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Polin: Studies in Polish Jewry Volume 20Making Holocaust Memory$
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Gabriel N. Finder, Natalia Aleksiun, and Antony Polonsky

Print publication date: 2007

Print ISBN-13: 9781904113058

Published to Liverpool Scholarship Online: February 2021

DOI: 10.3828/liverpool/9781904113058.001.0001

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PRINTED FROM LIVERPOOL SCHOLARSHIP ONLINE (www.liverpool.universitypressscholarship.com). (c) Copyright Liverpool University Press, 2021. All Rights Reserved. An individual user may print out a PDF of a single chapter of a monograph in LSO for personal use.date: 24 September 2021

Shabes, yontef un rosh-khoydesh

Shabes, yontef un rosh-khoydesh

A Close Analysis of the First Line of Goldfadn’s Song

(p.354) Shabes, yontef un rosh-khoydesh
Polin: Studies in Polish Jewry Volume 20

Seth L. Wolitz

Liverpool University Press

This chapter talks about on Abraham Goldfadn, who mused about creating a theatre ex nihilo and dreamed to write and perform dramas equal to the world's great plays. It reviews Goldfadn's skill in honouring Jewish traditions and yet moving the people along into the new world of secularism. It also examines the beginning and end of the song from Act III of Shulames, which moves from the intense religiosity of the first stanza and turns into a critique if not a mockery of prayer without action in the last stanza. The chapter explores how Goldfadn has reworked the secular Western Romantic conceit that the individual's heart, body, and soul are a chapel in which to pray. It focuses on the first stanza of Goldfadn's song, which appears distinctly yidishlekh and contains a whole and sacral Yiddish worldview.

Keywords:   Abraham Goldfadn, theatre ex nihilo, secularism, Shulames, yidishlekh, Yiddish world-view

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