Dreamers of the Ghetto. Israel Zangwill
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for the Hebrew itself was very difficult. But he knew generally what the Feast was about, and his question was only a matter of form, for he grew up asking it year after year, with a feigned surprise. Nor, though he learned to understand Hebrew well, and could even translate his daily prayers into bad Italian, a corruption of the Venetian dialect finding its way into the Ghetto through the mouths of the people who did business with the outside world, did he ever really think of the sense of his prayers as he gabbled them off, morning, noon, and night. There was so much to say—whole books full. It was a great temptation to skip the driest pages, but he never yielded to it, conscientiously scampering even through the passages in the tiniest type that had a diffident air of expecting attention from only able-bodied adults. Part of the joy of Sabbaths and Festivals was the change of prayer-diet. Even the Grace—that long prayer chanted after bodily diet—had refreshing little variations. For, just as the child put on his best clothes for Festivals, so did his prayers seem to clothe themselves in more beautiful words, and to be said out of more beautiful books, and with more beautiful tunes to them. Melody played a large part in the synagogue services, so that, although he did not think of the meaning of the prayers, they lived in his mind as music, and, sorrowful or joyous, they often sang themselves in his brain in after years. There were three consecutive "Amens" in the afternoon service of the three Festivals—Passover, Pentecost, Tabernacles—that had a quaint charm for him. The first two were sounded staccato, the last rounded off the theme, and died away, slow and lingering. Nor, though there were double prayers to say on these occasions, did they weigh upon him as a burden, for the extra bits were insinuated between the familiar bits, like hills or flowers suddenly sprung up in unexpected places to relieve the monotony of a much-travelled road. And then these extra prayers were printed so prettily, they rhymed so profusely. Many were clever acrostics, going right through the alphabet from Aleph, which is A, to Tau, which is T, for Z comes near the beginning of the Hebrew alphabet. These acrostics, written in the Middle Ages by pious rabbis, permeated the Festival prayer-books, and even when the child had to confess his sins—or rather those of the whole community, for each member of the brotherhood of Israel was responsible for the rest—he sinned his sin with an "A," he sinned his sin with a "B," and so on till he could sin no longer. And, when the prayers rhymed, how exhilarating it was to lay stress on each rhyme and double rhyme, shouting them fervidly. And sometimes, instead of rhyming, they ended with the same phrase, like the refrain of a ballad, or the chorus of a song, and then what a joyful relief, after a long breathless helter-skelter through a strange stanza, to come out on the old familiar ground, and to shout exultantly, "For His mercy endureth for ever," or "The appearance of the priest!" Sometimes the run was briefer—through one line only—and ended on a single word like "water" or "fire." And what pious fun it was to come down sharp upon fire or water! They stood out friendly and simple, the rest was such curious and involved Hebrew that sometimes, in an audacious moment, the child wondered whether even his father understood it all, despite that he wept freely and bitterly over certain acrostics, especially on the Judgment Days. It was awe-inspiring to think that the angels, who were listening up in heaven, understood every word of it. And he inclined to think that the Cantor, or minister who led the praying, also understood; he sang with such feeling and such fervid roulades. Many solos did the Cantor troll forth, to which the congregation listened in silent rapture. The only time the public prayers bored the child was on the Sabbath, when the minister read the Portion of the Week; the Five Books of Moses being read through once a year, week by week, in a strange sing-song with only occasional flights of melody. The chant was determined by curious signs printed under the words, and the signs that made nice music were rather rare, and the nicest sign of all, which spun out the word with endless turns and trills, like the carol of a bird, occurred only a few times in the whole Pentateuch. The child, as he listened to the interminable incantation, thought he would have sprinkled the Code with bird-songs, and made the Scroll of the Law warble. But he knew this could not be. For the Scroll was stern and severe and dignified, like the high members of the congregation who bore it aloft, or furled it, and adjusted its wrapper and its tinkling silver bells. Even the soberest musical signs were not marked on it, nay, it was bare of punctuation, and even of vowels. Only the Hebrew consonants were to be seen on the sacred parchment, and they were written, not printed, for the printing-press is not like the reverent hand of the scribe. The child thought it was a marvellous feat to read it, much less know precisely how to chant it. Seven men—first a man of the tribe of Aaron the High Priest, then a Levite, and then five ordinary Israelites—were called up to the platform to stand by while the Scroll was being intoned, and their arrivals and departures broke the monotony of the recitative. After the Law came the Prophets, which revived the child's interest, for they had another and a quainter melody, in the minor mode, full of half tones and delicious sadness that ended in a peal of exultation. For the Prophets, though they thundered against the iniquities of Israel, and preached "Woe, woe," also foretold comfort when the period of captivity and contempt should be over, and the Messiah would come and gather His people from the four corners of the earth, and the Temple should be rebuilt in Jerusalem, and all the nations would worship the God who had given His law to the Jews on Mount Sinai. In the meantime, only Israel was bound to obey it in every letter, because only the Jews—born or unborn—had agreed to do so amid the thunders and lightnings of Sinai. Even the child's unborn soul had been present and accepted the yoke of the Torah. He often tried to recall the episode, but although he could picture the scene quite well, and see the souls curling over the mountains like white clouds, he could not remember being among them. No doubt he had forgotten it, with his other pre-natal experiences—like the two Angels who had taught him Torah and shown him Paradise of a morning and Hell every evening—when at the moment of his birth the Angel's finger had struck him on the upper lip and sent him into the world crying at the pain, and with that dent under the nostrils which, in every human face, is the seal of oblivion of the celestial spheres. But on the anniversary of the great Day of the Decalogue—on the Feast of Pentecost—the synagogue was dressed with flowers. Flowers were not easy to get in Venice—that city of stones and the sea—yet every synagogue (and there were seven of them in that narrow Ghetto, some old and beautiful, some poor and humble) had its pillars or its balconies twined with roses, narcissi, lilies, and pansies. Prettier still were the customs of "Tabernacles," when the wooden booths were erected in the square or the courtyards of the synagogues in commemoration of the days when the Children of Israel lived in tents in the wilderness. The child's father, being particularly pious, had a booth all to himself, thatched with green boughs, and hung with fruit, and furnished with chairs and a table at which the child sat, with the blue sky playing peep-bo through the leaves, and the white table-cloth astir with quivering shadows and glinting sunbeams. And towards the last days of the Festival he began to eat away the roof, consuming the dangling apples and oranges, and the tempting grapes. And throughout this beautiful Festival the synagogue rustled with palm branches, tied with boughs of willows of the brook and branches of other pleasant trees—as commanded in Leviticus—which the men waved and shook, pointing them east and west and north and south, and then heavenwards, and smelling also of citron kept in boxes lined with white wool. As one could not breakfast before blessing the branches and the citron, a man carried them round to such of the women-folk as household duties kept at home—and indeed, home was a woman's first place, and to light the Sabbath lamp a woman's holiest duty, and even at synagogue she sat in a grated gallery away from the men downstairs. On the seventh day of Tabernacles the child had a little bundle of leafy boughs styled "Hosannas," which he whipped on the synagogue bench, his sins falling away with the leaves that flew to the ground as he cried, "Hosanna, save us now!" All through the night his father prayed in the synagogue, but the child went home to bed, after a gallant struggle with his closing eyelids, hoping not to see his headless shadow on the stones, for that was a sign of death. But the ninth day of Tabernacles was the best, "The Rejoicing of the Law," when the fifty-second portion of the Pentateuch was finished and the first portion begun immediately all over again, to show that the "rejoicing" was not because the congregation was glad to be done with it. The man called up to the last portion was termed "The Bridegroom of the Law," and to the first portion "The Bridegroom of the Beginning," and they made a wedding-feast to which everybody was invited. The boys scrambled for sweets on the synagogue floor. The Scrolls of the Law were carried round and round seven times, and the boys were in the procession with flags and wax tapers in candlesticks of hollow carrots, joining lustily in the poem with its alternative refrain of "Save us, we pray Thee," "Prosper