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Additional resources for Ajs Review, 1988: Nos 1 and 2
For an analysis of this motif in Oylem-habe, see Ruth R. Wisse, Sholem Aleichem and the Art of Communication(Syracuse, 1979), pp. 19-21. Cf. also Iber a hitl ("On Account of a Hat"), where the train station in Zlodeyevke functions as an enchanted setting. 40 DAVID G. ROSKIES Teme-Gitl the Silent, never shuts up? 37 No chance to redeem one's manhood here! The selfsame Khayim-Khone, however, first calls attention to the goat as a multidetermined mythic figure. Through his discussion of the Gemara which Shimen-Elye happens to walk in on, the reader is warned that goats beget sorrow, because as symbols of human desire they are bound to incur double damages.
All my efforts since 1971 to secure a Xeroxed copy of this book have failed. 28. : Explorations in the Semiotics of Texts (Bloomington, 1984). 36 DAVID G. ROSKIES master were "open" forms in which an omniscient narrator was expected to use a modern, fluid diction to represent the linear course of life in its social causality. Though Sholem Aleichem continued writing feuilletons and novels for the rest of his life, this retrieval of very old-fashioned genres was to finally unlock the source of his genius.
The chapbook format allowed Sholem Aleichem to play with the stylistic and structural conventions of Yiddish popular fiction in such a way as to underline-and undermine-the workings of myth and fantasy. Stylistically, one of two choices was open to him: either to write in daytshmerish,the Germanic syntax and vocabulary used to situate a Yiddish narrative in the European romance tradition, or to adopt a more learned, Hebrew-Aramaic style that situated a work within a canon of Jewish sacred legends.