The Book of Delight and Other Papers by Abrahams, Israel, 1858-1925

My strongest point concerns what, beyond all other delights, has been regarded as the characteristic amusement of the festival, viz. the Purim play. We not only possess absolutely no evidence that Purim plays were performed in the Ghettos till the beginning of the eighteenth century, when the end of the Ghettos was almost within sight, but the extant references imply that they were then a novelty. Plays on the subject of Esther were very common in medieval Europe during earlier centuries, but these plays were written by Christians, not by Jews, and were performed by monks, not by Rabbis. Strange as it may seem, it is none the less the fact that the Purim play belongs to the most recent of the Purim amusements, and that its life has been short and, on the whole, inglorious.

Thus, without pressing the contention too closely, Purim festivities do not deserve to be tarred with the Ghetto brush. Is it, then, denied that Purim was more mirthfully observed in Ghetto days than it is at the present day? By no means. It is unquestionable that Purim used to be a merrier anniversary than it is now. The explanation is simple. In part, the change has arisen through a laudable disinclination from pranks that may be misconstrued as tokens of vindictiveness against an ancient foe or his modern reincarnations. As a second cause may be assigned the growing and regrettable propensity of Jews to draw a rigid line of separation between life and religion, and wherever this occurs, religious feasts tend towards a solemnity that cannot, and dare not, relax into amusement. This tendency is eating at the very heart of Jewish life, and ought to be resisted by all who truly understand the genius of Judaism.

But the psychology of the change goes even deeper. The Jew is emotional, but he detests making a display of his feelings to mere onlookers. The Wailing Wall scenes at Jerusalem are not a real exception--the facts are "Cooked," to meet the demands of clamant tourists. The Jew's sensitiveness is the correlative of his emotionalism. While all present are joining in the game, each Jew will play with full abandonment to the humor of the moment. But as soon as some play the part of spectators, the Jew feels his limbs growing too stiff for dancing, his voice too hushed for song. All must participate, or all must leave off. Thus, a crowd of Italians or Southern French may play at carnival to-day to amuse sight-seers in the Riviera, but Jews have never consented, have never been able, to sport that others might stand by and laugh at, and not with, the sportsmen. In short, Purim has lost its character, because Jews have lost their character, their disposition for innocent, unanimous joyousness. We are no longer so closely united in interests or in local abodes that we could, on the one hand, enjoy ourselves as one man, and, on the other, play merry pranks, without incurring the criticism of indifferent, cold-eyed observers. Criticism has attacked the authenticity of the Esther story, and proposed Marduk for Mordecai, and Istar for Esther. But criticism of another kind has worked far more havoc, for its "superior" airs have killed the Purim joy. Perhaps it is not quite dead after all.

VII

JEWS AND LETTERS