By Robert Chazan
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The new ending deserves to be quoted in full even though everyone has heard parts of it before. vet fregn der lezer. Der sof iz geven nisht geyn guter sof. Un makhmesir kent dem mekhaberfun der geshikhte, az er iz beteve nit keyn moryeshkhoyrenikun hot faynt klogedikeun hot lib beser lakhndikemayses,un makhmesir kent im un veyst, az er hot faynt "moral"un zogn museriz nit zayn derekh-lokheyn gezegnt zikh mit aykh metokh skhok der farfaser, lakhndik,un vintshtaykh,az yidn, unglat mentshnaf dervelt,zoln merlakhn eyder veynen.
The precise genealogy of Sholem Aleichem's monologues has never been established. ) argues for a direct link with the "naive" and "satiric" monologues of the Galician Haskalah. :Studies in Jewish Languages, Literature, and Society, ed. Lucy Dawidowicz (The Hague, 1964), pp. 44-50. In "Magidishe maskes fun Markuze biz Mendele" (Paper read at the Second International Conference on Research in Yiddish Language and Literature, Oxford, July 11, 1983), I first suggested that the Tevye monologues be read in the context of "maggidic masks" in Yiddish Haskalah literature.
2. Dan Miron, "Folklore and Antifolklore in the Yiddish Fiction of the Haskalah," in Studies in Jewish Folklore, ed. , 1980), pp. 219-249. 27 28 DAVID G. 4When, along with other of his contemporaries, Sholem Aleichem finally overcame these formidable obstacles and negotiated his way back to the folk, readers were so taken by his reinvention of Jewish folklore that they mistook it for the real thing. In the heyday of maskilic rationalism, the fledgling group of secular East European Jewish writers had striven for a negotiated settlement with the sources of fantasy.