slogan “This Is Not a Christian Country,” are spreading their own type of Judaism everywhere with insolence unparalleled.
“Eli, Eli” is not a religious hymn! It is a racial war cry. In the low cafés of New York, where Bolshevik Jews hang out, “Eli, Eli” is their song. It is the Marseillaise of Jewish solidarity. It has become the fanatical chant of all Jewish Bolshevik clubs; it is constantly heard in Jewish coffee houses and cabarets where emotional Russian and Polish Jews—all enemies to all government—shout the words amid torrential excitement. When you see the hymn in point you are utterly puzzled to understand the excitement it rouses.
And this rallying cry has now been obtruded into the midst of the theatrical world.
The term “incantation” here used is used advisedly. The term is used by Kurt Schindler, who adapted the Yiddish hymn to American use. And its effect is that of an incantation.
In translation it is as follows:
The words of the hymn are so much resembling a lament that they strangely contrast with the spirit which the hymn itself seems to arouse; its mournful melody inspires a very different spirit among the Jewish hearers than the same sort of melody would inspire among other people. Those who have heard its public rendition can better understand how a hymn of such utterly quiet and resigned tone could be the wild rage of the anarchists of the East Side coffee houses.
The motive, of course, for the singing of the hymn is the reference to non-Jewish people.
“With fire and flame THEY have burnt us everywhere THEY have shamed and derided us?” Who are “they”? Who but the goyim, the