Peretz Hirschbein
| Peretz Hirschbein | |
|---|---|
 |
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| Born |
November 7, 1880 Melnik, Kleszczele, Grodno Governorate |
| Died | August 16, 1948 (aged 67) Los Angeles |
| Spouse | Esther Shumiatcher Hirschbein |
| Children | Omus Hirschbein |
Peretz Hirshbein (7 November 1880, Melnik, Kleszczele, Grodno Governorate – 16 August 1948, Los Angeles) was a Yiddish-language playwright, novelist, journalist, travel writer, and theater director. Because his work focused more on mood than plot, he became known as "the Yiddish Maeterlinck". His work as a playwright and through his own short-lived but influential troupe, laid much of the groundwork for the second golden age of Yiddish theater that began shortly after the end of World War I. The dialogue of his plays is consistently vivid, terse, and naturalistic. Unusually for a Yiddish playwright, most of his works have pastoral settings: he had grown up the son of a miller, and made several attempts at farming.
He was born in Grodno Governorate (present-day Podlaskie Voivodeship, Poland) where he was educated initially by local tutors, before he eventually made his way to Grodno and then Vilna, where he joined a circle of yeshiva students who studied the Bible, Hebrew grammar, and Jewish history together. Hirshbein began giving Hebrew lessons to support himself while publishing Hebrew poetry and writing Yiddish stories. He also began to shift from writing lyrical poetry to naturalist drama, starting with Miryam (1905), which he first wrote in Hebrew, later translated into Yiddish, and later still revised in Yiddish under the title Barg arop (Downhill). During the early 1900s, Hirshbein continued writing naturalist dramas in Hebrew, including Nevelah (Carcass), which in Yiddish (Di neveyle) became one of Hirshbein’s most successful works. Olamot bodedim (Lonely Worlds; 1906) marked a new symbolist phase in his career, as well as the end of his practice of writing originally in Hebrew. His symbolist Yiddish plays of this period include the one-act Kvorim-blumen (Grave Blossoms), Di erd (The Earth), In der finster (In the Dark), and Der tkies-kaf (The Handshake). He was instrumental in the revival of Yiddish theater in Russia shortly after the 1904 lifting of the 1883 ban on theatrical performances in that language. Prior to his involvement in Yiddish theater, he wrote several plays in Hebrew; these were published in the periodical Hazman, but there was no audience at that time for Hebrew-language theater.
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