the final verse, d'Astier expresses his hope and confidence that Resistance will not be futile; "" (English: "The wind blows on the graves") evoking a cleansing wind and "" (English: "Freedom will return / We will be forgotten / We will go into the shadows") expressing the confidence that the actions of the mostly anonymous Resistance will have their desired effect. Marly performed her song self-accompanied by guitar, and introduced each verse instrumentally while whistling the melody. Adaptation to English Born in Manhattan, New York City in 1907, Hy Zaret was best known as a Tin Pan Alley lyricist, whose writing credits include those for "Unchained Melody", "One Meat Ball" and several educational and public service songs. He wrote an English version of "La Complainte du partisan" titled "Song of the French partisan", published by the Leeds Publishing Corporation, New York City, August 11, 1944. Zaret's adaptation includes three of d'Astier's original French verses, with references to (English: "The enemy") changed to (English: "The Germans"), inserted between the penultimate and final English verses. Leonard Cohen used Zaret's adaptation for his creation of "The Partisan", the cover version that popularised the song globally. Douglas Martin reported for the New York Times that Zaret "loosely translated" the French lyrics, and in his book Passion and Ambivalence: Colonialism, Nationalism, and International Law, author Nathaniel Berman compares excerpts of d'Astier's original French lyrics alongside, what he calls Zaret's English "‍(mis)translation", and notes that "the two versions reflect very different views"; that Zaret's English suggests that the partisans will "come from the shadows", while the French "", he states as "we will return to the shadow" (emphasis in quote) in English, suggests that the partisans – the Resistance – are "an artifact of the imperialism that dominates [them]", and that "reconciliation of society with its shadows is an illusion". Alex Young, for Consequence of Sound, describes the differences between the original French and Zaret's English, saying it "downplays the song's historical content – the English lyrics contain no references to France or the Nazi occupation", with an example of literal English translations of the song's first line, "The Germans were at my house" (French: ""), being unheard in his English lyrics. Young goes on to compare the literal English translation of the same verse compared by Berman: Maurice Ratcliff also noted, in his book Leonard Cohen: The Music and The Mystique, that there are differences