For example, in Rosenzweig’s translation, the Hebrew Grace after Meal, he “adopts the rhythm of German exactly to the traditional Hebrew melody” (E.R. Freund 66-67). For him, poems are not intended for the sake of the readers (audiences) to be read, but rather they should be for being recited and heard. Here Rosenzweig places an extreme significance of spoken words in which he points out to his concept “speech thinking.” That is, reciting the verses and listening to them is the innermost goal for translation. This eludes that the aesthetic values have to be preserved in
For example, in Rosenzweig’s translation, the Hebrew Grace after Meal, he “adopts the rhythm of German exactly to the traditional Hebrew melody” (E.R. Freund 66-67). For him, poems are not intended for the sake of the readers (audiences) to be read, but rather they should be for being recited and heard. Here Rosenzweig places an extreme significance of spoken words in which he points out to his concept “speech thinking.” That is, reciting the verses and listening to them is the innermost goal for translation. This eludes that the aesthetic values have to be preserved in