destruction of the Temple, but borne away in a storm; a prophet must wander the Earth searching for him. In Moscow, in 1918 this was to be the first play ever performed by the Habima Theater, now the national theater of Israel. He revisited a similar theme in 1919 in Der Shtumer Meshiekh (The Mute Messiah); he would revisit messianic themes in further plays about Simon Bar-Kokhba, Shlomo Molcho, and Sabbatai Zevi. His work took a new turn with the highly allegorical Di Bergshtayger (The Mountain Climbers, 1912); the "mountain" in question is life itself. During the period between the World Wars, he wrote numerous plays, mostly on biblical subjects, but continuing to engage with many of his earlier themes. For example, King David and His Wives (1923?) looks at the biblical David at various points in his life: a proud, naively idealistic, pious youth; a confident warrior; a somewhat jaded monarch; and finally an old man who, seeing his youthful glory reflected in the beautiful Abishag, chooses not to marry her, so he can continue to see that idealized reflection. During this period, Pinski also undertook a large and fanciful fiction project: to write a fictional portrait of each of King Solomon's thousand wives; between 1921 and 1936, he completed 105 of these stories. During this period he also undertook the major novels Arnold Levenberg: Der Tserisener Mentsh (Arnold Levenberg: The Split Personality, begun 1919) and The House of Noah Edon which was published in English translation in 1929; the Yiddish original was published in 1938 by the Wydawnictvo ("Publishers") Ch. Brzozo, Warsaw. The former centers on an Uptown, aristocratic German Jew, who is portrayed as an overefined and decadent, crossing paths with, but never fully participating in, the important events and currents of his time. The latter is a multi-generational saga of a Lithuanian Jewish immigrant family, an interpretation of assimilation modeled on Peretz's Four Generations—Four Testaments. Emigration In 1949 he emigrated to the new state of Israel where he wrote a play about Samson and one about King Saul. However, this was a period in which Yiddish theater barely existed anywhere (even less so than today), and these were not staged. References Sources Liptzin, Sol, A History of Yiddish Literature, Jonathan David Publishers, Middle Village, NY, 1972, , 84 et. seq., 136 et. seq. External links Papers of David Pinski.; RG 204; YIVO Institute for Jewish Research,