"Item Id","Item URI","Dublin Core:Alternative Title","Dublin Core:Abstract","Dublin Core:Table Of Contents","Dublin Core:Date Available","Dublin Core:Date Created","Dublin Core:Date Accepted","Dublin Core:Date Copyrighted","Dublin Core:Date Submitted","Dublin Core:Date Issued","Dublin Core:Date Modified","Dublin Core:Date Valid","Dublin Core:Access Rights","Dublin Core:License","Dublin Core:Conforms To","Dublin Core:Has Format","Dublin Core:Has Part","Dublin Core:Has Version","Dublin Core:Is Format Of","Dublin Core:Is Part Of","Dublin Core:Is Referenced By","Dublin Core:Is Replaced By","Dublin Core:Is Required By","Dublin Core:Is Version Of","Dublin Core:References","Dublin Core:Replaces","Dublin Core:Requires","Dublin Core:Extent","Dublin Core:Medium","Dublin Core:Bibliographic Citation","Dublin Core:Spatial Coverage","Dublin Core:Temporal Coverage","Dublin Core:Accrual Method","Dublin Core:Accrual Periodicity","Dublin Core:Accrual Policy","Dublin Core:Audience","Dublin Core:Audience Education Level","Dublin Core:Mediator","Dublin Core:Instructional Method","Dublin Core:Provenance","Dublin Core:Rights Holder","Dublin Core:Title","Dublin Core:Subject","Dublin Core:Description","Dublin Core:Creator","Dublin Core:Source","Dublin Core:Publisher","Dublin Core:Date","Dublin Core:Contributor","Dublin Core:Rights","Dublin Core:Relation","Dublin Core:Format","Dublin Core:Language","Dublin Core:Type","Dublin Core:Identifier","Dublin Core:Coverage","Item Type Metadata:Text","Item Type Metadata:Interviewer","Item Type Metadata:Interviewee","Item Type Metadata:Location","Item Type Metadata:Transcription","Item Type Metadata:Local URL","Item Type Metadata:Original Format","Item Type Metadata:Physical Dimensions","Item Type Metadata:Duration","Item Type Metadata:Compression","Item Type Metadata:Producer","Item Type Metadata:Director","Item Type Metadata:Bit Rate/Frequency","Item Type Metadata:Time Summary","Item Type Metadata:Email Body","Item Type Metadata:Subject Line","Item Type Metadata:From","Item Type Metadata:To","Item Type Metadata:CC","Item Type Metadata:BCC","Item Type Metadata:Number of Attachments","Item Type Metadata:Standards","Item Type Metadata:Objectives","Item Type Metadata:Materials","Item Type Metadata:Lesson Plan Text","Item Type Metadata:URL","Item Type Metadata:Event Type","Item Type Metadata:Participants","Item Type Metadata:Birth Date","Item Type Metadata:Birthplace","Item Type Metadata:Death Date","Item Type Metadata:Occupation","Item Type Metadata:Biographical Text","Item Type Metadata:Bibliography","Item Type Metadata:Associations","Item Type Metadata:Identity","Item Type Metadata:Deathplace","Item Type Metadata:Birthname","Item Type Metadata:AKA","Item Type Metadata:Relationship","Item Type Metadata:Project ID","Item Type Metadata:Translation","Item Type Metadata:Caption","Item Type Metadata:Language","Item Type Metadata:Tag","Item Type Metadata:LocationPresent","Item Type Metadata:LocationHistorical","Item Type Metadata:GeographicalCoordinates","Item Type Metadata:DateDestroyed","Item Type Metadata:Death Place","Item Type Metadata:Performer","Item Type Metadata:Other Performers","Item Type Metadata:Composer","Item Type Metadata:Lyricist","Item Type Metadata:Translator","Item Type Metadata:Date Composed","Item Type Metadata:Date Recorded","Item Type Metadata:Date Created","Item Type Metadata:File","Item Type Metadata:Lyrics","Item Type Metadata:Source Type","Item Type Metadata:Subtitle","Item Type Metadata:Lede","Item Type Metadata:Story","Item Type Metadata:Sponsor","Item Type Metadata:Factoid","Item Type Metadata:Related Resources","Item Type Metadata:Official Website","Item Type Metadata:Street Address","Item Type Metadata:Access Information","Streaming Video:Video Filename","Streaming Video:Video Streaming URL","Streaming Video:Video Type","Streaming Video:HLS Streaming Directory","Streaming Video:HLS Video Filename","Streaming Video:HTTP Streaming Directory","Streaming Video:HTTP Video Filename","Streaming Video:Segment Start","Streaming Video:Segment End","Streaming Video:Segment Type","Streaming Video:Show Item","Streaming Video:Video Source",tags,file,itemType,collection,public,featured 68,https://jewish-lodz.iu.edu/items/show/68,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,"Adam Aston",,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,1902-09-17,Warsaw,1993-01-10,"singer in Polish, Yiddish and Hebrew","The velvety baritone quality of young Adolf Lewinson’s voice gave Henryk Wars the idea of a suitable stage name for the rising star: “The Ace of Tone” (As-tonu, in Polish) became Aston. Aston’s first solo recording was made in 1927; he then went on to record some 960 songs! His extraordinary popularity led to parts in several musical films during the 1930s. At the onset of World War II Aston found himself in Soviet Union, first in Lwów and later in Kyrgyzstan. Towards the end of the war he was fighting in General Anders’ Army in the Battle of Monte Cassino. In 1946 he made the first recording of the song “The Red Poppies on Monte Cassino,” composed during the battle and destined to become one of the most cherished Polish war songs. After the war he left Poland for Johannesburg, and later moved to London, where he continued to perform for expat audiences. ","Lerski, Tomasz. Syrena Record: pierwsza polska wytwórnia fonograficzna; Poland’s first recording company, 1904-1939. New York; Warsaw: Editions Karin, 2004.","the Wars Choir",,London,"Adolf Lewinson","J. Kierski^^Ben-Levi",,,,,,,,,,,London,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,"cinema,migrations,songs",https://jewish-lodz.iu.edu/files/original/4347abda9776d7aaec296aa4e447987d.png,Person,Persons,1,0 61,https://jewish-lodz.iu.edu/items/show/61,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,"Albert Harris",,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,1911--11-28,Warsaw,1974,"composer, lyricist, and singer","Trained as singer, pianist and composer, he began to record in 1933 (under the names of Albert Liff and Albert Holm). During the years 1936-39, under contract with Odeon records, he achieved popularity using the name Albert Harris. At the start of World War II, Harris found himself in the Soviet zone, in Lwów, working with the orchestra led by Henryk Wars. In 1944, he recorded with Eddie Rosner several patriotic songs (an effort initiated and facilitated for propaganda reasons by Polish communists active in the USSR). Among these songs were “The Forgotten Little Street” and “The Song about My Warsaw,” which in face of the overwhelming destruction that befell the Polish capital from hands of the Nazis, took on a special role. The listeners were touched to the quick by this tuneful song with lyrics that eulogized death of their beloved city and offered hope for its rebirth at the same time. After the war Harris left Poland: he was active as a composer in Sweden, and later moved to the United States.",,,,,"Aaron Hekelman","Albert Liff^^Albert Holm",,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,"migrations,songs",https://jewish-lodz.iu.edu/files/original/a1db9cb53830a5c5aef655b21f6cb9de.png,Person,Persons,1,0 118,https://jewish-lodz.iu.edu/items/show/118,,,,,,,,,,,,,,,,,,,,"Jewish Cinema in Łódź",,,,,,,,,,,,,,,,,,,,,"Eretz Israel in Sfinks",,"Ad from Lodzer Tageblat announcing a 1914 screening of a monumental, 46-part documentary showing the landscape, historical sites, and everyday life of the Jewish settlers in the Land of Israel, which at the time was under Ottoman rule.",,,"Lodzer Tageblat no. 63",1914,,,,,Yiddish^^Polish,"newspaper ad",,,"„Sfinks” / 2 Zshelona 2 / Nay renovirt. / Sfinks / Yeder vos vil zehen / gants Erets Yisroel / un zayne shehnste natur-gegenden vi: thal, berger, taykhen, a. z. v. mit ale hayntige shtedt, oykh di kolonies / un ale yudishe historishe erter un binyonim, / zol oysnutsen di zeltene gelegenhayt un gehn in kinematograf „Sfinks,” Zshelona 2, vu es vert geviezen tsum ershten mol in Lodz, dos vunderfole bild / „Dos leben fun di yuden in Palestina” / in folgende 46 obtaylungen mit 250 stsenen: / 1) Dos leben fun di yuden in Erets-Yisroel, / 2) Di rayze nokh Erets Yisroel, / 3) Oyfn veg fun Odes nokh Yafe, / 4) Yafe un Tel-Aviv, / 5) Di froyen-seminarium un medchen-shule / 6) Dos Yafe’er gimnazium un der shpatsier fun di shiler, / 7) „Pesakh Tikve” un „Ayin Ganim”, / 8) Dos kloyben fun pomerantsen in „Pesakh Tikve”, / 9) Di kolonie „Khadera”, / 10) Di kolonie „Zikorn Yankev”, / 11) Di arbayt in di vayngertner, / 12) Kheyfe gezehen fun shpits „Karmel”, / 13) Di arbayt baym Kheyfer tekhnikum, / 14) Di ferme „Kineres”, / 15) Di Timener [?] yuden, / 16) Tberya, / 17) Dos keyver fun R. Meyer Bal Nes, / 18) Dem Rambam’s keyver / 19) Di moskver firme „Megadl”, / 20) Di kolonie „Rosh Pine”, / 21) Di mandel-zamlung, / 22) Tsfas, / 23) Oyfn veg keyn Yerusholaim, / 24) Di berg fun Yehude un Shimshn Hagiber’s keyver, / 25) Di shtodt Yerusholaim, / 26) Dovid Hameylekhs turm, / 27) Der Koysl-Maaro’vi, / 28) Di kvorim fun di Sanedrin un Shimon Hatsadek’s keyver, / 29) Yad Avsholem, Zekharye Hanovi’s keyver un dos ort fun di metsoyroim, / 30) Dos ort fun Beys-Amigdesh (der metshet Oymer), / 31) Di shiler fun „Ezre”, / 32) Di Betsalel-shule, / 33) Rokhl’s keyver, / 34) Khevron, / 35) Shloyme Hameylekh’s kvalen, / 36) Di mayrev-hamakhfele, / 37) Dos alte Yerikhe un di Elishe-kvele, / 38) Dos naye Yerikhe, / 39) Der Yam-Hamelekh un der Yardn, / 40) Di kolonie „Rishn Letsien” un Karmel vayn-keler, / 41) Di kolonie Vadi Khunayn, / 42) Di biegen-tsukht in Vadi Khunayn, / 43) Dos 80-yahrige yubileum fun di „Bilu” in Gedere, / 44) Di ershte pioneren „Bilu’’s”, / 45) Di kolonie Ekroyn, / 46) Der Peysekh-yontev in „Rekhovot” [sic]. / Anfang 3 uhr nokhmitog. Prayz 30 un 40 kop. Lozshen 50 kop. ",,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,"“Sphinx” / 2 Zielona 2 / Newly renovated. / Sphinx / Everyone who wants to see / the whole Land of Israel / and its most beautiful natural landscapes, such as: valleys, mountains, rivers, and so forth, with all the current cities, also the colonies / and all the historic Jewish sites and cities, / should use this infrequent opportunity and go to the cinematograph “Sphinx,” Zielona 2, where will be shown, for the first time in Łódź, the wonderful picture, / “The life of the Jews in Palestine” / in the following 46 sections, with 250 scenes: / 1) The life of the Jews in the Land of Israel, / 2) The journey to the Land of Israel, / 3) On the way from Odessa to Jaffa, / 4) Jaffa and Tel Aviv, / 5) The women’s seminary and girls’ school, / 6) The Jaffa Gymnasium and the walk of the students, / 7) “Petah Tikva” and “Ein Ganim,” / 8) The picking of oranges in “Petah Tikva,” / 9) The colony “Hadera,” / 10) The colony “Zikhorn Ya’akov,” / 11) Work in the vineyards, / 12) Haifa seen from the peak of “Carmel,” / 13) Work in the Haifa technical school, / 14) The farm “Kinneret,” / 15) The Yemeni Jews, / 16) Tiberius, / 17) The tomb of Rabbi Meyer Balanes, / 18) Maimonides’ tomb / 19) The Moscow firm “Megadl,” / 20) The colony “Rosh Pina”, / 21) The almond harvest, / 22) Safed, / 23) On the way to Jerusalem, / 24) The Judean Mountains and Samson’s grave, / 25) The city of Jerusalem. / 26) King David’s Gate, / 27) The Western Wall, / 28) The tombs of the Sanhedrin and Simeon the Just’s tomb, / 29) The tomb of Absalom, the tomb of Zechariah the Prophet, and the place of the lepers, / 30) The location of the Temple (the mosque Omer [the Dome of the Rock?]), / 31) The students of “Help” [?], / 32) The Bezalel Academy, / 33) Rachel’s tomb, / 34) Hebron, / 35) King Solomon’s well, / 36) The Cave of the Patriarchs, / 37) Old Jericho and Elisha’s Spring, / 38) New Jericho, / 39) The Dead Sea and the Jordan River, / 40) The colony “Rishon Lezion” and Carmel wine cellar, / 41) The colony Wadi Hunayn, / 42) The [???]-tidy woman in Wadi Hunayn, / 43) The 80-year anniversary of the “Bilu” in Gedera, / 44) The first Bilu pioneers, / 45) The colony Ekron, / 46) The Passover holiday in “Rekhovot.” / Begins at 3 PM. Price 30 and 40 kopeks. Loges 50 kopeks. ",,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,"cinema,migrations",https://jewish-lodz.iu.edu/files/original/12e27c8b600ca4058bf90b56f1be174a.jpeg,Text,Texts,1,0 64,https://jewish-lodz.iu.edu/items/show/64,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,"Henryk Wars",,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,1902-12-29,Warsaw,1977-09-01,"composer, arranger, conductor, lyricist","He received a solid Conservatory education in piano, composition, and conducting under the most illustrious of Warsaw’s musicians, but his true calling was popular music. He wrote for cabaret, revue and film. Countless of his beautiful and memorable songs were destined to be come instant hits. Performed by the best singers of the time, these songs were loved and hummed by not just by audiences in interwar Poland, but also by their children and grandchildren. In the late 1920s Wars started to work as pianist and composer with revue theaters; from there he developed a relationship with the most important Polish recording company Syrena, for which he served as a musical director. He also organized several vocal groups, performing close-harmony in the style of The Revelers (one of these groups, the Wars Choir, included Aston and Faliszewski). By the beginning of the next decade, as the fist fully synchronized sound films appeared in Poland, he started to compose for film. He wrote music for 52 films. Among the dozens of his melodious and brilliantly fashioned tangos, shimmies, and foxtrots, were “Sex Appeal” and “Ah, How Pleasant It Is!” Wars volunteered in the Polish army during the 1920 war with the Soviets; in 1939 he again served in the military, was captured by the Germans and escaped from a transport. He reached the Soviet-occupied zone of Poland, and in 1941 became the director of musical ensembles associated with the Polish Army in the USSR; and after 1942 he traveled in the Polish Army of General Anders, from the Middle East to Monte Cassino. In 1944 he made the first recording (as the pianist for Adam Aston) of the song “The Red Poppies on Monte Cassino,” composed during the battle and destined to become one of the most cherished Polish war songs. After the war he left Poland for the United States. In Los Angeles, he was eventually able to rebuilt his career and write music for nearly 40 American movies.","Lerski, Tomasz. Syrena Record: pierwsza polska wytwórnia fonograficzna; Poland’s first recording company, 1904-1939. New York; Warsaw: Editions Karin, 2004.","the Wars Choir^^ZAiKS",,"Los Angeles","Henryk Warszawski","FRASKA^^Henry Vars",,,,,,,,,,,"Los Angeles",,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,"cabaret,cinema,migrations,songs",https://jewish-lodz.iu.edu/files/original/e41c814076e82f8468181ff0444b5adb.png,Person,Persons,1,0 70,https://jewish-lodz.iu.edu/items/show/70,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,"Konrad Tom ",,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,1887-04-09,Warsaw,1957-08-13,"actor, lyricist and screenwriter","He wrote for the press, for the stage, for Polish film, for Yiddish film—there was genre of entertainment that has not benefited from the energy, wit and elegance of Tom’s pen. He wrote song lyrics and skits for such cabarets as Momus and the legendary Qui pro Quo; he wrote vaudeville texts and operetta librettos; and when writing was not enough, he would step on the stage as actor or MC. Before World War I, Tom wrote for several newspapers in Łódź, and performed in the cabaret Bi-Ba-Bo; after the war, he directed and managed some of the most interesting cabarets in Warsaw. The breadth and depth of Tom’s understanding of his métier was such that he was invited to teach at the newly formed State Institute for Theater Arts. Tom became involved with film early on, in 1916. Throughout the 1930s, he wrote texts for some 40 Polish films. Cross-Atlantic film ventures also gave him the opportunity to address Yiddish-speaking audiences: his novella served as a model for Joseph Green’s screenplay for Yidl mitn Fidl; soon after, he wrote the screenplay for Green’s Mamele (1938). At the start of World War II, Tom found himself in Soviet Union. When the opportunity presented itself he joined the theatrical ensemble associated with the Polish Army in the USSR; and after 1942 he traveled in the Polish Army of General Anders, from the Middle East to Monte Cassino. After the war he settled in Los Angeles, where he took menial jobs in the film industry.","Lerski, Tomasz. Syrena Record: pierwsza polska wytwórnia fonograficzna; Poland’s first recording company, 1904-1939. New York; Warsaw: Editions Karin, 2004.","Qui pro Quo^^Bi-Ba-Bo",,"Los Angeles","Konrad Runowiecki",TIM-TOM,,,,,,,,,,,"Los Angeles",,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,"cabaret,cinema,education,migrations,theater",https://jewish-lodz.iu.edu/files/original/9ea9407dd92da898d6ff57648f75bd26.png,Person,Persons,1,0 87,https://jewish-lodz.iu.edu/items/show/87,,,,,,,,,,,,,,,,,,,,"Bałuty: The Largest Hamlet in Europe",,,,,,,,,,,,,,,,,,,,,"Map of Migrations",,"The paths of the Goldbergs’ ancestors have been reconstructed through meticulous archival research. These documents tell a story that goes back to the late 18th century. We follow members of a handful of families as they seek new life in a dynamic city that offers new economic opportunities. Many come from small villages and move to bigger towns and, ultimately, to the big city. Others relocate from established urban centers, like Kalisz, where jobs were not as plentiful as they were in Łódź.","Anna Dąbrowicz ","Central Museum of Textiles",,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,"family history,migrations",https://jewish-lodz.iu.edu/files/original/9f22d82a2b60fc8dc35c71aebb3aa3e3.JPG,"Still Image","Still Images",1,0 63,https://jewish-lodz.iu.edu/items/show/63,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,"Menasze Oppenheim",,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,1905-09-18,"Eastern Poland (Russia)",1973-09-23,"singer in Yiddish, composer and lyricist","Equally popular on screen and on the stage, Oppenheim typically took the singing parts of the handsome suitor in films. His film performances and recordings are in Yiddish. He survived the war in the Soviet Union. After the war he left for South America and eventually settled in New York, where he continued to perform in Yiddish theatre.","Lerski, Tomasz. Syrena Record: pierwsza polska wytwórnia fonograficzna; Poland’s first recording company, 1904-1939. New York; Warsaw: Editions Karin, 2004.",ZAiKS,,"New York",,"M.O.^^Mieczysław Oppenheim",,,,,,,,,,,"New York",,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,"cinema,migrations,Yiddish theater",https://jewish-lodz.iu.edu/files/original/9b894667b60e97136974fd3e324f4ac7.png,Person,Persons,1,0 72,https://jewish-lodz.iu.edu/items/show/72,,,,,,,,,,,,,,,,,,,,"Tour Mrs. Goldberg's Kitchen",,,,,,,,,,,,,,,,,,,,,"The Forgotten Little Street (Zapomniana uliczka)",,"Aaron Hekelman, better known by his stage name Albert Harris, wrote and recorded “The Forgotten Little Street” in 1944, while the Nazis were completing the final chapter in the annihilation of Polish Jewry. Forced as a Jew to seek refuge in Soviet Russia, in this song, Harris recalls the sights and sounds of the place he called home and the loved ones he left behind. At the time, Harris could not have imagined how prophetic his words were: by the time he returned to Poland, Jewish communities in places like his native Warsaw or Łódź disappeared forever.
Harris, along with other Jewish artists exiled from Poland, was given the resources to continue his creative work under Soviet auspices. This song was produced by the Russian Aprelevka label and recorded with the accompaniment of the Jazz Orchestra of the Byelorussian Soviet Republic, directed by another Jewish refugee, the famous Jazzman Adolf (Eddy) Rosner, nicknamed the “White Armstrong.”
",,,"Aprelevka Plant (APRELEWSKIJ ZAWOD ) GRK570/44 mx 12046",,,,,,,,,,,,,,"“Zapomniana uliczka”
Wspomnienia wspomnienia w te szare smutne dnie
Jak słońca promienie wpadają w serce me
Gdy nagle czasembudzą się w pamięci
I w świat stracony znów prowadzą mnie.
Kiedy czasem cię wspominam zapomniana ma uliczko
Słyszę echo twe odbija mój beztroski niegdyś krok.
Jakby znowu się zatrzymał przed znajoma kamieniczką,
Dawne szczęście znowu żyje i radością świeci wzrok.
Po kilka schodków aż na czwarte lecę tak jak ptak;
Łomotem serca drzwi otwarte do wejścia dają znak.
I na progu tak jak zwykle jasnym śmiechem znów mnie wita
Ukochana twarz spowita w korytarza szary mrok.
Nadzieja, nadzieja, jedyna życia treść
Przez smutek się śmieje, pomaga troski nieść.
Lecz ileż jeszcze trzeba nieść jej w sercu
By przyszłość z wspomnieniami w jedno spleść.
Czy powrócę znów do ciebie zapomniana ma uliczko?
Czy poczuję pod stopami twój nierówny twardy bruk?
Czy dowlokę kiedyś siebie pod znajoma kamieniczkę
By usłyszeć w ciemnej bramie podwórzowy gwar i stuk?
Czy tam na górze jeszcze czeka wytęskniony ktoś;
Najdroższy, choćby cień człowieka, ale mój na wskroś?
Czy dotrzymasz mnie nadziejo w ciężkich chwilach walk i biedy
Żebym w życiu jeszcze kiedyś ma uliczkę ujrzeć mógł?
“The Forgotten Little Street”
Recollections, recollection, on those grey, sad days,
Enter my heart like sunrays.
Sometimes, when they suddenly stir in my memory,
They lead me into the lost world.
When I recall you sometimes, my forgotten cherished street,
I hear your echo repeat my once carefree step.
As if again I stood in front of the familiar building,
Old happiness lives again and eyes shine with joy.
A few steps at a time, I fly like a bird to the fourth floor;
The door opened by the pounding of my heart beckons me to enter,
And at the doorstep I am greeted, as always, by the bright smile
of the beloved face wrapped in the grey dusk of the hallway.
Hope, hope, life’s only essence
Laughs through sadness; helps to bear worries.
But how much more hope one needs to carry in one’s heart
To weave future and memories together into a whole.
Will I return to you again, my forgotten cherished street?
Will I feel under my feet your uneven, firm cobbles?
Will I haul myself one day to the familiar building
To listen in the dark archway to the buzz and clatter of the yard?
Will the longed-for somebody still await me upstairs;
Dearest person, even just a wreck, but thoroughly mine?
Hope, will you sustain me in tough times of struggle and poverty
So that once again in my life I could see my cherished street?(English trans. Halina Goldberg)