He had provided the world-historic background for the problem, he had diagnosed it and given the prognosis for the future. Now he was immersed in it and identified with it.
He had become its spokesman and attorney, as he was spokesman and attorney for other victims of injustice. It was no accident that the hero of
the play was a lawyer by vocation and avocation. For the hero was Herzl himself, and the transformation which unfolded in Dr. Jacob Samuel was the transformation which was unfolding in Theodore Herzl.
He belongs utterly to the Jews; it is for them that he fights, and, dying, he still sees himself as the fighter for their future. What future Jacob Samuel foresaw for the Jews in his dying moments remained unclear. It would appear that Herzl himself still believed that a deepening of mutual understanding between Jews and non-Jews might bring the solution.
But Herzl had travelled so much further by this time that he could not have in mind the "reconciliation" which would come by the capitulation of baptism. Indeed, the play emphasizes as a first prerequisite in human relations the element of self-respect. "If you become untrue to yourself," says the clever mother to the son, in the play, "you musn't complain if others become untrue to you." It was like a fresh wind blowing suddenly through the choking atmosphere of a lightless room. It was a new attitude: decent pride!
It called for a frightful effort to descend from the intoxicating heights of creativity to the ordinary round of work. For weeks now his regular employment had filled Herzl with revulsion. The first reports of the Dreyfus trial, which appeared while he was working on his New Ghetto, therefore made no particular impression on him. It looked like a sordid espionage affair in which a foreign power—before long it was revealed that the foreign power was Germany, acting through Major von Schwartzkoppen—had been buying up through its agent secret documents