Page images
PDF
EPUB

French, "Veille de noces," and in Ger

66

[ocr errors]

man, Polter Abend," are celebrated equally by all sorts of pranks and hilarity. In Russian Poland the Jews celebrate by a "Foorshpiel." On the Saturday evening preceding the wedding the bride orders the Klezmoorim" (musicians), to her home, where are congregated her single girl friends. Besides the musicians, no one of the masculine sex is permitted to be present. To avoid any possibility of the dancing damsels coming in contact with the musicians, a M'khitza" (partition), of some kind is improvised. If the bride is wealthy she defrays the expense for the music, but in cases of limited means the guests pay for the music by way of "Einvarf'n " (throwing in): As few are able to pay for a dance individually, several of them in a group, or the girls in corpore, contribute to each dance as it is ordered. In cases in which a number of the guests

[ocr errors]

66

are able, dances are paid for in turn, resembling the American mode of “treating." Prices vary according to the character of the dance. The highest priced is the Akhtoorya," eight participants constituting a set, similar to the "Française.” The "Foorshpiel" lasts as long as the musicians receive pay. At the close the "Klezmoorim " usually throw in one dance gratis. In the event of a brisk business they yield to the pleadings of the virgins and play still another complimentary. Not seldom it happens that they pack up after one or two dances, and in some instances do not even unpack.

One Thursday G'nend'l Moshkovitz, whose wedding was to take place on the following Sunday, came to engage Sheeka's services for the "Foorshpiel" to be given by her on Saturday night. A ray of sunshine at once penetrated the Klezmer's gloomy soul. He remembered that Shprintza

66

66

and G'nend'l had always been "Khavertoorns" (chums), and had usually danced as partners at every "Foorshpiel." He knew well, then, that Shprintza would, beyond a doubt, be present at G'nend'l's "Foorshpiel." He knew Shprintza's predilection for certain compositions. He remembered the impression Mendelssohn's Songs without Words" had made on her two years previously, and he resolved to play himself into her heart. Caressing his old standby, his noble instrument, he addressed it appealingly: "Plead for me, pray thee! Thy expressions are mightier than those of my pen and my tongue. All all that I am and all that I have I owe to thee. Stand by me this time which will decide my fate!"

I

[ocr errors]

Every hour seemed an eternity to Sheeka, until at last the time for the "Foorshpiel" arrived. After several dances the girls took a recess and Sheeka

began with the execution of his own program. He poured out his soul in improvisations sweet enough to allure even the angels. He played Mendelssohn, who again found admission into the heart of gentle Shprintza with even greater force and storm than before. And when he played his latest "Passionata," the birth of which took place during the suppression,

- rather during the time he attempted to suppress his love, Shprintza could scarcely constrain herself, and she hastened from the room, returning only after the dancing was again resumed. Sheeka's being was so utterly wrapped up in his playing that he had not noticed her absence, but when Shprintza came forward to order an "Akhtoorya," her countenance betrayed more to his anxious eye than all love confessions of the tongue. Like a general after taking a fortress, he gloried in his victory. Involuntarily he gave vent

to his feelings through the Recitative "In Splendor Bright is rising now the Sun," from Haydn's "Creation."

Mr. Kalmen Wielnik was a man of high standing in the community. Not only was he of means and of highly respected lineage, but his close connection with government and military officials enabled him frequently to intercede for his people who were unjustly incarcerated or otherwise oppressed. One of his sons and two daughters had married into the foremost families of the town.

[ocr errors]

The Jew of the Ghetto is a veritable master in the art of wishing good as well as evil. The first lesson of this art he no doubt received from the Bible (Deuteronomy, Chaps. XXVIII and XXXIII), and the mastery he acquired in the Orient, where his cradle stood, and where, for a "Baksheesh," one may procure a bushel of good wishes of indescrib

« PreviousContinue »