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Esimene osa tuntud saksa kirjaniku Lion Feuchtwangeri ajaloolisest triloogiast, mille peategelaseks on juudi soost rooma ajaloolane Josephus Flavius.
Romaani tegevustik keskendub 1. sajandil Palestiinas puhkenud Rooma ülemvõimu vastase ülestõusu ümber.
Romaani tegevustik keskendub 1. sajandil Palestiinas puhkenud Rooma ülemvõimu vastase ülestõusu ümber.
368 pages, Hardcover
First published January 1, 1925
56 people are currently reading
1265 people want to read
About the author
Lion Feuchtwanger
147 books264 followersLion Feuchtwanger was a German Jewish emigre. A renowned novelist and playwright who fled Europe during World War II and lived in Los Angeles from 1941 until his death.
A fierce critic of the Nazi regime years before it assumed power precipitated his departure, after a brief internment in France, from Europe. He and his wife Marta obtained asylum in the United States in 1941 and remained there in exile until they died.
A fierce critic of the Nazi regime years before it assumed power precipitated his departure, after a brief internment in France, from Europe. He and his wife Marta obtained asylum in the United States in 1941 and remained there in exile until they died.
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Displaying 1 - 30 of 43 reviews
November 27, 2022
Feuchtwangers Meisterwerk führt uns anschaulich vor Augen,
dass Antisemitismus schon sehr lange vor dem 20. Jahrhundert
in Europa weit verbreitet war.
dass Antisemitismus schon sehr lange vor dem 20. Jahrhundert
in Europa weit verbreitet war.
July 30, 2012
This is my favorite book of all time.
I should write a tribute to this book, not a review. What can you say about this book—it not only captures the Baroque period so well, but it is a distant mirror of the times that Feuchtwanger wrote it in. It captures the German soul in a way that only an inside/outside person like Feuchtwanger could.
Maybe you have to be a fan of historical fiction, know Jewish history, know German history, and numerous other niches this falls into, but I guess that's where I stand. But this is less wordy, more playful, and more honest than Tolstoy.
Please, English readers: put this book up where it belongs.
I should write a tribute to this book, not a review. What can you say about this book—it not only captures the Baroque period so well, but it is a distant mirror of the times that Feuchtwanger wrote it in. It captures the German soul in a way that only an inside/outside person like Feuchtwanger could.
Maybe you have to be a fan of historical fiction, know Jewish history, know German history, and numerous other niches this falls into, but I guess that's where I stand. But this is less wordy, more playful, and more honest than Tolstoy.
Please, English readers: put this book up where it belongs.
October 21, 2025
Joseph Süss Oppenheimer, an 18th-century Jewish financier, rises to prominence in the court of Duke Karl Alexander of Württemberg. Feuchtwanger adeptly captures the complexities of Süss's character, highlighting his extraordinary talents in finance and politics, alongside the pervasive antisemitism he endures. Despite his loyalty and substantial contributions to the state, Süss is frequently subjected to derogatory remarks and baseless suspicion due to his Jewish heritage. The novel's rich historical setting and detailed portrayal of court life provide a vivid backdrop for Süss's dramatic ascent and the obstacles he faces.
Feuchtwanger offers a philosophical exploration of themes such as power, identity, and morality. Süss's journey is marked by his internal conflict between his Jewish roots and the allure of power and wealth. The novel underscores the societal prejudices of the era, such as when Süss is unjustly accused of crimes like fraud and embezzlement. Additionally, the public's reaction to Süss's growing influence, characterized by a collective eagerness to see him punished, further highlights the entrenched antisemitism of the time. Feuchtwanger's nuanced depiction of Süss as both a victim and a manipulator is profound and insightful.
The novel's climax is both intense and contemplative, as Süss confronts significant personal and societal challenges. Feuchtwanger's portrayal of Süss's final decisions, where he must face his identity and the repercussions of his actions, is particularly moving. These moments underscore the novel's central themes of integrity and identity, a reflection on the interplay between personal ambition and societal prejudice. This work should be widely celebrated and required reading in high schools and universities for its literary merit, remarkable historical depictions, and timeless themes. The fact that it isn't only underscores how entrenched antisemitism is in the ivory and ivy towers. They allow it. They excuse it. They perpetuate it. They teach it.
"...Deprived of this victim, the rabble, led by young Langefass, rounded up all the other Jews and diverted itself with them. They had a special sport with an old Jew who defended himself desperately while they plucked out his grey hair and beard, the process being accompanied by an entertaining speech from Langefass, which met with great applause. A trembling young girl called Jentel Hirsch, who was by no means pretty, was stripped to the skin and searched for fleas amid screams of laughter. All the Jews in Stuttgart, from the old men to the infants, were captured by the busy mob ill some such fashion and handed over to the Town Magistrate with an escort of street arabs flinging dirt and stones..."
Did nothing change Europe? I know it's longer than a TikTok, university students, but you should try reading a book, perhaps this one. It's probably not translated to watermelon, but see if you can recognize yourself in the other languages this book was translated into.
Feuchtwanger offers a philosophical exploration of themes such as power, identity, and morality. Süss's journey is marked by his internal conflict between his Jewish roots and the allure of power and wealth. The novel underscores the societal prejudices of the era, such as when Süss is unjustly accused of crimes like fraud and embezzlement. Additionally, the public's reaction to Süss's growing influence, characterized by a collective eagerness to see him punished, further highlights the entrenched antisemitism of the time. Feuchtwanger's nuanced depiction of Süss as both a victim and a manipulator is profound and insightful.
The novel's climax is both intense and contemplative, as Süss confronts significant personal and societal challenges. Feuchtwanger's portrayal of Süss's final decisions, where he must face his identity and the repercussions of his actions, is particularly moving. These moments underscore the novel's central themes of integrity and identity, a reflection on the interplay between personal ambition and societal prejudice. This work should be widely celebrated and required reading in high schools and universities for its literary merit, remarkable historical depictions, and timeless themes. The fact that it isn't only underscores how entrenched antisemitism is in the ivory and ivy towers. They allow it. They excuse it. They perpetuate it. They teach it.
"...Deprived of this victim, the rabble, led by young Langefass, rounded up all the other Jews and diverted itself with them. They had a special sport with an old Jew who defended himself desperately while they plucked out his grey hair and beard, the process being accompanied by an entertaining speech from Langefass, which met with great applause. A trembling young girl called Jentel Hirsch, who was by no means pretty, was stripped to the skin and searched for fleas amid screams of laughter. All the Jews in Stuttgart, from the old men to the infants, were captured by the busy mob ill some such fashion and handed over to the Town Magistrate with an escort of street arabs flinging dirt and stones..."
Did nothing change Europe? I know it's longer than a TikTok, university students, but you should try reading a book, perhaps this one. It's probably not translated to watermelon, but see if you can recognize yourself in the other languages this book was translated into.
June 3, 2023
3.5 stars.
Boy am I conflicted about this one. Feuchtwanger does a magnificent job of detailing the dirty politics and social attitudes in 18th-century Swabia. Implicit and explicit antisemitism dominate the book as it did back in the day. The chapters describing the blood libel and how a frenzied mob is let loose are some of the most shocking yet well-written passages I've ever read. The author does not mince words and indeed in my experience, Germany/the Holy Roman Empire was one of the most antisemitic places in history.
Meanwhile the carriage drew up before the Star Hotel in Wildbad. The landlord rushed out and doffed his bonnet. But when he saw Isaac Landauer's caftan, he turned on his heel, with an insolent "No Jews wanted here." Still, the pale secretary climbed down from the dickey. "These gentlemen are the Ministers Oppenheimer and Landauer," he said coolly over his shoulder, as he assisted them to descend. And the landlord in a trice was bowing them profoundly to their rooms.
Josef Suss had grown dark with fury at the rudeness of the fellow, but he followed Isaac Landauer in silence. "Well," smiled the latter, "he could not have scraped his foot further back even for a gold-braided Privy Councillor!" And he smiled, and combed his fingers through his lank, greyish, wagging beard.
Suss is an interesting character. His strange relationship with Karl Alexander is depicted quite realistically. You are transported back to the 1700s with plausible instances of myth, religious hypocrisy, financial fraud and corruption, depravity, and decadence. Feuchtwanger, to his credit, never gives in to stereotypes but humanizes his characters, even those belonging to murderous mobs.
However, I could sense a marked decline in the quality of writing from the fourth book onwards. Suss' later behavior also did not make sense with the way Feuchtwanger built the plot. The ending fell flat for me and got in the way of making this book truly great.
Boy am I conflicted about this one. Feuchtwanger does a magnificent job of detailing the dirty politics and social attitudes in 18th-century Swabia. Implicit and explicit antisemitism dominate the book as it did back in the day. The chapters describing the blood libel and how a frenzied mob is let loose are some of the most shocking yet well-written passages I've ever read. The author does not mince words and indeed in my experience, Germany/the Holy Roman Empire was one of the most antisemitic places in history.
Meanwhile the carriage drew up before the Star Hotel in Wildbad. The landlord rushed out and doffed his bonnet. But when he saw Isaac Landauer's caftan, he turned on his heel, with an insolent "No Jews wanted here." Still, the pale secretary climbed down from the dickey. "These gentlemen are the Ministers Oppenheimer and Landauer," he said coolly over his shoulder, as he assisted them to descend. And the landlord in a trice was bowing them profoundly to their rooms.
Josef Suss had grown dark with fury at the rudeness of the fellow, but he followed Isaac Landauer in silence. "Well," smiled the latter, "he could not have scraped his foot further back even for a gold-braided Privy Councillor!" And he smiled, and combed his fingers through his lank, greyish, wagging beard.
Suss is an interesting character. His strange relationship with Karl Alexander is depicted quite realistically. You are transported back to the 1700s with plausible instances of myth, religious hypocrisy, financial fraud and corruption, depravity, and decadence. Feuchtwanger, to his credit, never gives in to stereotypes but humanizes his characters, even those belonging to murderous mobs.
However, I could sense a marked decline in the quality of writing from the fourth book onwards. Suss' later behavior also did not make sense with the way Feuchtwanger built the plot. The ending fell flat for me and got in the way of making this book truly great.
September 20, 2013
This book was not what I expected. I initially picked it up because its the book behind the most anti-semetic film ever made. However, the book itself is not anti-semetic. Sure, the main character is a horrible Jewish guy who bleeds the peasants dry, destroys competitors, breaks virgin hearts, manipulates, cheats, etc. But everyone else in the book is horrible too. To say this book is anti-semetic would be like saying Wuthering Heights is anti-English. The worst character in the book is probably the Duke, a Protestant turned Catholic, who repeatedly rapes women, and enables Suss to do all the bad things he does (because it's mostly to enrich the Duke). Suss, in a way, is a heroic character, he reminded me of Valmont (dangerous liaisons), amoral, suave, seductive, but with some goodness buried deep inside. Also the challenges Suss had to overcome to get to his place of power makes him heroic as well. In terms of reading enjoyment, this was a good read - intriguing storyline, twists, turns, good writing and mostly satisfying ending. Too bad the book's out of print so most people may never get the chance to read it
April 23, 2017
I've said it before: Feuchtwanger is a master of the historical novel. He avoids the pitfalls of banality and nostalgia, maintaining a literary standard unusual for this popular genre. Jew Süß is no exception. This book nonetheless stands out from his oeuvre although not by its own design but due to the abuse of its topic by the Nazis who took it as inspiration for a disgusting movie perverting Feuchtwanger's work to anti-semitic propaganda.
As most of his books, he's concerned with aspects of judaism. It's the story of Joseph Süß Oppenheimer, a Jewish banker at the court of Württemberg in the early 18th century. As through most of history, Jews at this time were living under difficult circumstances. Most of them were huddled together in ghettos. The successful used their wealth to protect themselves from the arbitrary prosecution that could set in upon every single Jew not protected by the anonymity of the mass. Jew Süß is no exception. An early bet on the nephew of the ruling duke of Württemberg pays out. As the duke dies without heirs, Karl Alexander becomes his successor and suddenly, Oppenheimer is his "Hoffaktor". He's weaving intrigues, is involved in double-crossing opponents, engaged in many political and even more romantic affairs. This is the part which the Nazis took literally and perverted the motive of the eternal Jew in their propaganda. Once his protector dies, persecution starts.
Feuchtwanger himself gave his true motivation for this book. Jew Süß is about the struggle of Jews at the crossroads between East and West. The easiest explanation is geographic. Palestine is situated between three cultures. The West and its culture of achievement, power and progress. The East with its focus on the internal, the quest for fulfilment through self-abandonment. The South (Egypt) and its aim of eternal life. Jewish culture mixes all three influences into a complex amalgam. Oppenheimer's character is a reflection of this challenge. He's an achiever but it doesn't fulfil him. He always wants more. For a long time, he negates his Jewish ancestry. When his daughter dies, he gradually recovers his faith as another aspect of his personality. Subconsciously, it was always there in his decision to not convert to Christian faith as his brother had done. In the end, he dies for this decision.
A good book on a period and a topic I have no relation to. Today, it's most interesting to gain an understanding of the original Jew Süß and how evil-minded propaganda can twist things.
As most of his books, he's concerned with aspects of judaism. It's the story of Joseph Süß Oppenheimer, a Jewish banker at the court of Württemberg in the early 18th century. As through most of history, Jews at this time were living under difficult circumstances. Most of them were huddled together in ghettos. The successful used their wealth to protect themselves from the arbitrary prosecution that could set in upon every single Jew not protected by the anonymity of the mass. Jew Süß is no exception. An early bet on the nephew of the ruling duke of Württemberg pays out. As the duke dies without heirs, Karl Alexander becomes his successor and suddenly, Oppenheimer is his "Hoffaktor". He's weaving intrigues, is involved in double-crossing opponents, engaged in many political and even more romantic affairs. This is the part which the Nazis took literally and perverted the motive of the eternal Jew in their propaganda. Once his protector dies, persecution starts.
Feuchtwanger himself gave his true motivation for this book. Jew Süß is about the struggle of Jews at the crossroads between East and West. The easiest explanation is geographic. Palestine is situated between three cultures. The West and its culture of achievement, power and progress. The East with its focus on the internal, the quest for fulfilment through self-abandonment. The South (Egypt) and its aim of eternal life. Jewish culture mixes all three influences into a complex amalgam. Oppenheimer's character is a reflection of this challenge. He's an achiever but it doesn't fulfil him. He always wants more. For a long time, he negates his Jewish ancestry. When his daughter dies, he gradually recovers his faith as another aspect of his personality. Subconsciously, it was always there in his decision to not convert to Christian faith as his brother had done. In the end, he dies for this decision.
A good book on a period and a topic I have no relation to. Today, it's most interesting to gain an understanding of the original Jew Süß and how evil-minded propaganda can twist things.
August 25, 2011
This book is so good that anything I might say about the story being "powerful" and "tragic" and "noble" would just be trite. But, if you are thinking about reading War & Peace or Crime & Punishment, please consider putting that crap aside and reading Feuchtwanger instead.
August 3, 2020
There were part of Jew Süss that left me stunned by their absolute beauty. What starts out as an intoxicatingly real story of the corrupting moral, economic and sexual politics of a Germanic Duchy reveals itself to be a nuanced tale about how one construct identity, loss, revenge and faith. It’s an incredibly powerful novel, and brings with it a surprising amount of wit and insight.
Jew Süss traces the rise and fall of Josef Süss Oppenheimer, a Court Jew in the Germanic Duchy of Wurrtemberg, who lucks into an intimately close relationship with the Duke. Their shared schemes destroy the Duchy, but as the story progresses and he sees the mistakes he is made, he is forced to reckon with who he is, who he has done work for, and what that means for him now.
I have never read a novel that so beautifully encapsulates certain elements of the Jewish experience. I hungered for the passages where Feuchtwanger would discuss Judaism. He weaves in Jewish texts, Kabbalism and practice to accentuate his theming. He talks about hatred and bigotry in affecting fashion. It makes one angry and proud all at once. I can’t believe he and I are of the same family (yeah long story).
Oppenheimer’s internal world is as rich as the external world he inhabits. A series of intriguing characters surround him, lusting after his power, simultaneously enchanted and repelled by him. He does magnificent and terrible things. You both love him and hate him. But best of all, when the story takes a turn midway through into the deeply tragic, you feel his rage and his sorrow. It’s unexpected and it’s breath taking.
Jew Süss traces the rise and fall of Josef Süss Oppenheimer, a Court Jew in the Germanic Duchy of Wurrtemberg, who lucks into an intimately close relationship with the Duke. Their shared schemes destroy the Duchy, but as the story progresses and he sees the mistakes he is made, he is forced to reckon with who he is, who he has done work for, and what that means for him now.
I have never read a novel that so beautifully encapsulates certain elements of the Jewish experience. I hungered for the passages where Feuchtwanger would discuss Judaism. He weaves in Jewish texts, Kabbalism and practice to accentuate his theming. He talks about hatred and bigotry in affecting fashion. It makes one angry and proud all at once. I can’t believe he and I are of the same family (yeah long story).
Oppenheimer’s internal world is as rich as the external world he inhabits. A series of intriguing characters surround him, lusting after his power, simultaneously enchanted and repelled by him. He does magnificent and terrible things. You both love him and hate him. But best of all, when the story takes a turn midway through into the deeply tragic, you feel his rage and his sorrow. It’s unexpected and it’s breath taking.
January 10, 2025
Romanțare după cele șapte volume ale lui Josephus Flavius, prin Căderea Ierusalimului Lion Feuchtwanger schițează reperele iudaismului arhaic. Dacă nu ar avea tonalitate istorică, cartea ar fi un fel de Monty Python's Life of Brian. :)
November 26, 2008
abused by Nazi propaganda as Antisemiism of the worst kind this is a thoughtful account of the contributions and relationships of German Jews with their fatherland
February 6, 2011
A very deep book, that shows in detail the life and culture of an epoch, late 17th - early 18th centuries. In addition, we get a fascinating story, understanding how power and politics work. And of course, prejudices, and racism, and the history of antisemitism. All this in a dark atmosphere almost devoid of feelings and emotions.
May 25, 2025
ENDLICH. Dieses Buch hat mich (leider) meinen letzten Nerv gekostet; ich war zwischenzeitlich ganz kurz davor, es abzubrechen (was ich wirklich nie tue).
Ich bin jetzt doch froh, dass ich es durchgezogen habe. Ist ja schon ein Meisterwerk. Das Verhältnis der Deutschen zum Judentum wird hier schonungslos und in all seiner Grausamkeit dargestellt und gerade
von den letzten paar Seiten war ich richtig ergriffen. Das Buch dürfte mE ruhig mehr Erwähnung im deutschen Literaturkanon finden.
Aber: Ich fand es leider schon sehr mühsam und hab mich stellenweise regelrecht durchgequält. Ich glaube, ich werde es irgendwann mit mehr historischem Vorwissen nochmal lesen müssen.
Ich bin jetzt doch froh, dass ich es durchgezogen habe. Ist ja schon ein Meisterwerk. Das Verhältnis der Deutschen zum Judentum wird hier schonungslos und in all seiner Grausamkeit dargestellt und gerade
von den letzten paar Seiten war ich richtig ergriffen. Das Buch dürfte mE ruhig mehr Erwähnung im deutschen Literaturkanon finden.
Aber: Ich fand es leider schon sehr mühsam und hab mich stellenweise regelrecht durchgequält. Ich glaube, ich werde es irgendwann mit mehr historischem Vorwissen nochmal lesen müssen.
March 28, 2008
This is simply the propaganda book of all time. The film by the same name is even worse. Required reading for an understanding Nazi Germany.
July 30, 2015
Great book. It was a great pleasure to read it. The story is well written, the characters are beautifully carved and deep. It is a book that depicts people and life as it is: far from being perfect. You'll not find 100% positive or negative characters, they all have their weaknesses, private plots and dreams. I read it in Hungarian ( the English translation was not available for some reason ) and the translation was superb, romantic novel at its best.
As for the important question of antisemitism - I'd argue that the book is not antisemitic. It never draws a link between greed and judaism. I think the Christian characters in the book are depicted to be worse than the protagonist. It actually paints a nice picture of the Jewish community of the time.
So go ahead and read it! Recommended.
As for the important question of antisemitism - I'd argue that the book is not antisemitic. It never draws a link between greed and judaism. I think the Christian characters in the book are depicted to be worse than the protagonist. It actually paints a nice picture of the Jewish community of the time.
So go ahead and read it! Recommended.
July 25, 2016
Written on the verge of the the largest wave of antisemitism that the world have ever known, this book was later used as Nazi propaganda against the Jews in Germany, and their 'betrayal of the Fatherland'.
The book offers us a glipse to the life and culture during the baroque period in Europe. The book also allows us to understand European politics worked during that period of time; The stuggle between the nobility, the catholic and protestant church as well as the rich. The story is one full of prejudice and racism against Jews, as was very common in that period of time.
This book is a great read for anyone interested in European history, in Jewish history, in Germany, or even for fantasy readers who are looking for a fine read after reading the likes of A Song of Ice and Fire.
The book offers us a glipse to the life and culture during the baroque period in Europe. The book also allows us to understand European politics worked during that period of time; The stuggle between the nobility, the catholic and protestant church as well as the rich. The story is one full of prejudice and racism against Jews, as was very common in that period of time.
This book is a great read for anyone interested in European history, in Jewish history, in Germany, or even for fantasy readers who are looking for a fine read after reading the likes of A Song of Ice and Fire.
January 5, 2025
I read the 1927 edition of this book translated by Willa and Edwin Muir, and my comments will be based on this edition. This book was given to me by my grandmother not long before she died and it does have some sentimental value.
The book is about Josef Suss Oppenheimer, a Jewish man who rose through the ranks of the 17th century aristocracy in Swabia (part of modern Germany) and his downfall. Although written by a Jew, it was made into an antisemitic film by the Nazis, which has been described as 'the most antisemitic film ever made' and to be honest it's easy to see why, for reasons I'll get onto shortly, although the book itself is not antisemitic - at least not deliberately so.
This is not an easy book to read and to be honest, i don't think it is well written. I struggle with classics and this is one of the most inaccessible I have read. There are sections within paragraphs which are in present tense and then go back to past without seemingly any reason behind it. Two characters often have lines of dialogue in the same (lonnng) paragraphs and often on the same line. There are frequent POV changes and it can be hard to discern what character is being talked about or doing something (and there are A LOT of characters).
If you can get past this however, which is not easy, then the book is quite interesting.
In particular, I found it very interesting to see how Judaism has evolved from the period when the book is set. There are a lot of customs and beliefs which are no longer common place, or at least not in my experience, although the Jewish characters are recognisably Jewish in the way I would understand it. For example, although the majority of modern day Jews believe that Judaism is passed through matrilineal descent, Additionally, we like to think of ourselves as a very 'logical' religion and most Orthodox Jews these days even probably wouldn't admit to believing in demons, hell and the devil. In fact I've been told that not believing in hell is a hallmark of Judaism. But the rabbi repeatedly talks about demons, especially 'Samael the ill-omened' who is meant to appear after death. But there were probably an equal amount of things that were unchanged.
It was interesting to read about how Suss was able to get past all the restrictions on Jews to attain power and how the court and government system worked. Parts were quite upsetting and I will say that the author deals with the aftermath of trauma pretty well in the case of Magdalene Sibylle. Reading about all the casual antisemitism was also very depressing. The blood libel case in Essingen where a Jew was framed for the murder of a teenager was really shocking. The way that the upper class members of society like the Duke acted around him felt really well observed too.
However sometimes the book itself is very off putting to read on this topic. There is a fair bit of casual racism, there is a guy who gets referred to as .! There is constant casual antisemitism on pretty much every page by every single character including the Jewish characters. I know that it's a product of its time and it's just depicting how things were, but the main character is referred to as 'The Jew' on almost every page in a way that is repetitive and annoying to read - and also confusing when it's in a section discussing other Jews lol. Sometimes it just gets bananas, there's a bit where Suss's friend is giving him advice on not putting himself out there or being too high profile because 'it's better for a Jew to stay in the shadow'.
Most of the characters including the Jewish ones seem to believe antisemitic stereotypes such as Jews being obsessed with money! I'm not saying I'm offended or I find this unbelievable, but it was annoying to be reminded so often. There's another bit where a Prince randomly asks a rabbi to tell his fortune and the guy hesitates. The Prince then comes up with something along the lines of 'you think I'm scared of a prophecy of doom from an old jew' lol.. I know things like this did happen, but in the end it lost its impact because these events/incidents were happening all the time and they just became off putting and painful to read about rather than powerful, especially with him being referred to as 'The Jew' even in sections that had little to do with antisemitism.
I also thought, that maybe unintentionally, the author managed to be very sexist in the way he described women's thoughts, there's one where he says they were like 'butterflies flying around in her pretty little head' or something like that. I get it was well intentioned, but it was so patronising lol. Definitely a book 'of its time'.
I did think there were parts of this book that were genuinely moving, especially the end, but the issues I have mentioned really let the book down. The main characters were pretty well done, especially the main male ones like the Duke, Suss and Rabbi Gabriel. But a lot of it does get very repetitive and hard to follow. In general I think I just don't get on with many old books. Maybe I'd get on better with a different translation but as much as I wanted to like it I can't really give it higher than 3 stars.
The book is about Josef Suss Oppenheimer, a Jewish man who rose through the ranks of the 17th century aristocracy in Swabia (part of modern Germany) and his downfall. Although written by a Jew, it was made into an antisemitic film by the Nazis, which has been described as 'the most antisemitic film ever made' and to be honest it's easy to see why, for reasons I'll get onto shortly, although the book itself is not antisemitic - at least not deliberately so.
This is not an easy book to read and to be honest, i don't think it is well written. I struggle with classics and this is one of the most inaccessible I have read. There are sections within paragraphs which are in present tense and then go back to past without seemingly any reason behind it. Two characters often have lines of dialogue in the same (lonnng) paragraphs and often on the same line. There are frequent POV changes and it can be hard to discern what character is being talked about or doing something (and there are A LOT of characters).
If you can get past this however, which is not easy, then the book is quite interesting.
In particular, I found it very interesting to see how Judaism has evolved from the period when the book is set. There are a lot of customs and beliefs which are no longer common place, or at least not in my experience, although the Jewish characters are recognisably Jewish in the way I would understand it. For example, although the majority of modern day Jews believe that Judaism is passed through matrilineal descent, Additionally, we like to think of ourselves as a very 'logical' religion and most Orthodox Jews these days even probably wouldn't admit to believing in demons, hell and the devil. In fact I've been told that not believing in hell is a hallmark of Judaism. But the rabbi repeatedly talks about demons, especially 'Samael the ill-omened' who is meant to appear after death. But there were probably an equal amount of things that were unchanged.
It was interesting to read about how Suss was able to get past all the restrictions on Jews to attain power and how the court and government system worked. Parts were quite upsetting and I will say that the author deals with the aftermath of trauma pretty well in the case of Magdalene Sibylle. Reading about all the casual antisemitism was also very depressing. The blood libel case in Essingen where a Jew was framed for the murder of a teenager was really shocking. The way that the upper class members of society like the Duke acted around him felt really well observed too.
However sometimes the book itself is very off putting to read on this topic. There is a fair bit of casual racism, there is a guy who gets referred to as .! There is constant casual antisemitism on pretty much every page by every single character including the Jewish characters. I know that it's a product of its time and it's just depicting how things were, but the main character is referred to as 'The Jew' on almost every page in a way that is repetitive and annoying to read - and also confusing when it's in a section discussing other Jews lol. Sometimes it just gets bananas, there's a bit where Suss's friend is giving him advice on not putting himself out there or being too high profile because 'it's better for a Jew to stay in the shadow'.
Most of the characters including the Jewish ones seem to believe antisemitic stereotypes such as Jews being obsessed with money! I'm not saying I'm offended or I find this unbelievable, but it was annoying to be reminded so often. There's another bit where a Prince randomly asks a rabbi to tell his fortune and the guy hesitates. The Prince then comes up with something along the lines of 'you think I'm scared of a prophecy of doom from an old jew' lol.. I know things like this did happen, but in the end it lost its impact because these events/incidents were happening all the time and they just became off putting and painful to read about rather than powerful, especially with him being referred to as 'The Jew' even in sections that had little to do with antisemitism.
I also thought, that maybe unintentionally, the author managed to be very sexist in the way he described women's thoughts, there's one where he says they were like 'butterflies flying around in her pretty little head' or something like that. I get it was well intentioned, but it was so patronising lol. Definitely a book 'of its time'.
I did think there were parts of this book that were genuinely moving, especially the end, but the issues I have mentioned really let the book down. The main characters were pretty well done, especially the main male ones like the Duke, Suss and Rabbi Gabriel. But a lot of it does get very repetitive and hard to follow. In general I think I just don't get on with many old books. Maybe I'd get on better with a different translation but as much as I wanted to like it I can't really give it higher than 3 stars.
pausiert-dnf
September 22, 2024DNF 15% / S. 80
Da ich mit diesem Buch seit Monaten nicht weiterkomme und auch nicht in der Stimmung bin, weiterzulesen, erst mal Abbruch. Es gibt so viele Charaktere und ins Buch einzutauchen fällt mir momentan furchtbar schwer.
Vielleicht geht es für mich ein anderes Mal weiter. :)
Da ich mit diesem Buch seit Monaten nicht weiterkomme und auch nicht in der Stimmung bin, weiterzulesen, erst mal Abbruch. Es gibt so viele Charaktere und ins Buch einzutauchen fällt mir momentan furchtbar schwer.
Vielleicht geht es für mich ein anderes Mal weiter. :)
August 26, 2021
Ik meen me vagelijk te herinneren dat ik ooit eens op een of andere rommelmarkt de film Jud Süss gekocht heb. Op video (en dan bedoel ik op band), dus heb ik hem – wegens een opkuisactie bij een van mijn verhuizingen – nu niet meer, wat mijn herinnering oncontroleerbaar maakt. Voor de duidelijkheid: ik heb het niet over de Britse film uit 1934, noch uiteraard over de Duitse film uit 2011, maar over de film waarover die laatste gaat, de Duitse film uit 1940, een film die in zo’n kwaad daglicht staat dat ie zelfs nu nog moeilijk te vinden is op het internet (dit stukje was het enige dat ik op YouTube kon vinden). Duitse film, 1940, “kwaad daglicht”, “Jood” … u raadt het al, Jud Süss is een hevig antisemitische film, een film die ook alleen maar gemaakt werd om het antisemitisme in Duitsland wat verder aan te jagen.
Het verbaasde mij dus in eerste instantie het gelijknamige boek tegen te komen: in een Nederlandstalige editie (uitgegeven bij L.J. Veen’s Uitgeversmij N.V. te Amsterdam), verschenen ver na de Tweede Wereldoorlog, en niet verborgen in een of ander hoekje. Op de achterflap staat dan ook voor de goede verstaander aangegeven dat de auteur van het boek niks te maken heeft met het nationaal-socialistische regime: “Lion Feuchtwanger, die in 1884 geboren werd, schreef behalve Jud Süss nog enkele romans en toneelstukken, de laatste gedeeltelijk in samenwerking met Bertold Brecht. In 1929 kwam zijn werk ‘Erfolg’ (Succes) uit, waarin hij de opkomst van Hitler beschrijft.” En ik dedouaneer dit werk graag verder: ja, antisemitisme speelt er een grote rol in – uiteraard –, maar het boek is absoluut niét antisemitisch. Ik zou zelfs durven zeggen dat de enigen die er zonder schade van af komen – schade toegebracht door de scherpe pen van de schrijver – de joodse spelers in het verhaal zijn. De hoofdrolspeler, Süss, kan als jood natuurlijk niet heilig verklaard worden (ik denk toch niet dat het jodendom heiligen kent), maar tegen het einde van het boek aan ís hij het wel zo ongeveer.
Ga daar echter niet de conclusie uit trekken dat dit een, wat dan heet, filosemitisch boek is, want dat klopt ook niet. De pen van Lion Feuchtwanger is scherp, maar zijn ogen waren duidelijk in staat tot zeer objectieve waarnemingen van de mensen van zijn tijd en de tijden daarvoor. Of dat nu vrouwen of mannen, politici of paupers, katholieken of protestanten, joden of gojim, stadsbewoners of plattelanders waren of weer iets anders, ze stáán er, in dit boek. Zoals ze zijn. Of zoals de achterflap verder aangeeft: “In zijn roman Jud Süss heeft Lion Feuchtwanger een treffend, verantwoord beeld gegeven van de politieke machtsstrijd binnen het hertogdom Wurtemberg (sic) in het begin van de 18de eeuw en van de belangrijke plaats die dit land in het Heilige Roomse Rijk innam. Hoewel zelf jood, trekt hij geen partij: noch voor de ‘bieder’, maar soms benepen parlementariërs, noch voor de katholieke ijveraars met hun intriges, noch voor de joviale hertog of diens ‘hofjood’ die, niet alleen uit solidariteit maar ook uit eigenbelang, zijn rasgenoten in bescherming neemt. We zouden Süss kunnen vergelijken met Reinaard de Vos: wij bewonderen zijn slimme streken en zijn charme, maar vinden zijn niets ontziende machts- en bezitswellust onuitstaanbaar. Zo staat ook de hertog er tegenover, aan wiens opkomst Süss de zijne heeft gekoppeld. Karl Alexander, veldheer en allesbehalve diplomaat, heeft de hersens van de jood nodig om met voorbijgaan van de grondwet land en volk van Wurtemberg (sic) aan zijn eigen glorie dienstbaar te maken. Juist als hij meent zijn doel volledig te hebben bereikt en zich van Süss te kunnen ontdoen, heeft integendeel de jood zijn val bewerkstelligd. Hier houdt de vergelijking met Reinaard op, die immers wel zijn haren maar niet zijn streken verliest. Süss neemt vrijwillig zijn aandeel in de schuld op zich, en als dit betekent dat een smadelijke dood hem wacht, gaat hij dit einde met opgeheven hoofd tegemoet, in zekere zin nog om zijn grandeur bewonderd en zelfs benijd door enkele regeerders van het tweede plan.”
Dat is dus niet gewoon een inleiding, dat is werkelijk de (zeer) korte samenvatting van het boek. Er zou eigenlijk spoiler alert moeten voor staan, maar wie een béétje graag leest, wil natuurlijk wel weten hoe die opkomst en ondergang van Süss nu precies verloopt en hoe hij van een redelijk gewetenloze schurk evolueert naar een boeteling. Daar zijn uiteindelijk zo’n 400 dichtbedrukte bladzijden voor nodig in een stijl die af en toe een beetje ergerniswekkend is (voor mij toch). Op termijn went die stijl, maar met dit citaat uit de eerste bladzijde maak ik vermoedelijk wel duidelijk dat dat wennen niet metéén gebeurt: “Langs de wegen trokken gewone postwagens, onoverdekte karren, zonder bekleding op de zitplaatsen, zonder leuning, hotsend, vaak opgelapt, en de snellere wagens van de extra-post, vierpersoons, met vijf paarden, die tot honderd vijftig kilometer per dag konden afleggen. De ijlkoeriers van de hoven en gezanten trokken erlangs, op goede paarden, vaak verwisseld, met verzegelde tassen, en de langzamere boden van de Thurn- und Taxische post. Er trokken handwerksgezellen met ransels, degelijke en gevaarlijke, en studenten, sommige mager en goedaardig, andere stoer en driest, en benepen kijkende monniken, zwetend in hun pijen. De huifwagens van de grote kooplieden trokken heen en weer, en de handkarren van joodse marskramers. In zes soliede, ietwat sjofele reiskoetsen trok de koning van Pruisen, die bij de Zuidduitse hoven op bezoek was geweest, met zijn gevolg. Naar het westen trokken, een eindeloze worm van mensen en vee en wagens, de protestanten voort, door de Salzburgse vorst-bisschop met hoon uit zijn land verjaagd. Bont geklede komedianten trokken her en der, en in zichzelf gekeerde piëtisten in sobere dracht; en in een prachtige kales met voorrijder en groot escorte reisde de lange magere, hoogmoedig kijkende Venetiaanse gezant aan het Saksische hof. Op weg naar Frankfort trokken onordelijk op moeizaam volgeladen voertuigen joden, die uit een midden-Duitse rijksstad waren verdreven. Magisters en edellieden en zijden hoeren en lakense referendarissen van het kantongerecht trokken allerwegen. Behaaglijk in vele koetsen trok de dikke, slim en vrolijk kijkende vorst-bisschop van Würzburg, en gehavend en te voet trok een professor van de Beierse universiteit te Landshut, die wegens opstandige en ketterse redevoeringen was ontslagen. Met de agenten van een Engelse scheepvaartmaatschappij en met vrouw, hond en kind trokken Zwabische landverhuizers, die naar Pennsylvanië wilden. Vroom, baldadig en rumoerig trokken bedevaartgangers uit Neder-Saksen naar Rome; met scherpe, behoedzame blik overal rondneuzend trokken zilveropkopers en vee- en graanopkopers van de Weense legerbevoorrading door het land en er trokken afgedankte keizerlijke soldaten uit de Turkse oorlogen en goochelaars en alchimisten en bedelvolk en jonge heren met hun gouverneurs op reis van Vlaanderen naar Venetië. Dat alles trok heen en weer, kruiste elkaar, dromde soms samen, jakkerde, struikelde, sjokte op zijn gemak, vloekte over de slechte wegen, lachte, verbitterd of gemoedelijk spottend om de langzaamheid van de post, mopperde over de afgebeulde knollen, het gebrekkige voertuig. Dat alles kwam en ging als eb en vloed, praatte, bad, hoereerde, lasterde, was bang of blij, ademde.” Ik heb, echt waar, op mijn tanden moeten bijten om de eerste twintig bladzijden door te komen, maar daarna namen de beschrijvingen wat af en kwam ik in de “actie” terecht en ging het een heel stuk beter.
De lezer ontmoet uiteraard Josef Süss, de hoofdrolspeler, jood maar nauwelijks praktiserend; diens collega Isaak Landauer, eveneens jood en zeer praktiserend, ook in de uiterlijkheden; Nicklas Pfäffle, Süss’ knecht; Gabriel Oppenheimer van Straaten, de Hollander die “met een heel jong meisje, een kamenier, een bediende” in een afgelegen huis in de omgeving van Hirsau woont; geheimraad Fichtel, “specialist voor alle Zwabische zaken”; Magdalen Sibylle, die het haar vader kwalijk neemt dat hij koffie drinkt, “dat nieuwerwetse spul (…) dat de kannibalen hadden uitgevonden”; Karl Alexander, “de blonde Wurttemberger”; Marie Auguste, die “nog nooit van zo nabij een levende jood [had] gezien en in antwoord op haar vraag aan geheimraad Fichtel of “hij ook kinderen af[maakte]” van deze het antwoord kreeg: “Maar heel zelden (…) over het algemeen houdt hij zich meer aan grote heren.”. Dezelfde Marie Auguste die later oordeelt: “Hij was trouwens heel aardig en amusant en helemaal niet weerwolfachtig, zoals zij zich oorspronkelijk de joden had voorgesteld.” Karl Alexander die over hem zegt: “Steden en dorpen zouden we kunnen kopen voor wat die ons afhandig heeft gemaakt. (…) Dat is zijn goed recht. Daarvoor is hij jood. Maar hij is heel bruikbaar.” Magdalen Sibylle die de bekeerde katholiek Karl Alexander een heiden vindt.
Maar natuurlijk ook Harpprecht, “de jurist, de bedaarde, de bedachtzame, omzichtige man”; Bilfinger, “de vertrouwde vriend van de wijd en zijd beroemde filosoof Wolf”; konkelende en plooiende parlementariërs (zijn er ooit andere geweest?); Naemi, de dochter van Süss, het “heel jong meisje” dat onder de hoede van Gabriel Oppenheimer van Straaten leeft en haar vader en diens bezigheden nauwelijks kent, maar hem toch heel hoog inschat (“Simson, die de Filistijnen, (…) David, die Goliath verslaat”); de moeder van de hoofdrolspeler, “de mooie oude, dwaze vrouw” die “haar ijdele bewondering onder zijn voeten uit[spreidt] als een zacht tapijt”; Beata Sturmin, “het ouder wordende, heilige blinde meisje”; Dr. Wendelin Breyer, de sidderende hofarts van de zuipende Karl Alexander; en Georg Eberhard von Heydersdorff, “veldmaarschalk-luitenant, zeer verdienstelijk in de Turkse oorlogen, commandeur in de Duitse orde te Heilbronn, commandant te Heidelberg in de Franse oorlog”, christen, geëindigd aan de galg, en post mortem tot vader van Süss uitgeroepen.
En dat terwijl Süss zijn web uitspreidt, Karl Alexander alle macht naar zich toe probeert te trekken, de politici proberen te redden wat ze voor zichzelf kunnen redden, en het volk niet meer doet dan dat alles nog maar eens ondergaan. Of zich wenden tot de god van het ondergaan: “Wanneer men een hond de hele dag slaat, zo preekte hij, dan gaat hij ervandoor en zoekt een andere heer. De gewone luitjes waren een dergelijke hond. De hertog sloeg erop los, de soldaten sloegen erop los, de drosten, de officieren sloegen erop los, maar de voornaamste stok was Süss de jood. Dat verdragen ze niet, ze gaan er dus vandoor en zoeken een andere heer: Christus.” Of de andere goden van Israël, for that matter.
Wat uiteraard niet verhinderde dat “de sociale structuur van de wereld (…) aan het veranderen [was]. Vroeger werd de waarde van een man bepaald door stand en geboorte, nu door geld. Toen men de verachten en gehaten tot gemonopoliseerde beheerders van het geld had verheven, had men hun zelf het touw toegeworpen waarlangs zij omhoogklommen. Nu was het raderwerk van het geld het levende bloed van de staat en de maatschappij, en de joden waren daarvan het belangrijkste rad, waren van die gehele gecompliceerde machinerie de spil en voornaamste hefboom. Haalde men hen eruit, dan viel maatschappij en staat in duigen. De hertog, teken en symbool van de oude orde, van stand en geboorte, en de jood, teken en symbool van de nieuwe orde, het geld, reikten elkaar de hand, waren met elkaar verweven, lagen op het volk, eendrachtig, zogen zijn merg uit, voor elkaar.”
Maar dan komt het moment dat de oude orde zich tegen de nieuwe orde keert en de nieuwe orde tot inkeer komt (de achterflap heeft niet verraden hoe en ik zal dat ook niet doen). Openlijk keert de nieuwe orde zich vervolgens tegen de oude orde, terwijl die oude orde daar niks kan aan doen omdat ze de nieuwe zo mogelijk méér nodig heeft dan omgekeerd. Terwijl het volk ook vergeet dat het versmacht wordt door de combinatie van de twee en zich, eveneens openlijk, tegen de nieuwe orde keert, en de immer deugdzame parlementariërs weer in een goed blaadje bij het volk én aan de macht proberen te komen door zich tegen beide te keren.
En als aan het einde van de rit werkelijk iederéén in de miserie zit, dan is er nog altijd één redder in nood: de jood. “(…) als zij hem pakten, als ze hem opsloten, dan was er één die geheel vooraan stond, waarop alle woede zich het eerst zou storten en al het ergste kon worden afgewenteld. (…) allen concludeerden tot het besluit: Ja! De jood pakken! Dat is de redding! De jood moet hangen!” En zo gebeurt het ook: “Beter dat de jood ten onrechte wordt gewurgd (…) dan dat hij terecht blijft leven en het land verder gist.”
Een pracht van een verhaal, voorspelbaar uiteraard (zelfs als de achterflap geen samenvatting was geweest), maar ook van alle tijden. En daarbij zal altijd iemand de jood zijn, zal altijd iemand te lang hand in hand lopen met wie in essentie zijn vijand is, zal altijd iemand tot inkeer komen als het eigenlijk al te laat is. De kans dat “de mensheid” van dit soort verhalen ooit wat leert, is dan ook onbestaande. “De mensheid” is als geheel zelfs niet het kleinste gemeen veelvoud van de mensen an sich, en ook niet de grootste gemene deler, maar slechts de kleinste gemene deler. Gemeen is ze in ieder geval. Wie aan dat laatste twijfelt, moet zich eens serieus afvragen wiens zelfbeschikkingsrecht hijzelf allemaal zou willen opofferen voor het terugkrijgen van de “vrijheid” die hem volkomen ten onrechte werd afgenomen door een of ander zichzelf democratisch noemend regime en hoevelen zijn mening delen.
Het verbaasde mij dus in eerste instantie het gelijknamige boek tegen te komen: in een Nederlandstalige editie (uitgegeven bij L.J. Veen’s Uitgeversmij N.V. te Amsterdam), verschenen ver na de Tweede Wereldoorlog, en niet verborgen in een of ander hoekje. Op de achterflap staat dan ook voor de goede verstaander aangegeven dat de auteur van het boek niks te maken heeft met het nationaal-socialistische regime: “Lion Feuchtwanger, die in 1884 geboren werd, schreef behalve Jud Süss nog enkele romans en toneelstukken, de laatste gedeeltelijk in samenwerking met Bertold Brecht. In 1929 kwam zijn werk ‘Erfolg’ (Succes) uit, waarin hij de opkomst van Hitler beschrijft.” En ik dedouaneer dit werk graag verder: ja, antisemitisme speelt er een grote rol in – uiteraard –, maar het boek is absoluut niét antisemitisch. Ik zou zelfs durven zeggen dat de enigen die er zonder schade van af komen – schade toegebracht door de scherpe pen van de schrijver – de joodse spelers in het verhaal zijn. De hoofdrolspeler, Süss, kan als jood natuurlijk niet heilig verklaard worden (ik denk toch niet dat het jodendom heiligen kent), maar tegen het einde van het boek aan ís hij het wel zo ongeveer.
Ga daar echter niet de conclusie uit trekken dat dit een, wat dan heet, filosemitisch boek is, want dat klopt ook niet. De pen van Lion Feuchtwanger is scherp, maar zijn ogen waren duidelijk in staat tot zeer objectieve waarnemingen van de mensen van zijn tijd en de tijden daarvoor. Of dat nu vrouwen of mannen, politici of paupers, katholieken of protestanten, joden of gojim, stadsbewoners of plattelanders waren of weer iets anders, ze stáán er, in dit boek. Zoals ze zijn. Of zoals de achterflap verder aangeeft: “In zijn roman Jud Süss heeft Lion Feuchtwanger een treffend, verantwoord beeld gegeven van de politieke machtsstrijd binnen het hertogdom Wurtemberg (sic) in het begin van de 18de eeuw en van de belangrijke plaats die dit land in het Heilige Roomse Rijk innam. Hoewel zelf jood, trekt hij geen partij: noch voor de ‘bieder’, maar soms benepen parlementariërs, noch voor de katholieke ijveraars met hun intriges, noch voor de joviale hertog of diens ‘hofjood’ die, niet alleen uit solidariteit maar ook uit eigenbelang, zijn rasgenoten in bescherming neemt. We zouden Süss kunnen vergelijken met Reinaard de Vos: wij bewonderen zijn slimme streken en zijn charme, maar vinden zijn niets ontziende machts- en bezitswellust onuitstaanbaar. Zo staat ook de hertog er tegenover, aan wiens opkomst Süss de zijne heeft gekoppeld. Karl Alexander, veldheer en allesbehalve diplomaat, heeft de hersens van de jood nodig om met voorbijgaan van de grondwet land en volk van Wurtemberg (sic) aan zijn eigen glorie dienstbaar te maken. Juist als hij meent zijn doel volledig te hebben bereikt en zich van Süss te kunnen ontdoen, heeft integendeel de jood zijn val bewerkstelligd. Hier houdt de vergelijking met Reinaard op, die immers wel zijn haren maar niet zijn streken verliest. Süss neemt vrijwillig zijn aandeel in de schuld op zich, en als dit betekent dat een smadelijke dood hem wacht, gaat hij dit einde met opgeheven hoofd tegemoet, in zekere zin nog om zijn grandeur bewonderd en zelfs benijd door enkele regeerders van het tweede plan.”
Dat is dus niet gewoon een inleiding, dat is werkelijk de (zeer) korte samenvatting van het boek. Er zou eigenlijk spoiler alert moeten voor staan, maar wie een béétje graag leest, wil natuurlijk wel weten hoe die opkomst en ondergang van Süss nu precies verloopt en hoe hij van een redelijk gewetenloze schurk evolueert naar een boeteling. Daar zijn uiteindelijk zo’n 400 dichtbedrukte bladzijden voor nodig in een stijl die af en toe een beetje ergerniswekkend is (voor mij toch). Op termijn went die stijl, maar met dit citaat uit de eerste bladzijde maak ik vermoedelijk wel duidelijk dat dat wennen niet metéén gebeurt: “Langs de wegen trokken gewone postwagens, onoverdekte karren, zonder bekleding op de zitplaatsen, zonder leuning, hotsend, vaak opgelapt, en de snellere wagens van de extra-post, vierpersoons, met vijf paarden, die tot honderd vijftig kilometer per dag konden afleggen. De ijlkoeriers van de hoven en gezanten trokken erlangs, op goede paarden, vaak verwisseld, met verzegelde tassen, en de langzamere boden van de Thurn- und Taxische post. Er trokken handwerksgezellen met ransels, degelijke en gevaarlijke, en studenten, sommige mager en goedaardig, andere stoer en driest, en benepen kijkende monniken, zwetend in hun pijen. De huifwagens van de grote kooplieden trokken heen en weer, en de handkarren van joodse marskramers. In zes soliede, ietwat sjofele reiskoetsen trok de koning van Pruisen, die bij de Zuidduitse hoven op bezoek was geweest, met zijn gevolg. Naar het westen trokken, een eindeloze worm van mensen en vee en wagens, de protestanten voort, door de Salzburgse vorst-bisschop met hoon uit zijn land verjaagd. Bont geklede komedianten trokken her en der, en in zichzelf gekeerde piëtisten in sobere dracht; en in een prachtige kales met voorrijder en groot escorte reisde de lange magere, hoogmoedig kijkende Venetiaanse gezant aan het Saksische hof. Op weg naar Frankfort trokken onordelijk op moeizaam volgeladen voertuigen joden, die uit een midden-Duitse rijksstad waren verdreven. Magisters en edellieden en zijden hoeren en lakense referendarissen van het kantongerecht trokken allerwegen. Behaaglijk in vele koetsen trok de dikke, slim en vrolijk kijkende vorst-bisschop van Würzburg, en gehavend en te voet trok een professor van de Beierse universiteit te Landshut, die wegens opstandige en ketterse redevoeringen was ontslagen. Met de agenten van een Engelse scheepvaartmaatschappij en met vrouw, hond en kind trokken Zwabische landverhuizers, die naar Pennsylvanië wilden. Vroom, baldadig en rumoerig trokken bedevaartgangers uit Neder-Saksen naar Rome; met scherpe, behoedzame blik overal rondneuzend trokken zilveropkopers en vee- en graanopkopers van de Weense legerbevoorrading door het land en er trokken afgedankte keizerlijke soldaten uit de Turkse oorlogen en goochelaars en alchimisten en bedelvolk en jonge heren met hun gouverneurs op reis van Vlaanderen naar Venetië. Dat alles trok heen en weer, kruiste elkaar, dromde soms samen, jakkerde, struikelde, sjokte op zijn gemak, vloekte over de slechte wegen, lachte, verbitterd of gemoedelijk spottend om de langzaamheid van de post, mopperde over de afgebeulde knollen, het gebrekkige voertuig. Dat alles kwam en ging als eb en vloed, praatte, bad, hoereerde, lasterde, was bang of blij, ademde.” Ik heb, echt waar, op mijn tanden moeten bijten om de eerste twintig bladzijden door te komen, maar daarna namen de beschrijvingen wat af en kwam ik in de “actie” terecht en ging het een heel stuk beter.
De lezer ontmoet uiteraard Josef Süss, de hoofdrolspeler, jood maar nauwelijks praktiserend; diens collega Isaak Landauer, eveneens jood en zeer praktiserend, ook in de uiterlijkheden; Nicklas Pfäffle, Süss’ knecht; Gabriel Oppenheimer van Straaten, de Hollander die “met een heel jong meisje, een kamenier, een bediende” in een afgelegen huis in de omgeving van Hirsau woont; geheimraad Fichtel, “specialist voor alle Zwabische zaken”; Magdalen Sibylle, die het haar vader kwalijk neemt dat hij koffie drinkt, “dat nieuwerwetse spul (…) dat de kannibalen hadden uitgevonden”; Karl Alexander, “de blonde Wurttemberger”; Marie Auguste, die “nog nooit van zo nabij een levende jood [had] gezien en in antwoord op haar vraag aan geheimraad Fichtel of “hij ook kinderen af[maakte]” van deze het antwoord kreeg: “Maar heel zelden (…) over het algemeen houdt hij zich meer aan grote heren.”. Dezelfde Marie Auguste die later oordeelt: “Hij was trouwens heel aardig en amusant en helemaal niet weerwolfachtig, zoals zij zich oorspronkelijk de joden had voorgesteld.” Karl Alexander die over hem zegt: “Steden en dorpen zouden we kunnen kopen voor wat die ons afhandig heeft gemaakt. (…) Dat is zijn goed recht. Daarvoor is hij jood. Maar hij is heel bruikbaar.” Magdalen Sibylle die de bekeerde katholiek Karl Alexander een heiden vindt.
Maar natuurlijk ook Harpprecht, “de jurist, de bedaarde, de bedachtzame, omzichtige man”; Bilfinger, “de vertrouwde vriend van de wijd en zijd beroemde filosoof Wolf”; konkelende en plooiende parlementariërs (zijn er ooit andere geweest?); Naemi, de dochter van Süss, het “heel jong meisje” dat onder de hoede van Gabriel Oppenheimer van Straaten leeft en haar vader en diens bezigheden nauwelijks kent, maar hem toch heel hoog inschat (“Simson, die de Filistijnen, (…) David, die Goliath verslaat”); de moeder van de hoofdrolspeler, “de mooie oude, dwaze vrouw” die “haar ijdele bewondering onder zijn voeten uit[spreidt] als een zacht tapijt”; Beata Sturmin, “het ouder wordende, heilige blinde meisje”; Dr. Wendelin Breyer, de sidderende hofarts van de zuipende Karl Alexander; en Georg Eberhard von Heydersdorff, “veldmaarschalk-luitenant, zeer verdienstelijk in de Turkse oorlogen, commandeur in de Duitse orde te Heilbronn, commandant te Heidelberg in de Franse oorlog”, christen, geëindigd aan de galg, en post mortem tot vader van Süss uitgeroepen.
En dat terwijl Süss zijn web uitspreidt, Karl Alexander alle macht naar zich toe probeert te trekken, de politici proberen te redden wat ze voor zichzelf kunnen redden, en het volk niet meer doet dan dat alles nog maar eens ondergaan. Of zich wenden tot de god van het ondergaan: “Wanneer men een hond de hele dag slaat, zo preekte hij, dan gaat hij ervandoor en zoekt een andere heer. De gewone luitjes waren een dergelijke hond. De hertog sloeg erop los, de soldaten sloegen erop los, de drosten, de officieren sloegen erop los, maar de voornaamste stok was Süss de jood. Dat verdragen ze niet, ze gaan er dus vandoor en zoeken een andere heer: Christus.” Of de andere goden van Israël, for that matter.
Wat uiteraard niet verhinderde dat “de sociale structuur van de wereld (…) aan het veranderen [was]. Vroeger werd de waarde van een man bepaald door stand en geboorte, nu door geld. Toen men de verachten en gehaten tot gemonopoliseerde beheerders van het geld had verheven, had men hun zelf het touw toegeworpen waarlangs zij omhoogklommen. Nu was het raderwerk van het geld het levende bloed van de staat en de maatschappij, en de joden waren daarvan het belangrijkste rad, waren van die gehele gecompliceerde machinerie de spil en voornaamste hefboom. Haalde men hen eruit, dan viel maatschappij en staat in duigen. De hertog, teken en symbool van de oude orde, van stand en geboorte, en de jood, teken en symbool van de nieuwe orde, het geld, reikten elkaar de hand, waren met elkaar verweven, lagen op het volk, eendrachtig, zogen zijn merg uit, voor elkaar.”
Maar dan komt het moment dat de oude orde zich tegen de nieuwe orde keert en de nieuwe orde tot inkeer komt (de achterflap heeft niet verraden hoe en ik zal dat ook niet doen). Openlijk keert de nieuwe orde zich vervolgens tegen de oude orde, terwijl die oude orde daar niks kan aan doen omdat ze de nieuwe zo mogelijk méér nodig heeft dan omgekeerd. Terwijl het volk ook vergeet dat het versmacht wordt door de combinatie van de twee en zich, eveneens openlijk, tegen de nieuwe orde keert, en de immer deugdzame parlementariërs weer in een goed blaadje bij het volk én aan de macht proberen te komen door zich tegen beide te keren.
En als aan het einde van de rit werkelijk iederéén in de miserie zit, dan is er nog altijd één redder in nood: de jood. “(…) als zij hem pakten, als ze hem opsloten, dan was er één die geheel vooraan stond, waarop alle woede zich het eerst zou storten en al het ergste kon worden afgewenteld. (…) allen concludeerden tot het besluit: Ja! De jood pakken! Dat is de redding! De jood moet hangen!” En zo gebeurt het ook: “Beter dat de jood ten onrechte wordt gewurgd (…) dan dat hij terecht blijft leven en het land verder gist.”
Een pracht van een verhaal, voorspelbaar uiteraard (zelfs als de achterflap geen samenvatting was geweest), maar ook van alle tijden. En daarbij zal altijd iemand de jood zijn, zal altijd iemand te lang hand in hand lopen met wie in essentie zijn vijand is, zal altijd iemand tot inkeer komen als het eigenlijk al te laat is. De kans dat “de mensheid” van dit soort verhalen ooit wat leert, is dan ook onbestaande. “De mensheid” is als geheel zelfs niet het kleinste gemeen veelvoud van de mensen an sich, en ook niet de grootste gemene deler, maar slechts de kleinste gemene deler. Gemeen is ze in ieder geval. Wie aan dat laatste twijfelt, moet zich eens serieus afvragen wiens zelfbeschikkingsrecht hijzelf allemaal zou willen opofferen voor het terugkrijgen van de “vrijheid” die hem volkomen ten onrechte werd afgenomen door een of ander zichzelf democratisch noemend regime en hoevelen zijn mening delen.
May 13, 2020
This book shocked and enthralled me when I read it first as a teenager, more long ago than I care to admit. I've returned to it a couple times since but not for some decades. Then recently, while browsing my bookshelves for something to read in lieu of heading to the locked-down library, I happened on the very old copy that I read all those years ago, a 1929 edition that belonged to my father. It's been hard to concentrate what with COVID-19, but as soon as I picked it up I was once again enthralled, though not shocked. I was more struck by the similarities to our own time with regard to the corruption and cynical political maneuvering of the ruling class. In fact, the edition I possess goes by the more fitting (I think) title Power.
The novel describes the meteoric rise to power and precipitous fall of Josef Suss Oppenheimer, Court Jew to Duke Karl Alexander of Wurttemberg. It paints a vivid and complex portrait of the early 18th century in the Holy Roman Empire: the political ferment as the middle class rises and resists the nobility's rule; the precarious position of the Jews, the financiers of great states, as they navigate between Protestants and Catholics struggling for dominance in religion as well as politics. The historical detail at times overwhelms the narrative, nevertheless for the most part the novel is anything but dry.
It draws a sharp contrast between Suss, the brilliant financier who flaunts his power and throws off a Jew's traditional garb for the dress and manner of the nobility, and Isaac Landauer, who wears a "greasy caftan and sidecurls" and prefers to relish in secret his ultimate control over the financial affairs and fates of dukes and kingdoms. Suss gambles on the future of the young Karl Alexander, an ambitious but rather stupid military hero, who becomes Duke of Wurttemberg on the death of his older cousin. The relationships between these two, between Suss the Duke's beautiful wife Marie Auguste who regards him with equal fascination and repulsion, and a host of other characters shows in the most unflattering light the moral degeneracy of Suss and his royal patron.
The Rabbi Gabriel, a mystic, is bonded unwillingly to his nephew Suss, and seeks to save his soul and return him to a spiritual path. The one person who touches Suss's heart is his beautiful and innocent daughter Naemi, whom he left in Rabbi Gabriel's care.
The novel was made into an anti-Semitic propaganda film during the Nazi era, and it is easy to see how it could be interpreted that way. Jew and Gentile alike are portrayed with all their flaws. But ultimately it is about how true power resides in the spirit, and not in worldly riches.
It's a grand novel in the old style of historical fiction: rich in detail, filled with extraordinary characters who play grand parts on the world stage, a cautionary tale about power and its dangers. Its literary style may not appeal to everyone. But to anyone who takes the time to enter its world, it is deeply rewarding.
The novel describes the meteoric rise to power and precipitous fall of Josef Suss Oppenheimer, Court Jew to Duke Karl Alexander of Wurttemberg. It paints a vivid and complex portrait of the early 18th century in the Holy Roman Empire: the political ferment as the middle class rises and resists the nobility's rule; the precarious position of the Jews, the financiers of great states, as they navigate between Protestants and Catholics struggling for dominance in religion as well as politics. The historical detail at times overwhelms the narrative, nevertheless for the most part the novel is anything but dry.
It draws a sharp contrast between Suss, the brilliant financier who flaunts his power and throws off a Jew's traditional garb for the dress and manner of the nobility, and Isaac Landauer, who wears a "greasy caftan and sidecurls" and prefers to relish in secret his ultimate control over the financial affairs and fates of dukes and kingdoms. Suss gambles on the future of the young Karl Alexander, an ambitious but rather stupid military hero, who becomes Duke of Wurttemberg on the death of his older cousin. The relationships between these two, between Suss the Duke's beautiful wife Marie Auguste who regards him with equal fascination and repulsion, and a host of other characters shows in the most unflattering light the moral degeneracy of Suss and his royal patron.
The Rabbi Gabriel, a mystic, is bonded unwillingly to his nephew Suss, and seeks to save his soul and return him to a spiritual path. The one person who touches Suss's heart is his beautiful and innocent daughter Naemi, whom he left in Rabbi Gabriel's care.
The novel was made into an anti-Semitic propaganda film during the Nazi era, and it is easy to see how it could be interpreted that way. Jew and Gentile alike are portrayed with all their flaws. But ultimately it is about how true power resides in the spirit, and not in worldly riches.
It's a grand novel in the old style of historical fiction: rich in detail, filled with extraordinary characters who play grand parts on the world stage, a cautionary tale about power and its dangers. Its literary style may not appeal to everyone. But to anyone who takes the time to enter its world, it is deeply rewarding.
April 17, 2023
I like historical fiction, and Feuchtwanger is a superb writer of the same. His Erfolg is still for me the master, but Die Haessliche Herzogin is also a great book.
Jud Suess--literally the Jew named Suess (Sweet)--is a complex and ambitious book, written about the underlying fault lines in Germany between Catholics and Protestants and of course the much smaller Jewish community (with cameo appearances from the French and some fascinating differences between different Jewish factions, including the cabbalists).
It is hard to sum up 526 pages of rich events which together define the professional life of Jud Suess, a successful financier who however sees his chance of backing the somewhat unlikely successor of the Dukedom of Wuertemberg in southwest Germany, at the beginning of the 18th century--at just the right time when the Duke at the start of the book unexpectedly dies. By backing the distant successor (Karl Alexander)--who has chiefly distinguished himself in war in Serbia fighting against the Ottoman--who is also backed by the Catholic church in Bavaria in an effort to bring the duchy away from its strictly Protestant heritage and into the Catholic church.
Suess finances this unlikely successor, in a role which Jews are permitted to do and who benefit from a small but honor bound network of other Jewish financiers throughout Germany and Europe. And in financing Karl Alexander, Suess becomes a major part of court life and of Karl Alexander's daily life--whether hunting, playing off the bourgeois Protestants, or--bordering the sordid--arranging for the Duke to "have his way" with many women--some less willing than others.
Indeed politics is a dirty business, and ambition permeates the small duchy--with Karl Alexander fed in his ambitions by Suess who of course profits from every transaction. More generally, Suess's own ambitions---including with women and in increasingly manipulating Karl Alexander--drive him to dress fashionably--showing up the Duke of Thurn and Taxis for example, and with his power grows his pride. He is warned by some fellow Jewish financiers and esp by a mysterious rabbi--who brings Suess his illegitimate daughter for Suess to care for--to keep his pride in check. But Suess thinks he knows it all and pushes ahead.
The arc of his ascendancy does not go except by puncturing the ambitions and even fortunes of his rivals or even the fortunes and businesses of ordinary citizens, as Suess devises taxes and orchestrates judicial takings of the businesses of those who do not pay Suess and Karl Alexander the
bribes and fines which Karl Alexander's duchy needs to equip armies or pay for mistresses.
Of course, what goes up in this case will come down as enemies bind together and as Karl Alexander sees Suess taking more and more. Until Suess's daughter is pursued by a drunken Karl Alexander and dies. At last--too late--Suess realizes that the unbridled power of the Duke--as enabled by Suess himself--results in the suffering of the innocent. How does this all get resolved?
The tension behind the dilemmae--inherent in the numerous beautifully described vignettes--faced by the ambitious must be resolved. But with every step up on the "ladder", the ambitious must trade their loved ones and family life against further selfish progress, the "successful ones" seem to live ever less stable and secure lives. Beneath the selfish pursuits, the Catholics are scheming to take over via force the duchy.
Feuchtwanger theorizes that there are three broad cultural flows which compete or crash against each other--the western "bias towards action and individual success", the "wisdom" of the East (don't resist but join in the flow of history, collective streams and aspiring to nirvana), and the "middleland" of Canaan--which seeks to survive and take care of ones tribe while avoiding being caught up between the two large drivers. Writes Feuchtwanger:
"Ewig fluten die drei Wellen ueber das kleine Land (Canaan) und muenden ineinander; die helle, rauschende vom Wollen und Tun, die heisse, gluehende vom herrischen Nicht-dem-Tod-sich-fuegen, die milde, dunkle vom Verstroemen und Verzichten. Still und aufmerksam liegt das winzige Land Kanaan und laesst die Wellen ueber sich hin und ineinader fluten." Geography as culture, but a useful perspective describing a clash of civilizations that is inherently unstable.
As befits the above understanding of culture, Feuchtwanger shows how virtually all his human characters are flawed--they try to do what they think they can get away with, but they are flawed and selfish, the more "power" they have, the more flawed and selfish they are.
Ultimately, though Suess has been very clever in never formally taking a government position, his cleverness has led to so much hatred that the other government officials who were guilty of stealing and who committed acts against the country and its people--"get away with it"--by bribing the new politicians after yet another Duke dies and is replaced by someone who is not Catholic but protestant again, and who does not spend wildly on wine and women, but seeks to impose his "work, duty and justice" on hos people. But ironically, only Suess--who is certainly not guilty by the letter of the law, although guilty of ambition and using tricks to amass huge wealth--is executed, while the "bad" Christian officials (be they Catholic or Protestant) walk away free:
"Das ist ein seltenes Ereignis, dass ein Jud fuer Christenschelmen die Zeche zahlt."
Feuchtwanger here is clearly referring to Jesus dying for the sinning Jewish Israel, although he is also pointing to the sin of pride and the danger of any human thinking he can outthink the mob.
Because the mob exists and as Pilate washed his hands to give the mob what it "wanted", so the final Duke of the book gives in to give his mobs what they think they want.
A richly textured book with deep political and societal lessons. 4.3 is probably right--the book's deep if realistic cynicism means that aside from the strong images I do not think one walks away from this book with a song in one's heart or a deeper appreciation of beauty. But as a warning, the book is excellent.
Feuchtwanger wrote the first variant of Jud Suess in 1916/17 during WWI--where the "State" needed Protestant Germans to fight alongside Catholic Germans against the French, British and Russian. While the book was historically accurate for 200 years earlier, it was however seen as provocative "us against them" during the War, and was therefore banned during the war. It was published finally in 1922, but achieved greater success in the USA and UK, with German readers possibly more disturbed in the book's not so hidden message that as far as Germany was concerned, "der Rechtstaat" (a country that is governed under law) was in fact bogus, with the mob and/or the government able to influence the courts either through the threat of violence or judicial manipulation (removing judges who interpret the law as written instead of as the political taskmasters wish them to). Looking at the mobs active in the US now against judges, with politicians ordering police not to protect the homes of judges, or threatening to expand the court or seek to impeach sitting justices--we may ask ourselves whether a new generation of Western citizens should read this book.
Jud Suess--literally the Jew named Suess (Sweet)--is a complex and ambitious book, written about the underlying fault lines in Germany between Catholics and Protestants and of course the much smaller Jewish community (with cameo appearances from the French and some fascinating differences between different Jewish factions, including the cabbalists).
It is hard to sum up 526 pages of rich events which together define the professional life of Jud Suess, a successful financier who however sees his chance of backing the somewhat unlikely successor of the Dukedom of Wuertemberg in southwest Germany, at the beginning of the 18th century--at just the right time when the Duke at the start of the book unexpectedly dies. By backing the distant successor (Karl Alexander)--who has chiefly distinguished himself in war in Serbia fighting against the Ottoman--who is also backed by the Catholic church in Bavaria in an effort to bring the duchy away from its strictly Protestant heritage and into the Catholic church.
Suess finances this unlikely successor, in a role which Jews are permitted to do and who benefit from a small but honor bound network of other Jewish financiers throughout Germany and Europe. And in financing Karl Alexander, Suess becomes a major part of court life and of Karl Alexander's daily life--whether hunting, playing off the bourgeois Protestants, or--bordering the sordid--arranging for the Duke to "have his way" with many women--some less willing than others.
Indeed politics is a dirty business, and ambition permeates the small duchy--with Karl Alexander fed in his ambitions by Suess who of course profits from every transaction. More generally, Suess's own ambitions---including with women and in increasingly manipulating Karl Alexander--drive him to dress fashionably--showing up the Duke of Thurn and Taxis for example, and with his power grows his pride. He is warned by some fellow Jewish financiers and esp by a mysterious rabbi--who brings Suess his illegitimate daughter for Suess to care for--to keep his pride in check. But Suess thinks he knows it all and pushes ahead.
The arc of his ascendancy does not go except by puncturing the ambitions and even fortunes of his rivals or even the fortunes and businesses of ordinary citizens, as Suess devises taxes and orchestrates judicial takings of the businesses of those who do not pay Suess and Karl Alexander the
bribes and fines which Karl Alexander's duchy needs to equip armies or pay for mistresses.
Of course, what goes up in this case will come down as enemies bind together and as Karl Alexander sees Suess taking more and more. Until Suess's daughter is pursued by a drunken Karl Alexander and dies. At last--too late--Suess realizes that the unbridled power of the Duke--as enabled by Suess himself--results in the suffering of the innocent. How does this all get resolved?
The tension behind the dilemmae--inherent in the numerous beautifully described vignettes--faced by the ambitious must be resolved. But with every step up on the "ladder", the ambitious must trade their loved ones and family life against further selfish progress, the "successful ones" seem to live ever less stable and secure lives. Beneath the selfish pursuits, the Catholics are scheming to take over via force the duchy.
Feuchtwanger theorizes that there are three broad cultural flows which compete or crash against each other--the western "bias towards action and individual success", the "wisdom" of the East (don't resist but join in the flow of history, collective streams and aspiring to nirvana), and the "middleland" of Canaan--which seeks to survive and take care of ones tribe while avoiding being caught up between the two large drivers. Writes Feuchtwanger:
"Ewig fluten die drei Wellen ueber das kleine Land (Canaan) und muenden ineinander; die helle, rauschende vom Wollen und Tun, die heisse, gluehende vom herrischen Nicht-dem-Tod-sich-fuegen, die milde, dunkle vom Verstroemen und Verzichten. Still und aufmerksam liegt das winzige Land Kanaan und laesst die Wellen ueber sich hin und ineinader fluten." Geography as culture, but a useful perspective describing a clash of civilizations that is inherently unstable.
As befits the above understanding of culture, Feuchtwanger shows how virtually all his human characters are flawed--they try to do what they think they can get away with, but they are flawed and selfish, the more "power" they have, the more flawed and selfish they are.
Ultimately, though Suess has been very clever in never formally taking a government position, his cleverness has led to so much hatred that the other government officials who were guilty of stealing and who committed acts against the country and its people--"get away with it"--by bribing the new politicians after yet another Duke dies and is replaced by someone who is not Catholic but protestant again, and who does not spend wildly on wine and women, but seeks to impose his "work, duty and justice" on hos people. But ironically, only Suess--who is certainly not guilty by the letter of the law, although guilty of ambition and using tricks to amass huge wealth--is executed, while the "bad" Christian officials (be they Catholic or Protestant) walk away free:
"Das ist ein seltenes Ereignis, dass ein Jud fuer Christenschelmen die Zeche zahlt."
Feuchtwanger here is clearly referring to Jesus dying for the sinning Jewish Israel, although he is also pointing to the sin of pride and the danger of any human thinking he can outthink the mob.
Because the mob exists and as Pilate washed his hands to give the mob what it "wanted", so the final Duke of the book gives in to give his mobs what they think they want.
A richly textured book with deep political and societal lessons. 4.3 is probably right--the book's deep if realistic cynicism means that aside from the strong images I do not think one walks away from this book with a song in one's heart or a deeper appreciation of beauty. But as a warning, the book is excellent.
Feuchtwanger wrote the first variant of Jud Suess in 1916/17 during WWI--where the "State" needed Protestant Germans to fight alongside Catholic Germans against the French, British and Russian. While the book was historically accurate for 200 years earlier, it was however seen as provocative "us against them" during the War, and was therefore banned during the war. It was published finally in 1922, but achieved greater success in the USA and UK, with German readers possibly more disturbed in the book's not so hidden message that as far as Germany was concerned, "der Rechtstaat" (a country that is governed under law) was in fact bogus, with the mob and/or the government able to influence the courts either through the threat of violence or judicial manipulation (removing judges who interpret the law as written instead of as the political taskmasters wish them to). Looking at the mobs active in the US now against judges, with politicians ordering police not to protect the homes of judges, or threatening to expand the court or seek to impeach sitting justices--we may ask ourselves whether a new generation of Western citizens should read this book.
May 30, 2014
Joseph Suss Oppenheimer is a Jew who rises to the axis of power in a 19th century German duchy. As his star rises so does his fortune. Money and fame fail to appease him and finally, lust and the endless desire for more lead to his downfall. A meditative, fascinating look at the corruption of a man.
October 24, 2025
Deuxième partie captivante. Problématiques psychologiques et réalités historiques y sont très bien décrites. Vaut la peine d’être lu jusqu’à la fin.
October 31, 2017
Ich muss gestehen, die Geschichte des historischen Joseph Süß war mir unbekannt, insofern kam das Ende etwas überraschend. Feuchtwanger deutet die ganze Zeit, während sein Held in Gefangenschaft auf seinen Prozess wartet, an, dass das alles zu einem geheimen Plan gehört. Jedenfalls las ich das so.
Keine uninteressante Geschichte, aber die Sprache Feuchtwangers ist an sich schon antiquiert und hier ist es besonders, sagen wir, unzugänglich, da er die Sprache des frühen 18. Jahrhunderts zu emulieren versucht. Eine gekürzte Fassung dieses Buchs zu lesen, wäre die bessere Idee gewesen.
Keine uninteressante Geschichte, aber die Sprache Feuchtwangers ist an sich schon antiquiert und hier ist es besonders, sagen wir, unzugänglich, da er die Sprache des frühen 18. Jahrhunderts zu emulieren versucht. Eine gekürzte Fassung dieses Buchs zu lesen, wäre die bessere Idee gewesen.
August 17, 2018
Az 1700-as évek Bajorországában játszódik és nekem nagyon érdekes volt. A jó és a gonosz küzdelme az emberben. Szerintem Lion Feuchtwanger egyszerűen zseniális író. Úgy írja le a történtet, mintha így is történt volna az egész.
Mindenkinek ajánlom, aki szereti a történelmet, a lélektani átalakulást. Érdeklődik a zsidók integrálódásának folyamata iránt.
Mindenkinek ajánlom, aki szereti a történelmet, a lélektani átalakulást. Érdeklődik a zsidók integrálódásának folyamata iránt.
December 27, 2024
A fascinating retelling of the life of Court Jew for one of German dukes in 17 century - Joseph Süß Oppenheimer. A fast and very dramatic story that describes court intrigues, financial schemes and personal life of the duke, his entourage and his personal Jew that ends in tragedy for all involved.
September 22, 2025
“Doch jener wird weiterleben. Immer wieder wird, was er war, lebte, sah, dachte, starb, von Späteren in die Hand genommen werden, nachdenklich beschaut, nachgelebt, nachge-spürt, nachgestorben werden.”
September 18, 2021
Very touching ending
This entire review has been hidden because of spoilers.
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February 12, 20221001 böcker
Sid 42, mening 1:
”Utan förvåning över att främlingen kände honom, bugade sig Nicklas.”
Sid 42, mening 1:
”Utan förvåning över att främlingen kände honom, bugade sig Nicklas.”
June 8, 2023
horrible translation!
The book is not readable as it was probably machine-translated. I was looking forward to reading it, but now have to look for another edition.
The book is not readable as it was probably machine-translated. I was looking forward to reading it, but now have to look for another edition.
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July 22, 2023I agree with the NYTimes, comparable with Scott and Dumas. Perhaps a little overdone at points, but redolent of the era.
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