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whose nonexistence renders empty
the entire concept of a synthesis.
It is obvious that the founders
of this institution believe that the
Jew cannot survive in society today
without a secular education. It is
by no means obvious that they
have resolved the question of Jew
ish destiny. This in itself is no dis
grace. It is inane however, to cre
ate a concept of synthesis between
intellectual forces which do not
conflict. Synthesis is not an intel
lectual concept. It does not resolve
Judaism with secular dogma. It is
merely a practical effort to con
dition the Jew to live in the so
ciety which secular dogma has pro
duced. The distinction - between^
dogma and practice does not exist
in Judaism as it does elsewhere.
It is this every distinction which
Yeshiva University is creating. The
Jew s daily life is his religion. If
he accepts secular ideas they will
not conflict with his religious be
liefs, but the very act of studying
secular ideas presents the question
of whether such an undertaking
violates the practical way of life
that a Jew must follow.
In lieu of an answer to this ques
tion the Yeshiva College student
must content himself with trying
to accomplish two things at the
same time under circumstances
which are hardly conducive to such
.achievement _
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by S. SINGERMAN
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The year 1964 is Shakespeare
year in Great Britain. The
whole world will commemot •
ate the 400th birthday (April
211 1564) of this great play
wright. England is toasting it
with eight months of festivals,
fetes, and pageants.
The most important of the
great bard’s plays of special
Jewish interest is “The Mer
chant of Venice" with Shy-
lock as the much disputed,
much calumnied character,
who is the undisputed hero of
the play and who by far over
shadows the weak, colorless,
nominal hero of the drama,
Antonio. Shylock is the actual
protagonist, who keeps the
spectators spellbound. His
striking character loomed
large in the imagination of
modern actors such as Ed
mund Kean, Edwin Booth and
Henry Irving, who stressed
the dignity and the appeal of
the victim of the prejudice of
his age. These great actors
made Shylock the central
character who rises to phe
nomenal heights.
WHO SAID IT?
Every play of the immortal
bard contains striking exam
ples of how much Shakespeare
owes to the Old Testament
md how he did not hesitate
to help himself to a thought
r metaphor whenever he
.ceded it. Here a few exam
ples culled at random from the
Book of Books”—the Bible.
Hamlet, Act. 2, Scene "2:
Jephta, Judge of Israel, u'hat
treasure hadst thou' (cf.
' ‘dges 11).
Richard II, Act V, Scene 2:
'Wait Eve? What serpent
nth suggested thee to make a
1 eond fall of cursed man'.’
O Genesis 3).
Richard III, Act 2, Scene 3:
l he Southern Israelite
"By God's good grace. Ins son
shall reign. Woe to the land
that's governed by a child"
This is- taken verbatim from
II Chronicles 23:4 and Eccles.
16: 14-16.
The Comedy of Errors. Act
II, Scene 2: "There is a time
for all things" (cf. Eccles. 3:
11).
King Job, Act III, Scene 1:
"Thy word i,s but the vain
breath of a common man"
(cf. Isa. 2:22 and Job 10: 1-3).
Macbeth, Act V, Scene 5:
"Life is a tale told by an idiot"
and King John. Act. Ill, Scene
4: "Life is as tedious as a
twice-told tale." this is based
on Psalm 90.9.
As You Like It, Act II, Scene
7: "All the world is a stage,
ahd men and women merely
players ..." is taken from
Kohelet. which is more than
a thousand years old.
More than 800 Biblical quo
tations can be traced in the
bard’s plays taken from the
Holy Writ either verbatim or
substantially founded on it.
The extensive use of the Old
Testament clearly evidences
how the mind of the immortal
poet and playwright fully ap
preciated the rich store of
striking expressions in which
the Bibles abounds.
In his poem, "To the Mem
ory of Shakespeare,” Ben Jon-
soii calls him ‘Myriad-minded
Shakespeare’ and extols his
genius by prophesizing that
the poet was "not of one age,"
but for all time.” The great
teachings of our Bible of just
ice and infinite mercy, of love-
and redemption, culled from
the great storehouse, live on
in Shakespeare s i in m o r t a 1
plays.
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