In this essay we offer a preliminary discussion of Biermann’s phenomenally successful rendering of Katsenelson’s elegy. First, we place Biermann’s attempt in a wider historical and biographical context to throw some light on his motivation to grapple with the text written in a language he did not know (Yiddish) and thus was forced to rely on a literal version provided by a native speaker. Second, we provide some examples from the work in question of Biermann’s more general attitude to translation, as epitomized by the Yiddish phrase he likes to quote: ‘fartaytsht un farbesert’ (translated and improved). We conclude that Biermann’s adaptation should be assessed first of all as an act of cross-cultural communication rather than according to the criteria of strictly textual equivalence.
 

In this essay we offer a preliminary discussion of Biermann’s phenomenally successful rendering of Katsenelson’s elegy. First, we place Biermann’s attempt in a wider historical and biographical context to throw some light on his motivation to grapple with the text written in a language he did not know (Yiddish) and thus was forced to rely on a literal version provided by a native speaker. Second, we provide some examples from the work in question of Biermann’s more general attitude to translation, as epitomized by the Yiddish phrase he likes to quote: ‘fartaytsht un farbesert’ (translated and improved). We conclude that Biermann’s adaptation should be assessed first of all as an act of cross-cultural communication rather than according to the criteria of strictly textual equivalence.