Edward Wagenknecht - Daughters of the covenant: portraits of six Jewish women
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Daughters of the covenant: portraits of six Jewish women
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Page iii
Daughters of the Covenant
Portraits of Six Jewish Women
Edward Wagenknecht
The University of Massachusetts Press Amherst, 1983
Page iv
Photo Credits: Rebecca Gratz, Emma Lazarus, Lillian D. Wald, Emma Goldman, and Henrietta Szold, Courtesy, American Jewish Historical Society, Waltham, Massachusetts; Amy Levy, Courtesy, Mocatta Library, University College, London.
Copyright 1983 by Edward Wagenknecht All rights reserved Printed in the United States of America
Library of Congress Cataloging in Publication Data Wagenknecht, Edward, 1900 Daughters of the covenant. Bibliography: p. Includes index. 1. Women, JewishUnited StatesBiography. 2. JewsUnited StatesBiography. 3. WomenUnited StatesBiography. I. Title. E184.J5W14 1983 973'.04924022 [B] 83-3562 ISBN 0-87023 396-3
Page v
Contents
Preface
vii
Rebecca Gratz
1
Emma Lazarus
23
Amy Levy
55
Lillian D. Wald
95
Emma Goldman
119
Henrietta Szold
149
Bibliographies and Notes
173
Index
187
Page vii
Preface
This book contains studies of the work and more particularly of the character and personality of the six women considered in it. Why I have chosen this particular half dozen I should find it difficult to say; if my own experience affords a criterion, biographical writers are in large part chosen by their subjects, but I can say that I was drawn to them first of all because they interested me as individuals. They do, nevertheless, illustrate various types of Jewish womanhood.
One (Amy Levy) is English, the rest American, and the chronological range is from the birth of Rebecca Gratz in 1781 to the death of Henrietta Szold in 1945. Two (Emma Lazarus and Amy Levy) were writers. Three (Rebecca Gratz, Lillian D. Wald, and Henrietta Szold) were deeply involved with philanthropy. One (Emma Goldman) was a reformer and agitator. One (Rebecca Gratz) was, in spite of her philanthropic and religious activities, essentially a private person. Two (Emma Lazarus and Henrietta Szold) were Zionists; one (Emma Goldman) was anti-Zionist. Only two (Rebecca Gratz and Henrietta Szold) were, in the usual sense of the term, intensely religious Jews; one (Emma Goldman) was an atheist. It was not until I was well along in my work that I realized however that, in one respect at least, my sextette were not at all representative of Jewish womanhood in general. Only one of my subjects (Emma Goldman) was ever married, and her two marriages were not very important in her life, though her numerous extramarital affairs
Page viii
were. As far as we know, Henrietta Szold was the only one of the others who was ever seriously in love.
The arrangement of the six portraits has been determined principally by reference to chronology, slightly modified by considerations of contrast and emphasis. If I had gone by the birth date alone, I should have had to permit Henrietta Szold to precede Amy Levy, but because Amy Levy was dead before 1890 while Henrietta Szold was alive until 1945 and occupied until the end with what are still very much live issues, it seemed better to arrange my subjects primarily by reference to their periods of activity . This consideration alone served adequately to determine the order of the first half of the book but needed to be supplemented by others thereinafter. I will say nothing more about this except that, though I should not be prepared to go to the barricades to defend the thesis that Henrietta Szold is the greatest woman in my book, she still seems to me an eminently suitable figure upon whom to drop the curtain.
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