ZELIG
Classification. “Zelig” is a character story, with decided emphasis on the character. There is just enough plot to lift it from the realm of the sketch into that of the narrative.
Plot. The struggle lies in Zelig’s attempt to save sufficient money for returning to Russia. It is unsuccessful.
What is the initial impulse, the first hint of a story motive?
The dramatic climax is preceded by a minor one: the death of Zelig’s son. The real turning point, the dramatic climax, is made up of the wife’s statements (page 224), the most important of which is the reference to the son’s death.
The climax of action and the dénouement fall together in the final speech of the story, being suggested rather than stated.
Characterization. The old man is characterized by the author’s description (the direct method, so called); by the summary of what his brethren felt and said (combination of direct and indirect methods); by the opinion his fellow-workmen held of him; and by Zelig’s own acts and speeches in addition to his habitual manner. Has he the greater part of the stage for most of the time? Purpose of his wife? Son? Grandson? Of the background characters?
Setting. “New York’s East Side.” The second value of the story lies in the setting. Indeed, the character value would be lost without it, and the unification is therefore noteworthy. Is the setting made contributory to atmosphere, also?
Details. Are you satisfied with the ending? Is the sense of tragedy at the failure of the human element striving against circumstance relieved by the recognition of Zelig’s rehabilitation, or revivification? Has he, in a deeper sense, conquered in that he has conquered self?
General Methods. That Benjamin Rosenblatt creates his characters, not “lifting” them from life, is manifest in his statement: “As to Zelig, I really haven’t met any one just like him, so that I couldn’t have had any individual case before my mind’s eye when I wrote the story.”