[Cz-L] The Genesis of Paul Celan's "Todesfuge"

From: Edgar Hauster <bconcept_at_hotmail.com>
Date: Sun, 5 Jan 2014 17:48:34 +0100
To: Czernowitz Discussion Group <czernowitz-l_at_cornell.edu>
Reply-To: Edgar Hauster <bconcept_at_hotmail.com>


I'm asking for your assistance by drawing once again your attention to an update of my post


adding the extremely rare Yiddish version of Constantin Simonov's pamphlet "The Lublin Extermination Camp", so that in total four different translations of the - Russian - original are available for download now:

English:      http://hauster.de/data/simonoven.pdf
English (UK): http://hauster.de/data/simonovuk.pdf
Yiddish:      http://hauster.de/data/simonovyd.pdf
German:       http://hauster.de/data/simonowdt.pdf

Let's have a closer look at the text passages, which are so evocative of Paul Celan's "Todesfuge"

English (p. 16): "Two hours after the head of the column had entered the camp bands began to play. Scores of loudspeakers began to emit the deafening strains of the fox-trot and the tango. And they blared all the morning, all day, all the evening, and all the night."

English/UK (p. 28): "Two hours after the head of the column had entered the gates, music began to blare over the entire camp and the countryside around. From several dozen loud-speakers came the deafening strains of fox-trots and tangos. The radio blared all morning, all afternoon, all evening, and all through the night."

German (p. 19): "Zwei Stunden, nachdem die Spitze des Zuges im Lager verschwunden war, ertönte im ganzen Lager und in seiner Umgebung Musik. Aus Dutzenden von Lautsprechern schallten ohrenbetäubende Foxtrotts und Tangos. Das Radio spielte den ganzen Morgen, den ganzen Tag und die ganze Nacht."

Yiddish (p. ?): ???

Were there "bands" or was it the "radio", which "played" or "blared" via loudspeakers "all the morning, all day, all the evening, and all the night" or "all morning, all afternoon, all evening, and all through the night"?

What exactly says the Yiddish version? It sould be mentioned in the Yiddish text (see above), on approx p. 48-50. I do know, it's just a minor detail, but nevertheless is there anybody out there, who could translate literally these three sentances to me and to all of us, who are intersted in "The Genesis of Paul Celan's 'Todesfuge'"?

Warmest wishes and have a Happy New Year! 


Edgar Hauster
Lent - The Netherlands
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Received on 2014-01-05 08:58:51

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