DOVID FRISHMAN (DAVID FRISCHMAN) (December 18,
1860-August 4, 1922)
He was
born in Zgerzh (Zgierz), near Lodz, Poland, into a wealthy Hassidic
family. In 1862 he moved with his
parents, Shoyel and Freyde-Beyle, to Lodz, where he would live until 1881. Lodz had a large impact on his life and
work. His father, a major textile
manufacturer, was reputed to be a follower of the Jewish Enlightenment. He was close to the local writers’
circle. Such writers as Tsvayfel,
Gotlober, and others came to visit at their home. Dovid studied with the best teachers and
tutors both Jewish subject matter (even Kabbala) as well as secular subjects
and foreign languages. From his father
he inherited his critical-analytical mind, and from his mother the
idyllic-lyrical sensibility—as he would later write in his autobiography in
1892. He had at age nine already demonstrated
the nature of a book-worm. At fourteen,
he composed poems and stories in Hebrew and Yiddish, and he made his first
Hebrew translation from German; like his familiar “Lodz Yiddish,” German was
like his mother tongue. Among other
items, he wrote the satirical poem “Der shtiler neyder” (The silent vow) in Yiddish
and translated the first part of Dumas’s Count
of Monte Cristo into Hebrew, but he debuted in print in literature with the
short story “Hamore derekh” (The guide), signed “D. F.,” in Smolenskin’s Hashaḥar (The dawn) 9
(1878). With his full name, he would
later publish the poem “Letovat haklal” (For the good of the collective) in Hashaḥar. In those years he also contributed to Deutscher Lodger Zeitung
(German newspaper of Lodz). Due to the
impoverishment of his family, he left Lodz and until 1883 lived in Berlin,
where he met German Jewish writers, first and foremost Aharon Bernstein who
influenced him to translate into Hebrew
his [Bernstein’s] four-volume work Naturwissenschaftliche
Volksbücher (Popular work on natural science), which appear as: Yediot hateva (Information on nature)
(Warsaw, 1882-1885). Frishman also wrote
at this time for the publication Junges
Deutschland (Young Germany) and in Leopold von Sacher-Masoch’s Auf der Höhe (At the pinnacle) in
Berlin. In 1883 he returned to Poland and
settled in Warsaw, and from this point in time he began to concentrate on
literary criticism. That year he
published the pamphlet Tohu vabohu
(Chaos) (Warsaw, 60 pp.). With
persuasive clarity here, he came out against the excessively florid prose style,
hollowness, and inefficiency of Hebrew literature, primarily against the group
of Lilienblum, Yehalel (Yude-Leyb Levin), Smolenskin, Tsederboym, and the journal Hamelits (The advocate). The pamphlet, on the one hand, established
him among the first fighters for new form and content in Hebrew literature,
and, on the other hand, he suffered attacks by the writers he had himself
assaulted. This pushed him to gloom and
despair, but he went on writing articles, poetry, and stories, and published
them in a variety of works, among them: Sokolov’s anthology Haasif (The harvest) (Warsaw) 1 and 2
(1885-1886)—among these writings, the first of his well-known “Otiyot porḥot”
(Promises unfulfilled). In 1885 he was
invited to come to Leipzig and join the editorial board of Hayom (Today), where almost daily he published editorials and the
feuilleton series “Otiyot porḥot” (for a short time under the title “Bakol
mikol, kol” [Lock, stock, and barrel]), the first of its sort in the Hebrew
press. Without a doubt, they were a step
in the progress of Hebrew literature and the press. Frishman also published there the profoundly
critical essays “Mikhtavim al dvar hasifrut” (Letters on literature). During his St. Petersburg period, he became
friends with Sholem-Aleichem. The latter
also influence him to write in Yiddish.
Sholem-Aleichem invited him to contribute to his Folks-biblyotek (People’s library), that he was conceiving at the
time, and Frishman gladly accepted.
Inasmuch as the publication initially appeared in print in 1888, in the
interim Frishman went ahead and published his first Yiddish poem, “Afn bergl”
(On a hillside), in Dr. Y. L. Kantor’s Dos
yidishe folksblat (The Jewish people’s newspaper) of 1888, supplement 3 (in
the same issue that Sh. Frug debuted in print in Yiddish, and the two men drew
closer. He later published in supplement
26-28 his story “Haskores neshomes” (Custom of praying for the souls of
deceased relatives on specific holidays), and this is generally accepted as the
beginning of his literary activities in Yiddish. In Sholem-Aleichem’s Yidishe folks-biblyotek (Kiev) 1 (1888), he published the Yiddish
version of the poem “Ofir” (Ophir), which he had written earlier in Hebrew but
had been left in manuscript. The poem,
in blank verse and a searching language, caused a huge stir and inscribed a
date in the history of early Yiddish poetry.
Also, because “Ofir” appeared in the same collection as Y. L. Perets’s
“Monish,” perhaps unwittingly people compare both first Yiddish poems as the
debuts of two fames Hebrew writers.[1] There were some who considered “Monish” as a
great poetic achievement. Others and
Sholem-Aleichem himself praised Frishman’s “Ofir” more, and it was at this time
that the dispute between Frishman and Perets began. Although Frishman had
disdain for Yiddish, at this time (1889) he still wrote 130 poems in Yiddish,
as he expressed it: “Lyrical poetry, on motifs of love, nature, and longing,
which none of the zhargon [= Yiddish] writers from Elye Bokhur to Eliakum
Tsunzer (Zunser) have written very well”; and “they are the best of all that I
have written.”[2] He asked also to find someone in Kiev to
publish these poems. (Frishman’s Yiddish
poems were never published in book form, although in 1914, at the time of a
celebration for him when a portion of his Yiddish writings were being
published, he did prepare such a volume for publication. And, perhaps the manuscript was lost during
the war in 1914, when Frishman was evacuated to Odessa and later to St.
Petersburg?) A number of his poems were
published in Dos yidishe folksblat in
St. Petersburg (1889) and in Spektor’s Hoyzfraynd
(House friend) (Warsaw) 2 (1889). Aside
from poems and stories, he also published reviews (“Fun mayn sforim-tishl”
[From my desk with religious texts]) of Mendele, Sholem-Aleichem, Spektor, and
Sh. Bekerman—these constitute his first works of literary criticism in Yiddish. In 1890 he again left the country, and until
1895 studied history, national economies, and art history at Breslau
University. He then returned to Poland
and settled in Warsaw. He translated
into Hebrew for the publisher Aḥiasaf
scholarly and fictional writings, as well as children’s literature, among them:
George
Eliot’s Daniel Deronda, Schumacher’s Berenice, and Lippert’s Kulturgeschichte
der Menschheit in ihrem organischen Aufbau (Cultural history of humanity in its organic structure). He also published a volume of his new Mikhtavim al
dvar hasifrut. In this same period, he contributed to the Lukhes (Calendars) put out by Aḥiasaf, Hashiloaḥ (The shiloah), and Hoyz-fraynd 5 and 6. He renewed his attack on Perets and his
radical socialist Yontef bletlekh
(Holiday sheets) and published two sharp pamphlets: Lokshn (Noodles) and A floy
fun tishe bov (A flea on Tisha b’Av), a dark, jumping, living, biting
leaflet (Warsaw, 1894), 16 pp. and 30 pp., respectively (using the pen name
Avrom Goldberg). Over the years
1889-1901, he lived in Lodz. He worked
as an agent for an insurance company. In
those years he published in Naye lodzer
tsaytung (New Lodz newspaper).
Later, back in Warsaw, he served as editor of the weekly Hadoar (The mail), which was the best
edited Hebrew journal of its time. In
1904 he was again editing Hadoar, but
the journal did not last very long.
Frishman then turned his full attention once again to translations of
European literature: Andersen, Spielhagen, Pushkin, Byron, Goethe, and
others. In between, he edited for a time
the weekly Hazman (The times) in St.
Petersburg, Hazman in Vilna, and
later the anthologies Sifrut
(Literature) and Reshafim (Sparks)
(1901-1911). Among other items, he
published in these volumes his translation of Nietzsche’s Thus Spake Zarathrustra (as Ko
amar saratustra). From 1902 he
became a frequent contributor to the awakening Yiddish press and
periodicals. He wrote poetry, stories,
and feature pieces for: Der yud (The
Jew) in Warsaw-Cracow (among other items, the play Far meshiekhn [For the Messiah]), the daily newspaper Der fraynd (The friend) in St.
Petersburg, the collection Hilf
(Help) in Kiev (his poem “Daniel in leybngrub” [Daniel in the lion’s den],
written after the Kishinev pogrom), the daily newspaper Der veg (The way) in Warsaw, Di
tsayt (The times) and the Bundist daily Folkstsaytung
(People’s newspaper) in Vilna, Shmuel-Yankev Yatskan’s Dos idishe vokhenblat (The Jewish weekly newspaper)—in 1907; Di naye tsayt (The new times), the first
collection of young writers (Warsaw, 1907) of which he was also co-editor; Der land-shadkhn (The regional
matchmaker) and Di yunge velt (The
young world)—in 1908; and Der shtrahl
(The beam [of light]) of 1910; among others.
With the founding of Haynt
(Today) on January 22, 1908, Frishman became and remained a contributor to this
newspaper until his death. He introduced
herein for the first time in the Yiddish press the political and social feuilleton,
initially in the form of flyers and later every Friday, as a polished essay;
the series “Unzere literaturn” (Our literatures), which at the time aroused
bitterness in Yiddishist circles and his polemical attacks in connection with
the action pursued by Perets, together with other Yiddish writers and community
leaders, for a modern Yiddish theater.[3] Opposed to him were, among others: H. D.
Nomberg and A. Litvak. Following
Perets’s death, Frishman wrote of him in an altogether different tone, although
he did not renounce all the complaints he bore toward Perets.[4] In 1911 and 1912, he traveled on an excursion
for Haynt to the land of Israel, and
he published concerning it a series of articles in: Haynt, Hatsfira (The
siren), and Di tsayt in London. In late 1914, during the war, he moved to
Odessa and published feuilletons in Unzer
lebn (Our life); he was later a contributor to Petrograder togblat (Petrograd daily newspaper), the anthology Untervegs (Pathways) in Kiev, and other
Yiddish and Hebrew publications in the Russian empire. After the 1917 Revolution, he made his way to
Moscow and there edited the first three volumes of the anthology Hatekufa (The epoch); later, in Warsaw
he edited the subsequent six volumes. In
addition to stories, poems, and articles, he published in them a great number
of his own translations, such as: Homer’s Iliad,
Goethe’s Prometheus, Tagore’s The Gardener, Heine’s Die Nordsee (The North Sea), Anatole
France’s Thaïs, and Byron’s Manfred and Heaven and Earth. In
early1919 he returned to Poland and lived there until the middle of 1920, after
which he settled in Berlin. He continued
contributing work to Haynt in Warsaw,
and to Morgn-zhurnal (Morning
journal) in New York, and in addition to feuilletons he also published his
biblical stories from the series “Midbar” (Wilderness)—it is clear from these
just how original a storyteller he was.
Throughout his life he strove and here in distant biblical antiquity,
with its passion and wild heroism, he was able to give voice to one of his
strongest works.[5] He had the capacity and purpose to become one
of the most original Yiddish writers, and he did become a stylist in Hebrew,
working intensely and wholeheartedly with the goal of publishing his entire
corpus in forty volumes. He became ill
with cancer, suffered terribly for a lengthy period of time, and did not live
even to see the beginning of his dream.
He died in Berlin. Bialik and
Bergelson gave speeches at his funeral.
Frishman’s
Yiddish poems are included in various anthologies and readers, among others: Frayhayt (Freedom), a publication of the
Bund (1907); L. Yofe’s Lider farn folk
(Poetry for the people) (Odessa, 1908); Y. Fikhman’s Di yudishe muze (The Jewish muse) (Warsaw, 1911); Dovid Kasel’s Antologye (Anthology) (Warsaw, 1913); the
Soviet Mut (Courage) (Moscow,
1920) and Lebedik bagrobn (Buried
alive) (Kharkov, 1935); Yoyel Entin’s Yidishe
poetn, hantbukh fun yidisher dikhtung
(Yiddish poets, a handbook of Yiddish poetry) (New York, 1927); H. D. Hurvitsh,
Yidishe literatur (Yiddish
literature) (Moscow, 1928); M. Basin, Antologye, 500 yor yidishe poezye
(Anthology, 500 years of Yiddish poetry) (New York, 1917); and Revolutsyonerer deklamator, zamlung fun lider, poemes, dertseylungen,
eynakters, tsum farleyenen, shipln un zingen bay arbeter-farveylung
(Revolutionary declamation, collection of songs, poems, stories, [and] one-act
plays to read aloud, enact, and sing for workers’ entertainment) (New York,
1933). His Hebrew-language poetry and
stories appeared in virtually every Hebrew anthology and textbook. A large number of his novellas and poems have
been translated into Polish, Russian, German, and other languages. Frishman also wrote under such pen names as:
A. B. G. D., Ipslun, D. F., D. F. M., David, Dan, Yekhiel Ber, Efrati, Heine
Hakatan, Meshorer Haluaḥ,
D. Shoyelzohn, Mivaker, and Biblyograf. He
used these pseudonyms primarily in Hebrew publications: Haasif, Ben-ami (Son of
my people), Haboker (This morning), Haboker or (The morning light), Peraḥim (Flowers), Hador (The generation), Hazman,
Hayom, Kneset (Gathering), Luaḥ aḥiasaf,
Hatsfira, Hamagid (The preacher), Hamagid
leyisrael (The preacher to Israel), Moledet
(Homeland), Miklat (Refuge), Sifrut, Netivot (Pathways), Reshafim,
Ivri anokhi (I am a Jew), Haolam (The world), Haatid (The future), Hashaḥar,
Hashiloaḥ, Hatekufa, and Talpiyot (Fortresses).
As
Zalmen Reyzen noted: “Frishman left behind deeply innovative footprints in
modern Hebrew literature, as one of its stunning contributors to all literary
fields and journals—from quiet lyrical poems, short novellas and stories,
essays and the art of translation.
Entirely separate from this, he created a distinctive standing in
literary criticism, in which he made his life’s task the battle against florid
prose, inefficiency, and tastelessness in Hebrew literature and the press in
his time. Throughout his life, he
executed the oath that he offered in his historical pamphlet Tohu vabohu: ‘This shall not be!
I swear by my life that, if I should compel you with violence to turn
away from good taste, from charm and from good sense, the distinctiveness that
you possess, and inculcate in you good taste; no special taste or distinctive
emphasis, only the taste and emphasis which thrives in all Western countries.’ He learned to seek out beauty and feeling
everywhere, in every literary direction, to regard a work of art mostly for
itself, not as a problem. All of his
criticism was one lengthy accusatory act against Hebrew literature (and Yiddish
literature as well), whose love for pure art made him its severest judge. Even when our prose and poetry had become so
rich, he never stopped demanding great, monumental work…. In Hebrew he was one
of the most beautiful and magnificent stylists, with an extraordinarily
striking and elastic language, full of charm and grace, while in Yiddish
Frishman evinced a carelessness in style and never rid himself of
Germanisms…. He was by his very nature,
however, a Hebrew writer, in a certain sense even a Hebraist…. His significance to Yiddish literature is no
smaller [than to Hebrew literature]….
His poems brought to Yiddish poetry new gentle tones, a smooth form,
European motifs and rhythms…. And
finally we need also to point out that even Frishman as a Hebrew author had an
indirect impact on Yiddish literature at the time, when it was still not so autonomous
and independent of Hebrew [literature], as it has since become in our modern
literary epoch.”
“In
Frishman’s writing,” Shmuel Niger has written, “there is a patterned
architecture, of a mathematical sentence….
The most steadfast and surest of his edifices are his essays and
feuilletons. In them he provides no foreign
lives, as in his stories, but his own life, his own world, which he can
admirably control; for them he has enough emotional power and expressiveness
(for pure lyricism is his psychic life, often too consciously, too
intellectual); in them, the essays and feuilletons, he reached the highest
level of his authorial art…. There were
no comparable figures in either Hebrew or Yiddish literature. He analyzed, apportioned, and made clear
details and ideas, feelings or images, which lived within him, that ultimately
one gets not get a batch of more or less interesting, characteristic details,
but an entire thing, an organism; the harmonious and the synthetic merge in his
writing…. As with every sincere fighter,
there was something childish about him, something naïve, but even more apparent
in him was his passion…. The almost
tenderly lyrical, the almost visionary fragments of his prose poems, was the
everlasting attraction of his creative work.
They were the first offspring of his young Hebrew lyricism, its first
portent.”
In book
form in Yiddish: his first Yiddish collection was Kleynikeyt (Trifles) (Tarnów: A. Rushinovski, 1894), 32 pp.,
including the stories “Masei” (Journeys [title of a Torah portion]) and “Um
yonkiper” (On Yom Kippur), among other pieces, translated from Hebrew with a
preface by Frishman which was characteristic of his Enlightenment approach to
Yiddish at the time—“One does not pour out impure water before one has the
pure—as long as the common people are incapable of an education and of knowing
how to acquire a European language, for that long we shall be obliged to
provide the same things in the zhargon language”; Dray hobn gegesn um yonkiper, ertsehlung (Three ate on Yom Kippur,
a story) (Warsaw, 1905), 14 pp.; his collected writings (Ale verk) began appearing in 1909 with Ertsehlungen (Stories), 2 vols. (Lodz, 1909), later 3 more vols.
(Warsaw-New York, 1911-1914) [see below]—vol. 1, 189 pp., including “Dos kleyne
malekhl” (The little angel), “Kidesh-levone” (Blessing the new moon), “Nor eyn
shabes” (Just one Sabbath), “Tiskhadesh” (Wear it in good health), “Likht”
(Light), “Der golem” (The golem), “Af a zumer-voynung” (At a summer residence),
“Bay a seyfer toyre” (With a Torah scroll), “Der kinstler” (The artist), “Ven
di toyte voltn kenen reden” (If the dead could speak), “Reb meyer bal nes
pushke” (Synagogue charity box), “Vi ikh hob zikh aleyn a pogrom gemakht” (How
I made a pogrom all by myself), “Gegesen” (Eaten), “Matses” (Unleavened bread),
“Vegen eyn eyntsig pintele” (Concerning one particular point), and “Er iz
nifter gevorn” (He has died); vol. 2, 231 pp., including “Tsu kolnidre” (At
“Kol Nidre” [prayer beginning Yom Kippur]), “Mates un masei” (Tribes and Journeys
[titles of two Torah portions]), “Koperniks gegner” (Copernicus’s opponent),
“Der tants” (The dance), “Tikn leyl shvues” (all-night study session on the eve
of Shavuot), “Der koyen” (The Kohen), “Hare es” (It’s you), “Haskores neshomes,” “Ekhen in varshe” (A snake
in Warsaw), “Sinay” (Sinai), and “Dos letste mol” (The last time); vol. 3, Yidish teater un yidishe literatur
(Yiddish theater and Yiddish literature) (Warsaw: Tsentral, 1914), 201 pp.;
vol. 4, Shotenbilder (Silhouettes)
(Warsaw: Tsentral, 1914), 173 pp., including articles on Shloyme Rubin,
Sholem-Yankev Abramovitsh [Mendele], M. L. Lilienblum, Yehalel, Dr. Y.
L. Kantor, Ben-Yehuda, Elkhonen Leyb Levinski, Dovid Ginzburg, Theodor Herzl,
David Wolfsohn, Em. Mandelshtam, Menashe Margoles, Tolstoy, Suvarin, Fanny
Vadi-Epshteyn, and Madame Lobel; vol. 5, Felyetonen
(Feuilletons) (Warsaw: Tsentral, 1914), 240 pp., including travel anecdotes
from the land of Israel, Egypt, Monte Carlo, and elsewhere. After Frishman’s death, two further volumes
of his feuilletons appeared in print: (1) Vort
un bild (Word and image) (Warsaw, 1927), 152 pp; and (2) Milkhome un sholem (War and peace)
(Warsaw, 1927), 188 pp. His Yiddish
poetry, a great number of his articles, feuilletons, pamphlets, and the series
of his biblical tale “In der midber” (In the wilderness) have not been [collected
and] published in book form. His wife
Lili published Ale verk fun dovid frishman
(Collected works of Dovid Frishman) in six volumes (Warsaw, 1929): (1) Geshtaltn (Images); (2) Ertsehlungen; (3) Ertsehlungen; (4) Ertsehlungen;
(5) Teater un literatur (Theater and
literature); (6) Tsayt-motivn (Topics
of the time)—second edition (Warsaw, 1938), third edition (Warsaw, 1939),
fourth edition (Mexico City, 1949).
His books in
Hebrew: Ketuvim nivḥarim (Selected
writings) in four volumes (Warsaw, 1899-1905); the first full jubilee edition, Kol kitve david frishman (Collected
writings of David Frishman) in eight volumes (Warsaw, 1910-1912); Kol kitve David frishman umivḥar targumav
(Collected writings of David Frishman and selected translations) in seventeen
volumes (Warsaw: Merkaz, 1914). The last
of these includes Sefer habikoret (Volume
of criticism) with a biography of Frishman, written by F. Lakhover, and
articles on his work by: Dr. Y. L. Kantor, M. Y. Berdichevski, Y. Fikhman,
Ben-Eliezer, A. Shteynman, and Y. Beyzits.
After his death, two further volumes: (1) Shiva miḥtavim ḥadashim al dvar hasifrut (Seven new letters on
literature) (Berlin, 1923), 205 pp.; and (2) Bamidbar (In the wilderness) (Berlin, 1923), 239 pp. Subsequent volumes published by his wife: Kol kitve (Collected writings), poetry
(Warsaw, 1925), 327 pp.; Igrot
(Letters) (Warsaw, 1927), 179 pp.; Kol
kitve david frishman in eight volumes (Warsaw, 1929); Sipurim veshirim (Stories and poems) (New York, 1938); Bamidbar (Tel Aviv, 1940); Mivḥar ketuvim (Selected writings) (Tel
Aviv, 1947); and the newest edition of Kol
kitve in eight volumes (Tel Aviv: M. Nyuman, 1954-1966). Among these collections, however, is not to
be found: his book Baarets (On the
land), essays and impressions from his voyage to Israel (Warsaw, 1911), 53 pp.;
Igron shalem (The complete
letter-writer), a letter-writing manual in Hebrew, Russian, Polish, and
Judeo-German in which is included a short course in simple bookkeeping, with
Avraham Yaakov Paperna and Mrs. Hes (Warsaw, 1911), 132 pp.; Hatḥalat ḥumash (The beginning of the
Pentateuch), in language written for children (Warsaw, 1911), 155 pp. Hillel Tsaytlin published a series of
articles entitled “Moyshe rebeynu un zayn redaktor dovid frishman” (Moses and
his editor, Dovid Frishman) in Moment
(Moment) (Warsaw, 1911-1912), an attack on Frishman due to this last volume;
Frishman answered him to the effect that the following sentence was missing:
“Only for children who do not have tools to study Torah by chance” (Haynt) in 1912.
Sources: Zalmen Reyzen, Leksikon, vol. 3 (with a thorough bibliography in Hebrew and
Yiddish until 1928); Frishmans
yubileum-bukh, tsu zayn fuftsig-yohrigen geburts-tog (Frishman’s jubilee
volume, on his fiftieth birthday) (Warsaw, 1914), 215 pp.; Shmuel Niger, Lezer, dikhter, kritiker (Reader, poet, critic), vol. 2 (New York, 1928), pp. 406, 559-93;
Niger, Kritik un kritiker
(Criticism and critic) (Buenos Aires: Argentinian division of the World Jewish
Culture Congress, 1959), pp. 346-60; Dr. Y. Shatski, in Pinkes (Records) (New York, 1928), pp. 385-86; Dr. A. Koralnik, Dos bukh fun vortslen (The book of
roots) (Warsaw, 1928), pp. 73-78; Koralnik, Babayit
uvaḥuts, deyoḳane maḥashavot veishim beyisrael uvaamim (At home and
abroad, portraits of ideas and personalities in Israel and its people) (Tel
Aviv, 1964), pp. 187-94; A. Gurshteyn, in Tsaytshrift
(Minsk) 2-3 (1928); Avrom Goldberg, in Haynt
yoyvl-bukh (Jubilee volume for Haynt)
(Warsaw, 1928), pp. 19-20; Avrom Reyzen, Epizodn
fun mayn lebn (Episodes from my life), vol. 2 (Vilna, 1928), pp. 61-62,
vol. 3 (Vilna, 1935), pp. 288-91; H. D. Nomberg, Mentshn un verk (People and their writings) (Warsaw, 1930), pp.
163-67; Nakhmen Mayzil, Perets, lebn un
shafn (Perets, life and work), vol. 1 (Vilna, 1931), pp. 205-30; Mayzil, Yitskhok-leybush perets un
zayn dor shrayber (Yitskhok-Leybush Perets and
his generation of writers) (New York, 1951), pp. 289ff; Mayzil, Tsurikblikn
un perspektivn (Retrospectives and perspectives) (Tel Aviv: Perets Publ.,
1962), see index; Zalman Shneur, in Forverts
(New York) (June 24-July 1, 1932); Shneur, Ḥ.
n. byalik uvene doro (Ḥ.
N. Bialik and his generation) (Tel Aviv: Devir, 1952/1953); Shneur, in Hadoar (New York) (June 5-July 19,
1953); Shneur, David frishman veaḥerim
(David Frishman and those after him) (Tel Aviv, 1959), pp. 379ff; Ruvn Brainin, in Tog (New York) (August 27, 1932); M.
Ribalov, in Hadoar (August 27, 1932);
Nosn Grinblat, in Literarishe bleter
(Warsaw) 38 (1932); Sefer natan goren
(Volume for Natan Goren) (Tel Aviv, 1958), pp. 153ff; R. Fridkin, in Yidishe
bilder (Riga) 9 (1937); Jack Lev, in Unzer
ekspres (Warsaw) (August 30, 1937); F. Laḥover, Rishonim
veaḥaronim (The earlier and the later ones) (Tel
Aviv, 1958), see index; M. Kitay, Unzere shrayber un kinstler (Our writers and artists) (Warsaw: Jewish Universal Library,
1938), see index; Shmuel Leshtshinski, Literarishe eseyen (Literary essays) (New York: Gershuni, 1938),
pp. 53-58; Hillel Tsaytlin, in Tsukunft
(New York) (August 1938); M. Y. Freyd, Yamim
veshanim, zikhronot vetsiyurim mitekufa shel ḥamishim
shana (Days and years, memoirs and paintings from a period of fifty years),
vol. 2 (Tel Aviv, 1938/1939), pp. 194-204; Y. Y. Sigal, in Keneder odler (Montreal) (May 15, 1944); Moyshe Shtarkman, in Poylisher yid (Polish Jew), annual
(191944); E. R. Malachi, in Hadoar
(August 1, 1947) on Frishman’s last will; A. Shteynman, in Hadoar (1947); Shteynman, in Heymish
(Tel Aviv) (December 1960); Shteynman, in Davar
(Tel Aviv) (May 4, 1962; September 7, 1962); Shteynman, in Idisher kemfer (New York) (March 29, 1963); Froym Kaganovski, Yidishe shrayber in der heym (Yiddish writers at home) (Lodz, 1949), pp.
67-71; Dr. A. Mukdoni, Yitskhok
leybush perets un dos yidishe teater (Yitskhok Leybush Perets and Yiddish theater)
(New York, 1949), see index; Nokhum Sokolov, Perzenlekhkeytn (Personalities) (Buenos Aires: Central Association
of Polish Jews in Argentina, 1948), pp. 65-68ff; Y. Likhtenboym, Sofrenu,
mimapu ad byalik (Our literature, from Mapu till Bialik) (Jerusalem, 1950),
see index; Likhtnboym, Hasipur haivri
(The Hebrew story) (Tel Aviv, 1955), see index; Aharon Ben-Or, Toldot hasifrut haivrit haḥadasha (History of modern Hebrew literature), vol. 2
(Tel Aviv, 1951), pp. 83-104; Yankev Botoshanski, in Di naye tsayt (Buenos Aires) 190 (1952); A. Kariv, in Molad (Tel Aviv) 68-69 (1951/1953);
Yankev Fikhman, Regnboygn
(Rainbow) (Buenos Aires, 1953), pp. 262-67; Dov Sadan, Kearat egozim o elef bediha ubediha, asufat humor
be-yisrael
(A bowl of nuts or one thousand and one
jokes, an anthology of humor in Israel) (Tel Aviv, 1953), see index; Yoyel
Mastboym, in Letste nayes (Tel Aviv)
(December 25, 1953); Ben-Tsien Kats, in Tog-morgn-zhurnal
(New York) (June 27, 1954; July 7, 1954; August 8, 1954); Kats, Zikhronot (Memoirs) (Tel Aviv, 1962/1963),
pp. 118-26, 280; Shelomo Shreberk, Zikhronot hamotsi laor shelomo shreberk
(Memoirs of a publisher, Shelomo Shreberk) (Tel Aviv: Sh. Shreberk, 1954), pp.
136-37; Moyshe Grosman, in Fun noentn
over (New York) 2 (1956), pp. 13, 42, 48; Khayim Leyb Fuks, in Fun noentn over 3 (1957), see index; Avraham
Shaanan, Milon hasifrut haḥadasha
haivrit vehakelalit (Dictionary of modern Hebrew and general literature)
(Tel Aviv, 1959), pp. 644-48; Kalmen Marmor, Mayn lebns-geshikhte (My life history), vol. 1 (New York: IKUF, 1959),
pp. 318-19; Kitve r’ benyamin (The
writings of Rabi Benyamin) (Jerusalem, 1959/1960), see index; Arn Tsaytlin, in Tog-morgn-zhurnal (February 19, 1960;
December 21, 1962; December 17, 1965); Y. Ḥ. Ravnitski, Dor
vesofrav (The generation and its writers) (Tel Aviv, 1960/1961); Sh.
Pnueli, Sifrut kefshuta (Tel Aviv,
1963), pp. 252-344; Y. Emyot, In mitele
yorn, eseyen, dertseylungen, lider (In middle age, essays, stories, poems)
(Rochester: Jewish Community Council, 1963), pp. 169-62.
Khayim Leyb Fuks
[1] See Shimen Dubnov, in Voskhod (Sunrise) VII (1889).
[2] See his letter to Y. Y. Vaysberg of August 7, 1889.
[3] See A. Mukdoni, Yitskhok leybush perets un dos yidishe teater
(Yitskhok Leybush Perets and Yiddish theater) (New York, 1949).
[4] See the anthology Kneset
(Assembly) (Warsaw, 1917); reprinted in Heftn
far literatur (Literary notebooks) (Lodz, 1919).
[5] See Dr. A. Koralnik, Dos bukh fun vortslen (The book of roots) (Warsaw, 1928), pp.
73-78.
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