Tom K. wrote:

> Does anyone else who cares to consider the matter have an opinion as to
> Julius may have been trying to say here?

Skipping the review and going closer to the source we have Julius
discussing Bleistein and then writing this paragraph.

Anthony Julius
T.S. Eliot, Anti-Semitism and Literary Form
Cambridge University Press, 1995
pp. 101-2

Consider this remark of Eliot's:

   The poetry of Isaac Rosenberg ... does not only owe its distinction to
   its being Hebraic: but because it is in Hebraic it is a contribution
   to English literature.  For a Jewish poet to be able to be able to
   write like a Jew, in western Europe and in a western European
   language, is almost a miracle.

The two versions of libel I have just described are thus represented
by Bleistein and Rosenberg respectively.  Eliot's eccentric praise of
the Jewish poet is consistent with his larger deprecations.  'That a
Jew can do this!' registers the surprise of the anti-Semite.  What is
it like to write as a Jew?  Richard Wagner explains: 'The Jew speaks
the language of the country in which he has lived from generation to
generation, but he also speaks it as a foreigner.'  A Jew cannot
compose German music; when it purports to do so, he deceives.  The
Jewish composer could only compose music as a Jew by drawing on the
'cermonial music' of the synagogue service, a 'nonsensical gurgling,
yodelling and cackling'.  These 'rhythms ... dominate his musical
imagination'; they are irrestible.  So while the talented Jewish
composer is disqualified by his race from composing German music, he
is disqualified by his talent from composing Jewish music.  Rosenberg
was luckier.  He was able, by 'almost a miracle', to write in English
'like a Jew'.  The difference between Eliot's anti-Semitism and
Wagner's is defined, on this point, by the possibility of this


To get even closer to the sources would be to go what Julius cited;
T.S. Eliot, "A Commentary", "The Criterion", July, 1935;
Richard Wagner, "Judaism in Music" in "Stories and Essays",
ed. Charles Osborne, 1973

   Rick Parker