original character cannot have been other than magnificent and proud; we were men who knew how to face war and how to defend the state; had we not started out with such gifts, how could we have survived two thousand years of unrelenting persecution?"
At that time Herzl came across the Zionist solution, and definitely rejected it. Discussing the novel Femme de Claude, by Dumas the younger, he says of one of its characters: "The good Jew Daniel wants to rediscover the homeland of his race and gather his scattered brothers into it. But a man like Daniel would surely know that the historic homeland of the Jews no longer has any value for them. It is childish to go in search of the geographic location of this homeland. And if the Jews really 'returned home' one day, they would discover on the next day that they do not belong together. For centuries they have been rooted in diverse nationalisms; they differ from each other, group by group; the only thing they have in common is the pressure which holds them together. All humiliated peoples have Jewish characteristics, and as soon as the pressure is removed they react like liberated men."
The inner apotheosis was drawing nearer and nearer for Herzl. In October, 1894, Herzl was in the studio of the sculptor, Samuel Friedrich Beer, who was making a bust of him. The conversation turned to the Jewish question and to the growth of the anti-Semitic movement in Vienna, the hometown of both Herzl and Beer. It was useless for the Jew to turn artist and to dissociate himself from money, said Herzl. "The blot sticks. We can't break away from the ghetto." A great excitement seized Herzl, and he left the atelier, and on the way home the inspiration came on him like a hammerblow. What was it? The complete outline of a play, "like a block of basalt."
With this play Herzl completed his inner return to his people. Until then, with all his emotional involvement in the question, he had stood outside it as the observer, the student, the clarifier, or even the defender.