"The Gentlemen from Cracow" - Analysis
The allegorical short story "The Gentlemen from Cracow" is a very well-known and important piece of Yiddish folklore; a short story in which the poor villagers of the Polish town of Frampol attempt to deal with their own poverty in very interesting ways. When a drought is followed by a hailstorm, then locusts and other supernatural happenstances, the titular gentlemen arrives to offer these villagers a solution. The story itself is a treatise on conspicuous consumption, especially as it befalls a society that is unused to it. Attempting to transform this simple village into a haven for consumerism has disastrous consequences for the people, which they finally realize and learn to accept and love their poverty. The tale of a village straying from its humble path and the traditions that make it great demonstrates the fallibility of man, as well as his corruptibility. The effect of one man on an entire group of people is demonstrated vividly through Singer's descriptions, his language, the uniqueness and ubiquity of the characters, and the allegorical nature of the piece. The result is a story that demonstrates the risk in giving up one's faith for material possessions.
Singer's descriptions are often very on-the-nose, very direct and quite detailed, allowing the audience to gain a clear allegorical picture of the town itself, and the gentleman's effect on it. The poverty of the Jewish villagers is shown through detail; "in summer many of them wore no shoes, and in cold weather they wrapped their feet in rags or wore sandals made of straw" (p. 15). It is descriptions like these that help the reader to immerse themselves in the grit and verve of the village of Frampol, forming vivid pictures of the way these villagers live so as to demonstrate the complete effect the gentleman has on them.
After establishing the happiness and contentment of the villagers, Singer proceeds to completely destroy them thoroughly with the descriptions of the series of calamities that befalls their village. The seriousness of the drought that starts their misfortunes is established, since "even the oldest peasants could not recall a calamity such as this one" (p. 16). Due to the villager's obsession with history and antiquity, the fact that this is the worst that things could get is important, and clearly affects the people deeply. The people are fearful of the supernatural events that follow - the locusts come, "huge as birds," and "human voices were said to issue from their throats" (p. 16). This shows the effect that the plagues are having on the villagers; they are supremely afraid, and are even possibly exaggerating the effects in their panic. "That year there was no fair, for everything had been lost" - the villagers let these unfortunate circumstances affect their way of life, which is the simplest way that Singer could use to effectively convey their despair (p. 16).
Singer's ultimate intent with the language is to make one realize that the stories and language from which we derive our simplest and most ardent philosophies come from our distant past. Even the simplest bits of folk wisdom came from somewhere, creating a strong sense of tradition and continuity that Singer purports is what makes the village so strong (before the gentleman comes along). Singer's language is very matter-of-fact; he tells the audience straight away what the people of Frampol were like, and what the gentlemen does to them.
The people of Frampol are shown through simple use of detail that they are a simple, unquestioning and happy people - in the beginning pages, their attitudes are represented through their actions and their superstitions - "Legends were current among the people, tales of wicked intrigue concerning a mad nobleman, a lascivious lady, a Jewish scholar, and a wild dog. But their true origin was lost in the past" (Singer, p. 15). This shows that the people of Frampol were a people with a long history, and a strong sense of tradition - these tales were passed down from generation to generation, and they were virtually ingrained in their genetic memory.
The people of Frampol are earthy and healthy - their children are described as "tall and strong" and "handsome" - despite the foulness of the water and the scarcity of the food (p. 15). This is described as happening "inexplicably," as the narrator himself even wonders why the conditions they are exposed to would still result in happy, healthy children and lives. With this simple word, he plants in the reader the idea that these people shouldn't be happy - they should be miserable, because they do not have wealth or the kind of amenities many people of means enjoy.
After the drought and the plagues occur, the people are fearful and panicky - however, "just when all hope had been abandoned and the entire town was about to go begging, a miracle occurred" (p. 16). Describing the forthcoming events as a "miracle" demonstrates the dire straits in which the villagers found themselves, as they look at any positive circumstance as nothing short of miraculous. We, the audience, are also drawn in to the mystery of this miracle, as Singer's descriptions and language of the droughts make us just as desperate for salvation as the villagers.
Once this salvation comes, in the form of the titular gentleman from Cracow, the people clearly experience a sea change in their behavior. Even the women start to let their humble and chaste ways go; "Women and girls crowded into the room, and it seemed as though the gleam of the gold before them was reflected in their eyes" (p. 17). With this type of metaphorical language, we see the desire of the villagers to get more wealth, to enjoy more amenities, to ingratiate themselves further with the gentleman.
The gentleman's presence in the village makes the villagers give up more than their humility - he encourages them to abandon their traditions. When he requests a ball to be held where he would pick his future wife amongst the daughters of the village, it is explained that Jews "have not indulged in such festivities since the destruction of the Temple" (p. 17). This is meant to separate Jewish traditions from that of Gentiles - in particular, the villagers of Frampol have been so accustomed to humility and temperance that they do not indulge in such luxuries. This is yet more evidence that the gentleman is making them stray from whatever makes them uniquely Jewish, ripping them from their traditions and their culture as a result.
The titular gentleman from Cracow is the major protagonist in the story, as he is the one who drives the action. Unlike the villager's expectations, he is not a Christian but a Jew - all the better to relate to the people and make them like and relate to him. His occupation also engenders a great deal of faith in him - he is a doctor, a respected profession, one of science and knowledge. The villagers, upon knowing that he is a doctor, immediately trust him, which is what he counts on. He presents himself as an alluring figure - truly a new element to come to this village that has fallen into a rut of routine and tradition. With such an emphasis on continuity, having a rogue element like the gentlemen has a singular effect on the village. "The stranger was clearly a gift from Heaven, and Frampol was not destined to vanish" (p. 16).
The biggest effect the gentlemen has on the village is to transfer his love of money to them - this first happens when he orders a wagonload of flour, since the sack he is offered will not be enough to last "a single day." When the village elders say, "But we have no money," he replies, "God willing, you will repay me when times are good" (p. 16). This starts the chain reaction of greed that befalls the village - the feeling the villagers get when he gives them his money is something that they begin to covet themselves. They wish to be rich, and to have the kind of money this exotic gentleman does - this is exactly what the gentleman wants.
The gentleman, in his behavior in the town, encourages conspicuous consumption, as he has elegant meals each night, takes the nicest room at the inn, and decorates his dinner table with a decadent six candles (p. 17). He encourages the villagers to give up their sense of prudence and temperance - he gets them to give up waiting for Hanukkah to play a game of cards, making the men "frivolous" and greedy (p. 17). All of this is part of the gentleman's plan to get the men addicted to consuming, to using - this puts them in his pocket, and makes them stray from the traditions that keep them good people.
Eventually, the gentleman's real identity is revealed - the Chief of the Devils, Ketev Miri. With this reveal, it is shown that the gentleman wanted them to lose their faith, to stray from their traditions and eschew temperance for greed. His only role in the community is to take, take, take from them, and demand more things in exchange for the money he injects into the town. He "enjoys himself" in the fullest sense of the term throughout the town, with food, drink and women, growing increasingly more decadent (p. 19).
Rabbi Ozer, a man described as "renowned for his erudition," is the community leader of Frampol. The man has many purposes within the community - he attends the baths, he acts as a teacher and matchmaker, and even considers himself lowly enough to be a "poorhouse nurse" (p. 15). He is clearly the voice of reason in the village once the gentleman arrives; the first time the audience hears from him after the arrival of the gentleman is when the girls are all set up to be married to him, and the ball is suggested and set up. Rabbi Ozer immediately calls him a "charlatan," and responds angrily to the suggestions that he offers (p. 18). The rabbi understands the consequences of abandoning traditions - he fears that the plagues will crop up again, and that "innocent infants" will "be made to pay for [their] frivolity!" (p. 18). He and the gentleman are at opposite ends of the struggle over this town, and he is firmly on the side of strict religious adherence; even in the face of the practical men who state that conditions are supremely improved, he warns about the dangers of sinning. To him, maintaining religious tradition (and saving the souls of the town) is more important than the material needs of its people. This is what makes the gentleman so much more appealing at first to the people; they can feel the benefits he gives to the village.
However, even as he resists the gentleman's requests, he consents to the ball - his own motivation is fuelled by money. "Was there any choice? He himself had received no salary for six months" (p. 19). With this consent, he virtually loses all the hold he had over the town and its actions, as the floodgates open with activity and consumption once the ball is underway. He attempts to continually warn the flock that "they walked a downhill path led by the Evil One," but his warnings fell on deaf ears (p. 19). Eventually, his only recourse is simply not to participate; his maidservant attending the ball, he locks himself in his study instead. "He knew no good could come of such behavior, but there was nothing he could do to prevent it" (p. 21). This helplessness in the face of the allure of consumerism is Singer's way of demonstrating the desperation and weakness that moral strength has in the face of consumerism and material happiness. By straying from the path, the villagers have all abandoned Rabbi Ozer, who prior to that did everything for them, from preaching to teaching and healing.
It is only after the gentleman reveals himself to be Chief of the Devils, and the orgy of sex, violence and destruction rocks the town, that Rabbi Ozer is able to step in and be the hero who saves them from eternal damnation. He goes out into the fray and recites Scripture until the creatures leave - despite being right all along, he is mournful that he did not see it coming. "I should have had more foresightwhen the shepherd is blind, the flock goes astray. It is I who deserve the punishment, the curses" (p. 27). Ozer's role in the story is just as much of an object lesson as it is for the villagers; just as Singer urges people not to fall into the allure of consumerism, he encourages the faithful and righteous to not give up their fight and allow their flock to go astray. This was Ozer's mistake; it should not be repeated. Eventually, when the town gets back on its feet and learns to behave as virtuously and humanely as they once did, Ozer passes away; this is the final step in the reinvention of the town into something new, washing the mistakes of the past away. This is Singer's attempt to demonstrate that we are the new village; the mistakes of our ancestors brought about their destruction, and that should be avoided at all costs.
"The Gentlemen from Cracow" is a cautionary tale about the dangers of allowing wealth to override one's sense of moral decency, and the traditions by which communities are built. Specifically, the Jewish faith is seen as the thing holding back the disastrous and destructive behavior of the immoral, as shown through Hodle and her rampant, regretless sexuality. Eventually, the townspeople adopt the adage, "Go to the gentleman from Cracow and he will give you buckets of gold." This sums up the lesson of this piece of Yiddish folklore perfectly; Singer uses the example of a town that went crazy with wealth and materialism as a means to show that it brings nothing but destruction and chaos. Singer's use of description and language brings the earthiness of the town, and its slow descent into chaos, to vivid life, bringing these hazards into the minds of the reader. The dichotomy between the alluring, confident and greedy gentleman and the pious, virtuous but relenting Rabbi Ozer shows the reader the consequences of abandoning one's faith for the material. These techniques and characterizations result in a story that is an important part of Jewish folkloric tradition, mixing realism with mysticism to show the exaggerated consequences of real mistakes that the reader themselves could make. The story is meant to warn those who want that they may not know what they have to sacrifice in order to feel comfortable.
