In his Torahmusings, R. Gill Student cites an endorsement of R. Steinsaltz’s translation from R. Tzvi Hersh Weinreb. His comments are especially important for anyone interested in the science of translation as it pertains to the translation of the Talmud:
- Every translation is to some extent a commentary… However, I think a good translator has to know not to give too much of his own ideology or his own commentary. Commentary is necessary to explain the text but a good translator gives over the text, the flavor of the text, with just enough extra commentary to make it clear and the rest is up to the student. What we’ve tried to do in this whole project is to allow the student to study and ask. It’s designed to provoke discussion and to provoke questions, not to provide answers but to open things up.
This pithy statement certainly sums up the nature of translating a monumental work such as the Talmud. In this brief article, we shall examine two new digitized translations of the Talmud: The Koren Edition of the Steinsaltz Talmud and ArtScroll’s The Digital Library of the Schottenstein Edition of the Babylonian Talmud. Each translation gives the reader a remarkable glimpse into the world of the Talmud as seen from Rabbi Steinsaltz and the rabbis of the ArtScroll Publishers, one of the world’s most successful Jewish publishers of Orthodox books.
Very few publishers have revolutionized the study of the Talmud like R. Adin Steinsaltz and ArtScroll Publishers. In this article, we shall examine some of the fascinating aspects of their newly digitized editions of the Babylonian Talmud.
In many ways, R. Adin Steinsaltz deserves credit for starting the Talmudic revolution; he began making a Hebrew translation of the Talmud in 1965 and completed the project in 2010. This is no small feat. One could arguably say that R. Steinsaltz is like a modern day Rashi—a comparison that makes much of the Haredi world (who also happen to be the producers of the ArtScroll Talmud) bristle with disdain. Random House published a number of volumes between 1989 and 1999, but the project met with little success.
The new Koren Edition of the Steinsaltz Talmud made several improvements in the design of the Talmudic text and added color pictures to illustrate the various creatures the Talmudists commented upon in their legal discussions. Steinsaltz did something very bold: he altered the text in order to make it a little less cumbersome for a growing and interested Israeli populace. ArtScroll considered Steinsaltz’s innovation heretical. Many Haredi friends of mine used to say, “Who does Steinsaltz think he is to change the Vilna Talmud?” The fact that Steinsaltz is a Chabadnik may account for part of the animus the Litvisher yeshivas feel toward him. In addition, Steinsaltz added partial punctuation for the Tosfot, which made it imminently more readable. Talmudic purists generally look upon these types of innovations as crutches.
Less than a decade ago, Steinsaltz gave in and finally made a Vilna version of his Talmud—one that would appeal to other young yeshiva students of the Haredi yeshivas. It is a pity that the ArtScroll Talmud project has never given any credit to Rabbi Steinsaltz; in many ways, he is the godfather of their magnificent translation. Currently, ArtScroll is rapidly translating the Jerusalem Talmud. There is also an excellent translation of the Jerusalem Talmud written in Hebrew by the Israeli scholar Rabbi Bar Lev (1943–). Aside from being a Talmudic scholar, he also received his doctorate in educational psychology from the University of Arizona in 1976 and has written several books on Jewish mysticism. Unlike Steinsaltz, he frequently adds philosophical and psychological perspectives to his expositions. Unlike the Steinsaltz and ArtScroll Talmud translations, his work is free (!). His approach is similar to Steinsaltz and there is no doubt that this excellent work will someday be translated into English.
As a student, I can recall the days when the yeshiva administration discouraged the study of the Steinsaltz edition because it was too modern looking of a text. Years later, I discovered that all the yeshiva teachers all had their own Steinsaltz volumes proudly displayed in their dining and living rooms. Steinsaltz’s volumes help Israelis and Haredi scholars alike to learn Talmudic Aramaic. His comparison to Greek and Latin cognate terms makes his study a wonderful resource to have—and now, the English speaking public will find these features very useful and effective. Steinsaltz’s summaries on the bottom of the Hebrew or English page, along with the biographical sections of the rabbis, or his expositions about rabbinical life in the days of Late Antiquity—make the modern study of Talmud crisp and easy to follow.
The ArtScroll Digital Library has been described as “a revolutionary new way to study the Talmud! Ground breaking technology enhances the bestselling Schottenstein Talmud – and will allow you to study the Talmud in ways never before possible.”
This statement is quite accurate. The Schottenstein Edition of the Babylonian Talmud by ArtScroll (hence referred to as the “ArtScroll Talmud”) is much more of a Lithuanian rabbinical product—one which captures the rich intellectual environment of a forgotten era. Anyone who wants to delve into intricate halachic details of a Talmudic text will never tired studying the ArtScroll Talmud, which replicates most of the great debates of the Rishonim (medieval) and Achronim (modern rabbinical) scholars. Unlike the Steinsaltz edition, the ArtScroll edition is not terribly interested in the historicity on how the Talmud originated. Unlike R. Steinsaltz’s herculean stamina in producing his translation and commentary, ArtScroll uses a committee of several rabbinical scholars. In this sense, R. Steinsaltz is more like Rashi and Maimonides—both of whom did not employ a committee in producing their works.
ArtScroll preserves the Vilna Talmudic text’s classical style. However, it is important to note that they too—like Steinsaltz—added a Modern Hebrew translation on the opposite side of the page (in the Hebrew editions). They did the same with their English translation as well. Each Hebrew page is contrasting a page of English translation—one Hebrew folio takes approximately six to eight pages of English to translate. This layout can be a tad bit tedious—certainly much more tedious than the Steinsaltz edition, or for that matter—the Vilna edition itself.
The ArtScroll Talmudic notes are superlative; as an avid student of the Talmud, I thoroughly enjoy the scholarship the ArtScroll writers demonstrate. Since their work is annotated with countless cross-references of the Talmud and the legal codes, one would have to sometimes open several volumes to flow the train of Talmudic thought. In my opinion, the newly digitized version of the ArtScroll Talmud’s best feature is its ability to hypertext a Talmudic text to other discussion found elsewhere in the Talmud. Moreover, when you read a specific section of the Talmud, the text immediately is highlighted in yellow—both in the text and in the ArtScroll notes. Note that the ArtScroll Talmud has the strange habit of transliterating in Ashkenazic Hebrew rather than Sefardic Hebrew. (Incidentally, this was one of the principle reasons why I sold my English ArtScroll Talmud for the Modern Hebrew translation. One suspects that the Brooklyn-based company has always felt somewhat ambivalent about the Modern State of Israel, but that’s for another discussion.).
Unlike the ArtScroll Talmud, R. Steinsaltz is far from finishing his English translation. That being said, Koren is rapidly keeping up with the Daf-Yomi (a lectionary for the daily study of the Talmud). In addition, the ArtScroll lets you know which Talmudic tractate is being studied so that one may study with the international Jewish communities whom have made the Talmud an important part of their daily lives.
The new Digital Steinsaltz Talmud is printed in a PDF format, and it assumes that the purchasers of these books will not illicitly use a pirated copy. On the heading of each folio is a warning to that effect. Personally speaking, I have always found it odd that yeshiva students would literally “steal” an electronic rabbinical text in order to study Torah. Such behavior is strangely reminiscent of Alice and Wonderland. However, there is must be a kosher way to go down the “Rabbi hole.” As a PDF, the text files are easily downloadable for and PC or Android device. The Digital ArtScroll Talmud is produced in an Apple and Android version. Sorry, this product is not available for Windows. Since I wanted this product so much, I went to the Sprint store to purchase a cheap Samsung Tablet for $50 and I have downloaded the volumes from the Android shop.
The ArtScroll is considerably much longer of a process to download. Within a week, I hope to have all the volumes. The cost for the whole set is $599, which is literally $2500 than the printed edition. Both Koren and ArtScroll allow you to purchase a tractate one volume at a time for about $10.00—a splendid price for people who are on a tight budget.
Here is what I like best about both editions of the Talmud: I can carry the entire Talmud in my little cell-phone or tablet! Given the affordability of the products reviewed, I strongly encourage you to purchase both editions so you can see the contrast in how modern rabbinical minds approach Judaism’s most controversial and beloved work.
 The Vilna Edition of the Talmud, printed in Vilna (now Vilnius), Lithuania, is by far the most common printed edition of the Talmud still in use today as the basic text for Torah study in yeshivas and by all scholars of Judaism.
 The Jerusalem Talmud was compiled in the Academy of R. Yoḥanan in the Land of Israel, ca. 220–375 C.E. Like its counterpart, the Babylonian Talmud, it is a comprehensive commentary on the Mishnah that is also rich in Aggadah (rabbinical lore), non-legal material. There are several Latin and Greek expressions littered throughout its folios, as well including Mishnaic Hebrew and a Jewish dialect of Aramaic.