Yiddish Theatre Performers

Yiddish (, or , ''yidish'' or ''idish'', , ; , ''Yidish-Taytsh'', ) is a West Germanic language historically spoken by Ashkenazi Jews. It originated during the 9th century in Central Europe, providing the nascent Ashkenazi community with a vernacular based on High German fused with many elements taken from Hebrew (notably Mishnaic) and to some extent Aramaic. Most varieties of Yiddish include elements of Slavic languages and the vocabulary contains traces of Romance languages.Aram Yardumian
"A Tale of Two Hypotheses: Genetics and the Ethnogenesis of Ashkenazi Jewry".
University of Pennsylvania. 2013. Yiddish is primarily written in the Hebrew alphabet.

Prior to World War II, its worldwide peak was 11 million, with the number of speakers in the United States and Canada then totaling 150,000. Eighty-five percent of the approximately six million Jews who were murdered in the Holocaust were Yiddish speakers,Solomon Birnbaum, ''Grammatik der jiddischen Sprache'' (4., erg. Aufl., Hamburg: Buske, 1984), p. 3. leading to a massive decline in the use of the language. Assimilation following World War II and ''aliyah'' (immigration to Israel) further decreased the use of Yiddish among survivors after adapting to Hebrew in Israel. However, the number of Yiddish-speakers is increasing in Hasidic communities. In the 1990s, there were around 1.5–2 million speakers of Yiddish, mostly Hasidic and Haredi Jews. A 2021 estimate from Rutgers University was that there were 250,000 American speakers, 250,000 Israeli speakers, and 100,000 in the rest of the world (for a total of 600,000).

The earliest surviving references date from the 12th century and call the language (''loshn-ashknaz'', "language of Ashkenaz") or (''taytsh''), a variant of ''tiutsch'', the contemporary name for Middle High German. Colloquially, the language is sometimes called (''mame-loshn'', lit. "mother tongue"), distinguishing it from ('' loshn koydesh'', "holy tongue"), meaning Hebrew and Aramaic. The term "Yiddish", short for ''Yidish Taitsh'' ("Jewish German"), did not become the most frequently used designation in the literature until the 18th century. In the late 19th and into the 20th century, the language was more commonly called "Jewish", especially in non-Jewish contexts, but "Yiddish" is again the most common designation today.

Modern Yiddish has two major forms. Eastern Yiddish is far more common today. It includes Southeastern (Ukrainian–Romanian), Mideastern (Polish–Galician–Eastern Hungarian) and Northeastern (Lithuanian–Belarusian) dialects. Eastern Yiddish differs from Western both by its far greater size and by the extensive inclusion of words of Slavic origin. Western Yiddish is divided into Southwestern (Swiss–Alsatian–Southern German), Midwestern (Central German), and Northwestern (Netherlandic–Northern German) dialects. Yiddish is used in a number of Haredi Jewish communities worldwide; it is the first language of the home, school, and in many social settings among many Haredi Jews, and is used in most Hasidic yeshivas.

The term "Yiddish" is also used in the adjectival sense, synonymously with "Ashkenazi Jewish", to designate attributes of Yiddishkeit ("Ashkenazi culture"; for example, Yiddish cooking and "Yiddish music" – klezmer).

History

Origins

By the 10th century, a distinctive Jewish culture had formed in Central Europe.
By the high medieval period, their area of settlement, centered on the Rhineland (Mainz) and the Palatinate (notably Worms and Speyer), came to be known as ''Ashkenaz'', originally a term used of Scythia, and later of various areas of Eastern Europe and Anatolia.
In the medieval Hebrew of Rashi (d. 1105), ''Ashkenaz'' becomes a term for Germany, and ''Ashkenazi'' for the Jews settling in this area.
Ashkenaz bordered on the area inhabited by another distinctive Jewish cultural group, the Sephardi Jews, who ranged into southern France. Ashkenazi culture later spread into Eastern Europe with large-scale population migrations.

Nothing is known with certainty about the vernacular of the earliest Jews in Germany, but several theories have been put forward. As noted above, the first language of the Ashkenazim may have been Aramaic, the vernacular of the Jews in Roman-era Judea and ancient and early medieval Mesopotamia.
The widespread use of Aramaic among the large non-Jewish Syrian trading population of the Roman provinces, including those in Europe, would have reinforced the use of Aramaic among Jews engaged in trade. In Roman times, many of the Jews living in Rome and Southern Italy appear to have been Greek-speakers, and this is reflected in some Ashkenazi personal names (e.g., ''Kalonymos'' and Yiddish ''Todres''). Hebrew, on the other hand, was regarded as a holy language reserved for ritual and spiritual purposes and not for common use.

The established view is that, as with other Jewish languages, Jews speaking distinct languages learned new co-territorial vernaculars, which they then Judaized. In the case of Yiddish, this scenario sees it as emerging when speakers of Zarphatic (Judeo-French) and other Judeo-Romance languages began to acquire varieties of Middle High German, and from these groups the Ashkenazi community took shape. Exactly what German substrate underlies the earliest form of Yiddish is disputed.
The Jewish community in the Rhineland would have encountered the Middle High German dialects from which the Rhenish German dialects of the modern period would emerge.
Jewish communities of the high medieval period would have been speaking their own versions of these German dialects, mixed with linguistic elements that they themselves brought into the region, including many Hebrew and Aramaic words, but there is also Romance, Slavic, Turkic and Iranian influence.

In Max Weinreich's model, Jewish speakers of Old French or Old Italian who were literate in either liturgical Hebrew or Aramaic, or both, migrated through Southern Europe to settle in the Rhine Valley in an area known as Lotharingia (later known in Yiddish as ''Loter'') extending over parts of Germany and France. There, they encountered and were influenced by Jewish speakers of High German languages and several other German dialects. Both Weinreich and Solomon Birnbaum developed this model further in the mid-1950s. In Weinreich's view, this Old Yiddish substrate later bifurcated into two distinct versions of the language, Western and Eastern Yiddish. They retained the Semitic vocabulary and constructions needed for religious purposes and created a Judeo-German form of speech, sometimes not accepted as a fully autonomous language.

Later linguistic research has refined the Weinreich model or provided alternative approaches to the language's origins, with points of contention being the characterization of its Germanic base, the source of its Hebrew/Aramaic adstrata, and the means and location of this fusion. Some theorists argue that the fusion occurred with a Bavarian dialect base.
The two main candidates for the germinal matrix of Yiddish, the Rhineland and Bavaria, are not necessarily incompatible. There may have been parallel developments in the two regions, seeding the Western and Eastern dialects of Modern Yiddish. Dovid Katz proposes that Yiddish emerged from contact between speakers of High German and Aramaic-speaking Jews from the Middle East. The lines of development proposed by the different theories do not necessarily rule out the others (at least not entirely); an article in ''The Forward'' argues that "in the end, a new 'standard theory' of Yiddish's origins will probably be based on the work of Weinreich and his challengers alike."

Paul Wexler proposed a model in 1991 that took Yiddish, by which he means primarily eastern Yiddish, not to be genetically grounded in a Germanic language at all, but rather as " Judeo-Sorbian" (a proposed West Slavic language) that had been relexified by High German. In more recent work, Wexler has argued that Eastern Yiddish is unrelated genetically to Western Yiddish. Wexler's model has been met with little academic support, and strong critical challenges, especially among historical linguists.
Das et al. (2016, co-authored by Wexler) use human genetics in support of the hypothesis of "a Slavic origin with strong Iranian and weak Turkic substrata".

Written evidence

Yiddish orthography developed towards the end of the high medieval period. It is first recorded in 1272, with the oldest surviving literary document in Yiddish, a blessing found in the Worms ''machzor'' (a Hebrew prayer book).

This brief rhyme is decoratively embedded in an otherwise purely Hebrew text. Nonetheless, it indicates that the Yiddish of that day was a more or less regular Middle High German written in the Hebrew alphabet into which Hebrew words – מַחֲזוֹר, ''makhazor'' (prayerbook for the High Holy Days) and , "synagogue" (read in Yiddish as ''beis hakneses'') – had been included. The niqqud appears as though it might have been added by a second scribe, in which case it may need to be dated separately and may not be indicative of the pronunciation of the rhyme at the time of its initial annotation.

Over the course of the 14th and 15th centuries, songs and poems in Yiddish, and macaronic pieces in Hebrew and German, began to appear. These were collected in the late 15th century by Menahem ben Naphtali Oldendorf. During the same period, a tradition seems to have emerged of the Jewish community's adapting its own versions of German secular literature. The earliest Yiddish epic poem of this sort is the ''Dukus Horant'', which survives in the famous Cambridge Codex T.-S.10.K.22. This 14th-century manuscript was discovered in the Cairo Geniza in 1896, and also contains a collection of narrative poems on themes from the Hebrew Bible and the Haggadah.

Printing

The advent of the printing press in the 16th century enabled the large-scale production of works, at a cheaper cost, some of which have survived. One particularly popular work was Elia Levita's ''Bovo-Bukh'' (), composed around 1507–08 and printed several times, beginning in 1541 (under the title ''Bovo d'Antona''). Levita, the earliest named Yiddish author, may also have written ''Pariz un Viene'' (''Paris and Vienna''). Another Yiddish retelling of a chivalric romance, װידװילט ''Vidvilt'' (often referred to as "Widuwilt" by Germanizing scholars), presumably also dates from the 15th century, although the manuscripts are from the 16th. It is also known as ''Kinig Artus Hof'', an adaptation of the Middle High German romance ''Wigalois'' by Wirnt von Grafenberg. Another significant writer is Avroham ben Schemuel Pikartei, who published a paraphrase on the Book of Job in 1557.

Women in the Ashkenazi community were traditionally not literate in Hebrew but did read and write Yiddish. A body of literature therefore developed for which women were a primary audience. This included secular works, such as the ''Bovo-Bukh'', and religious writing specifically for women, such as the ''Tseno Ureno'' and the ''Tkhines''. One of the best-known early woman authors was Glückel of Hameln, whose memoirs are still in print.

The segmentation of the Yiddish readership, between women who read ''mame-loshn'' but not ''loshn-koydesh'', and men who read both, was significant enough that distinctive typefaces were used for each. The name commonly given to the semicursive form used exclusively for Yiddish was (''vaybertaytsh'', 'women's ''taytsh'', shown in the heading and fourth column in the ''Shemot Devarim''), with square Hebrew letters (shown in the third column) being reserved for text in that language and Aramaic. This distinction was retained in general typographic practice through to the early 19th century, with Yiddish books being set in ''vaybertaytsh'' (also termed ''mesheyt'' or ''mashket''—the construction is uncertain).

An additional distinctive semicursive typeface was, and still is, used for rabbinical commentary on religious texts when Hebrew and Yiddish appear on the same page. This is commonly termed Rashi script, from the name of the most renowned early author, whose commentary is usually printed using this script. (Rashi is also the typeface normally used when the Sephardic counterpart to Yiddish, Judaeo-Spanish or ''Ladino'', is printed in Hebrew script.)

Secularization

The Western Yiddish dialect—sometimes pejoratively labeled ''Mauscheldeutsch'', i. e. "Moses German"—declined in the 18th century, as the Age of Enlightenment and the ''Haskalah'' led to a view of Yiddish as a corrupt dialect. A ''Maskil'' (one who takes part in the ''Haskalah'') would write about and promote acclimatization to the outside world. Jewish children began attending secular schools where the primary language spoken and taught was German, not Yiddish. Owing to both assimilation to German and the revival of Hebrew, Western Yiddish survived only as a language of "intimate family circles or of closely knit trade groups". ( Liptzin 1972).

In eastern Europe, the response to these forces took the opposite direction, with Yiddish becoming the cohesive force in a secular culture (see the Yiddishist movement). Notable Yiddish writers of the late 19th and early 20th centuries are Sholem Yankev Abramovitch, writing as Mendele Mocher Sforim; Sholem Rabinovitsh, widely known as Sholem Aleichem, whose stories about (''Tevye der milkhiker'', "Tevye the Dairyman") inspired the Broadway musical and film ''Fiddler on the Roof''; and Isaac Leib Peretz.

20th century

In the early 20th century, especially after the Socialist October Revolution in Russia, Yiddish was emerging as a major Eastern European language. Its rich literature was more widely published than ever, Yiddish theatre and Yiddish cinema were booming, and for a time it achieved the status of one of the official languages of the short-lived Galician Soviet Socialist Republic. Educational autonomy for Jews in several countries (notably Poland) after World War I led to an increase in formal Yiddish-language education, more uniform orthography, and to the 1925 founding of the Yiddish Scientific Institute, YIVO. In Vilnius, there was debate over which language should take primacy, Hebrew or Yiddish.

Yiddish changed significantly during the 20th century. Michael Wex

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