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The Daily Examiner of Huddersfield, England, discussing the Jews in Palestine, says:

Since the War some very profound changes had been going on in Jewry. Today there were 300,000 Jews in Palestine, and they were increasing at the rate of forty per cent to fifty per cent a year. On that basis of increase it could be assumed that ten years hence there would be roughly 1,000,000 Jews in that land. The Jews would then be in the majority there. What would that mean to the Holy Places sacred to the Christian faith? It seemed likely that those million Jews would be predominantly atheistic, because at the present time the practical expression of Zionism in Palestine was at least irreligious, if not anti-religious. The Jews going back to Palestine had broken all connection with orthodox Judaism. Material success was coming to Palestine, and the more tangible the success of the Zionist movement, as measured by material success, the greater would become the racial pride and the national ambitions of the Jews. As their racial pride and ambition became greater the anti-Semites would become more antagonistic to them.


The Now York Post carries the following editorial:

Art and Nazism simply do not go hand in hand.

Richard Strauss, famous composer of “Rosenkavalier,” “Salome,” “Don Juan,” “Till Eulenspiegel,” etc., is the latest victim of Nazi displeasure because he insisted upon using a libretto by Stefan Zweig, who is Jewish, for his new opera, “The Silent Woman.” Strauss’s works are reported due for the Nazi ban.

Asked why he employed a Jewish librettist, Strauss replied:

“It isn’t easy to find librettists. Writing opera texts is a special art.”

Considering the fact that Herr Strauss heretofore has made frantic efforts to get along with the Nazis (he was always something of a politician in such matters), the incident merely shows the idiocy which holds sway in the Reich today. When the complaisant Strauss can’t get along with the Jew-baiters, one can only shudder for the fate of other German musicians.

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