Tevye the Dairyman and the Railroad Stories

Tevye the Dairyman and the Railroad Stories by Sholem Aleichem

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Authors: Sholem Aleichem
Tags: Fiction, Short Stories (Single Author)
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scratch”—not an ideal solution perhaps, but certainly a passable one. One does the best one can. Sometimes it’s a matter of luck.
    I have been translating fiction for many years, but from Hebrew, not from Yiddish, and this volume is the first full-scale Yiddish translation I have attempted. I wish, therefore, to express my deepest thanks to the editor of this series, Ruth Wisse, both for trusting and encouraging me to undertake this translation and for going over it with a fine-tooth comb. She was the safety net above which I felt free to be as acrobatic as I liked, knowing I would always be caught if I fell. This book is hers too.
    I also wish to thank Michael Stern of Washington, D.C., for kindly letting me use an unpublished paper tracing the sources of Tevye’s Hebrew quotations, thus sparing me much arduous spadework; and my sister, Miriam Halkin Och, of Haifa University Library, for her generous help in obtaining bibliographical materials.
    H ILLEL H ALKIN
    Zichron Ya’akov, Israel 1986
    * This fragment, which was given the tongue-twisting Hebrew name of
Vekhalaklakoys
, after the verse in Psalms 35:6,
Yehi darkom khoyshekh vekhalaklakoys
, “Let their path be dark and slippery,” was written in 1914, the same year as “Lekh-Lekho,” but not published until two years later. Though it seems to have been begun as a genuine sequel to “Lekh-Lekho,” that is, as a ninth episode of
Tevye
, it is less than a third of the average length of the other stories, repeats much of the material in Chapter 8 without adding anything essentially new, and has a rather tired quality that contrasts with the sparkle of the rest of the book. Still, one cannot call it unfinished; on the contrary, it contains precisely the “finale” that Chapter 8 lacks. In the absence of explanatory biographical material, of which there appears to be none, one can only speculate what this fragment represents. My own guess is as follows: while Sholem Aleichem indeed intended to write a full-length sequel to “Lekh-Lekho” and began it immediately after finishing the latter, he soon, whether because of failing health or because he realized that the book had reached its natural conclusion and had nowhere else to go, gave it up—though not before hastening to write a proper end for it, his main concern being that
Tevye
should have one. Unhappy with the results, however, he refrained from publishing this, possibly hoping to revise and expand it; yet ultimately, seeing this was not to be, he consented to its publication in the days before his death. Subsequently, in all the Yiddish editions of
Tevye
printed after Sholem Aleichem’s death, the
Vekhalaklakoys
fragment has appeared as its last chapter.
    As the translator of
Tevye
, I was in a dilemma. On the one hand,
Vekhalaklakoys
was published by Sholem Aleichem himself in his lifetime, and without it
Tevye
has no real end; yet on the other hand, apart from its last page, not only does it add nothing to the remainder of the work, it qualitatively detracts from it. What was one to do? In the end I decided to follow the example of Frances Butwin’s 1948 English translation of
Tevye
and to omit most of the fragment some six pages of Yiddish text in all, retaining only the final coda, which I spliced on to the end of “Lekh-Lekho,” adding several lines of my own to make the transition smoother. Though taking such a liberty in translating a classic of world literature may seem presumptuous to some readers, I would like to think that Sholem Aleichem might have welcomed it. Besides always being open to criticism of his work, frequently revising it as a result, he encouraged his Russian and Hebrew translators, whom he personally helped and advised, to be extremely free in their renditions. Anyone comparing his Yiddish with the Hebrew translations by his son-in-law Y. D. Berkovits, for example, and especially with Berkovits’ translation of
Tevye
, in which Sholem Aleichem was an active collaborator,

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