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.”