Ghetto Comedies/The Converts

he sat on his hard stool in the whitewashed workshop on the Bowery, clumsily pasting the flamboyant portrait on the boxes of the 'Yvonne Rupert cigar,' he wondered dully—after the first flush of joy at getting a job after weeks of hunger—at the strange fate that had again brought him into connection, however remote, with stageland. For even to Elkan Mandle, with his Ghetto purview, Yvonne Rupert's fame, both as a 'Parisian' star and the queen of American advertisers, had penetrated. Ever since she had summoned a Jewish florist for not paying her for the hundred and eleven bouquets with which a single week's engagement in vaudeville had enabled her to supply him, the journals had continued to paragraph her amusing, self-puffing adventures.

Not that there was much similarity between the New York star and his little actress of the humble Yiddish Theatre in London, save for that aureole of fluffy hair, which belonged rather to the genus than the individual. But as the great Yvonne's highly-coloured charms went on repeating themselves from every box-cover he manipulated (at seventy-five cents a hundred), the face of his own Gittel grew more and more vivid, till at last the whole splendid, shameful past began to rise up from its desolate tomb.

He even lived through that prologue in the Ghetto garret, when, as benevolent master-tailor receiving the highest class work from S. Cohn's in the Holloway Road, he was called upstairs to assist the penniless Polish immigrants.

There she sat, the witching she-devil, perched on the rickety table just contributed to the home, a piquant, dark-eyed, yet golden-haired, mite of eleven, calm and comparatively spruce amid the wailing litter of parents and children.

'Settle this among yourselves,' she seemed to be saying. 'When the chairs are here I will sit on them; when the table is laid I will draw to; when the pious philanthropist provides the fire I will purr on the hearth.'

Ah, he had come forward as the pious philanthropist—pious enough then, Heaven knew. Why had Satan thrown such lures in the way of the reputable employer, the treasurer of 'The Gates of Mercy' Synagogue, with children of his own, and the best wife in the world? Did he not pray every day to be delivered from the Satan Mekatrig? Had he not meant it for the best when he took her into his workshop? It was only when, at the age of sixteen, Gittel Goldstein left the whirring machine-room for the more lucrative and laurelled position of heroine of Goldwater's London Yiddish Theatre that he had discovered how this whimsical, coquettish creature had insinuated herself into his very being.

Ah, madness, madness! that flight with her to America with all his savings, that desertion of his wife and children! But what delicious delirium that one year in New York, prodigal, reckless, ere, with the disappearance of his funds, she, too, disappeared. And now, here he was—after nigh seven apathetic years, in which the need of getting a living was the only spur to living on—glad to take a woman's place when female labour struck for five cents more a hundred. The old bitter tears came up to his eyes, blurring the cheerless scene, the shabby men and unlovely women with their red paste-pots, the medley of bare and coloured boxes, the long shelf of twine-balls. And as he wept, the vain salt drops moistened the pictures of Yvonne Rupert.

She became an obsession, this Franco-American singer and dancer, as he sat pasting and pasting, caressing her pictured face with sticky fingers. There were brief intervals of freedom from her image when he was 'edging' and 'backing,' or when he was lining the boxes with the plain paper; but Yvonne came twice on every box—once in large on the inside, once in small on the outside, with a gummed projection to be stuck down after the cigars were in. He fell to recalling what he had read of her—the convent education that had kept her chaste and distinguished beneath all her stage deviltry, the long Lenten fasts she endured (as brought to light by the fishmonger's bill she disputed in open court), the crucifix concealed upon her otherwise not too reticent person, the adorable French accent with which she enraptured the dudes, the palatial private car in which she traversed the States, with its little chapel giving on the bathroom; the swashbuckling Marquis de St. Roquière, who had crossed the Channel after her, and the maid he had once kidnapped in mistake for the mistress; the diamond necklace presented by the Rajah of Singapuri, stolen at a soirée in San Francisco, and found afterwards as single stones in a low 'hock-shop' in New Orleans.

And despite all this glitter of imposing images a subconscious thought was forcing itself more and more clearly to the surface of his mind. That aureole of golden hair, those piquant dark eyes! The Yvonne the cheap illustrated papers had made him familiar with had lacked this revelation of colour! But no, the idea was insane!

This scintillating celebrity his lost Gittel!

Bah! Misery had made him childish. Goldwater had, indeed, blossomed out since the days of his hired hall in Spitalfields, but his fame remained exclusively Yiddish and East-side. But Gittel!

How could that obscure rush-light of the London Ghetto Theatre have blazed into the Star of Paris and New York?

This Lent-keeping demoiselle the little Polish Jewess who had munched Passover cake at his table in the far-off happy days! This gilded idol the impecunious Gittel he had caressed!

'You ever seen this Yvonne Rupert?' he inquired of his neighbour, a pock-marked, spectacled young woman, who, as record-breaker of the establishment, had refused to join the strike of the mere hundred-and-fifty a day.

The young woman swiftly drew a knife from the wooden pail beside her, and deftly scraped at a rough hinge as she replied: 'No, but I guess she's the actress who gets all the flowers, and won't pay for 'em.'

He saw she had mixed up the two lawsuits, but the description seemed to hit off his Gittel to the life. Yes, Gittel had always got all the flowers of life, and dodged paying. Ah, she had always been diabolically clever, unscrupulously ambitious! Who could put bounds to her achievement? She had used him and thrown him away—without a word, without a regret. She had washed her hands of him as light-heartedly as he washed his of the dirty, sticky day's paste. What other 'pious philanthropist' had she found to replace him? Whither had she fled? Why not to Paris that her theatric gifts might receive training?

This chic, this witchery, with which reputation credited her—had not Gittel possessed it all? Had not her heroines enchanted the Ghetto?

Oh, but this was a wild day-dream, insubstantial as the smoke-wreaths of the Yvonne Rupert cigar!

But the obsession persisted. In his miserable attic off Hester Street—that recalled the attic he had found her in, though it was many stories nearer the sky—he warmed himself with Gittel's image, smiling, light-darting, voluptuous. Night and sleep surrendered him to grotesque combinations—Gittel Goldstein smoking cigarettes in a bath-room, Yvonne Rupert playing Yiddish heroines in a little chapel.

In the clear morning these absurdities were forgotten in the realized absurdity of the initial identification. But a forenoon at the pasting-desk brought back the haunting thought. At noon he morbidly expended his lunch-dime on an 'Yvonne Rupert' cigar, and smoked it with a semi-insane feeling that he was repossessing his Gittel. Certainly it was delicious.

He wandered into the box-making room, where the man who tended the witty nail-driving machine was seated on a stack of Mexican cedar-wood, eating from a package of sausage and scrapple that sent sobering whiffs to the reckless smoker.

'You ever seen this Yvonne Rupert?' he asked wistfully.

'Might as well ask if I'd smoked her cigar!' grumbled the nailer through his mouthfuls.

'But there's a gallery at Webster and Dixie's.'

'Su-er!'

'I guess I'll go some day, just for curiosity.'

But the great Yvonne, he found, was flaming in her provincial orbit. So he must needs wait.

Meantime, on a Saturday night, with a dirty two-dollar bill in his pocket, and jingling some odd cents, he lounged into the restaurant where the young Russian bloods assembled who wrote for the Yiddish Labour papers, and 'knew it all.' He would draw them out about Yvonne Rupert. He established himself near a table at which long-haired, long-fingered Freethinkers were drinking chocolate and discussing Lassalle.

'Ah, but the way he jumped on a table when only a schoolboy to protest against the master's injustice to one of his schoolfellows! How the divine fire flamed in him!'

They talked on, these clamorous sceptics, amplifying the Lassalle legend, broidering it with Messianic myths, with the same fantastic Oriental invention that had illuminated the plain Pentateuch with imaginative vignettes, and transfiguring the dry abstractions of Socialism with the same passionate personalization. He listened impatiently. He had never been caught by Socialism, even at his hungriest. He had once been an employer himself, and his point of view survived.

They talked of the woman through whom Lassalle had met his death. One of them had seen her on the American stage—a bouncing burlesque actress.

'Like Yvonne Rupert?' he ventured to interpose.

'Yvonne Rupert?' They laughed. 'Ah, if Yvonne had only had such a snap!' cried Melchitsedek Pinchas. 'To have jilted Lassalle and been died for! What an advertisement!'

'It would have been on the bill,' agreed the table.

He asked if they thought Yvonne Rupert clever.

'Off the stage! There's nothing to her on,' said Pinchas.

The table roared as if this were a good joke. 'I dare say she would play my Ophelia as well as Mrs. Goldwater,' Pinchas added zestfully.

'They say she has a Yiddish accent,' Elkan ventured again. The table roared louder. 'I have heard of Yiddish-Deutsch,' cried Pinchas, 'never of Yiddish-Français!'

Elkan Mandle was frozen. By his disappointment he knew that he had been hoping to meet Gittel again—that his resentment was dead.

But the hope would not die. He studied the theatrical announcements, and when Yvonne Rupert once again flashed upon New York he set out to see her. But it struck him that the remote seat he could afford—for it would not do to spend a week's wage on the mere chance—would be too far off for precise identification, especially as she would probably be theatrically transmogrified. No, a wiser as well as a more economical plan would be to meet her at the stage-door, as he used to meet Gittel. He would hang about till she came.

It was a long ride to the Variety Theatre, and, the weather being sloppy, there was not even standing-room in the car, every foot of which, as it plunged and heaved ship-like through the watery night, was a suffocating jam of human beings, wedged on the seats, or clinging tightly to the overhead straps, or swarming like stuck flies on the fore and hind platforms, the squeeze and smell intensified by the shovings and writhings of damp passengers getting in and out, or by the desperate wriggling of the poor patient collector of fares boring his way through the very thick of the soldered mass. Elkan alighted with a headache, glad even of the cold rain that sprinkled his forehead. The shining carriages at the door of the theatre filled him for once with a bitter revolt. But he dared not insinuate himself among the white-wrapped, scented women and elegant cloaked men, though he itched to enter the portico and study the pictures of Yvonne Rupert, of which he caught a glimpse. He found his way instead to the stage-door, and took up a position that afforded him a complete view of the comers and goers, if only partial shelter from the rain.

But the leaden hours passed without her, with endless fevers of expectation, heats followed by chills. The performers came and went, mostly on foot, and strange nondescript men and women passed too through the jealously-guarded door.

He was drenched to the skin with accumulated drippings ere a smart brougham drove up, a smart groom opened an umbrella, and a smart—an unimaginably smart—Gittel Goldstein alighted.

Yes, the incredible was true!

Beneath that coquettish veil, under the aureole of hair, gleamed the piquant eyes he had kissed so often.

He remained petrified an instant, dazed and staring. She passed through the door the groom held open. The doorkeeper, from his pigeon-hole, handed her some letters. Yes, he knew every trick of the shoulders, every turn of the neck. She stood surveying the envelopes. As the groom let the door swing back and turned away, he rushed forward and pushed it open again.

'Gittel!' he cried chokingly. 'Gittel!'

She turned with a quick jerk of the head, and in her flushed, startled face he read consciousness if not recognition. The reek of her old cherry-blossom smote from her costlier garments, kindling a thousand passionate memories.

'Knowest thou me not?' he cried in Yiddish.

In a flash her face, doubly veiled, was a haughty stare.

'Who is zis person?' she asked the doorkeeper in her charming French-English.

He reverted to English.

'I am Elkan, your own Elkan!'

Ah, the jostle of sweet and bitter memories. So near, so near again! The same warm seductive witch. He strove to take her daintily-gloved hand.

She shrank back shudderingly and thrust open the door that led to the dressing-rooms beside the stage.

'Ze man is mad, lunatic!' And she disappeared with that delicious shrug of the shoulders that had captivated the States.

Insensate fury overcame him. What! This creature who owed all this glory to his dragging her away from the London Ghetto Theatre, this heartless, brazen minx who had been glad to nestle in his arms, was to mock him like this, was to elude him again! He made a dash after her; the doorkeeper darted from his little room, but was hurled aside in a swift, mad tussle, and Elkan, after a blind, blood-red instant, found himself blinking and dripping in the centre of the stage, facing a great roaring audience, tier upon tier. Then he became aware of a pair of eccentric comedians whose scene he had interrupted, and who had not sufficient presence of mind to work him into it, so that the audience which had laughed at his headlong entrance now laughed the louder over its own mistake.

But its delightful moment of sensational suspense was brief. In a twinkling the doorkeeper's vengeful hands were on the intruder's collar.

'I want Yvonne Rupert!' shrieked Elkan struggling. 'She is mine—mine! She loved me once!'

A vaster wave of laughter swept back to him as he was hauled off, to be handed over to a policeman on a charge of brawling and assaulting the doorkeeper.

As he lay in his cell he chewed the cud of revenge. Yes, let them take him before the magistrate; it was not he that was afraid of justice. He would expose her, the false Catholic, the she-cat! A pretty convert! Another man would have preferred to blackmail her, he told himself with righteous indignation, especially in such straits of poverty. But he—the thought had scarcely crossed his mind. He had not even thought of her helping him, only of the joy of meeting her again.

In the chill morning, after a sleepless night, he had a panic-stricken sense of his insignificance under the crushing weight of law and order. All the strength born of bitterness oozed out as he stood before the magistrate rigidly and heard the charge preferred. He had a despairing vision of Yvonne Rupert, mocking, inaccessible, even before he was asked his occupation.

'In a cigar-box factory,' he replied curtly.

'Ah, you make cigar-boxes?'

'No, not exactly. I paste.'

'Paste what?'

He hesitated. 'Pictures of Yvonne Rupert on the boxes.'

'Ah! Then it is the "Yvonne Rupert" cigar?'

'Yes.' He had divined the court's complacent misinterpretation ere he saw its smile; the facile theory that brooding so much over her fascinating picture had unhinged his brain. From that moment a hardness came over his heart. He shut his lips grimly. What was the use of talking? Whatever he said would be discredited on this impish theory. And, even without it, how incredible his story, how irrelevant to the charge of assaulting the doorkeeper!

'I was drunk,' was all he would say. He was committed for trial, and, having no one to bail him out, lingered in a common cell with other reprobates till the van brought him to the Law Court, and he came up to justice in an elevator under the rebuking folds of the Stars and Stripes. A fortnight's more confinement was all that was meted out to him, but he had already had time enough to reflect that he had given Yvonne Rupert one of the best advertisements of her life. It would have enhanced the prisoner's bitterness had he known, as the knowing world outside knew, that he was a poor devil in Yvonne Rupert's pay, and that New York was chuckling over the original and ingenious dodge by which she had again asserted her sovereignty as an advertiser—delicious, immense!

Short as his term of imprisonment was it coincided, much to his own surprise, with the Jewish Penitential period, and the Day of Atonement came in the middle. A wealthy Jewish philanthropist had organized a prison prayer-service, and Elkan eagerly grasped at the break in the monotony. Several of the prisoners who posed as Jews with this same motive were detected and reprimanded; but Elkan felt, with the new grim sense of humour that meditation on Yvonne Rupert and the world she fooled was developing in him, that he was as little of a Jew as any of them. This elopement to America had meant a violent break with his whole religious past. Not once had he seen the inside of an American synagogue. Gittel had had no use for synagogues.

He entered the improvised prayer-room with this ironic sense of coming back to Judaism by the Christian prison door. But the service shook him terribly. He forgot even to be amused by the one successful impostor who had landed himself in an unforeseen deprivation of rations during the whole fast day. The passionate outcries of the old-fashioned Chazan, the solemn peals and tremolo notes of the cornet, which had once been merely æsthetic effects to the reputable master-cutter, were now surcharged with doom and chastisement. The very sight of the Hebrew books and scrolls touched a thousand memories of home and innocence.

Ah, God, how he had sinned!

'Forgive us now, pardon us now, atone for us now!' he cried, smiting his breast and rocking to and fro.

His poor deserted wife and children! How terrible for Haigitcha to wake up one morning and find him gone! As terrible as for him to wake up one morning and find Gittel gone. Ah, God had indeed paid him in kind! Eye for eye, tooth for tooth.

The philanthropist himself preached the sermon. God could never forgive sins till the sinner had first straightened out the human wrongs.

Ah, true, true! If he could only find his family again. If he could try by love and immeasurable devotion to atone for the past. Then again life would have a meaning and an aim. Poor, poor Haigitcha! How he would weep over her and cherish her. And his children! They must be grown up. Yankely must be quite a young man. Yes, he would be seventeen by now. And Rachel, that pretty, clinging cherub!

In all those years he had not dared to let his thoughts pause upon them. His past lay like a misty dream behind those thousand leagues of ocean. But now it started up in all the colours of daylight, warm, appealing. Yes, he would go back to his dear ones who must still crave his love and guidance; he would plead and be forgiven, and end his days piously at the sacred hearth of duty.

'Forgive us now, pardon us now, atone for us now!'

If only he could get back to old England.

He appealed to the philanthropist, and lied amid all his contrition. It was desperation at the severance from his wife and children that had driven him to drink, lust of gold that had spurred him across the Atlantic. Now a wiser and sadder man, he would be content with a modicum and the wife of his bosom.

He arrived at last, with a few charity coins in his pocket, in the familiar Spitalfields alley, guarded by the three iron posts over which he remembered his Yankely leaping. His heart was full of tears and memories. Ah, there was the butcher's shop still underneath the old apartment, with the tin labels stuck in the kosher meat, and there was Gideon, the fat, genial butcher, flourishing his great carving-knife as of yore, though without that ancient smile of brotherly recognition. Gideon's frigidity chilled him; it was an inauspicious omen, a symptom of things altered, irrevocable.

'Does Mrs. Mandle still live here?' he asked with a horrible heart-sinking.

'Yes, first floor,' said Gideon, staring.

Ah, how his heart leapt up again! Haigitcha, his dear Haigitcha! He went up the ever-open dusty staircase jostling against a spruce, handsome young fellow who was hurrying down. He looked back with a sudden conviction that it was his son. His heart swelled with pride and affection; but ere he could cry 'Yankely' the young fellow was gone. He heard the whirr of machines. Yes, she had kept on the workshop, the wonderful creature, though crippled by his loss and the want of capital. Doubtless S. Cohn's kind-hearted firm had helped her to tide over the crisis. Ah, what a blackguard he had been! And she had brought up the children unaided. Dear Haigitcha! What madness had driven him from her side? But he would make amends—yes, he would make amends. He would slip again into his own niche, take up the old burdens and the old delights—perhaps even be again treasurer of 'The Gates of Mercy.'

He knocked at the door. Haigitcha herself opened it.

He wanted to cry her name, but the word stuck in his throat. For this was not his Haigitcha; this was a new creature, cold, stern, tragic, prematurely aged, framed in the sombre shadows of the staircase. And in her eyes was neither rapture nor remembrance.

'What is it?' she asked.

'I am Elkan; don't you know me?'

She stared with a little gasp, and a heaving of the flat breasts. Then she said icily: 'And what do you want?'

'I am come back,' he muttered hoarsely in Yiddish.

'And where is Gittel?' she answered in the same idiom.

The needles of the whirring machines seemed piercing through his brain. So London knew that Gittel had been the companion of his flight! He hung his head.

'I was only with her one year,' he whispered.

'Then go back to thy dung-heap!' She shut the door.

He thrust his foot in desperately ere it banged to. 'Haigitcha!' he shrieked. 'Let me come in. Forgive me, forgive me!'

It was a tug-of-war. He forced open the door; he had a vision of surprised 'hands' stopping their machines, of a beautiful, startled girl holding the ends of a half-laid tablecloth—his Rachel, oh, his Rachel!

'Open the window, one of you!' panted Haigitcha, her shoulders still straining against the door. 'Call a policeman—the man is drunk!'

He staggered back, his pressure relaxed, the door slammed. This repetition of his 'Yvonne Rupert' experience sobered him effectually. What right, indeed, had he to force himself upon this woman, upon these children, to whom he was dead? So might a suicide hope to win back his place in the old life. Life had gone on without him—had no need of him. Ah, what a punishment God had prepared for him! Closed doors to the past, closed doors everywhere.

And this terrible sense of exclusion had not now the same palliative of righteous resentment. With Yvonne Rupert, the splendid-flaming, vicious ingrate, he had felt himself the sinned against. But before this wife-widow, this dutiful, hard-working, tragic creature, he had nothing but self-contempt. He tottered downstairs. How should he even get his bread—he whose ill-fame was doubtless the gossip of the Ghetto? If he could only get hold of Gideon's carving-knife!

But he did not commit suicide, nor did he starve. There is always one last refuge for the failures of the Ghetto, and Elkan's easy experience with the Jewish philanthropist had prepared the way for dealings with the Christian.

To-day the Rev. Moses Elkan, 'the converted Jew,' preaches eloquently to his blind brethren who never come to hear him. For he has 'found the light.' Exeter Hall's exposition of the Jewish prophecies has opened his eyes, and though his foes have been those of his own household, yet, remembering the terrible text, 'He that loveth son or daughter more than Me is not worthy of Me,' he has taken up his cross and followed after Christ alone.

And even if the good souls for whose thousands of pounds he is the annual interest should discover his true past—through this tale-bearer or another—is there not but the more joy over the sinner that repenteth?

Duties neglected, deadly sins trailing in the actual world their unchangeable irreversible consequences—all this is irrelevant. He has 'found the light.'

And so, while Haigitcha walks in darkness, Yvonne prays in her chapel and Elkan preaches in his church.