In Praise of the Soncino Talmud
By David S Farkas*

Not long ago one of our local schools hosted a Giveaway day in its library, making many of the older seforim in its considerable collection free to a good home. As expected, the local citizenry plundered and pillaged, carrying off large numbers of books, many still in quite good condition. I was only able to attend towards the end, “after the last of the gleaners had gone.”[1] Only a few scattered Siddurim and Chumashim were left, when I spotted a box in a corner of the room, filled with small red volumes. Close inspection revealed that the books were none other than the Soncino Talmud, a complete set. My heart sank a little to see this classic work, neglected and abandoned. I felt, in a small way, as though I had seen the tongue of Chutzpith the Translator lying in the dust.[2]

The Soncino Press sees no press at all these days, it seems. Its groundbreaking complete English translation of the Talmud has almost entirely been supplanted by Artscroll’s Schottenstein edition. Indeed, studying with the latter presents a very much different type of engagement with the Gemara, and Artscroll has undoubtedly done a master job of it. Yet for all of its depth and analysis, Soncino to this day brings to the table things that Artscroll does not. What follows, then, is not an attempt to sing the praises of one at the expense of the other, but only to point out some of the unique features of the now-neglected Soncino, and to suggest some of its alleged flaws may have been greatly exaggerated.[3]

To begin with, the canard so many of us heard in our yeshiva days – that Soncino was edited by less than fully-religious Jews – is a terrible misimpression that, to the best of my knowledge, seems to be based purely on the evidence that it was edited by a man named Isidore. Yet Rabbi Yechezkel Epstein (as he is in fact identified, in Hebrew, on the opposite front-page of most volumes) was very much an observant Jew, who attended the Pressburg Yeshivah founded by the Chasam Sofer, and was said to know Shas by heart. The project began with Seder Nezikin in 1935 with a heartfelt prayer to Almighty God, capped with the traditional phrase יה”ר מלפני ה’ כשם שעזרתני לסיים סדר נזיקין, כן תעזרני להתחיל סדרים אחרים ולסיימם.  It concluded in 1948, as printed in Seder Kodshim, with a heartfelt תם ונשלם שבח לבורא עולם, and the traditional Hadran written out nearly in full. We can certainly say of Soncino, if we may modify R. Yosi’s summation of Kelim, “Happy art thou, Soncino – thou began in purity, and finished in purity.”[4]

Moreover, a review of the individual contributors to each volume – a list that, to my knowledge, has never before been assembled – reveals that each and every one of them were strictly orthodox, and not identified with any other stream of Judaism.[5]

The entire series is written in the best of the King’s English. Somewhat amusingly, this itself has sometimes been offered as a reason not to use the Soncino, as though students today are incapable of understanding proper English. It is true that the series occasionally uses words no longer current (such as “dam” for a mother bird or animal, or “usufruct”.) It also actually translates Biblical or Talmudic concepts, rather than simply transliterating them, a device that has become popular today. Still, the language is eminently readable to anyone devoting to it the proper attention, and it is precisely the insistence upon proper translations that sometimes leads to a better grasp of the text.[6]

Turning to more substantive matters, one key item that jumps out is the brevity of the work. In its most compact English-only edition, the entire set – and that includes all sixty tractates, plus a full-length Index volume – comes in at a trim eighteen volumes. Even with the facing Hebrew page, the set numbers no more than 30 or 35 volumes, depending on the edition.[7] Artscroll, by contrast, which incudes only those tractates with Bavli (plus Shekalim, Eduyos, and Midos) comes in at a jaw-dropping, new-bookshelves-requiring, 73 volumes.[8]

And there is something to be said for concision. At times, when I have encountered a difficulty in the (original) text, checking with Artscroll has only made things more difficult. The Artscroll method is generally to translate or paraphrase the entirety of Rashi, and doing so in English sometimes leaves the reader confused. By contrast, Soncino tends to collapse the entirety of every question and answer into one or two lines. Keeping things short and to the point, I have found, often leads to better understanding of the basic give and take of the Gemara.

This brevity is especially important – and here is a key distinction between the two translations – for those who can learn the Gemara in the original, but either lack the time or the patience to do so. Artscroll effectively prevents the user from doing anything on his own. The text is spoon-fed to the user, and because of the interlinear format, the reader never gets entirely away from the English. Though one can go to the full Hebrew text, the Hebrew woven into the English also means users can – and do – simply use the translation.  It is quite often tedious and time consuming to read, in part because the sentences are broken up every few words, and in part because of the copious long and involved footnotes. Soncino, on the other hand, rather than leading the reader by the hand, simply gives him a head start. Quickly perusing a few English-only paragraphs provides the reader with an overview of the upcoming sugya, and allows him to go back into the regular text and then read everything on his own. In essence, it requires the reader to still go back to the traditional Hebrew text, especially if he wants to fully understand the discussion.

That, of course, might well be considered a flaw, rather than a feature. As noted by R. Gil Student, the Soncino does have “limited value in helping one understand the “sugya” (progression of ideas at large).”[9] Artscroll does an excellent job of laying out for the reader where the passage is heading, and identifying what the Gemara intends to accomplish with each step of the discussion. Soncino does none of this, expecting the student to do this on his own. In some volumes, however, the text is broken up into shorter paragraphs, which on their own help the astute reader realize the Gemara’s direction.

Footnotes help, too.  Soncino very often paraphrases Rashi, only without calling attention to the fact. Moreover, it also regularly cites traditional commentators. As noted in the Introduction, these include, in addition to Rashi, “the Tosafists, Asheri, Alfasi, Maimonides, Maharsha, the glosses of BaH, Rashal, Strashun, the Wilna Gaon, etc.” I have also seen cited Rishonim like Rabbeinu Chananel or Ritva, and Achronim like R. Yaakov Emden and R. Tzvi Hirsch Chajes. Of course, and again, in no way does it approach the information provided by Artscroll. Readers with questions will often find them addressed in the lengthy notes of Artscroll, and will even more frequently encounter issues they had never considered. For sheer depth of analysis, Artscroll stands alone. Still, it is a mistake to think that Soncino gives the reader only the bare Gemara by itself.

Yet Soncino also provides information often absent from Artscroll. As the Chief Editor wrote, while he did not attempt to secure uniformity among the several authors – more on that in a moment – he himself added footnotes in brackets containing matters of historical and geographical interest. (To be sure, R. Epstein also added in many pshat based comments, though both functions noticeably decline in frequency as the series progresses into Kodshim.)

Citations to journals like the Jewish Quarterly Review or other German-language periodicals abound. Where parallels to the Gemara exist in Josephus or Apocrypha like Ben Sira, we are informed.  Likewise, parallels in Greek and Roman sources are also frequently noted.[10] Most place names are identified via Obermeyer’s 1929 geographical guide to Talmudic Babylon. Textural variants from the Septuagint are sometimes noted. Herford is also cited on anything that relates to Christianity, though, it may be said, Soncino displays somewhat of an obsession on this topic, and often perceives statements of the sages to be a disguised polemic, with very little justification.[11]

Each of the six Sedarim has its own introduction. The introductions to each of the individual volumes contain very useful summaries of the topic of each chapter, an important feature for learning the Talmud (and quite helpful for review), where the forest can easily be lost sight of. An appendix to Gittin gives what I believe to still be the best short summation of the Talmudic-era medicine described in the 7^th chapter of that Masechta, as well as a similar lengthy passage in Avoda Zara. In one of the volumes (Eruvin) diagrams are gamely used, though the technology of the time did not permit anything much more than rudimentary line drawing and shading. Similarly, the anatomical skeleton of an ox is presented in Chulin.

I noted above that the editor did not seek to achieve uniformity of style, and the uneven quality shows. Some volumes are simply better than others. In one or two cases the translation can only be called wooden, and the notes do little more than add an emphatic “Surely not!” after obviously rhetorical questions. Happily, though, in most cases the individuality of the authors accrues to the benefit of the overall translation, providing different perspectives and viewpoints. Thus, for example, the translations of Chulin and Menachos done by Eli Cashdan, a European-born Talmid Chacham of note, are particularly lucid and clear. The translation to Moed Kattan by Dayan Lazarus preserves the poetry of the original in the elegies of the third chapter by translating them into English poetry, in the classic British style of Israel Zangwill and Nina Salaman,[12] The work to the first half of Kesubos by Samuel Daiches, the only barrister at law to participate in the series (though also an ordained rabbi), is particularly rich with citations to both Roman Cannon law and English jurisprudence.[13] And a number of these highly-educated authors find parallels in Talmudic sayings to classics of literature. [14]

In short, there is much to say in favor of the Soncino Talmud. It contains many gems of scholarship and interpretation, some of them not found, to my knowledge, in any other sources. If it is not perfect – no translation ever is – it is far better than it is often given credit for. The Soncino Talmud was, and fill forever remain, a landmark of Torah literature. To echo (via paraphrase) the words of Dr. Shnayer Leiman in these pages a number of years ago, said in connection with a different classic series thought to be out of date: “Hold on to your Soncino Talmuds! Public libraries and private collectors will do well to retain them and keep them precisely on the same shelves they have now occupied these many years.”[15]

Note from the Seforim Blog editors: Prof. Saul Lieberman refers to “responsible English translations of rabbinic texts (like those of Soncino Press)” at the end of his classic poison-pen review of Jacob Neusner’s acumen as a talmudic translator. See Lieberman, Saul. “A Tragedy or a Comedy?” Journal of the American Oriental Society, vol. 104, no. 2, 1984, pp. 315–319.

* Mr. Farkas received his rabbinic ordination from Ner Israel Rabbinical College in 1999. He lives with his family in Cleveland, Ohio, where he serves as Senior Corporate Counsel for a large energy company.   

[1] See Peah 8:1, Bava Metzia 21b

[2] See Chulin 142b.

[3] I have used the device of contrasting with Artscroll to highlight certain aspects of the Soncino. It should be self-understood that these points of preference are in no way intended to derogate that outstanding work, which enjoys deserved worldwide popularity. In the same vein, I use Artscroll as a contrast simply because of its wide-spread use, and not from any intent to disregard the also excellent Koren and Steinsaltz editions.

[4] The foreword and epilogue to the set – what we might today call הסכמות – contain similar sentiment. They are cited, along with brief comments on the Soncino series, in Words, Meaning, and Spirit: The Talmud in Translation (A. Mintz, Torah U’Maddah Journal 1995).

[5] The Complete list of Contributors to the Gemara include the following Rabbis, Doctors, and Misters, in alphabetical order: I. Abraham (Chagigah); Eli Cashdan (Menachos, Chulin); Abraham Cohen (Sotah, Avoda Zara); Samuel Daiches (Kesubos); H. Freedman (Sabbath, Pesachim, Nedarim, Kiddushin, Bava Metzia, Sanhedrin, Zevachim); M. Ginsberg (Betzah); L. Jung (Yoma, Arachin); E. W. Kirzner (Bava Kama); B. D. Klein (Nazir); L. Miller (Bechoros, Temurah); I. Porusch (Kerisos, Meilah); J. Rabinowitz (Taanis)  Jacob Shachter (Sanhedrin) H. M. Lazarus (Moed Kattan, Makkos); A. E. Silverstone (Shevuous);  Maurice Simon (Brachos, Eruvin, Rosh Hashana, Megilah, Gittin, Bava Basra, Bechoros, Tamid); and Israel Slotki (Sukah, Yevamos, Horayos, Bava Basra, Nidah).

The additional Mishnayos were translated by the aforementioned Israel Slotki, and Rabbis/Dcotors H. Bornstein, Phillip Cohen, Isidore Fishman, J. Israelstam, S. M. Lerhrman, and M. H. Segal.

Biographical data is available for many of these figures in Encyclopedia Judaica or Wikipedia. Information can also be found in the Jewish Communities and Records of the United Kingdom database, by clicking on the “rabbinic profiles” tab. (Available here: https://www.jewishgen.org/jcr-uk/Profiles) Note that all the figures listed here are found in the section designated for Orthodox Ministers & Cantors.

I am grateful to Dr. Marc Shapiro, who provided me with very interesting information on some of these men, and who also referred me to Rabbi Benjamin Elton, of the Great Synagogue in Australia, who likewise did the same. R. Elton, in turn, referred me to Professor David Newman, who sent me some photographs of some of the contributors – looking very rabbinic indeed.

[6] This is particularly true for the realia of the Gemara. See for example Pesachim 37a, סריקין מצויירין  which Soncino translates as “Syrian cakes”, but Artscroll transliterates as “decorated Sirikin”; Yoma 38a נחושת קלוניתא which to Soncino is Corinthian Bronze, but to Artscroll, “refined copper.”; In Moed Kattan 27a, in the context of items a mourner may sit upon, such as the chair or ground, אודייני גדולה is listed and translated by Artscroll simply as a “large mortar”, with no additional comment. Soncino translates it as “a large bench for water jugs”, footnoting to the Roman Uranariun and showing the term in parallel passages as אורנריי. Many such examples can be cited.

[7] For more on these different editions see Words, A. Mintz, Id., at fn. 49.

[8] Though this set too, now looks small, compared to the complete Hebrew-language Mesivta edition – a stupendous 136 volumes.

[9] “Tackling the Talmud: One Daf at a Time” (Jewish Action, Fall 2012)

[10] See for example Nazir 4b, showing parallels to the story described therein to the tale of Narcissus found in Ovid.

[11] See, for example, the Commentary to Sukkah 5a, Nedarim 38a and 64b. (I hasten to add, as someone once observed, “Just because you’re paranoid doesn’t mean they aren’t after you.” I myself recently wrote, of a Mishna in Beitzah, that it too, contained a hitherto unnoticed reference to Christianity. See my article Of Fish and Fishermen: An Unknown Christian Passage in the Talmud (Tradition 52:3 2020).)

[12] See also his nifty rendering of the phrase found there on 9b בת שיתין כבת שית לקל טבלא רהטא : “As sixty as six: the sound of a timbrel makes her nimble.”

[13] See there, for example, 17b and 20a.

[14] See Chagigah 13b, in connection with Sandalphon, referencing Longfellow’s similarly named poem; Avoda Zara 4a, comparing R. Chanina’s advice to pray for the government for without it men would swallow each other alive to a phrase in Shakespeare’s Coriolanus.

[15] The New Encyclopedia Judaica: Some Preliminary Observations. (Shnayer Leiman, Seforim Blog, June 5, 2007)