In order to form a correct judgment of the place which the Jew holds in relation to the whole problem of human civilization, we must bear in mind the essential fact that there never has been any Jewish art and consequently that nothing of this kind exists to-day. We must realize that especially in those two royal domains of art, namely architecture and music, the Jew has done no original creative work. When the Jew comes to producing something in the field of art he merely bowdler-izes something already in existence or simply steals the intellectual word, of others. The Jew essentially lacks those qualities which are characteristic of those creative races that are the founders of civilization.
To what extent the Jew appropriates the civilization built up by others--or rather corrupts it, to speak more accurately--is indicated by the fact that he cultivates chiefly the art which calls for the smallest amount of original invention, namely the dramatic art. And even here he is nothing better than a kind of juggler or, perhaps more correctly speaking, a kind of monkey imitator; for in this domain also he lacks the creative elan which is necessary for the production of all really great work. Even here, therefore, he is not a creative genius but rather a superficial imitator who, in spite of all his retouching and tricks, cannot disguise the fact that there is no inner vitality in the shape he gives his products. At this juncture the Jewish Press comes in and renders friendly assistance by shouting hosannas over the head of even
No; the Jews have not the creative abilities which are necessary to the founding of a civilization; for in them there is not, and never has been, that spirit of idealism which is an absolutely necessary element in the higher development of mankind. Therefore the Jewish intellect will never be constructive but always destructive. At best it may serve as a stimulus in rare cases but only within the meaning of the poet's lines: 'THE POWER WHICH ALWAYS WILLS THE BAD, AND ALWAYS WORKS THE GOOD' (KRAFT, DIE STETS DAS BĂ–SE WILL UND STETS DAS GUTE SCHAFFT). (Note 15) It is not through his help but in spite of his help that mankind makes any progress.
[Note 15. When Mephistopheles first appears to Faust, in the latter's study, Faust inquires: "What is thy name?" To which Mephistopheles replies: "A part ofthe Power which always wills the Bad and always works the Good." And when Faust asks him what is meant by this riddle and why he should call himself'a part,' the gist of Mephistopheles' reply is that he is the Spirit of Negation and exists through opposition to the positive Truth and Order and Beauty which proceed from the never-ending creative energy of the Deity. In the Prologue to Faust the Lord declares that man's active nature would grow sluggishin working the good and that therefore he has to be aroused by the Spirit of Opposition. This Spirit wills the Bad, but of itself it can do nothing positive, and by its opposition always works the opposite of what it wills.]