Born in 1906 in a town near Warsaw, Poland. He learned
in a cheder, Beit HaMedrash and yeshiva. He was an
employee in a business in Warsaw, then started up with
trade. He debuted in Weisenberg's journal, "Inzer
hofening" (1927), with a portrait of life (lebensbild)
in four acts, "Di libe (The Love)," (published in
translations). Later he participated with reportages and
sketches in Warsaw's "Express," and in Yiddish
periodical publications in the province. In book form
he issued a small book of songs 'Tears in the Night"
(Warsaw, 63 pp., 1937), and four plays: "Di makhsheyfe
(The Witch)," a
dramatic poem, Warsaw 1930, "Ver arop un ver aroyf," (a
portrait of life in four acts, eight scenes, Warsaw,
1934), "Der vanderer," a dramatic poem in three scenes
(Warsaw, 1935), and "Shaul hamelekh" (Warsaw, 1935, 48
During the Second World War
he was found in the Warsaw Ghetto, and about his
creations there, the Marxist literary critic Ber Mark
"That author, who before the
war wrote entirely bad songs, is in the ghetto, in the
face of reality, both artistic and idealistic.
This can be seen from his poem 'Di gas (The Street),' which is
found in Part Two of the Ringelblum Archive.
Shmuel Marvil was descended
from the religious spheres. He was quite far from a
realist. The war and the ghetto horrors, which evoked a
reverberation in world comprehension by not a single
civilian writer, also worked on the young boy Marvil.
The new creations infused his weak poetic talent with
new power, which the poet had not yet possessed. As it
turns out, as to letters from Marvil [in the same part
of the archive], he wrote very much. There are some
signs of this, but they say that not everything that
Marvil wrote in the ghetto is valuable. For example, his
song 'Tsu di hern (To the Hear?)' actually has certain
anti-imperialist tendencies, an outcry against the
hearings of London and Washington, but the song itself
is weak and declarative. About 'Di gas (The Street)'
presents an original picture of the ghetto, a picture
taken by the author's experience, and makes an
impression. The poet develops for us picture after
picture of what he sees in the street: the recently
deceased memes who were starved from hunger The orphans
who fall like flies, the tragedy of lost elders, Curses
are being sprung from human mouths, but the bitter words
seem to have frozen in the cold, the battles of hunger
rages. There is no waste. And so goes the image of
hunger, by cutting off his inimitable fashion and
sacrifice. With each case of famine grows the poet's
moral agony, by which he himself -- as we find out from
his letter -- (found in part two of the Ringelblum
Archive) suffered distress, famine and a severe illness.
... The hunger-poem's last pages were severely
shattered, making it difficult to talk about the
conclusions to which the poet comes."
M. was killed by the Nazis.
M.'s published plays:
(1) Di libe
lebensbild in four acts
("Inzer hofening," Warsaw, 15 February, 2 May, 1 June,
1927. Not finished.)
(2) Sh. Marvil
(Warsaw, 1930, 16 pp.)
(3) Ver arop un ver aroyf
A lebensbild in four acts, 8 scenes
(Warsaw, 1934, 48 pp.)
(4) Shaul hamelekh
(dramatic poem in six scenes)
(Warsaw, 1935, 48 pp.)
(5) Der vanderer
dramatic poem in three scenes
(Warsaw, 1935, 40 pp.)
"Lexicon of the New
Yiddish Literature," New York, 1963, Vol. 5, pp.
Ber Mark -- "Umgeklibene
shrayber fun di getos un lagern," Warsaw, 1954, pp.