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JEWISH WESTERN BULIETIM New Year Issue. Thursday, Sepiemfcter, 22, I960
MASTER OF THE LITERARY PORTRAIT
By ITZHAK IVRY
It is our intention in this essay to deal mainly with Nachum Sokolow, the writer, editor, and the master of the literary portrait.
Sokolow became a journalist very early in life. He was born in Wishograd, Russian Poland, and.began his editorial apprenticeship first as an assistant editor of the 'Hatzefira" in 1880, snd then as an associate editor, when the editor, Chaim Zelik Slonimsky was quick to appreciate SokoloW's talents. With the death of old Slonimsky, Sokolow became the editor of "Hat-zefira". Even before that, Sokolow distinguished himself by publishing a literary almanac, "Heasif' (1884), a great event in Hebrew literature at that time. The best writers and scholars of that generation contributed to "Heasif which reached more than 10,000 subscribers, an astonishing number at that time. The yearbook "Heasif" was continued for several years and was a forerunner of other important literary publications, some of them edited by Sokolow, like "Sefer Hashana" (1900, 1903, 1906). As a result of the literary and financial success of 'Heasif" the first Hebrew daily, "Hayom". began to appear in Russia, and in 1886 Sokolow's weekly "Hat-zefira" became a daily, as did its competitor, the weekly "Hame-litz." This brought about a tremendous change in the circle of Hebrew readership, which had broadened considerably. It w^as Sokolow who was the great Hebrew publicist and editor in the remarkable epoch between the early period of Smolenkin'c "Hashachar" and the time of A h a d H a a m's "Hashiloah." Nachum Sokolow not only encouraged new talents in all fields of literary and scholarly endeavor, but became a veritable fountainhead of Hebrew renaissance, in the best sense of the word, even before joining the Zionist fold at the First Zionist Congress where he became a devoted disciple and admirer of Dr. Herzl.
Like every man of extraordinary brilliance and manifold talents, Sokolow was basically modest, but at the same time, fee was well aware of the importance of the five years (1880-1885) in the history of modern Hebrew literature and of his role in it. In a touching essay about the eminent poet, feuilletonist and translator, Davjd Frischmann, Sokolow says. "This was the time of the dying sunset of Haskalah. The world of Hebrew literature was full of flowery language and charjning blabber. The 'world' of literature? Is not this word a terrible exaggeration? The question is not so much of whether there
are talents. Talents and tastes are a matter of chance. Sometimes they are common and then, again, rare. It is also not a matter of literary quality of books and publications. The real question is: Is it literature? The yardstick for a living and developing literature is the number of readers who understand, admire and become influenced "by it. If there is a considerable number of readers in all walks of life, and many people read and study these books and papers which reflect the spiritual image of the nation, then and only then it is real litei'a-ture. From this point of view, I state with all determination that modern Hebrew literature was created first in-the yedrs 1880-85. I mean it not only in the sense of quality but also in its very essence. Let's assume that better books were written before, although seldom, but what difference does that make? What can good books do and what is the use of the best newspaper and what is the advantage of a fluent writer when his work and influence are separated from the broad public and enclosed in a narrow circle? "Hashachar" had about 700 subscribers in its best years, "Hamelitz" had 1200 subscribers in its Odessa period. When I entered "Hatzefira" Weekly in 1880, the nurnber of subscribers was 1200. All the Hebrew publications together had barely 4000 subscribers, and the number of Ilebrew book purchasers was even smaller.
"Heasif" was the first modern Hebrew publication which found a way to the people. Within a few months we reached the figure of 10,000 subscribers. The next issue of "Heasif" has 12,000 subscribers, and it was a good sign that competition developed and another yearbook by the name of "Knesset Israel" appeared. Later came "Otzar Hasifruth" and "Knesset Hagdo-lah". I want to emphasize that I am not discussing here the business aspect of publishing. I am discussing the literary value of this phenomenon. Hebrew literature began to grow and to develop what was to become later the literature of a people."
For more than sixty years Sokolow was prominent in Hebrew life and letters. Even during his period of political and diplomatic activities, when he con-
his tremendous knowledge of Hebrew sources, tlie Bible, the Talmud and the Midrashim as well as latter rabbinical literature, and his constant and avid interest in the development of European and Hebrew literature made him a main participant in the regeneration and growth of the Hebrew language.
In his younger days, Sokolow tried his hand at poetry and drama, and also wrote a novel about Rabbi Yomtov Lippman Heller ("Tzadik VeNisgav"), 1882; and another novel, "Neu-rei Hanesher", about the period of Bar Kochba (1901); he com-posed a biographical dictionary of contemporary Jewish writers (1889) — a literary lexicon much needed in those times, and a book about Spinoza (1929). He also published a geography of Palestine, "Eretz Hemda", and translated several important works from other languages into Hebrew, among them. Dr. Herzl's "Altneuland", which he named "Tel Aviv" (1902). He planned a dictionary of the living Hebrew language, and he
sidered it his duty to desist from invented hundreds of new words participating as a publicist in | and expressions. He loved to
internal political controversies in Jewish and Zionist life, he did not put down his pen for a moment. When he died, in 1936, in London, he was found at his writing desk, because writing was his main task and joy in life. He was a natural writer and a tremendously prolific one.
In his early years at "Hatzefira" he sometimes filled the whole newspaper with articles, essays, feulletons and lively travel descriptions. His style continuously developed with the times. Although in his youth he was clearly under the influence of the Haskalah writers,'
revive old and forgotten expressions from the treasury of the Talmud, and the rabbinical literature. His phraseology is sometimes ornate, but always his own and never artificial. He loved the broad canvas, and the flowing forms of essay and speech not considering brevity of essence in the art, of writing.
It is the fate of the journalist that his work is often shortlived. Sokolo\y's journalistic fate was no different than that of many other eminent journalists of his time. But Sokolow was not only an eminent jour-(Continued' on Page 78)
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