Several biblical translations into other languages in the 20th and 21st centuries have followed some kind of version of these translation norms, albeit with different goals and within different contexts. The German translation by Martin Buber and Franz Rosenzweig, whose first volume appeared in 1925, for instance, aimed to reflect the linguistic features of the original Hebrew. The central precept of Henri Meschonnic’s French translation, which came out in 1970, is “more than what a text says, it is what a text does that must be translated.” Haroldo de Campos’s translation of individual biblical books into Brazilian Portuguese in the 1990s were meant to “Hebraicize the Portuguese.”

This done, Adler can say that young crit ics of “the System” are not true revolutionaries. Real revolutionaries work within the System — since the System is the Revolution.

In 1970 Diller starred as Dolly Gallagher Levi in Hello, Dolly! for three months at the St. James Theatre on Broadway. Diller followed Carol Channing, Ginger Rogers, Martha Raye, Pearl Bailey (in a version with an all-black cast) and Betty Grable in the role and was replaced by Ethel Merman, who closed out the show in December 1970.