New-York tribune. [volume] (New York [N.Y.]) 1866-1924, 1919-03-23

him. and such figures as Ash, Rabinowitch,
Hirschbein and Pinski the Yiddish drama
rose in artistic worth even SIS the stage
itself declined. There is no room here for
entering into discussion of the strange
condition of the stage itself--of rival
ries, factions, and so forth. The fact re-
mains, however, that the best contemporary
Yiddish plays must be read if they are to
be known. They are seldom, if ever, pro-
duced. In some cases their very authors are
anathema to the managers. kobrin is often.
forced to produce his own plays in specially
hired halls; so great a masterpiece as
Pinski's "The Treasure" (called by Profess
sor Baker, of Harvard, one of the greatest
dramatic works of the twentieth century,
is still to be produced in Yddish! Ash's
God of Vengeance" has shared better
fate, perhaps because of Ash's immense
popularity as writer of fiction. And is
the case really different on Broadway?
Hardly, as may be gathered at once from
even careless reading of such loud
condemnation as George Jean Nathan's
THE Popular Theatre"
This, indeed, is the GROWING paradox of
the Yiddish theatre: while its stage as a
whole has sunk to its nadir its drama is
at its zenith. Perhaps there is hope in the
news that the Irving Place Theatre has been
placed under Yiddish management and is
to present a better class of plays. We
had better wait before showering approval
Past theatrical history counsels patience
and watchful waiting.
And the future? Here again we stumble
across contradiction and paradox Wiener,
in the history of Yiddish Literature in the
NiDefeepfb
twenty years ago, questioned whether the
Yiddish stage would last another ten yu-rs
Since that date have been written some of
the finest dramas known not only to the
Jewish theatre, but to the theatrical litera-
ture of the world. In the same way the
extinction of the Yiddsh language itself
has been prophesicd on seemingly justifi-
able grounds. Yet like a Phoenix it risca
newborn from its own ashes, and as if to
mock the prophecies, men like Ash Hirsch-
bein, Kobrin and Pinski have written
Yiddish that sparkles with beauty, show
ing itself capable of shades, notifications
and harmonies hitherto unsupported
Yet Wlener's prophecy as to the stage,
and the various forebodings as to the ex-
tinction of the language ITSELF were found
ed upon certain facts of which Yiddish
"IlleIS themselves nave not been slow to
take cognzance. Even if the Yiddish stage
in this country should at last be claimed
by the melting pot, the Yiddish spirit will
continue to express itself in the adopted
English tongue-which to many Jews is
not adopted, but genuinely native-and
thus add a distinct note to American lit
erature The future of Yiddsh letters de-
Ponds perhaps chiefly upon those influences
that will operate to hold together or dis
integrate the ghetto's populace. After all.
History has habit of poking fun at proph-
ccies, and the future had best be left 10
her.
AS for the present, Yiddish letters can
boast pleiade of men who would do honor
to any tongue. The best of these il will be
our pleasure to present more at length
from time to time. With especial reference
to the stage, it is enough to point out that
these writer's undergo all the vcssitudGs
known to their American brethren; Broad
way and Grand Street are brothers under
the skin.
For students of comparative origins the
early history Of Jewish drama presents no
less attraction than its later history af
fords TO students of comparative drama