Tuesday, 6 March 2018


DOV SADAN (February 21, 1902-October 14, 1989)
            The Hebraized name (since 1948) of Dov-Berl Shperber-Shtok, he was born in Bród (Brody), Galicia, into a well-pedigreed home which his great great grandfather had purchased from Gershon Kitever, the brother-in-law of R. Israel Bal-Shem-Tov.  His father was Khayim-Tsvi Hacohen Shtok (Stock), descendant of Yoysef-Moyshe Shpiro [1735-1815], the preacher of Zalozits, author of Brit avram (The covenant of Abram) on the Torah and of Bar mayim (Well water) on the Passover Haggadah; he was a student of R. Dov Ber, the preacher of Mezeritch, the successor to the Bal-Shem-Tov, and of Mikhl Zlotshever.  For many years Sadan used the family name of his mother, Tsharne Shperber.  He lived in Bród until he was eight years old, thereafter in neighboring Stary Bród (Old Brody).  He attended religious elementary school until age six, and later studied in a Jewish public school, later still with famed Talmud scholars.  He attended a Polish high school, first in Bród and later in Lemberg.  He had no university education, save several years later studying at the Berlin senior high school for politics.  He made his first efforts at writing when still young for a German-language children’s newspaper, although his best languages at that time were Yiddish, Hebrew, and Polish.  In his early youth he joined the organization Pire Tsiyon (Flowers of Zion).  In 1917 he joined the scouts organization Hashomer (The guard)—later, Hashomer Hatsair (The young guard)—and he was expelled from high school for putting down Hebrew, instead of Polish, as his mother tongue and for violating the ban on writing for the press.  His actual literary activity began in 1920 for the Polish Jewish daily newspaper Chwila (Moment) in Lemberg, with a Polish translation from Hebrew, and at the same time he debuted in print in Yiddish in Lemberg’s Togblat (Daily newspaper) with a translation of a poem by Maria Konopnicka.  In 1921 he published in Przemyśl his volume of Hebrew poetry, Tselilim (Notes), and a year later he began publishing poetry in Yiddish in Folk un land (People and country), the Warsaw Zionist organ.  In 1922 he joined Haaluts (The pioneer) and in 1924 became the Haaluts leader in Lemberg for all of Lesser Poland (Galicia), and he edited the pioneer youth newspapers: Itonenu (Our newspaper) and Beshaa zo (At this time).  He served as secretary of “Brit hanoar haivri” (Covenant of Jewish youth), the world association of Hebrew youth, and in Warsaw he edited, together with David Lifshits, the Hebrew-language weekly Haatid (The future).  After five months he left Warsaw, and in late 1925 made aliya to the land of Israel.  The first two years there, he worked on Kibbutz Aliya Alef and in Benyamina, Zikhron Yaakov, Peta Tikva, and Bnei Brak.  At the invitation of Berl Katsenelson, he began in 1927 to write regularly for the daily newspaper Davar (Word) in Tel Aviv.  In 1928 he was in Germany as emissary for Haaluts.  After returning to Israel, he worked as a teacher in Naharayim (at the hydro-electrical power plant of Pinhas Rutenberg) and in Tiberias.  Until 1930 he was inclined toward Hashomer Hatsair, but after that point he no longer belonged to any political party.  He was a member of the Federation of Labor.  In 1933 he renewed his relationship as contributor to Davar, and he moved from Jerusalem to Tel Aviv.  He began as a journalist in the newspaper, providing news of the labor movement and on events in world politics, and he prepared translations from various languages.  Six years later, he became in turn editor of the weekly literature page in Davar.  When the mass aliya of German Jews began, he edited Hege (Steering wheel), a daily newspaper with vowel points indicated and difficult words translated into German.  In 1933 he was editor of Am Oved (Working nation), book publishers of the Federation of Labor.
            One of the most productive Jewish writers, Sadan is a member of the household of virtually every literary form.  He contributed to the majority of newspapers and journals in Israel, and from the beginning of his writing activities, he used some sixty-three pseudonyms.  His writing productivity included translations of Yiddish poetry and prose, Hebrew essays on Yiddish and Yiddish writers, research into the fields of Yiddish literary history, linguistics, folklore, and humor, and introductions to translations which others rendered from Yiddish into Hebrew.  In 1950 Sadan was invited by the Hebrew University in Jerusalem to become an instructor in Hebrew stylistics.  In 1952 he became instructor, later professor, of Yiddish language and literature, and the director of the Yiddish department which was established at Hebrew University on the initiative of Jewish National Workers’ Alliance in the United States.  Sadan’s literary work in Yiddish saw expression primarily in the weekly Yisroel-shtime (Voice of Israel) and in the quarterly journal Di goldene keyt (The golden chain).  He was one of the most popular lecturers in the state of Israel, and his lectures, either from the dais or on the radio, included Yiddish language and wordsmiths.  He served as a member of the more important literary juries to judge Hebrew and Yiddish literature and scholar prizes.  He was himself honored with several awards.  In 1958 he received the “Pras olon” (olon Prize) for his book Avne safa (Curbstones) (Tel Aviv: Am oved, 1956), 410 pp.; in 1964 he received the Irving and Bertha Newman Award from the Institute for Hebrew Studies at New York University for his book of essays entitled Ben din leeshbon (Between law and accounting) (Tel Aviv, 1963), 392 pp.  He received an award as well at a solemn meeting at the President’s Residence in Jerusalem in the presence of President Zalman Shazar.  In April 1964 Sadan gave the keynote address at the opening of the Hebrew writers’ conference.  On an earlier occasion he wanted Yiddish writers to be included in the Agudat Hasofrim (Association of [Hebrew] writers).  He was a member of the Academy of the Hebrew Language and of the Israel National Academy of Sciences.  In 1968 he received the Israel Prize for Jewish studies and in 1980 the Bialik Prize for literature.  He served in the Knesset from 1965 to 1968.  He co-edited a series of anthologies and periodicals, including: Reshumot (Gazette), Umot (Peoples), and Perozdor (Corridors); of the jubilee volumes honoring Sh. Y. Agnon and Avrom Sutzkever; and of Pirke galitsiya (Chapters from Galicia), a remembrance volume for Dr. Avraham Silbershain.  He edited Kehilat stanislav (Community of Stanislav) (Jerusalem, 1952), the Hebrew-Yiddish periodical Yahadut polin (Polish Jewry) (Tel Aviv, 1963), and the works of R. Benyamin, among other such ventures.  His Hebrew translations from various languages would include the works of Li Taibo, Max Nordau, Theodor Herzl, Adolf Stand, Janusz Korczak, Sammy Gronemann, and Max Brod.  Among his translations from Yiddish are works by Ber Borokhov, Tsvi Bikel-Spitser, Yoysef Opatoshu (Yom be-regenspurk [A day in Regensburg] [Tel Aviv, 1943]), and Der Nister (Hanazir vehagediya, sipurim, shirim, maamarim [The Nazirite and the goat, stories, poems, essays] [Jerusalem: Mosad Bialik, 1963]).  His prefaces to the Hebrew translations that others rendered from Yiddish include the ones to Shimshon Meltzer’s anthologies Al naharot (By the rivers), Hebrew translations of modern Yiddish poetry.
            Some of his book-length works: Tselilim, poetry (Przemyśl, 1921); Der emes vegn der yevsektsye un birobidzhan (The truth about the Jewish section and Birobidzhan) (Warsaw and Buenos Aires, 1935), 71 pp.—also in German translation as: Birobidjan-Palästina, das Ende einer Illusion (Birobidzhan-Palestine, the end of an illusion) (Prague, 1937), 79 pp.; Mimaoz hayaldut (From the realm of childhood), childhood memories (Tel Aviv, 1938), 328 pp.; Zemer am, kovets lefolklora muzikalit yehudit (Song of the people, collection of Jewish musical folklore) (Tel Aviv, 1945), 158 pp.; Baalakhson (Obliquely), stories (Tel Aviv, 1945); Goral vehakhraa (Fate and decision), about Shlomo Shiler, the Aad Haam of Galicia (Jerusalem, 1942/1943), 175 pp.; Mimagal haneurim, pirke vidui vezikaron (From the circle of youth: chapters of confession and memory) (Tel Aviv, 1946), 262 pp.; Aarit hashaashuim (The afterlife) (Tel Aviv, 1945/1946), 106 pp.; Hamenagen hamufla (The great player), a biography of Mikhl Yoysef Guzikov (Tel Aviv, 1946/1947), 192 pp.; Maasim shehayu kakh hayu (Acts that were so), stories (Tel Aviv, 1947), 58 pp.; Al sifrutenu (Our literature), on the character of Jewish literature and its languages (Jerusalem, 1949/1950), 70 pp.; Kokhav nida (A remote star), a biography of Benjamin Gruell (Tel Aviv, 1950), 103 pp.; Kearat tsimukim (A bowl of raisins), 1001 Yiddish anecdotes with notes of variants (Tel Aviv, 1951/1952), 560 pp.; Hanamer veyedido hamenamnem, asufat maamarim (The tiger and his dozing friend, a collection of articles) (Tel Aviv, 1951), 200 pp.—about the German people, German culture, and German Jews; Avne boan (Touchstones) (Tel Aviv, 1951), 430 pp.—literary critical essays; 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)—1001 Yiddish anecdotes and variants, a sequel to Kearat tsimukim; Avne zikaron (Stones of memory) (Tel Aviv, 1953/1954), 338 pp.—memoirist essays, portraits of writers and other personalities; Avne safa (see above)—studies in Hebrew linguistics; Leagnon shai, devarim al hasofer usefarav (On Shai Agnon, matters concerning the author and this writings) (Jerusalem, 1958/1959), 341 pp.—biographical and critical studies; Avne miftan, masot al sofre yidish (Milestones, essays on Yiddish writers), vol. 1 (Tel Aviv: Perets Publ., 1961)—Hebrew essays on Yiddish writers; Ben din leeshbon, essays on Hebrew authors and assessments of Hebrew books; Avne gevul, al ishim uderakhim (Boundaries, on personalities and ways) (Tel Aviv, 1964), 230 pp.; Galgal hamoadim (The cycle of festivals) (Tel Aviv, 1964), 195 pp.—diverse material in honor of the holidays; Yerid hashaashuim (The fair) (Tel Aviv, 1964), 234 pp.; Sifrut yidish bepolin ben shete milamot haolam (Yiddish literature in Poland between the two world wars) (Jerusalem, 1964), 160 pp.; Sugyat yidish bemasekhet bialik (The issue of Yiddish in the context of Bialik) (Jerusalem, 1965), 77 pp.; Betsetekha uveoholekha (When you go out and when you are at home) (Ramat Gan, 1966), 144 pp.; Di khokhme fun khokhmes, tsu der byografye fun vort un vertl (The wisdom of wisdoms, on the biography of word and expression) (Tel Aviv: Perets Publ., 1967), 204 pp.; Avne miftan, masot al sofre yidish, vols. 2 and 3 (Tel Aviv: Perets Publ., 1970, 1972), 365 pp., 383 pp.; Avne gader, al sofrim vesefarim (Stone fence, on writers and books) (Tel Aviv, 1970), 215 pp.; Elkha vaashuva, devarim beinyene emunot vedeot (Go and come back, matters of faith and understanding) (Tel Aviv, 1971), 175 pp.; Kheyn-gribelekh, tsu der byografye fun vort un vertl (Dimples, on the biography of word and expression), 2 vols. (Buenos Aires: Culture Congress, 1971-1972); Belashon medaber baado (Language speaks for it) (Tel Aviv: Eked, 1972), 152 pp.; Alufi umeyudai (Masterful and knowledgeable) (Tel Aviv: Am Oved, 1972), 247 pp.; Heymishe ksovim, shrayber, bikher, problemen (Familiar writings, writers, books, issues) (Tel Aviv: Hamenorah, 1972), 559 pp.; Pulmus usheve-pulmus (Polemic and polemic) (Jerusalem: Mosad Bialik, 1972), 296 pp.; A vort bashteyt, shpatsirn tsvishn shprakh un literatur (A word remains, strolling between language and literature) (Tel Aviv: Perets Publ., 1975, 1978, 1983), 3 vols. (230 pp., 252 pp., 171 pp.); Oraot ushevilim, masa, iyun, eker (Ways and paths, essay, study, research) (Tel Aviv: Am oved, 1977), vol. 1 “Ishim” (Personages), 420 pp., vol. 2 “Inyanim” (Matters) (1978), 335 pp., vol. 3 “Sofre yidish usifruta” (Yiddish writers and their literature) (1979), 269 pp.; Al shai agnon (On Shai Agnon) (Tel Aviv, 1978), 228 pp.; Or zarua, bina beleshonotav she shimshon meltsar (Light is sown, insights into the languages of Shimshon Meltzer) (Jerusalem, 1978); Toyern un tirn, eseyen un etyudn (Gates and doors, essays and studies) (Tel Aviv: Yisroel-bukh, 1979), 328 pp.; Tsvishn vayt un noent (Between far and near) (Tel Aviv: Yisroel-bukh, 1982), 306 pp.; Avne shaashua (Stones of amusement) (Tel Aviv, 1983), vol. 1 “Lashon sofer vesefer” (Language of author and book); In un arum yidishvarg (In and around Yiddish wares) (Tel Aviv: Am oved, 1984), 376 pp.  Sadan used some sixty or more pen names, probably the largest number of any Yiddish or Hebrew writer: A. S., Evyatar, Ohev Sefer, Eevosh, Ead Hatalmidim, Aikam, Elef; B., B. K., Baal Shome, Baale Batim aredim Bilti Miflagtaim, Biryon; G. F.; D. Sh., D. Shin, D-T, Dabel, Dov, Dimdum, Dalet, Deshek; utra, D., etsi Nokdan; Tes; Yedidim; L. B., L. V., L. K., Lot, Lokatan, Lamed, Lektor; M. A., M. D., M. F., Maazin, Melaket, Hamaarikh; Sorkan; Ayin; P. Ts., Ploni; Tsedadi; -k, Kore, Kamai; R. T., Roshem; Sh., Sh. L., Shoel, Simlai; —T; D. s.  He also signed with the name of institutions: Mosad Harav Kook, Am Oved, and the like.
As Yankev Pat noted:

     By his desk I hear his mastery of Hebrew, and I hear his traditional wisdom in Yiddish.  He speaks enthusiastically about the mystery of the Yiddish language, about the hidden strengths, the elements and secrets of the Yiddish language.  He speaks of the sources, the roots of Yiddish words, about their origins and development, transformations and changes, about the structure of a Yiddish sentence.  He enumerates sayings, one after the next, which have been absorbed in legends, images, figures.  He offers examples from genuine poetry and knowledge….  He says to me: Our view of literature is narrow-minded, erroneous.  People are writing about a new Hebrew literature and they mean from the Jewish Enlightenment until today.  One cannot write about literature without including everything that the people have created in addition to Hebrew.  Literature by Jews in one language is not the literature of the Jewish people.  Take Klausner and Lachower, the difference between them is that, while the former (Klausner) dubs as new literature what stretches from the Berlin Enlightenment—Mendelssohn and Wessely—the latter (Lachower) also includes a few works from the pre-Enlightenment era—Rabbi Moshe aim Luzzato.  I would argue that with such a conception our literature cannot be understood.  I believe that our literature of recent generations is the product of the fusion of three tendencies which have nourished and animated Eastern European Jewishness: Hassidism, Misnagdism, and Enlightenment—a fusion both in the typology of writers as well as in the mentality of their writing.  The history of modern Jewish literature must embrace the totality of literature.  I would hold that the linguistic separation of our literatures narrows the possibility itself of these literatures.  One must treat reality as it was—a trilingual one of Hebrew, Yiddish, and Loez.  Of course, I am not speaking of Jewish writers in foreign languages who composed in German or Russian.  I mean those who wrote in other languages as Jews for Jews with a Jewish intensity and Jewish aspect.  I probably do not mean Heine or Börne, but I do mean Kampert and Franzas [?], as well as Lev Levanda and the like.  As long as research and the field are not handled in this manner, it will remain no reflection of reality.  It will be ideology but not the truth.  He adds: Others begin the new Jewish literature with Ayzik-Meyer Dik.  This is an error.  We have a plural literature, a literature which is created by all streams and all strengths.  To be sure—he says further—the fact alone that foreign-language authors are Jews does not make their writing Jewish.  The origins of the writers are not enough.  What is important is the essence of their writing.

In the words of Shloyme Bikl:

     We now have at the Hebrew University in Jerusalem a department of Yiddish and Yiddish literature, and we have been fortunate that the department does not perceive this as an alien scholar who teaches his students an alien subject, but a researcher and a writer who is a member of the family of Jewish creativity no less than Hebrew….  The collection of essays on Yiddish writers that Professor Dov Sadan has just now brought out under the title Avne miftan (Milestones) is the first step on the road to larger and more encompassing works concerned with Yiddish literature—on the road to a history of Yiddish literature….  Dov Sadan is at home and mostly, with a truly organic familiarity, he is just as at home as a social and literary essayist as he is in the history of literature; and just as adept as he is in linguistics and folklore, he is in biography and memoirs and in the art of translation.  He is represented in all these fields with important work….  Sadan sees Jewish creativity in its full historical scope, and he is not ready to diminish it by excluding any area of Jewish settlement and no language of expression….  In his two volumes of “1001 anecdotes” [Kearat tsimukim (A bowl of raisins) and Kearat egozim (A bowl of nuts)], Dov Sadan amassed and left to read on one’s own a number of Yiddish anecdotal creations from roughly the previous two generations.  And, it would appear that no family chronicle of the Yiddish anecdote which should require more proficiency than Dov Sadan in the pedigree of variants and should be armed with more insight than Dov Sadan in detecting the hidden pain among the versions across the countries in which Jews have lived and over the area of the Jewish tribes….  There is no Yiddish word or Yiddish idiom for which Sadan was unable to find appropriate Hebrew garb.  He had the rare honor of training students in university and in literature.  For hundreds who studied with him and whom he introduced to literature, he was the venerable “rabbi and teacher.”  He translated dozens of works from Yiddish into Hebrew and wrote biographical-critical introductions to translated works.  If one were to compiled all of these introductions, one would have a large, thick volume.  And one would have a bit of Yiddish literary history.  Only a few have successfully finished such a work for our literature in both languages.

Froym Oyerbakh wrote as follows:

     I heard and was proud that Yiddish literature was a university subject and that a class of young people was interested in Yiddish literature because it was literature.  So, I believe I can say that the interest was not due to the fact that it was Yiddish, or that an ethnic motif was present, but it was due to the fact that this was literature of a high level such that a person with a university education ought to know it, or at least to be acquainted with it.  And, Professor Dov Sadan taught Yiddish literature without apologies, without pretexts—it’s a Jewish literature, therefore you should know it—but a literature and one which has its place in world literature….  Dov Sadan placed Yiddish literature in the broader frame of world literature, and it thereby became not only a part of the Jewish creative treasury but also a part of the world’s creative treasury.

As Getzel Kressel has noted:

     Blended in Sadan are several wonderful attributes which only very rarely can be found all at once in one wicker basket, mainly in a basket of the literary critic: a creative poet, a researcher and thinker, [and] a rare master of our culture and world culture—the facility of sharp and trenchant analysis which penetrates the very deepest abysses of creativity and of the creative soul.  There is therefore nothing remarkable that a critic of such elevated station devotes the greatest part of his creative word to the critique of criticism, the clearance of hackneyed definitions and received formulations which many of our critics assume are current coinage.  From there he, Sadan, leads us to an understanding of creative truth, to the revealed and the concealed, the unpaved roads of the world of creativity.

In the words of Moyshe Shtarkman:

     Sadan is a family member of every epoch of our people’s existence, from ancient times until today.  His writing includes: poetry and fiction, folklore and linguistics, criticism and literary history, biography and memoirs, journalism and translation work, humor, feature pieces, and editorship.   Indeed, because Sadan is multi-talented as a writer, he is creatively familiar with all manner of literary forms, and he can penetrate the innermost sanctum of creativity of his contemporaries and the creative works of his forerunners in Hebrew and Yiddish literature.  The historical sense, the extraordinary proficiency, the phenomenal memory, and the rapidity with which he gets his bearings vis-à-vis the works of individuals and entire epochs—enabled Sadan to be able to paint temporal segments in our literary development on the appropriate canvas inserted into the proper frames.  Thanks to these merits, Sadan has for some time come to the conclusion that our national literary history ought to encompass not only secular, worldly literature, but also our traditional creative work, Torah-related writings, which form the foundation of our culture generally.  At the same time, Sadan has placed before us the demand to provide in our cultural history the much deserved recognition of the auxiliary languages of the Jewish people—namely, the languages among which Yiddish assumes the place of honor.

Sources: Sefer haishim (Biographical dictionary) (Tel Aviv, 1936/1937); Shimon Halkin, Arai vekeva, iyunim besifrut (Temporary and permanent, studies in literature) (ew York, 1942), pp. 176-79; Halkin, in Molad (Tel Aviv) (Iyar-Sivan [= April-June] 1964), pp. 53-63; D. Tidhar, in Entsiklopedyah lealutse hayishuv uvonav (Encyclopedia of the pioneers and builders of the yishuv), vol. 3 (Tel Aviv, 1949), pp. 1355-56; Moyshe Shtarkman, in Idisher kemfer (New York) (November 3, 1950); Shtarkman, in Keneder odler (Montreal) (September 30, 1951); Shtarkman, in Di tsukunft (New York) (1952), pp. 237-40; Shtarkman, in Folk un velt (New York) (February 1962), republished in Der veg (Mexico City) (March 3, 1962), Di naye tsayt (Buenos Aires) (March 9, 1962), and Keneder odler (June 5, 1962); Dr. Yankev Shatski, in Yivo bleter (New York) (1951), pp. 281-86; Dr. Y. Tenenboym, Galitsye mayn heym (Galicia, my home) (Buenos Aires, 1952), p. 142; Getzel Kressel, in Fraye arbeter-shtime (New York) (February 18, 1952); Kressel, in Maariv (Tel Aviv) (June 19, 1964); Kressel, Kitve dov sadan, bibliografiya (Writings of Dov Sadan, a bibliography) (Tel Aviv: Am oved, 1981), 129 pp.; editorial in Fraye arbeter-shtime (March 14, 1952); Dr. Shloyme Bikl, in Tog-morgn-zhurnal (New York) (February 16, 1953; May 13, 1956; July 22, 1956; April 1, 1962; November 23, 1963); Bikl, in Di tsukunft (October 1954; June-July 1963); Mortkhe Yofe, in Tog-morgn-zhurnal (July 4, 1954); Yofe, in Nayvelt (Tel Aviv) (27 Nisan [= April 30], 1954); Yofe, in Folk un tsien (Jerusalem) (February 16, 1958); Erets yisroel in der yidisher literatur (The land of Israel in Yiddish literature) (Tel Aviv, 1961); Dr. David Lazar, Rashim beyisrael (Profiles in Israel), vol. 2 (Tel Aviv, 1955); Shmuel Niger, in Idisher kemfer (March 23, 1956); H. Barzel, in Haarets (Tel Aviv) (April 6, 1956); B. Shefner, in Forverts (New York) (December 10, 1956); Moshe Mevorakh, Deyoknaut sofrim (Portraits of writers) (Tel Aviv, 1955/1956); Sh. Shakhrye, in Undzer veg (New York) (June 1957; February 1960; May 1962); Shakhrye, in Folk un tsien (April-May 1962); A. Glants-Leyeles, in Tog-morgn-zhurnal (July 13, 1957; July 31, 1963); “An Eygener,” in Keneder odler (July 24, 1957); Meylekh Ravitsh, Mayn leksikon (My lexicon), vol. 3 (Montreal, 1958); Avraham Shaanan, Milon hasifrut haadasha haivrit vehakelalit (Dictionary of modern Hebrew and general literature) (Tel Aviv, 1959); Sh. Ernst, in Keneder odler (March 10, 1959); Ernst, in Der amerikaner (New York) (April 10, 1959); Avraham Elanani, Siat sofrim (Conversations with writers) (Jerusalem, 1960); Yankev Pat, Shrayber in yisroel (Writers in Israel) (New York, 1960), pp. 124-41; B. Y. Byalostotski, in Kultur un dertsiung (New York) (January 1960); Froym Oyerbakh, in Tog-morgn-zhurnal (March 21, 1960; September 18, 1960; August 21, 1964); Oyerbakh, in Di shtime (Mexico City) (July 30, 1960); Dr. Tsvi Cohen, in Forverts (September 27, 1960); E. Almi, in Fraye arbeter-shtime (December 1, 1960); D. Perski, in Hadoar (New York) (5 Adar א [= February 9], 1962); A. B. Yidor, in Panim al panim (Jerusalem) (19 Adar א [= February 23], 1962; Y. Kh. Biletski, in Di goldene keyt (Tel Aviv) 42 (1962); K. A. Bartini, in Di goldene keyt 45 (1962); Bartini, in Hapoal hatsair (Tel Aviv) (August 27, 1963); Y. Varshavski (Bashevis), in Forverts (January 7, 1962; May 6, 1962); Dan Miron, in Haarets (February 16, 1962); M. Shamir, in Maariv (February 16, 1962); Natan Rotenshtraykh, in Davar (Tel Aviv) (February 16, 1962); Sh. Grodzenski, in Davar (February 16, 1962; November 16, 1962); Arn Tsaytlin, in Tog-morgn-zhurnal (February 16, 1962; August 21, 1964); Eli Ayil, in Haarets (February 23, 1962); B. Ts. Goldberg, in Tog-morgn-zhurnal (February 24, 1962); M. Gros-Tsimerman, in Letste nayes (Tel Aviv) (April 13, 1962); Yankev Glants, in Der veg (April 14, 1962; June 23, 1962); R. Rubinshteyn, in Der veg (June 20, 1962); Yankev Glatshteyn, in Idisher kemfer (July 13, 1962); Yeruam Tulkas, in Bitsaron (New York) (Adar-Nisan [= February-April] 1963); Sh. Y. Penueli, Sifrut kipeshuta (Ordinary literature) (Tel Aviv, 1963); M. Basuk, in Mibifenim (En arod) (Shevat [= January] 1963); G. Sapozhnikov, in Di tsukunft (July-August 1963); A. Sharvit, in Maariv (August 9, 1963); Yisroel Emyot, in Forverts (December 29, 1963); Y. Gur, in Hauma (Jerusalem) (Tishre [= September-October] 1963); Mati Megged, in Amot (Tel Aviv) (Tishre [= September-October] 1963); A. Cohen, in Davar (12 Kislev [= November 28] 1963); E. Schweid, in Molad (Iyar-Sivan [= April-June] 1964); Y. Horn, in Di yidishe tsaytung (Buenos Aires) (February 25, 1964); Daf (Tel Aviv) (Sivan [= May] 1964); Inhalt fun 50 numern di goldene keyt (Contents of fifty issues of Di goldene keyt) (Tel Aviv, 1964); aim Urlan, in Hadoar (3 eshbon [= October 9], 1964).
Moyshe Shtarkman

[Additional information from: Berl Kagan, comp., Leksikon fun yidish-shraybers (Biographical dictionary of Yiddish writers) (New York, 1986), cols. 398-99.]

For more information on Dov Sadan’s writings in various languages, see: https://library.osu.edu/projects/hebrew-lexicon/00376101.php.

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