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The Southern Israelite
YOU ARE CORDIALLY
INVITED
TO MAKE THIS BANK YOUR BANKING HOME
MUSCOGEE BANK &
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INCORPORATED
Funeral Director
I 1 14 Firs! Ave.
Columbus, Ga.
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The Weakness of Jewish Drama
(Continued from Page 56)
of the action and who would represent
the entire group and symbolize a na
tional personality that extends from
early history to our age. The anti-Semi
tic group-complex that makes the Jew
an object of conflict robs all the others
of the first prerequisite of artistic cre
ation—disinterested neutrality.
In our hands the Jewish play be
comes a plea in which “the bad qualities
of the Jew, too,” are personified. But
this very formulation is the source of
failure; for an artistic figure cannot
be created by the balancing and timid
counterpoising of the good and bad
qualities of the personage to be invent
ed, but only by the reproduction of a
section of life according to the laws of
organic form and regardless of conse
quences, evaluations or judgments. As
long as European anti-Semitism makes
it impossible for us to create as freely
as we can see or know, Jewish plays
will always—with emphatic intention
or equally emphatic unintentionally—
confine themselves to half-truths and
good will, just as non-Jewish attempts
to portray Jews still adhere to for
mula and are forced in character. In
this connection we may mention “The
Emperor Jones,” the Negro play of the
great Irish American dramatist Eu
gene O’Neill, for here the anti-Negro
group-complex that dominates Ameri
ca gives way to the hand of a master.
But it must be forgotten that this play
wright himself is neither a Negro nor
an Anglo-American.
Incidentally I would point out the
erroneousness of the impression of vi
tality and vehemence which the reader
gains from plays whose authors con
fuse shouting and excitement on the
part of commonplace characters with
dramatic passion. In every-day life we
are guided by an accepted formula that
recognizes the man of passion by the
vehemence of his speech. He who with
flashing eyes gushes forth his words,
shaking his fist the while, is regarded
as of a passionate temperament. Ac-
tually, however, he is hut a poo,
-possessed by his emotions, ,luuT,
hie impulses discharging hi,
disturbances. His demeanor aw »
inkling of the degree of n,
which he is capable. Indeed he »k *
unable to restrain his emotion,
invariably falls into the „ tm09t ,7*
tenee when it becomes necessarv tol
eentrate all his own powers upon,Z
drawn out struggle for a final rirj
-whether this victory is to be ,, lW
over an antagonist, a woman hi"
will or a piece of work.
The signs of dramatic passion and of
passion in real life are the same
psychologists know that the man'o!
passion is taciturn, calm, alraog
sleepy, that his utterances are distia-
guished by their expression of drv
fanatical, uncompromising adherence to
his cause. The style of the true drama
of passion is sober. The character, of
plays of the other sort make a gr^at
effort to identify themselves as pat,,
sionate in their speeches. But their ef
forts are vain—all their vivacity j,
merely superfical. I would exchange a!!
our Jewish plays of this sort for on*
of those whose passion is revealed bt
their restraint.
Nonetheless, however, it is good to
write Jewish plays—and even better
to produce them—in an age like our*,
with its crying need for nn antidote
to remedy the unhealthy relationship
between Jews and non-Jews in Ger
many, in Russia, everywhere.
•—Copywright 1929 by Seven Arts Fra
ture Syndicate.
Doctor (inquiring after boy wh<
had swallowed a half dollar): How ii
the boy today?
Anxious Mother: No change yet.—
Satyr.
Teacher: Johnny, what is a “de
canter?”
Johnny: A decanter is somethin?
that a horse breaks into.—Oklahoma
Whirlwind.
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•THU PERFECT HREID FROM THE MODEL BAKERV
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1901 Hamilton Ave.
Phone
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Columbus, Ga.