Fiddler on the Roof

The musical begins with what is likely the most famous song: “Tradition” (1). Tevye leads the cast in an explanation of the strict familial gender roles that dictate Jewish life in the village of Anatevka. The social structure is patriarchal and family-based, with the father leading and making decisions for the family. The mothers take care of the household “so Papa’s free to read the holy book” (1) because the father is also responsible for the family’s spiritual well-being. Because of this familial-based structure, marriage is central to upholding tradition. It is more important that Tevye’s daughters marry decent Jewish men than that Tevye has the power to choose those men, because marriage is required to perpetuate the lineage of sons and daughters to raise up and continue traditions. Tzeitel must hurry and marry a Jewish man while she can still bear children. For Yente, who was unable to have children with her husband, her childlessness relegates her to a different role in the community than as a mother.

Tradition, however, is separate from religious law. At the beginning of the Prologue, Tevye explains the tradition of covering one’s head with a yarmulke and wearing a tallit, or a prayer shawl, joking: “You may ask how did this tradition start. I’ll tell you—I don’t know” (1). He explains that life as a Jewish person in the village is difficult and uncertain, and tradition is a toehold. Following traditions is a way to maintain order, even at times when those traditions seem unnecessary. As Tevye says, “Because of our traditions, everyone knows who he is and what God expects him to do” (1). Questioning tradition challenges the social order, but not necessarily the religious order. Tzeitel and Hodel can uphold religious law through their marriages without letting Tevye choose their mates. Perchik points out to Hodel that the village is honoring an old-world version of Jewish tradition, such as separating men and women in the synagogue and forbidding them from dancing together. The Rabbi’s tendency toward stoicism and cryptic responses to questions shows that much of the traditional aspect of Jewish culture is open to interpretation.

Since Judaism is considered to be a matrilineal inherited religion (passed down from mother to child), birthing children is necessary to prevent Judaism from becoming extinct. A person with a Jewish mother is considered to be Jewish even if he or she converts to a different religion. While someone can convert to Judaism, Jews do not proselytize so conversion is not a significant way of ensuring the survival of the faith. This means that many traditions serve mainly to facilitate marriage and breeding. Fiddler on the Roof opened in a post-Holocaust world, even though it depicts a pre-Holocaust society. The emphasis on saving Jewish culture from annihilation and erasure became especially pertinent after 6 million Jews were killed in Germany. The play shows an earlier moment of persecution in which Tsar Nicholas II is attempting to eradicate Jewishness in Russia by forcing Jews to assimilate. This would require the abandoning of both tradition and religious law. Thus, Chava’s decision to marry a Russian Christian is a form of assimilation, which is why Tevye finds it unforgiveable.