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

Irene...

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: irenef_at_netvision.net.il
> To: bconcept_at_hotmail.com; czernowitz-l_at_cornell.edu
> 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: bounce-111725888-3499296_at_list.cornell.edu
> [mailto:bounce-111725888-3499296_at_list.cornell.edu] 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
>
> http://hauster.blogspot.de/2013/05/the-genesis-of-paul-celans-todesfuge.html
>
> 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 10:29:15