And the language was lost, murdered. The languagea museum. Of what other language can it be said that it died a sudden and definite death, in a given decade, on a given piece of soil? Where are the speakers of ancient Etruscan? Who was the last man to write a poem in Linear B? Attrition, assimilation. Death by mystery not gas. The last Etruscan walks around inside some Sicilian. Western Civilization, that pod of muck, lingers on and on. The Sick Man of Europe with his big globe‑head, rotting, but at home in bed. Yiddish, a littleness, a tiny lightoh little holy light!dead, vanished. Perished. Sent into darkness.
This was Edelshtein's subject. On this subject he lectured for a living. He swallowed scraps. Synagogues, community centers, labor unions underpaid him to suck on the bones of the dead. Smoke. He traveled from borough to borough, suburb to suburb, mourning in English the death of Yiddish. Sometimes he tried to read one or two of his poems. At the first Yiddish word the painted old ladies of the Reform Temples would begin to titter from shame, as at a stand‑up television comedian. Orthodox and Conservative men fell instantly asleep. So he reconsidered, and told jokes.
Before the war there was held a great International Esperanto Convention. It met in Geneva. Esperanto scholars, doctors of letters, learned men, came from all over the world to deliver papers on the genesis, syntax, and functionalism of Esperanto. Some spoke of the social value of an international language, others of its beauty. Every nation on earth was represented among the lecturers. All the papers were given in Esperanto. Finally the meeting was concluded, and the tired great men wandered companionably along the corridors, where at last they began to converse casually among themselves in their international language: "Nu, vos macht a yid?"
After the war a funeral cortčge was, moving slowly down a narrow street on the Lower East Side. The cars had left the parking lot behind the chapel in the Bronx and were on their way to the cemetery in Staten Island. Their route took them past the newspaper offices of the last Yiddish daily left in the city. There were two editors, one to run the papers off the press and the other to look out the window. The one looking out the window saw the funeral procession passing by and called to his colleague: "Hey Mottel, print one less!"
But both Edelshtein and his audiences found the jokes worthless. Old jokes. They were not the right kind. They wanted jokes about weddingsspiral staircases, doves flying out of cages, bashful medical students‑and he gave them funerals. To speak of Yiddish was to preside over a funeral.
[. . . .] "I suppose you'll burn me up," says the poet bitterly. "No, no," says Satan, "we don't go in for that sort of treatment for so silken a creature as a poet. Well? Did you bring everything? I told you to pack carefully! Not to leave behind a scrap!" "I brought my whole file," says the poet, and sure enough, there it was, strapped to his back, a big black metal cabinet. "Now empty it into the Fire," Satan orders. "My poems! Not all my poems? My whole life's output?" cries the poet in anguish. "That's right, do as I say," and the poet obeys, because, after all, lie's in hell and Satan owns him. "Good," says Satan, "now come with me, I'll show you to your room."
A perfect room, perfectly appointed, not too cold, not too hot, just the right distance from the great Fire to be comfortable. A jewel of a desk, with a red leather top, a lovely swivel chair cushioned in scarlet, a scarlet Persian rug oil the floor, nearby a red refrigerator stocked with cheese and pudding and pickles, a glass of reddish tea already steaming on a little red table. One window without a curtain. "That's your Inspiring View," says Satan, "look out and see." Nothing outside but the Fire cavorting splendidly, flecked with unearthly colors, turning itself and rolling up into unimaginable new forms. "It's beautiful," marvels the poet. "Exactly," says Satan. "It should inspire you to the composition of many new verses." "Yes, yes! May I begin, your Lordship?" "That's why I brought you here," says Satanl. "Now sit down and write, since you cant help it anyhow. There is only one stipulation. The moment you finish a stanza you must throw it out of tile window like this." And to illustrate, he tossed out a fresh page.
Instantly a flaming wind picked it up and set it afire, drawing it into the great central conflagration. "Remember that you are in hell," Satan says sternly, "here you write only for oblivion." The poet begins to weep. "No difference, no difference! It was the same up there! O Zwrdl, I curse you that you nurtured me!" "And still he doesn't see the point!” says Satan, exasperated. "Glup glup glup glup glup glup glup! Now write." The poor poet began to scribble, one poem after another, and lo! suddenly he forgot every word of Zwrdlish he ever knew, faster and faster he wrote, he held on to the pen as if it alone kept his legs from flying off on their own, he wrote in Dutch and in English, in German and in Turkish, in Santali and in Sassak, in Lapp and in Kurdish, in Welsh and in Rhaeto‑Romanic, in Niasese and in Nicoharese, in Galcha and in Ibanag, in Ho and in Khmer, in Ro and in Volapük, in Jagatai and in Swedish, in Tulu and in Russian, in Irish and in Kalmuck! He wrote in every language but Zwrdlish, and every poem he wrote he had to throw out the window because it was trash anyhow, though he did not realize it . . . .
Edelshtein, spinning off into a furious and alien meditation, was not sure how the story ended. But it was brutal, and Satan was again in the ascendancy: he whipped down aspiration with one of Ostrover's sample aphorisms, dense and swollen as a phallus, but sterile all the same. The terrifying laughter, a sea-wave all around: it broke toward Edelshtein, meaning to lash him to bits. Laughter for Ostrover. Little jokes, little jokes, all they wanted was jokes! [. . . .]
SOURCE: Ozick, Cynthia. "Envy; Or, Yiddish In America", in: The Pagan Rabbi and Other Stories (New York: Alfred A. Knopf, 1971), pp. 42-43, 60-61.
Cynthia Ozick on "Envy; Or, Yiddish In America" (On Labor & Poetry)
Esperanto & Interlinguistics Study Guide / Esperanto-Gvidilo
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