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The Southern Israelite WE OFFER. ANOTHER. BIG- $ dJHonte FRUIT/* amo VEGETABLE/* Oj* J H Priced Low During Thl/* LIBBY OR DEL MONTE FANCY SLICED PINEAPPLE No. 2 Vi Can DEL MONTE—IN TOMATO SAUCE Sardine s 1OVfcc LIBBY OR DEL MONTE CRUSHED Pineapple 8 C :“ lOc LIBBY OR DEL MONTE TENDER SPINACH 2 No 2,/* Can. 29c LIBBY OR DEL MONTE SLICED Peaches 8 °n lOc DEL MONTE SWEET PICKLED Peaches 35c LIBBY OR DEL MONTE PICNIC ASPARAGUS TIPS 2 Picnic Cans 35c DEL MONTE TOMATO Sauce 3 TSf 21c LIBBY OR DEL MONTE Fruit Salad can 19c LIBBY’S D A Q T FAMOUS IX VJ O 1 BEEF 29c LIBBY’S COOKED Brains ’can 25c LIBBY’S CORNED Beef ghj 29c CIRCUS Self-Rising FLOUR 24 lb. bag 89c 1 2 lb. bag 46c A Popular Brand—Priced at Great Savings! LA ROSA or NO. 37 FLOUR PLAIN AND SELF RISING lb. bag $1.19 12 lb. bag 61c Another Good Grade—At the Lowest Price Offered Yet! WHITE LILY FLOUR PLAIN OR SELF RISING lb. bag $1.39 12 lb. bag The Best Grade! Reduced 6c to 20c Per Bag. THE JEW IN ENGLISH LITERATURE (Continued on Page 5) In the dramatic literature of the nineteenth century as a whole the Jew did not figure particularly out standing. He appeared quite frequent ly, but in plays that have had not more than a passing tenure upon pub lic attention. It seemed, however, as if a Jew were as essential to the structure of a play as a proscenium is to a theater. It was still the law of the theater that the people were to laugh at the Jew behind the foot lights, not with him. At the end of the century, Pinero wrote “The Cabinet Minister,” which is interesting because it took over the stage-Jew and conducted him across the bridge after the close of the Vic torian era, and also because it is one of the extremely rare plays with an objectionable Jewess. The twentieth century was reached with the stage-Jew helplessly debased. He was simply an enslaved buffoon, condemned to outlandish gesticula tions, to a specific make-up which must at least border on the foreign. Dramatic anti-Semitism was an in eradicable fetish, deep-rooted in re mote antiquity and obeyed more loyal ly than any other canon of the thea ter. In 1914, however, several plays, particularly in America which were successes and which had leading Jew ish characters, were put before the public. Among these was “Potash and Perlmutter” by Glass. Its fidelity to human nature is undoubtedly its most pronounced feature, and the piece gives unalloyed delight to Jew and Gentile alike. It makes the audience sympathize with the protagonists in the play and not regard them solely as puppets to be laughed at. Among the modern plays “Loyal ties” by Galsworthy is of interest and merit. He makes both his Jewish and Christian main characters ‘decent,’ so to speak, yet once battle is joined, true feeling is allowed to come out. Such phrases appear as, “Do you think I don’t know that I’m only tol erated for my money?” exclaims De levis, when he is being urged to keep silent. There is a possibility that some of the references in the play may be for many the standard by which to judge Jews in general, but falsely so, of course. George Bernard Shaw introduced Jews and Jewish references in his plays not only with characteristic wit, but with more sanity and common sense than most dramatists. In scene 4 of “St. Joan” the Chaplain de nounces Jews, to which the Nobleman replies, “The Jew generally gives val ue. They make you pay, but they de liver the goods. In my experience the men who always want something for nothing are invariably Christians.” Recently many producers, both Jewish and non-Jewish, have made motion pictures in which there are Jewish characters or which are entire ly Jewish stories. Such plays as “Pot ash and Perlmutter” and “Abie’s Irish Rose” have been cinematized in America and Jewish actors employed to play the principal roles. These pic tures are never detrimental to Jewish character, but because of the persistent prejudice that has been stamped into the minds of the majority of the am (Continued on Page 11) '/