The Jewish Symbolism of Duddy Kravitz
In the novel, The Apprenticeship of Duddy Kravitz, by Mordechai Richler, the use of Jewish themes is prevelant and absolute. Richler manages to sustain a Jewish voice within a Jewish stereotype. He effectively turns what could be deemed proactive anti-semitism, into satirical and sardonic pro Jewish prose. The use of Yiddish in the novel is a major player in creating a realistic Jewish world as well as creating a pro Jewish sympathy for the Kravitz character. "Shixa", a moderatley degrading term for a non Jewish girl is applied liberally to anyone Duddy assumes is a rich bitch or just a dumb girl, as also is the term "goy," which is a general for a non Jewish caucasian. In the use of this mildly derogatory diction, Richler effectivelytuns the reader into a distrustful and wary analyser of any
and all non Jewish persons in the novel; although the reader does in fact have non Jewish charaters with which to sympathise. " He tried to distance himslef away from Jewish culture, but allows himself(accidentally (and intentionally by Richler)) to be the Jewish "voice" or spokesperson of Jewish idealism throughout the novel. Duddy's also constant satirical criticisms of "gentile" culture also goes to promote Duddy's "Jewish Agenda. Lennie goes through an identity criss, where Judaism equates social diminutivism, and archaic eccentricities no longer practised by polite circles. Duddy also applies his dislike or perhaps mistrust of the non Jewish masses unto persons he is both intimate with, and on friendly terms. In doing this Lennie begins to leave his Jewish roots and friends in search of persond he deems socially accpetable. This prevelant stereotype of Jewish culture becomes ironically true in this novel. The other prevelent Jewish symbol in the book is Duddy's brother Lennie. Richler uses a clever literary tactic of which he describes the surroundings of the Jewish world and places important to the Jewish characters, but gives only meagre depiction of other; however important places. Richler has a llove-hate battle with his Jewish roots and culture. Although his new found friends are exploitative and rather ridiculous and stupid, the reader gains this sense of a 'Jewish Adolesence' (Personified sense) or perhaps a Judaic coming-of-age where one(Judaism) has selfrealisation. Richler, who also expirienced criticism by the Jewish Populacefor his depiction of Jewish people, does in fact, create a universal template of greed, which happens to be seen through a Jewish character. One will almost always return to one's cultural roots as they complete, but not create however, self. His depiction of Jewish symbols as living personifications show how the evolution of self is an ongoing and dynamic process.
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