While these are not unproblematic questions, one could also raise them about several similar titles that have appeared in recent years: Yiddish renderings of Wilhelm Busch's Max und Moritz, Heinrich Hoffman's Struwwelpeter, Antoine de Saint-Exupery's The Little Prince, Eric Carle's The Very Hungry Caterpillar, and Dr.
In a prewar Yiddish version of Max und Moritz, this episode is simply omitted; see Vilhelm Bush [Wilhelm Busch], Notel un Motel: zeks shtifer-mayselekh, fray baarbet in yidish durkh Yoysef Tunkel [Notel and Motel: Six Mischievous Tales, Freely Adapted by Yoysef Tunkel] (Warsaw: Farlag Brider Levin-Epshteyn un shutfim, 1920).
We shall have a look at one of the prominent cases of the poetics of interjection, Busch's "story of two rascals in seven tricks", Max und Moritz (Busch 1996: 5).
One has to bear in mind that Max und Moritz is not only a witty tale about two nasty rascals--and not only a book for children.
The verses which interest here are: Max und Moritz, gar nicht trage, Sagen heimlich mit der Sage, Ritzeratze!
The Polish translation of Max und Moritz shows deviations from the German source text, which may have to do with Robert Stiller's 'struggling' with the rhymes.
The lines "Ach, das war ein schlimmes Ding,/ Wie es Max und Moritz ging!" are rendered as "Niech nikogo nie zachwyca/Przyszlsc Maksa i Moryca" ('Max's and Moritz's future should not delight anybody').
Regardless of such translatory device to make up for omissions of the Ach, this interjection is not quite as "present" in the Polish version of Busch's Max und Moritz as it is in the source text.
"Pitter, patter", "Bow-wow", "Bah!", "Plop!", "Krroom!"; the Polish version of Max und Moritz offers these sound effects: "Mee ...