The Partisan

File:Anna Marly, laissez-passer.png pass of Anna Marly 1942]]

File:Liberation of Marseille, August 1944.jpg (far right) with André Diethelm reviewing troops on the wharf of Rive-Neuve in liberated Marseille in 1944|alt=A group of men in suits and military uniforms, marching past, while admiring, a group of saluting soldiers]]

{{Further|Anna Marly|Emmanuel d'Astier de La Vigerie}}

Anna Marly was born in Petrograd on October 30, 1917, and after her father was murdered by the Bolsheviks, she escaped with her mother and sister to a Russian colony in Menton, south-eastern France. Her artistic talents were encouraged from an early age; she was taught guitar by Sergei Prokofiev, and by age sixteen, was dancing in the Ballets Russes in Paris. Becoming refugees upon the outbreak of World War II, her Dutch aristocrat husband and she travelled to London, arriving in 1941.{{Refn

| group = g

| name = martin, kirkup group

| {{Plainlist|

• {{Nowrap|Martin, The New York Times}} {{R|martin nytimes}}
• {{Nowrap|Kirkup, The Independent}} {{R|kirkup marly obit}}

}}

}}{{R|telegraph marly obit}}

Emmanuel d'Astier de La Vigerie was born in Paris on January 6, 1900, and after studying at the private high school Sainte-Geneviève in Versailles, he joined the École Navale (the French naval academy, in charge of the education of the officers of the French Navy) in 1919. Resigning the navy in 1931, d'Astier began a career in journalism, writing for Marianne and VU. With the outbreak of World War II in 1939, he was mobilised to work at the centre de renseignements maritimes de Lorient (English: maritime information center of Lorient) in north-western France, until the Fall of France in 1940. Refusing the armistice with Germany, he co-founded the Resistance movement La Dernière Colonne (English: the Last Column), publishing counter-propaganda against cooperation with Germany, and worked as an editor of the newspaper La Montagne. After the Last Column was decimated by arrests in 1941, he went into hiding under the pseudonym Bernard. By 1943, after meetings in London with Charles de Gaulle, and in Washington with the United States' President Roosevelt, to secure the formation and recognition of the Free French Forces, he again visited London as the Commissioner for Political Affairs of le Directoire des Mouvements unis de Résistance (English: the Directory of United Resistance Movements).{{Refn

| group = g

| name = dAstier group

| {{Plainlist|

• {{Nowrap|Musée de l'Ordre de la Libération}} {{R|order of liberation}}
• {{Nowrap|fondation de la résistance}} {{R|fondation resistance}}
• {{Nowrap|Bibliothèque nationale de France (BnF)}} {{R|bnf dAstier}}
• {{Nowrap|King, Journal of Contemporary History}} {{R|king dAstier}}

}}

}}

Jonathan H. King wrote, of d'Astier, in his article "Emmanuel d'Astier and the Nature of the French Resistance" for the Journal of Contemporary History:{{R|king dAstier}}

Few men were at the centre of the Resistance, for the reason that its centre could rarely be defined and was rarely stable. Even fewer would have the necessary literary and verbal self-consciousness to achieve the goals [of subjectively documenting historical reality]. One who was at the centre and who did have this self-consciousness was Emmanuel d'Astier.

and that, in his efforts to organise the Resistance,

in his own words, d'Astier was seeking the strength of "popular forces, those forces which alone can change our dreams into reality, adventure into history, aesthetics into politics".

It was in London, in 1943, while Marly ran a hostel for French exiles,{{R|ratcliff cohen}} that she wrote the anti-fascist anthem{{R|craig book}} "La Complainte du partisan", with lyrics by d'Astier,{{R|jones oc}} going on to perform it and her other songs on Radio Londres (English: Radio London), the French Resistance radio operated by the Free French Forces, through the British Broadcasting Corporation.{{Refn |group=g |name=martin, kirkup group}}{{R|reilly gordon}} It was at this time that she also wrote "The March of the Partisans", with English lyrics by the Russian ambassador's daughter, Louba Krassine. The French exiles, Joseph Kessel and Maurice Druon, also resident in London, translated it into French for play on Radio Londres and it became "Le Chant des Partisans" (English: "Song of the Partisans"), an unofficial French anthem towards the end of the war.{{Refn |group=g |name=martin, kirkup group}}

Marly's songs, singing and whistling on Radio Londres, were an inspiration to the French Resistance and earned her the credit "troubadour of the Resistance" from General de Gaulle, leader of the French Free Forces.{{Refn |group=g |name=martin, kirkup group}} D'Astier was to become a Chevalier de la Légion d'Honneur (English: Knight of the Legion of Honour), Compagnon de la Libération (English: Companion of the Liberation) and awarded the Croix de Guerre 1939–1945.{{R|order of liberation}} In Paris, 1945, Raoul Breton published the "La Complainte du partisan" sheet music with lyrics by d'Astier credited to Bernard,{{R|bnf partisan}} his Resistance code name.{{R|martin nytimes}}

In their examination of the songs of Anna Marly, the Académie de Lyon describe "La Complainte du partisan" as "{{lang|fr|une vision déchirante de l'engagement des résistants}}" (English: "a heartbreaking vision of the commitment of the Resistance members"), and evaluate its structure and the meaning of its words: the song's lyrics are structured as six quatrains; the first and second lines of each is formed with seven syllables, the third line with five syllables and the fourth with six.{{R|ac-lyon}}

In his analysis for the University of Freiburg, Giacomo Bottà describes d'Astier's lyrics as "very straightforward", then continues:{{R|freiburg botta}}

A partisan recalls, in the first person, episodes of his life ... each verse narrates a different situation: life on the run, the loss of the family, that of comrades, the killing of an old man who hid partisans, up to the ending.

The first five verses (quatrains) depict scenes of Nazi occupied France, the expectation of French people to accept the occupation of their country, and the extraordinary reaction of the Resistance. The first line of the song, "{{lang|fr|L'ennemi était chez moi}}" (English: "The enemy was at my house"), where "my house" can be understood as a reference to France, sets the scene. The second line, "{{lang|fr|On m'a dit 'Résigne-toi'}}" (English: "I was told 'Resign yourself{{' "}}), references the common resignation of the French people in response to Philippe Pétain's radio address, after the Fall of France, announcing his intention to ask for an armistice with Germany.{{R|ac-lyon}}

In the third and fourth lines, "{{lang|fr|Mais je n'ai pas pu / Et j'ai repris mon arme}}" (English: "But I could not / And I took my weapon"), d'Astier introduces the notion of resistance, with a risk of death, loss of family, friends and identity and leading a secretive and dangerous life on the run, evoked by the lines "{{lang|fr|J'ai changé cent fois de nom / J'ai perdu femme et enfants ... Hier encore, nous étions trois / Il ne reste plus que moi / Et je tourne en rond / Dans la prison des frontières}}" (English: "I changed name a hundred times / I lost wife and children ... Just yesterday, there were three of us / Now there is only me / And I'm going around in circles / Inside the prison of borders").{{R|ac-lyon}}

The dangers d'Astier describes are countered by the expressions "{{lang|fr|Mais j'ai tant d'amis / Et j'ai la France entière}}" (English: "But I have so many friends / And I have the whole of France"), describing the support of the Resistance from the French people. In the final verse, d'Astier expresses his hope and confidence that Resistance will not be futile; "{{lang|fr|Le vent souffle sur les tombes}}" (English: "The wind blows on the graves") evoking a cleansing wind and "{{lang|fr|La liberté reviendra / On nous oubliera / Nous rentrerons dans l'ombre}}" (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.{{R|ac-lyon}}

Marly performed her song self-accompanied by guitar, and introduced each verse instrumentally while whistling the melody.{{R|freiburg botta}}

{{Further|Hy Zaret}}

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"{{Refn

| group = g

| name = jones, martin group

| {{Plainlist|

• {{Nowrap|Jones, Open Culture}} {{R|jones oc}}
• {{Nowrap|Martin, The New York Times}} {{R|nytimes zaret obit}}

}}

}}{{Refn

| group=g

| name=jones, zaret nytimes obit, telegraph zaret obit, wise, hogan group

| {{Plainlist|

• {{Nowrap|Zaret obit. The Telegraph}} {{R|telegraph zaret obit}}
• {{Nowrap|The Little Black Songbook}} {{R|wise cohen}}
• {{Nowrap|Hogan, Pitchfork}} {{R|hogan cohen}}

}}

}} titled "Song of the French partisan", published by the Leeds Publishing Corporation, New York City, August 11, 1944.{{R|CC}}{{R|ac-lyon}} Zaret's adaptation includes three of d'Astier's original French verses, with references to {{lang|fr|L'ennemi}} (English: "The enemy") changed to {{lang|fr|Les Allemands}} (English: "The Germans"), inserted between the penultimate and final English verses.{{R|ac-lyon}} Leonard Cohen used Zaret's adaptation for his creation of "The Partisan", the cover version that popularised the song globally.{{Refn

| group = g

| name = martin, jones and young group

| {{Plainlist|

• {{Nowrap|Jones, Martin}} {{Refn |group=g |name=jones, martin group}}
• {{Nowrap|Young, Consequence of Sound}} {{R|young cos}}

}}

}}

Douglas Martin reported for The New York Times that Zaret "loosely translated" the French lyrics,{{R|martin nytimes}} 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 "{{lang|fr|nous rentrerons dans l'ombre}}", 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".{{R|berman}}

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: "{{lang|fr|Les Allemands étaient chez moi}}"), being unheard in his English lyrics. Young goes on to compare the literal English translation of the same verse compared by Berman:{{R|young cos}}

{{Listen

| type = music

| header = Comparison of Marly and Cohen performing, respectively, d'Astier's original French and Zaret's English final verse

| filename = Anna Marly - La Complainte du partisan - 1963.ogg

| title = Anna Marly; "La Complainte du partisan"; 1963

| filename2 = Leonard Cohen, The Partisan, 1968 - 28.5 second excerpt of English transition to French.ogg

| title2 = Leonard Cohen; "The Partisan"; 1969

}}

scope="col" | d'Astier's French(as compared by Berman) ! scope="col" | Zaret's English(as compared by Berman) ! scope="col" | Literal English translation(as compared by Young)
{{lang|fr|Le vent souffle sur les tombes La Liberté reviendra On nous oubliera Nous rentrerons dans l'ombre}} | Oh, the wind, the wind is blowing Through the graves the wind is blowing Freedom soon will come Then we'll come from the shadows | The wind is blowing on the graves Freedom will come back Everyone will forget us We will return to the shadows

{{Clear}}

Maurice Ratcliff also noted, in his book Leonard Cohen: The Music and The Mystique, that there are differences between the original French and Zaret's English versions; he comments that Leonard Cohen's "The Partisan" is "substantially Zaret's", and while it does also contain verses sung in the original French, references to "The Germans" in the English verses, "become the more neutral 'soldiers{{' "}} and "the shelter-giving 'old woman' is '{{lang|fr|un vieux[‍sic] homme}}{{' "}} (English: "an old man").{{R|ratcliff cohen}}

Giacomo Bottà describes Zaret's adaptation as "relatively faithful",{{R|freiburg botta}} while in the Académie de Lyon's evaluation of "La Complainte du partisan", its adaptation and cover versions, they write:{{R|ac-lyon}}

{{lang|fr|La version de Léonard Cohen propose une traduction fidèle, sauf la dernière strophe, qui est bien plus positive: les résistants sortiront de l'ombre et la liberté sera revenue. Le résistant est montré davantage comme un héros, qui est placé dans la lumière, une fois la liberté revenue.}} (English: The version of Leonard Cohen offers a faithful translation, except the last stanza, which is much more positive: the resistants will come out of the shadows and freedom will return. The resistance fighter is shown more as a hero, who is placed in the light, once freedom has returned).

They state that:{{R|ac-lyon}}

{{lang|fr|Cohen était fasciné par cette chanson et se demandait d'ailleurs "si la musique et les écrits n'avaient pas, à eux seuls, renversé Hitler"}} (English: Cohen was fascinated by this song and wondered, moreover, "if music and writings alone did not overthrow Hitler").

{{Infobox song

| name = The Partisan

| cover = Leonard Cohen - The Partisan (B-side - Bird on the Wire) - 1969 CBS (4262) 7-inch single cover art.jpg

| type = single

| artist = Leonard Cohen

| album = Songs from a Room

| B-side = Bird on the Wire

| released = {{Start date|1969|05|30}}

| recorded = {{Start date|1968|10}}

| studio = Columbia Studio A, Nashville

| genre = Folk

| length = {{Duration|m=3|s=37}}

| label = CBS

| composer = Anna Marly

| lyricist =

• Emmanuel d'Astier de La Vigerie
• Hy Zaret

| producer = Bob Johnston

| prev_year = 1968

| prev_title = So Long, Marianne

| next_title = Joan of Arc

| next_year = 1971

}}

While living at a rented farm in Franklin, Tennessee, Leonard Cohen worked on his second album Songs from a Room with Bob Johnston, its producer. In the candlelit Columbia Studio A on Music Row, Nashville,{{R|lynskey cohen}} Johnston created a relaxed atmosphere for, what Mike Evans, in his book Leonard Cohen: An Illustrated Record, calls "suitable, and non-intrusive, backing" by the assembled session musicians: Charlie Daniels on bass, fiddle and guitar, Ron Cornelius on guitars, Bubba Fowler on banjo, bass, fiddle and guitar, and Johnston himself playing keyboards. Ten songs were recorded in one eight-hour session, half of which ended up on the album.{{R|ratcliff cohen}}{{Refn

| group = g

| name = young, evans group

| {{Plainlist|

• {{Nowrap|Young, Consequence of Sound}} {{R|young cos}}
• {{Nowrap|Evans, Leonard Cohen: An Illustrated Record}} {{R|evans cohen}}

}}}}

The recording of "The Partisan" utilized only a classical guitar, double bass, and accordion along with vocals by Cohen and female voices. Bottà states, of Cohen's recording of Zaret's adaptation, that "the melody and chord structure is considerably different from the original" by Marly.{{R|freiburg botta}}

Both writing for The Guardian, Adam Sweeting, in Cohen's obituary, and Dorian Lynskey, in his music blog article, refer to Songs from a Room as being bleak. Sweeting states that it is "another powerful but bleak collection",{{R|guardian cohen obit}} while Lynskey calls it "sparser and bleaker than the debut",{{R|lynskey cohen}} Songs of Leonard Cohen.

Cohen first learned "La Complainte du partisan" from The People's Songbook as a fifteen-year-old boy at summer-camp in 1950.{{R|nadel cohen}} Using Zaret's predominantly English adaptation to record the song, with the title "The Partisan",{{R|hogan cohen}} left Cohen dissatisfied, and he suggested to Johnston that French voices were needed on the track. Johnston reportedly arranged to fly with Cohen to Paris, for "authenticity" according to Maurice Ratcliff, to record a trio of female singers and an accordion player, whose work was overdubbed on to the track.{{R|ratcliff cohen}}{{Refn |group=g |name=young, evans group}} The song fades into an intro, followed by nine verses and an outro that fades out; the first five verses are sung from Zaret's English, followed by verses six, seven and eight being sung in French, and the final verse nine being a repeat of the English verse five.{{R|wise cohen}}

In May 1969, CBS released the album track, "The Partisan", in Europe as a 7-inch single with, in the initial format, "Bird on the Wire", and in a later format, "Suzanne" on the B-side.{{R |kubernik cohen |mb cohen single}}

"The Partisan" was to be Cohen's first commercial recording of a song he did not write;{{R|evans cohen}} writing about Cohen's cover versions of other's songs, in his article for Pitchfork, published soon after Cohen's death, Marc Hogan refers to Cohen's "The Partisan" as a "wonderfully affecting ... haunting version",{{R|hogan cohen}} and Josh Jones, writing for Open Culture, describes it as having a "folk melody and melancholy lyricism",{{R|jones oc}} with what Ratcliff calls a "plodding bass line underpinning the simply strummed guitar and an occasional accordion" and "a rare excursion ... into political territory".{{R|ratcliff cohen}} Tim Nelson, in his BBC review of Cohen's albums, also refers to the song's "biting political commentary".{{R|nelson review}}

Alex Young writes that "[Cohen] is often incorrectly credited as the composer of the [original] song – although he is certainly responsible for its survival",{{R|young cos}} Douglas Martin states that {{" '}}The Partisan' gained popularity" in the United States thanks to Cohen's recording,{{R|martin nytimes}} and Josh Jones writes that the song "[has] become so closely associated with Cohen that it has often been credited to him", with Cohen reportedly remarking, "I kind of re-introduced ['The Partisan'] into the world of popular music. I feel I wrote it, but I actually didn't" (bracketed content in source).{{R|jones oc}} Hogan writes that Cohen's version "became one of his signature songs, leading to renditions by Joan Baez, Buffy Sainte-Marie, Electrelane, First Aid Kit, and many others."{{R|hogan cohen}}

Evans writes about a Polish translation of Cohen's—Zaret's—song being adopted as an unofficial anthem of the Solidarity movement for democracy in the detention camps of communist Poland, one of the countries in which Cohen performed while on the Various Positions Tour in 1985, supporting his album that spawned "Hallelujah", Various Positions.{{R|evans cohen}}

Luke Reilly, reporting for an article in IGN about the creation of Australian composer Mick Gordon's version of "The Partisan" for the closing credits of the 2015 video game Wolfenstein: The Old Blood, a game in a series depicting the events of a fictionalised World War II, refers to Cohen's "The Partisan" as being "perhaps" the most famous, and reports that the audio director on Wolfenstein, Nicholas Raynor, also called Cohen's version "a famous one"; according to Gordon, it was Raynor's idea to do a cover for the game. The Australian singer-songwriter Tex Perkins was Gordon's first choice to sing his version. Reilly says "the song itself is poignant and heartrending, yet incredibly stirring and motivational. A song that simultaneously mourns what's been lost and steels listeners for a fight to come" and that Gordon and Perkin's version "begins with a softly haunting acoustic intro before escalating to stomping blasts of distorted guitar and heaving drumming".{{R|reilly gordon}}

Recording their 2005 album Axes live in the studio, English group Electrelane included a version of "The Partisan" on the release. Andy Gill, reviewing the album for The Independent, described their style as "a sort of cross between Krautrock, klezmer and free jazz that thrives on the enthusiasm of performance", and that their version is "still recognisable ... despite the churning thrash they give it".{{R |hogan cohen |gill electrelane}}

Canadian group Po' Girl included a version on their 2007 album, Home to You, which Sue Keogh described, in her review for the BBC, as an "acoustic mix of guitars, banjos and violin, plus a couple of moments of clarinet and trumpet or wry comments from performance poet CV Avery to keep you on your toes", having a "gentle acoustic sound" with a "bright and breezy yet intimate and charming atmosphere".{{R|keogh po girl}} David Jeffries called the album a "layered, insightful, and achingly poignant triumph" in his review for AllMusic.{{R|am po girl}}

Betty Clarke, for the Guardian, reviewed a live show at the Village Underground, London by American group Other Lives in 2012, where they performed a cover of "The Partisan". Clarke says the band create "indie-pop with the scope, precision and polish of Fleetwood Mac's Rumours" (emphasis added), and that their performance of "The Partisan" "encompass[ed] all the elements of Other Lives' sound".{{R|clarke other lives}}

Versions of "The Partisan" have been performed, recorded and released by many other artists, with none being so widely referenced as that by Joan Baez{{R |reilly gordon |hogan cohen}} in 1972,{{Refn

| group=g

| name=jones, martin, young, evans group

| {{Plainlist|

• {{Nowrap|Jones, Martin}} {{Refn |group=g |name=jones, martin group}}
• {{Nowrap|Young, Evans}} {{Refn |group=g |name=young, evans group}}

}}

}} on her album Come from the Shadows,{{R|mb baez album}} the name of which is derived from Zaret's English lyrics.{{R|baez memoir}}

{{Infobox song

| name = Song of the French Partisan

| type = song

| artist = Buffy Sainte-Marie

| album = She Used to Wanna Be a Ballerina

| A-side = Soldat Bleu

| released = {{Start date|1970}}

| genre =

• Folk
• pop rock

| length = {{Duration|m=3|s=16}}

| label = Vanguard

| composer = Anna Marly

| lyricist =

• {{Nowrap|Emmanuel d'Astier de La Vigerie}}
• Hy Zaret

| producer =

• Jack Nitzsche
• {{Nowrap|Buffy Sainte-Marie}}

}}

File:Buffy Sainte-Marie -performing at the Grand Gala du Disque 1968.png performing at the Grand Gala du Disque in 1968|alt=A young woman playing a classical guitar]]

In 1970, Canadian singer-songwriter Buffy Sainte-Marie provided the title song for the film Soldier Blue,{{Refn

| group = g

| name = ruhlmann, positif, jeune group

| {{Plainlist|

• {{Nowrap|Ruhlmann, AllMusic review}} {{R|ruhlmann review}}
• {{Nowrap|Positif magazine}} {{R|positif}}
• {{Nowrap|Jeune Cinéma magazine}} {{R|jeune}}

}}

}} first released as a 7-inch single in France in 1970 by Vanguard Records with the title "Soldat Bleu", and elsewhere in 1971 by RCA Victor as "Soldier Blue", all releases featuring "Song of the French Partisan", the title as published by Zaret,{{R|bnf partisan}}{{R|CC}} a "folk tune she learned from Leonard Cohen" according to Andrea Warner in her book, Buffy Sainte-Marie: The Authorized Biography,{{R|warner sainte-marie bio}} on the B-side.{{R|ocde soldier}} Both songs were included on her 1971 album She Used to Wanna Be a Ballerina.{{R |ruhlmann review |warner sainte-marie bio}} The RCA release of "Soldier Blue" was a top-10 hit in the United Kingdom in 1971, spending eighteen weeks on the singles chart, four in the top-10, two at number seven.{{R |hogan cohen |ocuk soldier}}

Another version to be produced by Bob Johnston was recorded by Israeli singer Esther Ofarim, who had previously taken second place for Switzerland in the 1963 Eurovision Song Contest{{R |ev ofarim |ev fiasco}} and had, with her then husband Abi Ofarim, a British number one hit with the novelty song "Cinderella Rockefella" in 1968.{{R |am ofarim bio |charts orarim}} She released the cover on her eponymous 1972 album Esther Ofarim; in his review for AllMusic, Richie Unterberger calls Ofarim's recording of the song one of the highlights, awarding the album three of a possible five stars.{{R|am ofarim review}}

{{Clear}}

{{Portal|Music|France}}

• Protest song – a song that is associated with a movement for social change
• {{Section link|Psychological warfare#World War II}} – the use of radio to disseminate propaganda during World War II
• "We'll Meet Again" – a 1939 song made famous by singer Vera Lynn which resonated with soldiers and their families during World War II
• "A Change Is Gonna Come" – a 1964 song by American recording artist Sam Cooke which became an anthem for African Americans and the Civil Rights Movement
• The Sorrow and the Pity – a two-part 1969 documentary film by Marcel Ophüls about the collaboration between the Vichy government and Nazi Germany during World War II – featuring interviews with and archival footage of Emmanuel d'Astier de La Vigerie

Groups

{{Reflist|group=g|30em}}

Sources

{{Reflist|refs=

{{Cite book

| medium = Book

| title = Leonard Cohen: The Music and The Mystique

| first = Maurice

| last = Ratcliff

| chapter = Part 1: Studio albums

| publisher = Omnibus Press

| year = 2012

| isbn = 9780857128225

| chapter-url = https://books.google.com/books?id=ujgDAwAAQBAJ&q=%22the+partisan%22

| via = Google Books

}}

{{Cite book

| medium = Book

| title = Sovereignty, War, and the Global State

| first = Dylan

| last = Craig

| page = 110

| publisher = Springer Publishing

| year = 2019

| isbn = 9783030198862

| url = https://books.google.com/books?id=QXCfDwAAQBAJ&q=%22La+Complainte+du+partisan%22

| via = Google Books

}}

{{Cite book

| medium = Book

| title = The Little Black Songbook: Leonard Cohen

| author = Wise Publications

| chapter = The Partisan

| pages = 124–125

| year = 2012

| publisher = Wise Publications

| isbn = 9780857129192

| chapter-url = https://books.google.com/books?id=OGvHDgAAQBAJ&q=%22the+partisan%22

| via = Google Books

}}

{{Cite book

| medium = Book

| title = Passion and Ambivalence: Colonialism, Nationalism, and International Law

| first = Nathaniel

| last = Berman

| author-link = Nathaniel Berman

| translator-first1 = Euan

| translator-last1 = MacDonald

| pages = 455–456

| publisher = Martinus Nijhoff Publishers

| year = 2011

| isbn = 9789004210240

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| via = Google Books

}}

{{Cite book

| medium = Book

| title = Leonard Cohen: An Illustrated Record

| first = Mike

| last = Evans

| year = 2018

| publisher = Plexus Publishing

| isbn = 9780859658690

| url = https://books.google.com/books?id=lA5tDwAAQBAJ&q=%22the+partisan%22

| via = Google Books

}}

{{Cite book

| medium = Book

| title = Leonard Cohen: Everybody Knows

| first = Harvey

| last = Kubernik

| author-link = Harvey Kubernik

| chapter = 7" and 12" Vinyl Singles, EPs and CD-Singles

| year = 2017

| publisher = Omnibus Press

| isbn = 9781783238163

| chapter-url = https://books.google.com/books?id=0AYxCwAAQBAJ&q=%22the+partisan%22+4262

| via = Google Books

}}

{{Cite book

| medium = Book

| title = And A Voice to Sing With: A Memoir

| first = Joan

| last = Baez

| author-link = Joan Baez

| pages = 169–170

| publisher = Simon and Schuster

| year = 2012

| isbn = 9781451688405

| url = https://books.google.com/books?id=4Lw5Y0nsWd0C&q=partisan

| via = Google Books

}}

{{Cite book

| medium = Book

| title = Buffy Sainte-Marie: The Authorized Biography

| first = Andrea

| last = Warner

| chapter = Better to find out for yourself

| publisher = Greystone Books

| year = 2018

| isbn = 9781771643597

| chapter-url = https://books.google.com/books?id=m2JmDwAAQBAJ&q=%22The+song+of+the+French+partisan%22

| via = Google Books

}}

{{Cite book

| medium = Book

| title = Various Positions: A Life of Leonard Cohen

| first = Ira B.

| last = Nadel

| author-link = Ira Nadel

| publisher = Random House of Canada

| year = 2010

| isbn = 9780307367020

| url = https://books.google.com/books?id=p44Jtck3VCAC&q=%22the+people%27s+songbook%22

| via = Google Books

}}

{{Cite book

| medium = Book

| title = Catalog of Copyright Entries: Musical compositions, Part 3

| publisher = Library of Congress, Copyright Office

| year = 1944

| page = 1421

| url = https://books.google.com/books?id=yj5jAAAAIAAJ&q=%22song+of+the+french+partisan%22

| via = Google Books

}}

{{Cite journal

| medium = Journal

| journal = Journal of Contemporary History

| volume = 8

| issue = 4

| year = 1973

| publisher = SAGE Publications

| title = Emmanuel d'Astier and the Nature of the French Resistance

| pages = 25–34

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| jstor = 260126

| doi = 10.1177/002200947300800402

| s2cid = 159925576

}}

{{Cite magazine

| medium = Magazine

| magazine = Positif

| title = Positif, Issues 123-133

| year = 1971

| publisher = Nouvelles éditions

| language = fr

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| via = Google Books

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{{Cite magazine

| medium = Magazine

| magazine = Jeune Cinéma

| title = Jeune cinéma, Issues 53-62

| year = 1971

| publisher = Fédération Jean Vigo

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| url-status = live

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| url = https://www.nytimes.com/2007/07/03/arts/03zaret.html

| url-status = live

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{{Cite news

| url = https://www.telegraph.co.uk/news/obituaries/1556693/Hy-Zaret.html

| url-status = live

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| url = https://www.independent.co.uk/news/obituaries/anna-marly-6108581.html

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| department = Obituaries

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}}

{{Cite news

| url = https://www.telegraph.co.uk/news/obituaries/1511643/Anna-Marly.html

| url-status = live

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| archive-date = April 28, 2016

| website = Albert-Ludwigs-Universität Freiburg

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| url = https://consequenceofsound.net/2009/01/rock-history-101-leonard-cohen-the-partisan/

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| archive-date = October 8, 2020

| access-date = October 23, 2020

| website = The Guardian

| department = Music blog

| title = Leonard Cohen – he knew things about life, and if you listened you could learn

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| archive-date = October 1, 2020

| access-date = October 23, 2020

| website = Pitchfork

| department = The Pitch

| title = 7 Covers Leonard Cohen Made His Own

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| author-link = Marc Hogan

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{{Cite web

| url = https://www.bbc.co.uk/music/reviews/3f54/

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| archive-date = August 14, 2019

| access-date = October 23, 2020

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| title = Leonard Cohen The Songs of Leonard Cohen, Songs from a Room, Songs of Love and Hate Review

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| year = 2007

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| url = https://www.independent.co.uk/arts-entertainment/music/reviews/album-electrelane-236888.html

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| archive-date = August 12, 2019

| access-date = October 23, 2020

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| date = May 6, 2005

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| archive-date = August 11, 2019

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| date = April 5, 2012

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{{Cite web

| url = https://www.bbc.co.uk/music/reviews/nv63/

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| archive-date = August 16, 2019

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| url = https://www.offiziellecharts.de/titel-details-68247

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| archive-date = August 18, 2019

| access-date = October 24, 2020

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| title = Offizielle Deutsche Charts: Soldier Blue

| trans-title = Official German Charts: Soldier Blue

| language = de

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}}

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| url = https://www.officialcharts.com/search/singles/soldier-blue/

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| access-date = October 24, 2020

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| title = Official UK Singles Chart: Soldier Blue

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| url = https://eurovision.tv/event/london-1963/participants

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| access-date = October 24, 2020

| website = Eurovision Song Contest

| title = London 1963

}}

{{Cite web

| url = https://eurovision.tv/story/recalling-the-50th-anniversary-of-the-1963-contest

| url-status = live

| archive-url = https://web.archive.org/web/20200521131604/https://eurovision.tv/story/recalling-the-50th-anniversary-of-the-1963-contest

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| title = Recalling the 50th anniversary of the 1963 contest

| date = March 23, 2013

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| url = https://www.officialcharts.com/search/singles/cinderella-rockefella/

| url-status = live

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| access-date = October 24, 2020

| website = Official Charts

| title = Official singles chart results matching: Cinderella Rockefella

}}

{{AllMusic

| id = mw0000558383

| title = AllMusic review by David Jeffries of Home to You by Po' Girl

| class = album

| first = David

| last = Jeffries

| accessdate = August 15, 2019

}}

{{AllMusic

| id = mw0000096876

| title = AllMusic review by William Ruhlmann of She Used to Wanna Be a Ballerina by Buffy Sainte-Marie

| class = album

| first = William

| last = Ruhlmann

| accessdate = August 15, 2019

}}

{{AllMusic

| id = mw0001111689

| title = AllMusic review by Richie Unterberger of Esther Ofarim's eponymous album

| class = album

| first = Richie

| last = Unterberger

| accessdate = August 15, 2019

}}

{{AllMusic

| id = mn0000528440

| title = Esther Ofarim: Biography

| class = artist

| first = Richie

| last = Unterberger

| accessdate = August 16, 2019

}}

{{MusicBrainz release

| mbid = 9548ddda-d807-46da-99ba-b4ab91c2a3eb

| name = Come From The Shadows by Joan Baez

}}

{{MusicBrainz release group

| mbid = c69e0ac2-2de4-4f0e-8d69-8c23163fe3c0

| name = The Partisan by Leonard Cohen

}}

}}

{{refbegin}}

• {{Cite web

| url = https://www.musee-armee.fr/collections/explorer-les-collections/portofolios/les-femmes-a-travers-les-collections-du-musee-de-larmee.html

| title = Les femmes à travers les collections du musée de l'Armée

| trans-title = Women through the collections of the Musée de l'Armée

| publisher = Musée de l'armée

| language = fr

| archive-url = https://web.archive.org/web/20200812152945/https://www.musee-armee.fr/collections/explorer-les-collections/portofolios/les-femmes-a-travers-les-collections-du-musee-de-larmee.html

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| medium = Book

| title = Buffy Sainte-Marie: The Authorized Biography

| first = Andrea

| last = Warner

| chapter = Suffer the Little Children

| chapter-url = https://books.google.com/books?id=m2JmDwAAQBAJ&q=born

| publisher = Greystone Books

| year = 2018

| isbn = 9781771643597

| quote = There's no official record of Buffy Sainte-Marie's birth ... she was born ... most likely in 1941, on or around February 20th

| via = Google Books

}}

• {{Cite web

| url = https://www.npr.org/2018/09/29/652791230/buffy-sainte-maries-authorized-biography-serves-as-a-map-of-hope?t=1565934257569

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| title = Buffy Sainte-Marie's Authorized Biography Serves As A 'Map Of Hope'

| website = NPR

| date = September 29, 2018

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| last = Simon

| author-link = Scott Simon

| quote = [Buffy Sainte-Marie] doesn't know her exact birthday

}}

• {{Cite web

| url = http://joanbaez.com/bio/

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| access-date = October 24, 2020

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| title = Bio info: Chronology

| publisher = Joan C. Baez / Diamonds & Rust Productions

| quote = 1941 Joan Chandos Baez is born on January 9

}}

• {{Cite news

| url = https://www.thetimes.com/article/anna-marly-03fp5jl0rwf

| url-status = live

| archive-url = https://web.archive.org/web/20190815131642/https://www.thetimes.co.uk/article/anna-marly-03fp5jl0rwf

| archive-date = August 15, 2019

| access-date = October 24, 2020

| url-access = subscription

| website = The Times

| title = Anna Marly

| date = February 24, 2006

}}

• {{Cite web

| url = https://www.leonardcohen.com/music/songs-from-a-room

| url-status = live

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| archive-date = September 19, 2020

| access-date = October 24, 2020

| website = The Official Leonard Cohen Site

| title = Songs from a Room

}}

{{refend}}

• {{URL |1=leonardcohen.com |2=The Official Leonard Cohen Site}}
• {{URL |1=secondhandsongs.com/work/3798 |2="La complainte du partisan" at SecondHandSongs}} – a source of cover song information
• {{YouTube |hs5hOhI4pEE |Leonard Cohen - The Partisan (Audio)}} – uploaded by LeonardCohenVEVO
• {{YouTube |bZKnxtaVI2g |Les Stentors - La complainte du partisan}} – uploaded by LesstentorsVEVO
• {{YouTube |GEHpYn3sGwk |Emily Loizeau - La complainte du partisan}} – uploaded by EmilyLoizeauVEVO
• {{YouTube |TG_ZEovDDKk |Mick Gordon (feat. Tex Perkins) - The Partisan}} – uploaded by Mick Gordon
• {{YouTube |z9nafv7e1-E |Other Lives - The Partisan (Leonard Cohen cover) [Live at Amoeba]}} – uploaded by Amoeba Music
• {{YouTube |_KcKOeEwAaQ |The Partisan}} – Joan Baez – Come from the Shadows album version – provided to YouTube by Universal Music Group
• {{YouTube |VefiQvgCT8E |The Partisan}} – Electrelane – Axes album version – provided to YouTube by Beggars Group

{{Authority control}}

{{Leonard Cohen}}

{{Joan Baez}}

{{Buffy Sainte-Marie}}

{{DEFAULTSORT:Partisan, The}}

Category:1943 songs

Category:Songs of World War II

Category:Songs about soldiers

Category:Songs about the military

Category:Songs in French

Category:French folk songs

Category:French Resistance

Category:Songs written by Anna Marly

Category:Songs written by Hy Zaret

Category:Buffy Sainte-Marie songs

Category:Leonard Cohen songs

Category:Joan Baez songs

Category:Song recordings produced by Bob Johnston

Category:Anti-fascist music

Category:CBS Records singles