The Pioneers of Modern Hebrew Literature
Writing Hebrew literature in the 19th century was no simple matter, and those who did were the elite of the elite.
From the account I have offered, it must surely seem a mystery that anyone could have emerged from this educational system with a sufficient grasp of the Hebrew language to write an essay, a travel book, a sonnet, or, especially, a novel. The yeshiva population was the intellectual elite of Central and East European pre-modern Jewry. The Hebrew writers produced by the yeshivas were an elite within an elite. In part, I mean simply that they were the equivalent of the A+ students in the system, and certainly the evidence many of them offer of retentive memory and (to a lesser degree) of dialectic subtlety, of beqi'ut and harifut, is formidable. But I am also referring to a rather special mental aptitude which was not necessarily given special value within the system but which would have abundant uses outside the system, something that the Germans call Sprachgefuhl, an innate sense, like perfect pitch in music, for how language should properly sound, joined with a relish for the sonorities and the semantic colorations of Hebrew words in their classical idiomatic combinations.
Minds of this almost preternaturally prehensile cast would catch onto every nuanced collocation, every linguistic particle, in a traditional Hebrew text, both those that were part of the curriculum and those that were not. And as a new Hebrew culture began to shimmer before such unusual students as a radical alternative of Jewish identity to that of the Orthodox system, they would, even in the yeshiva milieu, do a good deal of reaching, often surreptitiously, beyond the curriculum to the parts of the Bible not officially studied, to the medieval philosophers and poets, to those newfangled Hebrew grammars, and, worst of all, to the godless journals, the poetry and fiction, of the new Hebrew literature.
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