The Panic of 1873 led to growing criticism of high finance and the spread of radical Antisemitism, which in the 1880s became a broad undercurrent. These criticisms saw a separation of capital into what was construed as "raffendes" (speculative capital), and what constituted "constructive" creative production capital. The "good", "native", and "German" manufacturer was praised by Antisemitic agitators, such as Theodor Fritsch, who opposed what he saw as "'rapacious' 'greedy', 'blood-sucking', 'Jewish' financial capitalism in the form of 'plutocrats' and 'usurers'". Busch was thought to have embraced those stereotypes. Two passages are often underlined, one in "Helen Who Couldn't Help It":