has nothing whatsoever to do with religion and conscience," declared Herzl. "What is more, everyone knows it. The Jewish question is neither nationalistic nor religious. It is a social question."
Then came the summer, 1894, and at its close Herzl took a much needed vacation. He spent the month of September in Baden, near Vienna, in the company of his fellow-feuilletonist on the Neue Freie Presse, Ludwig Speidel. Herzl has left a record of their conversation. What he gave Speidel was more or less what he had felt, many years before, after his reading of Duehring. He admitted the substance of the anti-Semitic accusation which linked the Jew with money; he defended the Jew as the victim of a long historic process for which the Jew was not responsible. "It is not our fault, not the fault of the Jews, that we find ourselves forced into the role of alien bodies in the midst of various nations. The ghetto, which was not of our making, bred in us certain anti-social qualities.... Our original character cannot have been other than magnificent and proud; we were men who knew how to face war and how to defend the state; had we not started out with such gifts, how could we have survived two thousand years of unrelenting persecution?"
At that time Herzl came across the Zionist solution, and definitely rejected it. Discussing the novel Femme de Claude, by Dumas the younger, he says of one of its characters: "The good Jew Daniel wants to rediscover the homeland of his race and gather his scattered brothers into it. But a man like Daniel would surely know that the historic homeland of the Jews no longer has any value for them. It is childish to go in search of the geographic location of this homeland. And if the Jews really 'returned home' one day, they would discover on the next day that they do not belong together. For centuries they have been rooted in diverse nationalisms; they differ from each other, group by group; the only thing they have in common is the pressure which holds them together. All humiliated peoples have Jewish characteristics, and as soon as the pressure is removed they react like liberated men."
The inner apotheosis was drawing nearer and nearer for Herzl. In October, 1894, Herzl was in the studio of the sculptor, Samuel Friedrich Beer, who was making a bust of him. The conversation turned to the Jewish question and to the growth of the anti-Semitic movement in Vienna, the hometown of both Herzl and Beer. It was useless for the Jew to turn artist and to dissociate himself from money, said Herzl. "The blot sticks. We can't break away from the ghetto." A great excitement seized Herzl, and he left the atelier, and on the way home the inspiration came on him like a hammerblow. What was it? The complete outline of a play, "like a block of basalt."
With this play Herzl completed his inner return to his people. Until then, with all his emotional involvement in the question, he had stood outside it as the observer, the student, the clarifier, or even the defender. He had provided the world-historic background for the problem, he had diagnosed it and given the prognosis for the future. Now he was immersed in it and identified with it.
He had become its spokesman and attorney, as he was spokesman and attorney for other victims of injustice. It was no accident that the hero of the play was a lawyer by vocation and avocation. For the hero was Herzl himself, and the transformation which unfolded in Dr. Jacob Samuel was the transformation which was unfolding in Theodore Herzl.