to all of her belongings, traveling with his wife (from
Rumanian to Odessa) would have cost more than the cost
of transporting half of his troupe. Roskoshne (another
actress) would do the same with her sister-in-law, Hinke.
Both women were so bedecked with jewelry that to
everyone else they seemed like the richest women in
Goldfaden and I shared the work. (Goldfaden at that time
was in St. Petersburg, trying to get government
permission to perform throughout Russia while the troupe
was performing in Romania.) I was the manager at that
time, and Mrs. Goldfaden was the treasurer."
At that time Mr. Goldfaden explains (in his letter of 8,
October, 1899 to Sholem Aleichem): "My entire battle in
life is due to the family life with my wife. It is
understandable that when I’m in my creative heaven day
and night, and when the spirit moves me to write, I
can’t and I don’t care even if there is an entire world
full of money therein. Because she, my partner, is only
made of flesh and blood, who can afford to give in to
the temptations of a material existence. She should,
when my pen is ready to make so much money, be more
careful with the household expenses, even manage the
money more carefully. However, she does not do this—and
apart from this she does whatever appears to be tempting
to her eyes. She suffers terribly from a shortcoming—she
has placed me before the world in a helpless
situation—so that when the world asks me—where is your
money?—I look at my wife—and I cannot, nor may I, answer
the world... First of all she has perceived, however too
late, her big mistake—Yes! She says to me with a
sigh—"You should have had someone, a Freydele, who could
have made you more happy" (Freydele is a female
character in a Sholem Aleichem novel—"Stempenyu")—but
unfortunately, I could never be "Freydele."
From a placard for a performance in Bucharest’s Yiddish
theatre in 1877 one can see that the two-actor comedy,
"The Man with Horns," which was presented at that time
by Goldfaden's troupe, was not the work of Goldfaden but
of Paulina’s translation from the French.
From this one can deduce that Paulina had a hand in the
other French farces and vaudeville that Avraham
Goldfaden had reworked or rearranged for a Yiddish
Her letters often presented questions that illustrated
the situation in the Yiddish theatre. Four of her
letters were explained in the following:
April, 1897 to Jacob Dineson ("The Jewish World", Warsaw
1929, pages 4 and 26)
February 1908 to Yitzhak Perkoff (Perkoff’s brochure
"Avraham Goldfaden, London, 1909, page 28]
27, 1908 to Yitzak Perkoff (There, page 5, 30 December,
1908), A. Tortschiner [Archives, Vilna, 1930, page 272]
December 1908 to A. Torschiner, "Archives", Vilna, 1930
In the last letter G. writes that she has a complete
manuscript of her husband’s last play, "Ben-Ami", which
could become a great propaganda piece for Zionism. It
would be worthwhile if the Zionists should themselves
present this play.
After her husband’s death G. received $5.00 a week,
underwritten by Boris Thomashefsky.
On 9 December 1910 G. died alone in New York and was
buried in the Washington Cemetery.
The Yiddish press mentioned her death with a short
E. from her brother-in-law Shimi Goldfaden.
York, 1926, 26 pp.
Zalmen Zylbercweig --
"Hintern forhang," Vilna, 1928, pp. 24, 46, 50, 53,
68, 69, 81.
Nachman Mayzel -- A.
goldfaden's triv tsu y. dinezon, "Di yidishe velt,"
Warsaw, 1928, 4, pp. 115, 118.
Sh.'s Rotman -- Der
repertuar fun yidishn teater in bukarest in 1877,
"Archive," Vilna, 1930, pp. 280-1.