of the biblical prophets whose mantle Greenberg saw himself as inheriting, the poem is less a forecast of the future than a nakedly honest portrayal of the present. Greenberg’s poem does not warn that a catastrophe will happen, but that it is happening now. The poem demands a response adequate to the present reality, hard as it may be to face.

If the poem speaks to our own moment, then, it is not only for its seeming prescience regarding the Holocaust but rather as a call to meet the threats arrayed against the Jewish people today. Of course, with the dramatic reshaping of Jewish-Christian relations epitomized in Vatican II and its many positive aftereffects, and with the rise in America of warm evangelical concern for Israel, it is no longer church bells that signal slaughter. Nevertheless, in Europe the streets again turn red with Jewish blood.

Notes on the Translation: In order to maintain the poem’s incantatory feel, I have tried, with a few exceptions, to follow its alternations between iambic sections and galloping dactylic ones. As for my decision to render the “tseylem” of the title as “crucifix” rather than the more conventional “cross,” the Hebrew source of the Yiddish word—tselem means image and can also designate an idolatrous image-making—allows this license, and certainly the poem describes Jewish existence in Europe as an ongoing crucifixion. Finally, in my work I have benefited from Benjamin Harshav’s translation of the poem into Hebrew, and from a typically brilliant monograph on the poet by the critic Dan Miron (an English version appears in his The Prophetic Mode in Modern Hebrew Literature).

* * *

In the Crucifix Kingdom
by Uri Zvi Greenberg
Translated from Yiddish by Michael Weingrad

A forest dense and black has grown upon the plains,
And vales of fear and pain deepen in Europe!
The tree-tops writhe in pain, in wild darkness, wild darkness,
And corpses from the branches hang, their wounds still dripping blood.
(These heavenly dead all have silver faces,
The moons anoint their brains with golden oil—)
And every cry of pain sounds like a stone in water,
While the prayers of the dead cascade like tears into the deep.

I am the owl, the keening bird of Europe’s griefwood.
In vales of pain and fear, blind at midnight under crosses.
I bear a brother’s plea to the Arab people in Asia:
Come guide us, wretched as we are, to the desert!
Terror overtakes my lambs when the half-moon falls
Like a scythe upon my neck—
My world-split heart wails in fear in Europe,
The lamb lies down with outstretched neck in the griefwood—
Wounded, world-split, I spit blood on the crosses in Europe.
(Tremble, you young and old, with heads of water in the griefwood!)

For two millennia a silence has burned beneath these trees,
A poison that collects in the abyss and festers—and I do not know
What all this means: two-thousand years of blood, of silence,
Yet not one mouth has cleared the poison spittle from its palate.
Each death at the hands of the goyim is chronicled in books,
Only the answer is missing, our answer to these deaths.

The griefwood grows so huge, and the tree-tops writhe in pain,
In wild darkness; such fear when the moon comes to look
And every cry of pain sounds like a stone in water
And the dripping blood of corpses is like dew within the sea—

Mighty Europe! Crucifix Kingdom!

I will celebrate a sabbath on a Sunday in your honor.
I will open up the griefwood and show you all the trees
Upon which hang the rotting bodies of my dead.
Enjoy, Crucifix Kingdom!
Come and gaze upon my valleys:
My wells lie empty in the waste with shepherds all around.
Dead shepherds with the lambs’ white heads upon their laps.

For so long there has been no water in the wells. Only curses.

*

You will not let us reach the sun. You murder those who try,
While the golden dream still rests upon their eyelashes.
Before the prayer for sunrise sinks into the void.

Hundreds of thousands of them run back to the griefwood
And from the eyes of sheep November peers
An evanescent gleam.

And there among the grieftrees children are born
Severity already in their blood: they wither
Even before the roses.

I will not plant the trees that bear you fruit,
Only my grieftrees are all set stripped and naked
Near you at the cross’s crown.

From dawn to dusk the bells swing back and forth
Upon your towers.
They drive me mad and tear into my aching flesh
Like mouths of beasts.

I hang my naked dead upon the branches,
I leave them there to rot, abandoned to all the constellations
That course through heaven—

In these nights of mine I fall into a dark well.
Jews that hang on crosses come to me in dreams.
I see their wild heads protruding from the windows
Of their houses
And they grumble in their wounded Hebrew:
Where is Pilate?

You cannot even see the threat that crouches by your heads.
A black prophecy pours poison in your sleep—you do not know;
Cathedral bells have robbed you of your ability to tell
When it begins.

Yet I speak to you a prophecy, the Black Prophecy:
From our valleys a pillar of cloud will rise
From our dark breath and bitter cries of pain!

Yet you will not perceive the horror in your bodies
The chatter will continue from your burning palates:
Jews! Jews!
As poison gas begins to seep into the palaces
And suddenly the icons scream in Yiddish.

*

No one is left standing. Shepherds lie stiff by trees
And rainbow colors glaze their eyes.

The stables burn. The sheep bleat madly. It blazes higher.
From all sides people carry wood to the pyre.
A little silver cross craves: Fire! Fire!

Submissively the flock comes to the field to die!
Bigger and bigger the whites of their eyes—like moons:

The grass is poisoned, in the water of the well—the plague!

Once again it is the morning after bonfire night,
Once again a tranquil night—

(A living shepherd, I flash a mephistophelean smile…)
The fearful houses stand with outlaw eyes,
With gaping wounds in all the grieftowns of the cross—

A last sheep left alive, from whom will you beseech mercy,
When your sheepfolds stand on Pilate’s land of pain,
Your pastures (bread and water) atop some smoking Etna!

*

On a wounded body a shredded tallis—the body
Is good in a Jewish tallis—so good in a tallis:
It keeps the wind from blowing sand into the gaping wounds.

A church-bell rings, the young and old grow feverish—
Cool your fever, Jews! I stand watch over the cemetery
With its open graves.
I bear the Jewish mark, a red gash upon my brow.

Ah, I am a king in a tallis of wounds and blood!
I will slaughter Shekhem and burn it down for the blood they spilled
On muddy streets,
On cobblestones,
In stables,
On the steps of churches.

Why else do they have pointed noses and grass-green eyes?
Why else do I have teeth in my mouth and a pair of knobby fists?

A ruddy hue spreads across the city walls—father,
What is it that you want to find with your silence?
It’s time to say the daily prayers.
The stars are coming out already . . . father,
Have you forgotten,
God is a watchman who keeps your flesh from shivering?!
Oh, it’s time for minḥah . . . the skies are all aflame . . . ah, father, ask for mercy!
The skies need mercy, too . . . even the skies above!
You think they don’t feel pain just as we do,
In the flesh of our bodies?

Are you dead? —I will say a name and they will sink,
The towers of the churches where they peal,
The crazy bells, and make you shake so much.
They will endure in memory alone (a story to be told)
The crosses on the steely roofs, and on the graves—
And from each graveyard, oh, by the thousands,
The Jewish soldiers will go forth with weapons
And shout a challenge to the four corners of the earth.

Does a golden circle not ascend at dawn?
Does a ruddy hue not spread across the city houses?

*

A frozen body in the setting sun—a Jew in Europe.
A house in grieftown. A city of nothing but bells and crosses,
Bells and crosses.

The embroidered curtain is gone. The door hangs off the ark:
A broken wing on a decent bird.

The head of the bird lies bloody in the ash-pot.

A penny candle glimmers red in the blackness of the ark,
In someone’s mouth, which is so dark.

My father still sits frozen facing the west
He waits for something great: to hear a shofar sound in the west:
The coming of messiah son of David, Rome in flames.
(So the casements seem to blaze, the crosses’ tips.)
It’s good for you like this, my frozen father.
Your swollen face in the redness of the setting sun.
You are like a sun.

Yet on the Christian street outside by the well
My mother stands and screams into the water down below:
Give me back my head, you wicked folk, it drowns!
What’s the matter, wicked ones? Is my head so dear to you?

The birds sing spitefully. The tree by the well,
Its apples ripe, is nourished by my mother’s screams
That start at dawn— :

Who knows where the mounted soldiers are, the savages
That dragged beautiful sisters through the villages?—

At night the rivers wail and the goyim tell of how

The stream leaves naked women on its banks.

*

Not only the tree by the well, they grow everywhere now,
Our grieftrees; though other folk feed on the fruit,
The apples that ripen on blood that they spill.

Autumn expands in the limbs of the people of Judah.
They no longer scream to the uppermost heavens.
In the valleys a scream, black as night, radiates from their bones.

The heavens are deaf and are blue. The scream never rises to God.
Yet the earth feels the misery borne in our feet,
And in kindness she speaks to our feet, saying:
Burrow, make places to sleep, leave your bodies in me,
Why wait any longer?

Nevertheless in the night a star-chorus rises and sings
And the sky is so tender, there is mercy in pain.
Except that the moon is so red that it looks more like Mars.

And Cain son of Adam falls down on his face at the threshold of Eden.

It reeks and the smell is of opium dens, of blood and of willows.
And God runs around on the snow in His uppermost heaven
And roars like the king of the beasts in the emptiness there.
And He wants to escape from His kingdom—such is His loneliness.

*

Father, what can a community of Jews do,
When God has abandoned His children, the shepherd his flock.
When autumn has entered our gardens and fog seeps into our blood.
Our home in the east is a waste land, a dwelling for jackals.
While here in the west our dwellings are gypsy tents,
Straw in the fire and chaff in the storm.

The days here are only to witness this blasphemy.
For us to stare at each other with black and swollen eyes.

At night the terror, a bird so dark, returns to its nest.

What can we do, this terrorized nation of Jews,
When the steeple of Rome towers over our heads,
And we are forced to hear bells toll by day and by night,
On our black sabbaths and black holy days.

Ah, what a curse to live out each day the way we live now:
Any minute a fire will break out under our feet,
From under the houses—
What can we do, this terrorized nation of Jews
With wives and children lamenting: woe for our lives!
And a bloody hue spreads across roof and windowpane.

How ghastly it is to grow up for nothing,
Like a rock in the street, except bodies are not rocks.
Bodies are made of flesh and blood and bone,
And feel the slice of a knife—

We’re powerless, father, to climb up the tower
And tear down the bells that are driving us mad.
To tear down the cross that stabs our copper skies—
So let us go down to the depths, father,
And dig under the earth, beneath all the foundations
And let our pools of poison seep into the globe. . . .

*

Of course I hate you all, a hate that reaches to my fingertips!
A hate that sets my limbs afire with the poison of this unsaid truth:

FOR TWO-THOUSAND YEARS TO BE THE WANDERING JEW YET NOT BELIEVE IN THE CROSS.

Three-sided is the shadow of my fear these two millennia.
Three-sided is the knife-blade of the pain that cuts my flesh.
I have wondered for so long: how can it be
That those who pray in Europe to Bethlehem
And sanctify the Bible—that they are the very beasts
Who dream of the annihilation of every Jew on earth?

The elders of our people know it better than the young:
Bright are the stars and dark the eyes:
“We live by a miracle here in the kingdom of lions.”

O true-true-true is that which my elders say:

The dead man in the church is not my brother, only Jesus.

Nor their Latin “Bethlehem” the Beit-Leḥem of my fathers.

And Mary Magdalene is not my Miryam of Magdala
With her veil of azure wool and her amphora of olive oil.

Still the hundred-thousand roar their Allelujah!
Through the streets they bear with joy the man from Galilee,
Yet I am of those other creatures, those blood-sucking Jews
In tattered prayer-shawls and those straps around their arms,
And in the year two-thousand I pour my bile out in song:

In the name of the son, this faith of millions is a lie!

Beit-Leḥem is a Jewish village!
Joseph’s son is one of us!

We Jews who dwell in Europe.

*

The fifteen million walk silently past you,
Bearing their punishment, eyes like black holes.
For ages they’ve carried a word in their blood
Yet they speak not a word to you now—
I speak to you now:
A poet and Jew in the crucifix kingdom.

With blood from their lungs, so many spit out
The griefword, the curse, and they don’t see the sun
Only moons floating white in the watery blue.

So many, so many, they go on and on
Over dry land and sea, and the wooden post too
That has one of ours bound to it
Crying out: my God, my God! into the void—

Punished, punished, the Jews remain silent
And do not say to you what I have said!

*

Of course I was born here in Europe
I grew up with you here at the crown of the cross:
A miserable willow by its private abyss,
Bethlehem was then just a story I heard,
Distant
And blue.

True, one is afraid with you here in the night:
That robbers will come through the windows
With axes and knives
To an innocent bed,
Or maybe it seems so only to my kind?

Do I dream when I hear them,
Or am I awake,
These screams for help that rise up to the skies?

To the Pale you dispatch me, from there to the seas,
From the sea to the desert where Arabs reside,
With crescent moons sharpened like scythes
For the necks of the sheep—

To the Hudson you ship me—where our brothers
Save dollars to take back to Europe, Jew money
To purchase the crown of the Slavs . . .

To Russia you drive me, the Bolshevik home
With a brother in power who doesn’t speak Polish,
And writes manifestoes to the people in Yiddish—

O homeland of pain in the Slavic kingdom!
Here is your sign for us: all of the graveyards,
Generations of Hebrews have lain decomposing,
Their bodies are nourishment for weeds and trees. . . .

So where can I go to seek out a place,
Where I will not hear you ringing your bells,
Where my eyes will not see your processions—

The only home left for me now is the depths
A welcoming gleam from the watery deep—

Yet I would not go down to the depths
While there is still dry land and bright stars.

Woe for my birth in the kingdom of Slavs
In the shadow of the cross!

*

Now is the time of the eclipse for you in Europe
It gives me some pleasure that your sun is eclipsed.
For thus does blood still flow in the veins,
The odor of sunset arises from clothes—

O your night will turn red at the crown of the cross!

Your skies that lie over the crosses, I hate them
For they are like brass and they weigh on our grief,
A burden of copper:
No rain for us here.
A curse has been placed upon fields stripped bare—

That you should endure what we have endured!

*

We eat autumn’s curse with bread from the fields.
We drink black despair with water from the well.

At night before bed we are given a serving of fear.

And so each day passes. Their fragrance is like that of willow trees
Shivering by dark rivers in the chill of November.

The owls come at night to mourn the dying of summer—

There by the river our shepherds sit dead
And the lambs run about at night in the wild
Vainly seeking a spring to quench their burning throats—

At dawn and at twilight the world is a beautiful world.
The dawn has its wonders to show, the twilight has wonders.
At night the earth and the body take pleasure from stillness.

Yet among us the old folk now rise from their beds
The darkness of night in their thoughts, like willows
In the chill of November,

In the pain of destruction.

*

Mother Mary of Magdala, how it pains me that they dragged you here,
Through streets in Europe,
Unholy Europe,
To mumble Latin in your honor.

When I enter a procession, for example,
To kiss your rose-of-Sharon lips,
And tell you
That they live
Here:
Jews,
Yes, wild Jews,
That they have wives,
That they have children,
Right here in this city,
This grieftown—

Then inevitably it happens that this skull of mine is cracked, the brains
Poured out into the street,
And they all go on with their procession—

Bloody, I pass by you, Mother Mary, and you do not know it,
And they mumble Latin in your honor.

*

Birds are flying—such is exile, this marvelous exile:
The great world with its bright and open heart:
At home throughout the world birds fly:
From the dawn runs a golden wheel

The waters of Babylon speak to our feet:

(Evening interrupts. In the air hangs a fog full of tears)

Come to us. You are an orphan. Without a home. That is your pain.
You are weary of travel. The roads go further still.
The shoreline is so vast—lie down and float with the currents
Until we reach the home of every depth and restlessness:
The great and distant sea.

So what say you, my withered father? What is your counsel, my pious mother?
Shall we obey? It is evening. The fog is full of tears.
Shall we lie down on our backs and float upon the currents
Until we reach the distant sea?

Would your eyes still stare at all the rosy dawns,
The magic sunsets, the daughters of the land?—
Yet rest, the home for all, is only there in the great sea . . .
Shall we obey?
It is evening.
The fog is full of terror—

*

The wafer is red, the host is an apple ripened on blood,
So the moons lie in the heart of the waters.

They lie that way for months at a time:

Christianity ripening.

And great is the crucifix kingdom on sea and on land.

By the rivers of Babylon what does it matter
If a channel is cut through the blood
That spurts from the roof of our mouth?

The body falls into the water, or the body is buried—
What does it matter, the feverish bodies are standing,
The living dead dressed in dark clothing,
By a pit, and the head of a woman is twitching within it.

A church rings bells when it’s time for a funeral,
A signal to mourn.
And a church has an organ to play hallelujah,
At black sabbath time in the streets, a signal to tell the destroyer
To mark all the doors of our houses with blood
The mark of Cain.

*

Of all black prophecies this is the blackest,
And yet I can feel it in all my bones.
So painful this prophecy, I suffer it always,
Each day in this Christian land of pain.

And now we descend, we come down from the ladder
We fashioned and raised: the spirit of Europe.
A love, universal, even for Jew-haters.
A kingdom of heaven for all human souls.

What a sunset, the red is so bright in our eyes:
The bonfires flare in the courtyards, some Jews
Run hither and thither, and none of them know
What to say: we are lost.
They are blind to the sunset, they ignore the abyss.
What they see is the windmill flapping its sails
Up and down in the poisonous void.
The windmill grinds wind and the wind has the odor
Of old cemeteries in the month of November.

What can I do, a traveler alone
With his Jewish blood frozen in fear
From nights of blind violence: a slaughter of sheep,
What will begin to awaken the dead,
The soldiers on Russian steppes, on Polish dirt roads,
What will make them get up and walk about
Just as they are, worm-eaten soldiers,
The Jewish dead of the Slavic kingdom.

The soldiers who died for the spirit rise only
At night, when I get into bed.
They come and approach my white bed
Just as they are, and they say: look at us,
Everyone ends up like us, everyone.

*

Ten will remain, ten wounded Jews, the bloody survivors,
To prove that our nation existed in this Christian land of pain.
Though they no longer come bloody to the gates of Rome: open!

So mysterious: that the kingdom of David has entered our blood
And this kingdom has territory in poor Lithuania:
And the kingdom dreams an obscure Jewish dream
In which birch trees are tiny and moons are huge,
And all of them melt at the head of the bed . . .
And the kingdom has grieftowns in Poland
(In the night there it often cries out in its sleep . . .)
And the kingdom possesses a wide land of grief in Ukraine
With numerous rivers where they slaughter the sheep . . .
And so on and on across the vast continent
An infinite griefland for graves to be dug
With a place for a windmill to hold up black sails:
Pleading for mercy from under the clouds
And pitching the gypsy tents of Jacob—
And the kingdom moves over the seas like the orb of the sun—

Ten will remain, with necks of sheep, with eyes like birds in fog
They will live forever, and birth children in fear:
Children with necks of sheep, with eyes like birds, with blood like roses at twilight.
At twilight a head protrudes from a window:
Its wailing pierces the stars.

*

Which red planet should I tell to hover in the sky
When the sun is eclipsed by the void of generations.
When I walk on roads and see my mothers sitting,
How they cradle in their laps their little murdered children
My slaughtered lambs,
My birds,
On the roads of Europe.

East-West-North-South—such fear beneath the crosses!
What then should I do with my good tear-laden arms?
Should I sit also by the roadside under black crosses?
And lull my lambs to sleep,
My birds,
Upon my knees?
Or should I stand and dig a cemetery here in Europe
For my dead lambs,
For my dead birds?

*

Such a sorrow-keening violin lies crimson in the clouds—
Find a corner for your prayers at sunset, father-mother.
Plead for me too, father-mother.

In the garb of Christians, your son in Europe
Is a homeless Jew,
Earlocks growing from his temples;
Well, the Christians do not see it—a sign my visage
Is covered by a fog—

Such a deep-toned mandolin is left within the fog—
Its groan of pain resounds at twilight when the stars appear.
A Jew so elegantly dressed
Walks around among the Christians
With a sabbath melody like summer.

Such a night of emeralds. The air is filled with incense
Blue opium and chamomile, frankincense and apples—
In my griefwood, wizened mother, the rising moon illumines
My dead upon the trees—

On our shoulders church-domes stand with their petrified messiah
And their silver candelabras—

*

Dress me in a wide Arab abaya, throw a tallis on my shoulder,
Suddenly my poor blood is ablaze with the once-extinguished east.
Go on, take the dress coat and necktie and patent-leather shoes
That I purchased in Eu-r-rope.

Put me on a horse: tell it to gallop and take me away to the desert.
Give me my sand. I leave the boulevards. I go to the sand of the desert.
A people is there with sun-bronzed youth, bodies naked in the blazing sun.
(No bells hang there above your head, only the constellations in motion.)
Then one of the youths of that sun-bronzed people opens his mouth in the desert silence
Burning for love, (it is twilight) . . . and he shouts to the stars: love.
And in answer a bloody blue torrent of water from the rim of the desert says:
LOVE. 

More about: Arts & Culture, History & Ideas, Poetry, Uri Zvi Greenberg, Yiddish literature

 

Have I Shared Too Many Secrets of Jewish Law?

My book opened the closed door of halakhic decision-making. Some think that process isn’t for public consumption.

Have I Shared Too Many Secrets of Jewish Law?
From Mishneh Torah Master of the Barbo Missal, c.1457. The Israel Museum, for Michael and Judy Steinhardt, by Ardon Bar-Hama.
 
Observation
April 9 2015 12:01AM
About the author

Shlomo M. Brody, an Orthodox rabbi and a columnist for the Jerusalem Post, directs the Tikvah Overseas Seminars and serves as a presidential graduate fellow at Bar Ilan University Law School and a junior research fellow at the Israel Democracy Institute.


It’s been five months since my first book was released, and my publisher and I have every reason to be gratified, if not overjoyed, by its reception. A revised collection of columns that first appeared in the Jerusalem Post, the book, A Guide to the Complex: Contemporary Halakhic Debates, is in its second printing and, somewhat astonishingly for a work on so relatively specialized a topic, has even won a National Jewish Book Award.

But others, including some good friends, are decidedly less than happy. In presenting for a general audience the internal discussions of Jewish religious authorities on a host of controversial topics, including abortion and stem-cell research, cruelty to animals, civil marriage in Israel, and female rabbis, I have clearly ruffled some feathers. As I expected, some traditionalist readers have taken umbrage at my inclusion of lesser-known legal figures and opinions. Yet even a few generally open-minded thinkers have apprised me that it is improper for a work of popular literature to highlight the textual nuances and political overtones of debates within Jewish law. This is especially the case when an author (me) subtly offers his own opinion, thus leaving a reader without clear and authoritative guidance when it comes to actual religious practice. And what if a reader happens not to be committed to Jewish law in the first place?

In brief, according to my critics, the decision-making process of Jewish legal thought is not for public consumption, and much mischief can be wrought by exposing it to minds unequipped to grasp or appreciate its complexities. Note: the emphasis here is on the word “process.” Everyone agrees that Jewish legal norms, like all legal norms, must be clear and accessible. The law must be well known so that people can avoid transgression and properly fulfill the divine will. That was the aim behind the great legal codes of Moses Maimonides in the 12th century and of Joseph Karo in the 16th century, and so it should remain today. Yet while the bottom-line norm must be publicized for the good of all, the route by which the norm is arrived at need not be—and, some hold, should not be.

 

While famed for their robust and dynamic nature, Jewish legal debates were historically limited to a highly select group capable of mastering the intricacies and obscurities of legal language and concepts. Indeed, the talmudic rabbis not only declined to reveal these nuances to the masses but saw benefits to their concealment. One such benefit lay in the prevention of possible confusion and error (Shabbat 12b). In some circumstances, for instance, a stringent ruling might be issued to ordinary Jews while the scholarly elite, whose piety and punctiliousness could be relied upon, were vouchsafed a more permissive version (Ḥulin 15a). Another benefit lay in forestalling challenges to rabbinic logic: “When an ordinance is taught in the [land of Israel], its reasoning is not disclosed for twelve months lest there be some who might not agree with it and slight the ordinance itself” (Avodah Zarah 35a). Even when the talmudic rabbis did reveal a formal rationale for a decree, they might simultaneously disguise the social motivations or policy considerations behind it. Thus, when price gouging drove up the cost of turtledoves destined for sacrifice in the Temple, Rabbi Simeon ben Gamliel, knowingly misrepresenting the law, ruled in such a way as to force sellers to lower their prices (Keritot 8a).

Such recourse to esotericism continued to play an important role in later Jewish history, despite objections that it might ultimately betray the law’s commitment to honesty and distort orally transmitted understandings. Nor was the practice limited to Jewish legists. Historians have pointed to parallel trends within Greek and Roman law and later enactments in the Middle Ages and beyond.

Perhaps more surprising is the continued role of deliberate obscurity in modern legal discourse. Meir Dan-Cohen, a professor of law at the University of California in Berkeley, has documented the “selective transmission” of normative rules in British and American criminal law and the resultant discrepancy between the law as taught to citizens and the law as administered by judges. While acknowledging the tension this creates with the ideal of the rule of law, Dan-Cohen defends its use in advancing important social values and policies. Guido Calabresi, formerly of Yale Law School and now a federal judge, has similarly noted that judges employ subtle “subterfuges” to bring legislative statutes in line with societal goals. And this is not to mention the many national-security directives that by their nature are hidden from the public.

All this, of course, cuts very much against the contemporary demand for candor, honesty, and transparency in everything pertaining to public life. By and large, however tolerant we might be of limited forms of “selective transmission,” we expect our leaders to be forthright about their decisions and the rationales for them, to disclose (or at least not to conceal) their social and political agenda and acknowledge the options they have chosen not to endorse.

The same ethos is shared by many traditionally observant Jews today who follow Jewish law or at the very least regard it as a deep source of guidance in their lives. To do so fully means to adopt the rulings of expert rabbinic authorities on a range of issues that touch upon personal, communal, and national welfare. Yet these observant Jews, generally better educated than their grandparents, also have access to original texts, modern translations, and Internet resources, and are acquainted with the claim that rabbinic texts are themselves reflective of particular historical circumstances and/or ideological presuppositions, and should be interpreted in that light. In exchange for their trust and religious commitment, such Jews expect greater transparency regarding today’s halakhic process.

 

And this brings me back to my book, which aims to satisfy that expectation. In it, on any given topic, I present the complete range of established opinions while also noting the significant ideological and historical factors behind them. Let me illustrate with three sorts of issues, each of which, during the writing of the book, confronted me with both a challenge and an opportunity.

First, there is a class of issues, ranging from the kosher status of gelatin, to whether one can remove respirators from the terminally ill, to the use of a microphone in synagogue services on Shabbat, on which many authorities have taken a largely stringent, prohibitive position. While certainly defensible, these rulings have also had their detractors, not only among those representing more liberal tendencies inside (or outside) Jewish circles but even from within mainstream Orthodoxy itself—to the point where many Jews will respond in disbelief when someone claims there is no legitimate dissenting view. Today, many observant Jews expect these minority opinions to be taken into account and wrestled with, forcing advocates of the majority position either to defend it or to adopt a different position in light of new contexts and arguments.

Second, in addition to demanding that scholars deal with counterarguments, today’s expectation of candor forces them to declare the policy considerations and value judgments that inevitably, and legitimately, have played a role in their thinking. This is especially the case when it comes to such hot-button issues as standards for conversion to Judaism, the role of women in Jewish public and ritual life, and, in Israel, the relationship between religion and state. When formulated properly, an acknowledgment of these factors enables an observant Jew to understand the context—the ethos and worldview—that, beyond legal logic or the needs of policy making, has helped to shape an author’s mindset. By affording a glimpse into halakhah as a system encompassing both specific programs and particular values, such openness can also impart greater appreciation of the animating principles of Jewish law.

Finally, and perhaps most controversially, the demand for candor encounters the disquieting fact that, along with the many morally uplifting views and sentiments to be found in Jewish law, there are opinions that can and do raise ethical qualms. These include, among other issues, the use of chickens in kapparot penances before Yom Kippur, some less-than-wholly altruistic rationales for the requirement to perform life-saving measures for non-Jews on the Sabbath, restrictions on the reporting of Jewish criminal behavior to government authorities, and halakhic endorsement of corporal punishment for children.

Some writers tend to downplay the existence of stringent or seemingly unenlightened opinions on these issues with the hope of promoting a more humanistic or gentler vision of halakhah. Yet in an age of unlimited access to information, this tactic ultimately backfires; controversial elements of the tradition are open for all to see. Moreover, directly confronting difficult or discomfiting halakhic opinions, whether tending to the conservative or the liberal side, can have a positive effect, elucidating the degree to which the legal vision informing them remains grounded (or not) in classical sources and advances (or retards) the divinely mandated mission of Jews to promote the right and the good.

In sum: legal esotericism, when executed properly, can indeed conduce to certain social benefits. But so can transparency—which, in addition to being demanded in the modern situation, brings with it many beneficial opportunities to preserve and advance the relevancy and vitality of Jewish norms in the 21st century. It was in hopes of serving that purpose that I set out to write A Guide to the Complex, and I’d like to think that the resonance it has achieved will work to that end.

More about: Halakhah, Religion & Holidays