Emma Lazarus

Emma Lazarus became one of the United States’ first successful Jewish American writers, moving in the New York literary scene of the late 1800s. She also wrote one of the most famous poems of ALL TIME, and even if you don’t know her name, odds are you know at least some of that work.

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Episode Transcript

Speaker 1 (00:00):
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San Francisco, California. You can find more information about all
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in History dot com slash Tour. Welcome to stuph you
missed in History class from how Stuff Works dot com. Hello,

(01:05):
and welcome to the podcast. I'm Holly Fry and I'm
Tracy V. Wilson uh and today we're going to talk
about Emma Lazarus, who became one of the United States
first successful Jewish American writers, moving in the New York
literary scene in the late eighteen hundreds, and she also
wrote one of the most famous poems of all time.
Even if you don't know her name or the title

(01:26):
of that poem, odds are that at least you know
some lines of that work. Heads up for our listeners
who are maybe sharing this episode with younger history buffs.
We are going to have a discussion at the end
about one of her poems that is definitely erotic and
calls into questions some theories about her sexuality. The poem
in particular is adult content. I would say, yeah, I

(01:47):
read it this morning and then I needed to take
a walk. So we're gonna jump right in to the
life of Emma Lazarus. She was born on July twenty two,
eighteen forty nine, and her parents, Moses and Esther Lazarus,
had seven children. She was born right in the middle.

(02:09):
She was their fourth. They lived in New York City
and Emma's family, which had Portuguese Jewish roots, was pretty wealthy.
The family business was a sugar refinery and they had
done extremely well for themselves. The family had been in
New York since before the Revolutionary War, so that money
that had been passed down through the family was rooted
originally in a sugar trade that was directly tied to slavery.

(02:32):
And the success that Moses acquired through the family business
put him in high society circles that consisted primarily of
white Christians, and he made something of a conscious effort
to play down the family's Sephardic Jewish background as part
of their assimilation into that social circle. He was moving
towards more of a secular Judaism himself. But this whole

(02:54):
situation really always gave Emma a sense of otherness. Even
though she had friends, she just always felt apart from
kind of everyone. Her early life was split between homes
in New York City and Newport, Rhode Island. She studied
with private tutors and received a really wide ranging education.
She learned to speak French, Italian, and German, and these

(03:15):
multi lingual skills really served her well in her career.
Her translations were as popular as the poetry and prose
that she was writing, and she was translating uh poetry
from foreign languages from a very early age in In
eighteen sixty six, her poetry was published for the first
time in a volume titled Poems and Translations written between

(03:36):
the ages of fourteen and seventeen, and this book was
financed not by a publishing house but by her father, Moses,
who was incredibly supportive of her work as a writer.
But in eighteen sixty seven a publishing house printed a
second edition of the book, which gave it a much
wider distribution. Soon, Emma Lazarus was a name that was

(03:57):
circulating in literary circles, and her poe aetry was getting
the attention of people like Ralph Waldo Emerson. He became
her mentor after the two of them were introduced by
mutual friends. When Emma published a book of poetry called
ad Medicine Other Poems in eighteen seventy one, the title
poem was dedicated to Emerson. That relationship between Emerson, who

(04:18):
was sixty five when he met eighteen year old Lazarus,
wasn't always a smooth one. Initially, Emerson had seemed even
a little flirtatious in his letters with the young poet,
and while he praised her work generally, he gave very
few specific notes and then he also cooled in his
affinity for her and kind of withdrew. This is something
that if you look at Emerson's life, this was a

(04:40):
pattern of him with younger poets that he chose to
mentor he would kind of lavish praise on them and
then kind of back off of it. And then when
she asked him to recommend a poem of hers to
his editor I believe it was at the Atlantic for publication,
he instead leveled some pretty harsh criticism at the work
and told her that she had a tendency to indulge

(05:00):
in quote feeble words. The two of them had a
deeper falling out when Emerson edited the anthology Parnassis This
is a collection of his favorite poems, and he left
Emma's work out of it entirely. She wrote him a
really angry letter about this slight and he never wrote
her back about it. Eventually the two of them did
see each other again. Was a couple of years later,

(05:22):
after Emerson had retired. Lazarus visited him and conquered Massachusetts
in eighteen seventy six at his invitation. Yes, so they
seem to have smoothed it over at least a little
but we don't really know that they ever got to
the point of friendship they had once shared. Lazarus published
more than fifty original poems in her lifetime, as well
as volumes of translations. In eighteen seventy one, she published

(05:45):
her second book of poetry that Tracy mentioned earlier, which
was Admetus and Other Poems, and in it our translations
of poems by Gerta and Heinrich Heine as well as
original works by Lazarus. And her poem how Long, conveys
the sense that Lazarus longs for literary tradition that makes
sense of her own life as an American writer, and
not one that's defined by the European tradition. The final

(06:09):
stanza of that work reads, the echo faints and fails.
It suiteth not upon this Western plane our voice or spirit.
We should stir again the wilderness and make the plane
resound unto a yet unheard of strain. Another poem in
Admetus is in the Jewish Synagogue at Newport, which is
a take on Longfellows the Jewish Cemetery at Newport. This

(06:33):
poem touches on the many moments that take place and
a synagogue so there's worship and weddings and funerals, and
it's her first poetic effort at really trying to capture
Jewish life. In eighteen seventy four, she published a novel,
a Lead, an Episode in Guerta's Life. This is the
only novel that she ever wrote, and it is based
on Guerta's own autobiographical accounts of his life experiences. It

(06:57):
tells the story of a young Gerta falling in love
with a man in the country and ultimately leaving her
for his work. In eighteen seventy six, she wrote a
play in verse called The Spagnoletto. In this work, which
is a five act tragedy, was published privately. She published
a number of poems in the second half of the
eighteen seventies in the early eighteen eighties, mostly in the

(07:18):
periodicals Lippincott's Century and The New York Times. In eighteen
eighty one, she published a full book of translations of
Heinrich Kenna's works, titled Poems and Ballads of Heinrich Heina.
That same year, she published an essay titled American Literature
in defense of the work of writers in the United
States as just as valid as the writing of their

(07:40):
European predecessors and counterparts. Having studied literature, I think that
was an argument people were still making and are still
making a hundred years later. Certainly. Yeah, it was something
that it was another part of that sense of otherness
that she kind of always felt that. She was like,
I feel like we're doing great work over here, but

(08:00):
everyone is like, oh no, really, the seat of culture
and literature is clearly still Europe, which I imagine is
really frustrating for writers that are are doing really good work.
Um Emma Lazarus was increasingly devoted to activism against anti
Semitism in her twenties and thirties. She became a vocal

(08:21):
advocate for New York's Jewish refugee population, and she spoke
out against the anti Semitism that was rampant in Eastern Europe,
writing both essays and poetry on the subject. In Tight two,
she published a collection titled Songs of a Semite that
Danced to Death and Other Poems. And publishing this work,
Lazarus became a really controversial figure. There was the obvious

(08:43):
issue of anti Semitism to deal with, but in proclaiming
her Jewishness so clearly it ran really counter to the
ideology of people like her father, who wanted to retain
their cultural identity in a more private way to try
to avoid causing conflict. In addition two Songs of a
Semi Lazarus became a regular contributor to the Journal's American

(09:04):
Hebrew UH and The Century, in which she published several
essays from April eighteen eighty two to February eighteen eighty three.
The essays was the Earl of Beaconsfield, a Representative Jew,
Russian Christianity Versus Modern Judaism, and the Jewish Problem. All
examined the issue of Jews in society, who she wrote,

(09:26):
were faded to forever be antagonized by those around them.
And it was in reaction to the prejudice against Jews
that she witnessed that she started to promote the pre
Zionist idea that a Jewish state needed to be established
in Palestine. This was before Zionism was really coined and
pushed by other people. In a moment, we'll talk about
some of the other advocacy that Emma Lazarus engaged in,

(09:48):
but we're going to pause first for a brief sponsor break.
Emma's activism was not and find just to her writing, though,
as a way to help Jewish refugees build a better
life in the US, she helped found the Hebrew Technical
Institute of New York, and there immigrants could receive vocational

(10:11):
training to help ensure some sort of financial stability in
their new lives. In eighteen eighty two, she worked hands
on at the Hebrew Immigrant Aid Society, teaching English and
assisting with lessons that would help immigrants merge with American society.
That year and estimated two thousand Russian Jewish immigrants were
arriving in New York. Every month, she visited the homes

(10:33):
of immigrants on Wards Island, and she was somewhat horrified
at the conditions there. The island had been made into
an overflow camp for refugees, as other facilities in Brooklyn
could just no longer take any more people they were
completely full. On March eighty two, a piece that appears
to have been written by Lazarus appeared in the New
York Times, although it ran uncredited, and the article casts

(10:56):
a sympathetic eye on the people at Ward's Island and
how many of them were people of high esteem in
their homeland, who in seeking refuge, we're going to start
their new lives completely penniless. And it goes on to
challenge and disassemble a lot of the stereotypes that Russian
Jewish immigrants endured in New York, and it's stressed that
they wished only to breathe the air of freedom. Lazarus

(11:19):
spent some time in the mid eighteen eighties traveling abroad
after she published Songs of a Semite. She visited both
England and France, and it was during her first trip
there in eighteen eighty three that she met and befriended
Robert Browning, William Morris, and Henry James, among others. Yeah,
because she was uh already really well known in literary
circles in the US, and she was from a wealthy family,

(11:41):
one she could afford to travel, and too, she had
pretty easy introductions to a lot of society people throughout Europe,
so she made a lot of very high profile friends.
And that same year she also wrote a letter to
her friend and publisher Philip Cowant, referencing an article that
she had recently read the had a decidedly anti Semitic tone.

(12:02):
She wrote quote to refer to the Sun article. It
seems to me so coarse and vulgar that it deserves
no reply from any self respecting Jew. It represents the
habitual light in which we are regarded as a race
by the Christians, but it happens to be couched in
somewhat more offensive terms than usual. I am perfectly conscious
that this contempt and hatred underlies the general tone of

(12:25):
the community towards us. And yet when I even remotely
hint at the fact that we are not a favorite people,
I am accused of stirring up strife and setting barriers
between the two sects. The particular article ought, in my opinion,
to be treated with absolute contempt. It is too vile
to touch. In late three she penned the poem that

(12:46):
would become her most famous, The New Colossus. The New
Colossus is a sonnet, and you might not know it
by name, but you almost certainly know at least a
couple of lines from it. We're going to get to
the poem itself, and just the moment the New Colossus.
This was actually written for charity. Lazarus wrote it so
it could be auctioned off to raise money for the
Pedestal for the Statue of Liberty. While France was giving

(13:09):
the US the statue as a gift, it was up
to the States to pay for a base that would
support the massive monument, and this was something of an
issue of contention. Coming up with the money to pay
for a pedestal was a challenge, and there was a
very real sentiment against the entire affair based on the
idea that the whole thing was making the US look bad.

(13:29):
I'm gonna say it's not completely unheard of for there
to be a gift like this that costs the recipient money,
especially when it's a giant statue. Despite the negative opinion
of a gift that also required significant expense on the
part of the recipient just to receive the gift, the
New York literary community rallied to try to raise funds

(13:52):
for the base. The Art Loan Fund, Exhibition and Aid
of the Bartholdy Pedestal Fund for the Statue of Liberty
was mounted and this was an auction of art and
literature created especially for the occasion, and it was managed
by the American Committee for the Statue of Liberty. Emma
Lazarus had been asked to participate by William Maxwell Everts,

(14:12):
who was chairman of the American Committee for the Statue
of Liberty, and the writer Constance Carrie Harrison, and Lazarus
was reluctant initially. She was not accustomed to doing commissions,
and she didn't write if she didn't feel moved to
do so, so this idea of writing on command was
not really in her wheelhouse normally. As she approached this poem,
Lazarus imagined how the statue might regard the old world,

(14:35):
and her work and advocating for the immigrant community really
informed the voice that she gave the statue. W she
considered the Mother of Exiles. She wrote the New Colossus
on November two three, and it's pretty short, so we're
going to read it in its entirety. Not like the
brazen giant of Greek fame, with conquering limbs astride from

(14:55):
land to land. Here at our seawashed sunset, gates shall stay,
and a mighty woman with a torch whose flame is
the imprisoned lightning, and her name Mother of Exiles. From
her beacon hand glows worldwide. Welcome her mild eyes command
the air bridged harbor that twins cities frame, Keep ancient lands,

(15:16):
your storied pomp, cries she with silent lips. Give me
You're tired, your poor, your huddled masses yearning to breathe, free,
the wretched refuse of your teeming shore. Send these, the
homeless tempest tossed to me. I lift my lamp beside
the golden door. So that brazen giant that she mentions

(15:38):
in the first line is a reference to the Ancient
Colossus of Rhodes, which was a statue built somewhere between
two ninety two and two a d. B. C. E.
To commemorate a military conquest, and Lazarus characterizes the new
monument in contrast as a welcoming presence rather than a
conquering one. The poem was read at the auction on

(15:58):
in December three, but not at the dedication of the
Statue of Liberty in eighteen eighty six. Later, the New
Colossus was published in the New York Times and in
Joseph Pulitzer's New York World, but it quickly faded from
public consciousness. And we are actually about to talk about
the end of Emma Lazarus's short life, but we're going
to take a quick break before we do. To hear

(16:20):
from one of the fantastic sponsors that keep our show going.
In March eight five, Emma's father, Moses Lazarus, died, and
in April she set sail for Europe once again. This
trip was a very long one. She kept traveling right

(16:42):
into eighteen eighty seven. She started with visits to Yorkshire
and London before moving on to the Netherlands, France and Italy,
but by the end of the year she was not
feeling well. She continued her travels in eighteen eighty six
despite feeling ill. First she went back to England and
then Holland and Paris, and she'd been planning another visit
to Italy but ended up staying in Paris into seven

(17:03):
because she just couldn't travel anymore. She stayed in Paris
for six months before returning to New York in July,
and that time she had developed a facial paralysis. She
had lost her hearing in one year. Her eyesight had
declined to the point that she could barely see. Her
younger sister Annie had been with her in Europe and
took care of her as she convalesced and took dictations

(17:25):
so that Emma could keep up her correspondence. Lazarus never
got to witness her poems rise to fame. She died
on November nineteenth of eighteen eighty seven, and while her
illness was never properly diagnosed, it is likely, based on
the evidence UH and based on what people have gathered,
that she probably died from Hodgkin lymphoma. She was only

(17:47):
thirty eight. The funeral was held at her home in
New York, and then she was buried in Cypress Hills
in Brooklyn. The December issue of American Hebrew was a
memorial to Emma Lazarus. It was more than twenty pages long,
are than normal to accommodate all the poems and other
various tributes that writers had sent for inclusion. The New
Colossus went largely unmentioned in obituaries and writings about her

(18:10):
after her death, aside from a tribute written by Constance
Carrie Harrison Yea that was the writer who had asked
her specifically to please write that poem. In the year
after Emma died, her cousins set up the Emma Lazarus
Club for Working Girls, and there young women immigrants could
learn marketable skills such as sewing or clerical practices, but

(18:31):
they could also study literature if they wanted to. This
charitable effort troubled her immediate family, though they had never
been entirely comfortable with Emma's activism, after her death, they
had shifted the narrative of her life a little bit,
playing down her controversial Zionist views. As you recalled from
the beginning of the episode, her father had consciously worked

(18:52):
to blend in with New York society and really played
down the family's Jewish heritage. The family refused to allow
any of Emma's pro Jewish poetry to be reprinted after
her death. When her sisters Josephine and Annie published the
two volumes set the Poems of Emma Lazarus In, Josephine
wrote a biographical sketch of Emma. Yeah, that sketch got

(19:14):
reprinted in a lot of places, and that's really kind
of where her life story got a little bit um
shifted around, where it wasn't quite an accurate portrayal of
her anymore, but more like a very niceified version that
left out any of her controversial views. In nineteen o one,
though the New Colossus was rediscovered by Georgina Skyler, who

(19:36):
was a friend of Emma's and Skylar had found the
poem in a book that she happened upon in a bookshop,
and she was inspired to resurrect her friend's work, and
through Skylar's efforts, in nineteen oh three, the new colossus
was inscribed on a plaque, and that plaque was hung
inside the museum in the statue of Liberty's Pedestal, where
it remains to this day. The Emma Lazarus Federation of

(19:58):
Jewish Women's Clubs was formed in nineteen forty four by
the Women's Division of the Jewish People's Fraternal Order of
the International Workers Order for the i w O. It
was founded as a wartime relief group, combating racism and
fostering positivity in Jewish identity. From its founding until its
dissolution in ninety nine, the group had at times been

(20:19):
labeled as subversive and radical, and it did have ties
to communism. It also went through various re orgs, but
it was always focused on women's issues. The group didn't
only advocate for Jewish women's causes, though that was its
primary focus. The Emma Lazarus Federation joined forces with the
Black Women's Group SO Journals for truth and justice during

(20:39):
the fifties and sixties, and it also pressured the U.
S Government to ratify the nineteen forty eight Genocide Convention.
At its highest level of activity, the Mma Lazarus Federation
had one hundred clubs within it, with membership totaling between
four thousand and five thousand women. In Subways. Lazarus has
become more enigmatic since her death. Questions related to her

(21:02):
spinster lifestyle arose in the second half of the twentieth century,
when a signet that she wrote titled Assurance was published
for the first time. The signet begins, last night I slept,
and when I woke her kiss still floated on my lips.
The poem describes a dream of a romantic forest interlude.

(21:23):
I would go so far as to say an erotic
forest interlude that concludes with the woman referenced in the
first line whispering quote and didst thou dream this could
be buried, this could be asleep and love bethrall to death. Nay,
what's soo? Seem Have faith, dear heart, this is the
thing that is. The sonnet has naturally fueled speculation about

(21:47):
Emma Lazarus's sexual identity. She had included it in an
anthology of her own work that she was preparing just
before she died. She understood that she was not going
to survive, and she was really focused on her poetry surviving.
But this poem was undated, which was unusual for her work.
She had to have known it would be a little
bit controversial, but this poem, like her activism, was omitted

(22:09):
from the work by her sister's author Esther Shore, in
her two thousand six biography of Emma Lazarus, discussed this
poem and made a case that it can be interpreted
as much about and simply embracing one's own sexuality as
anything else. She said quote she wrote the poem as
a dream vision and left it undated, not to elude us,
but to redirect us. What the poem exposes is her

(22:32):
unconscious and it tells us that she met it, if
not a female lover face to face, and the sonnet
the lover's enigmatic assurance is that this is the thing
that is means in another idiom, this is the real thing,
but it's also a thing that is real beyond denial
or repression. Assurance is not a poem about choosing a lover.

(22:52):
It is about being chosen by desire. It is a
love poem, yes, but also a poem of vocation, about
being called by eros to a vital sexual life. That is,
of course one interpretation. That's the thing about poetry. Other
people can interpret different ways. I had a definite interpretation
when I read it. That is not something we could

(23:13):
really repeat in the podcast. All right, then? Uh. There
has been plenty of speculation also about a possible romance
at one point between Emma Lazarus and Charles Decay, who
was the brother of her best friend, Helena Decay, and
the two Emma and Charles were very close for years,
but it appears that whatever their connection was, it fell

(23:34):
apart when Emma learned something scandalous about Charles, although what
that thing was is unknown. But what we do know
is that Charles, a poet in his own right, after
finding out that she had discovered something, wrote a rather
scathing kind of comedy poem to his brother in law,
mocking Emma over the whole thing. So whether there was

(23:55):
any true romantic affection between the two of them remains
a mystery. I read some accounts that suggested that Helena
always thought Emma had a thing for Charles, but that
Charles never really cared about her. But then other people
in their social circle mentioned that Charles was really quite
fond of her. We don't know. It's all hearsay at
this point, but if there had been any real romantic

(24:16):
affection between them, that incident put an end to it.
She definitely flirted with men in her life, and she
also seemed fascinated by the idea of the so called
Boston marriage of two women living together as a couple.
But we really don't know anything specific about her personal
inclinations or her relationships. It's all speculation. Yeah, even her

(24:36):
letters between her and Charles Decay are nowhere to be found.
There's like one and it's pretty boring. So we just
don't know. But what is a parent is that while
she had a very wide circle of friends and may
have had romantic feelings for various people or not, her work,
both as a writer and an activist, was always the
thing that took precedent and was more important to her

(24:57):
than anything else. There's a coda to this, which is
I didn't want to say it at the top because
it kind of gives away some of the story, but
Here's why I selected this topic for an episode. I
was on Twitter recently, you know where truth always lives.
But there was an argument going on about current events,
and someone referenced the new Colossus, and some other person

(25:19):
replied to them, why should we care what some French
guy wrote on a statue they sent us, And I thought, well,
we gotta let people know that a woman actually wrote
it was from the United States, just to help pare
down the misinformation that may be floating in the world.
That is why we selected m. Lazarus. She's also just
an interesting figure. We have a lot of stories about
activists in various different ways. Hers was a unique style

(25:43):
in that she really did seem to want to use
her privilege to get the word out, but at the
same time she still maintained a very becaushy life for herself.
So a lot of other poets that we have talked
about have been poets who today have had more of
a lasting face aim in terms of how their work
is regarded, Whereas I think a lot of people like

(26:06):
she's She's not as much of a household name and
a lot of circles as say Walt Whitman. No, not
at all. Um, and you know that people are definitely
familiar with at least those few lines from the New Classes,
but not necessarily her other work, a lot of which
is really lovely. Yeah. I I will confess I was
reading some various criticism of it, and she does not

(26:26):
get treated terribly, uh delightfully by modern critics. I think
even in her own time, some of her word choices
were a little stilted and kind of like people either
found them dry or a little bit removed. It was
like one critic that I wrote was talking about how
she wanted to talk about a lot of different parts

(26:47):
of the human experience, but because she really didn't have
that wide of a personal experience. You know, she traveled twice,
but even so she spent like six months of those
travels in a room basically and on her balcony because
she was ill. So she kind of is talking about
all of this stuff almost from a remove, and she
was like, you can feel the distance between what she's

(27:07):
trying to talk about and what it actually is. And
also when she talks about other cultures that she never
really experienced, there's always that weird kind of distance. But
it's worth checking out. Yeah, people made a similar criticism
about Phillis Sweetly, feeling like she was too removed from
the work that she was talking about. Yeah, so it's
fascinating stuff. I Uh, I always love a little bit

(27:30):
of history involving lady writers, especially people that don't maybe
get their due. Yeah, do you have listener mail for us?
You do. I got to pull it up because I
should have had it already and I didn't. Uh, this
is a funny one. It's short, but it is in
reference to our windsor McKay episode. But specifically, if you recall,

(27:51):
we talked about a strip that he wrote called dreams
of a rare Bit fiend, rare bit being uh like
a rich she's that was melted onto toast as a snack,
and it was said to give you bad dreams. Uh,
And she writes, I love the podcast, and I had
to send a little tidbit about rare bit dreams, the
actual event, not winds or mackay's strip. There was a

(28:12):
funny July review from Graham's Magazine of Emily Bronte's Wuthering
Heights that opined quote, there is an old saying that
those who eat toasted cheese at night will dream of Lucifer,
the author of Wuthering Heights, has evidently eaten toasted cheese.
How a human being could have attempted such a book
as the Present without committing suicide before he finished a

(28:32):
dozen chapters is a mystery, said, I have never heard
the concept of rare bit evoking weird dreams beyond this reference,
and I wanted to pass it along. That is kind
of a very mean review, but it is interesting that
it it went all the way back there and was
being used as a snarky way to talk about somebody's writing.
Since we were talking about a woman writer today, I

(28:53):
thought that was an interesting tie in. Uh. If you
would like to write to us and share any instances
of rare bit dreams that you have come across or
other you can do so at History Podcast at Houston
Works dot com. You can also find us at missed
in history dot com and all over social media as
missed in History. To come to the website, you'll find
our show notes episodes all the way back to the

(29:15):
beginning before Tracy and I were ever involved in the show,
and uh, you know, occasional other fun things. So come
and visit us at missed in history dot com. You
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