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

From: Edgar Hauster <>
Date: Sun, 5 Jan 2014 19:15:55 +0100
To: Irene Fishler <>, Czernowitz Discussion Group <>
Reply-To: Edgar Hauster <>


Thank you so much for the accurate and speedy translation/clarification. Wow, "ruforn", what a wonderful Yiddish term for "loudspeakers"!

One additional question to all of you: Does anyone know where/how to find the Russian original of Constantin Simonov's "The Lublin Extermination Camp"?

Warmest wishes to all of you!

Edgar Hauster
Lent - The Netherlands

> From:
> To:;
> Subject: RE: [Cz-L] The Genesis of Paul Celan's "Todesfuge"
> Date: Sun, 5 Jan 2014 20:08:31 +0200
> Edgar,
> The Yiddish version ( p.50 , lines 2-8) is identical with the German
> translation.
> There are "loudspeakers" (= "ruforn " !) and "radio" . No "bands" !
> The soviet-Yiddish orthography is very interesting.
> Irene
> -----Original Message-----
> From:
> [] On Behalf Of Edgar
> Hauster
> Sent: Sunday, January 05, 2014 6:49 PM
> To: Czernowitz Discussion Group
> Subject: [Cz-L] The Genesis of Paul Celan's "Todesfuge"
> Czernowitzers...
> 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:
> English (UK):
> Yiddish:
> German:
> 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 10:29:15

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