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• Title: Figures of Love in Romantic Antisemitism: Achim von Arnim (1).
• Author : The German Quarterly
• Release Date : January 22, 2007
• Genre: Social Science,Books,Nonfiction,
• Pages : * pages
• Size : 227 KB

Description

I Although few dispute its existence, scholars have found it difficult to determine the scope and the character of Romantic antisemitism. This difficulty arises because the hallmarks of Romantic antisemitism are inconsistency and ambivalence, a simultaneous attraction to, and revulsion from, Jews and Judaism. Nothing illustrates this better than the life and work of Achim yon Arnim. Arnim attended the same Jewish salons he condemned during the dinners of the Christian-German Table Society, of which he was a co-founder. He scorned both Orthodox and assimilated Jews but appreciated some elements of Jewish culture and religion, especially its mystical strands. His literary references to the Kabbalah have been read as a sign of syncretistic openness to different religious traditions. (2) Arnim's contradictory attitude toward Jews and Judaism emerges most clearly in a series of writings he completed in 1811, just before the promulgation of the 1812 Prussian emancipation edict, to which he was opposed. In the prose fragment "Die Versohnung in der Sommerfrische," Arnim advocates a model of gradual emancipation in which the granting of political rights to the Jews would only follow their religious conversion and cultural assimilation. In line with earlier Enlightenment thinking, he supports the social integration of the Jews on the condition that they adapt to the economic, cultural, and religious norms of their Christian surroundings. His drama Halle und Jerusalem, in which the only positive Jewish character is one who successfully overcame his Judaism, illustrates this presumed necessity of radical Jewish transformation. At the same time, Arnim harbors paranoid anxieties about the actual success of assimilation, most notably in his speech "Uber die Kennzeichen des Judenthums," which he delivered at the Table Society in the spring of 1811. The speech attempts to restore to Jews a visibility that he believed had disappeared because of their alleged "seltene Kunst sich zu verstecken," which involved only superficial rather than essential changes (6: 363).

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