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On stage and in the classroom, Mikhl Yashinsky is stoking the flame of the Yiddish revival
(New York Jewish Week) — In the Yiddish classes Mikhl Yashinsky teaches for the YIVO Institute for Jewish Research and the Workers Circle, he begins by asking students to explain why they decided to learn the language.
Often, a student will describe attending a performance of “Fiddler on the Roof in Yiddish,” the smash hit from the National Yiddish Theatre Folksbiene.
This is literally music to the ears of Yashinsky, who not only teaches conversational Yiddish, translates Yiddish literature and writes Yiddish plays and videos, but who also played a beggar and innkeeper in the latest run of “Fiddler” in Yiddish, which closed on Jan. 1.
“Many thousands of people have seen Yiddish ‘Fiddler’ by now and it’s had a real impact on them and how they see the language,” he told the New York Jewish Week. “It makes me happy that one thing feeds into another.”
The 32-year-old Chelsea resident is in some ways the future of Yiddish, at least of the secular, artistic and academic variety that is spoken and studied outside of the haredi Orthodox community, where it is often the first language. While some Yiddishists bristle at the notion that the language of Ashkenazi Eastern Europe is undergoing a “renaissance,” figures like Yashinsky are making sure the language continues to flourish in communities beyond the yeshiva.
”Mikhl has played a very big role in my Yiddish journey,” said Judith Liskin-Gasparro, a retired linguistics professor from the University of Iowa. Liskin-Gasparro had four grandparents who were native Yiddish speakers but who never spoke the language in front of her. She estimates that over the course of her career she’s watched 1,000 people teach a language class. After studying with Yashinsky remotely from Iowa City for five semesters, Liskin-Gasparro said: “I have rarely seen anybody as good as he is.” His YIVO course has been so popular that YIVO had to create a second section.
Liskin-Gasparro now describes herself as obsessed with the language. In November, she made the trek to New York to see Yashinsky perform in “Fiddler.” During her visit she joined about 15 people from Yashinsky’s YIVO class to meet her teacher in person.
Yashinsky, who grew up outside of Detroit, credits his late maternal grandmother, Elizabeth Elkin Weiss, with putting him on the path to becoming a Yiddishist. Weiss and her husband Rube were veterans of Yiddish theater, performing on stage and the radio. His grandmother also performed in English-language radio dramas, and her ability to do accents and characters earned her the nickname “The Woman of 1,000 Voices.” A radio ad in which Weiss imitated the Hungarian Jewish actress Zsa Zsa Gabor convinced customers of an Italian restaurant in the Detroit area that Zsa Zsa herself had done the commercial.
Talent ran in the family, sometimes in unexpected ways: Yashinsky’s uncle, David Weiss, was one-half of Was (Not Was), a major funk-rock band in the 1980s and ’90s. David’s partner, Don Was, is celebrating his 30th year as a record producer for The Rolling Stones.
Yashinsky studied modern European history and literature at Harvard, attended the Vilna Yiddish Language Institute and in 2015-16 worked as a fellow at the Yiddish Book Center in Amherst, Mass. In 2018, Yashinsky performed in the held-over runs of Yiddish “Fiddler “at the Museum of Jewish Heritage in Lower Manhattan, then left New York for a steady gig teaching Yiddish at the University of Michigan in Ann Arbor. He rejoined the musical when it was staged in 2019 at Stage 43, the largest off-Broadway theater in the city.
Joel Grey, the director of Yiddish “Fiddler,” wrote in an email: “Mikhl is one of the most resourceful and delightful actors I’ve ever had the pleasure to work with. He has more ideas for a moment than most actors do in a lifetime.”
Jackie Hoffman, the comedian and Broadway veteran who played Yenta the matchmaker in earlier runs of Yiddish “Fiddler,” said Yashinsky “is a truly Yiddish soul. He’s like someone who could’ve crept out of the 19th century. It’s like Yiddish is in his blood.”
Mikhl Yashinsky, center in gray apron, played Mordkhe the Innkeeper in “Fiddler on the Roof in Yiddish,” the smash hit from the National Yiddish Theatre Folksbiene. (Jeremy Daniel)
Steven Skybell, who played Tevye in in the latest Yiddish “Fiddler,” attended Yashinsky’s classes for a few semesters, which enabled him to converse with Yashinsky in the mamaloshn (mother tongue) backstage.
Yashinsky’s mother in Michigan, who did not grow up speaking Yiddish, has attended all five semesters via Zoom. Debra Yashinsky, who said she can’t begin to count the number of times she’s seen Yiddish “Fiddler,” used her maiden name in the Zoom interface for the first two semesters.
“Mikhl once asked me, ‘Mom, are you taking the class to learn Yiddish or do you just enjoy seeing me teach?’” she recalled. “I didn’t know the right answer. The truth is I love seeing his punim [face] for an hour and a half and kvelling [being proud] while I watch him teach.”
In addition to teaching and acting, translation has been a big part of Yashinsky’s devotion to the language (and need to earn a living).
He has a deadline looming at the end of January for his translation of the memoirs of Ester-Rokhl Kaminska, the Polish-Jewish actress considered the “mother of Yiddish theater.” He’s been working on the project for a few years and could often be found backstage at “Fiddler” translating a couple of sentences at a time between scenes.
Yashinsky has also been translating short stories by the Nobelist Isaac Bashevis Singer for a forthcoming anthology of the author’s early works. He describes them as “little gems” Singer wrote when he was a young writer that have never been translated into English. Yashinsky said he has translated three or four of the short stories so far.
Yashinsky is also a playwright whose Yiddish play, “Vos Flist Durkhn Oder” (“Blessing of the New Moon”), was performed at the Lower East Side Play Festival last summer. One of six plays chosen from more than 100 submissions, it was the only non-English play in the festival. The one-act play, set in a Lower East Side yeshiva in 1912, deals with the tradition of pranks that take place during the month in which Purim falls.
His full-length play “Di Psure Loyt Chaim” (“The Gospel According to Chaim”) will get a public reading this winter at the New Yiddish Rep in Manhattan. The play is based on the true story of Henry Einspruch, a Baltimore Jew who in the 1940s found Jesus and translated the New Testament into Yiddish for the purpose of converting his fellow Jews. Yashinsky said no Yiddish publisher would help Einspruch in his quest.
“I just thought that this was a very curious bit of history,” said the playwright. “It was really insidious in some ways. He was trying to convert Holocaust survivors in some cases. He would preach outside synagogues on Shabbos mornings.”
Yashinsky will be working on a Yiddish musical in 2023, thanks to a LABA Fellowship for Jewish artists. He plans to write the musical in collaboration with Mamaliga, a klezmer band based in Brooklyn and Boston. Yashinsky said he may write something about the underworld of Jewish life in Eastern Europe.
Another bright spot on the horizon: On Jan. 26 he’ll make his Carnegie Hall début, singing in a concert titled “We Are Here: Songs from the Holocaust,” which will feature Broadway stars Harvey Fierstein, Chita Rivera and Shoshana Bean. Yashinsky will perform “Zog nit keynmol” (“Never Say”), the anthem of the Vilna partisans.
And somehow Yashinsky will make time to produce more videos for the Workers Circle #YiddishAlive series on YouTube. Among the 11 videos he’s done so far are a Yiddish rendition of Tom Lehrer’s song “Hanukkah in Santa Monica” and a music video shot in Michigan to celebrate the strawberry harvest. That video featured “Trúskafke-vals” (“Strawberry Waltz”), a Yiddish song he wrote, as well as a strawberry cake baked by his mother.
He also produces humorous Yiddish music videos, including one based on Screamin’ Jay Hawkins’ demented, spooky classic, “I Put A Spell On You.” In his version, Yashinsky performs in drag as Bobe Yakhne, a sorceress he played in Folksbiene’s 2017 revival of the classic Yiddish operetta “The Sorceress.”
“This art form continues,” he said of Yiddish theater. “It’s a tradition that hasn’t evaporated and it’s nice to feel that I’m part of the continuity.”
—
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A French Court Acquitted a Nanny Who Poisoned a Jewish Family of Antisemitism. Now Prosecutors Are Appealing.
Procession arrives at Place des Terreaux with a banner reading, “Against Antisemitism, for the Republic,” during the march against antisemitism, in Lyon, France, June 25, 2024. Photo: Romain Costaseca / Hans Lucas via Reuters Connect
Prosecutors in France have appealed a court ruling that convicted a nanny of poisoning the food of the Jewish family for whom she worked but cleared her of antisemitism charges, in the latest flashpoint as French authorities grapple with an ongoing nationwide surge in antisemitism.
On Tuesday, the public prosecutor’s office in Nanterre, just west of Paris, announced it had appealed a criminal court ruling that acquitted the family’s nanny of antisemitism-aggravated charges after she poisoned their food and drinks.
Last week, the 42-year-old Algerian woman was sentenced to two and a half years in prison for “administering a harmful substance that caused incapacitation for more than eight days.”
Residing illegally in France, the nanny had worked as a live-in caregiver for the family and their three children — aged two, five, and seven — since November 2023.
The French court declined to uphold any antisemitism charges against the defendant, noting that her incriminating statements were made several weeks after the incident and recorded by a police officer without a lawyer present
The family’s lawyers described the ruling as “incomprehensible,” insisting that “justice has not been served.”
The nanny, who has been living in France in violation of a deportation order issued in February 2024, was also convicted of using a forged document — a Belgian national identity card — and barred from entering France for five years.
First reported by Le Parisien, the shocking incident occurred in January last year, just two months after the caregiver was hired, when the mother discovered cleaning products in the wine she drank and suffered severe eye pain from using makeup remover contaminated with a toxic substance, prompting her to call the police.
After a series of forensic tests, investigators detected polyethylene glycol — a chemical commonly used in industrial and pharmaceutical products — along with other toxic substances in the food consumed by the family and their three children.
According to court documents, these chemicals were described as “harmful, even corrosive, and capable of causing serious injuries to the digestive tract.”
Even though the nanny initially denied the charges against her, she later confessed to police that she had poured a soapy lotion into the family’s food as a warning because “they were disrespecting her.”
“They have money and power, so I should never have worked for a Jewish woman — it only brought me trouble,” the nanny told the police. “I knew I could hurt them, but not enough to kill them.”
According to her lawyer, the nanny later withdrew her confession, arguing that jealousy and a perceived financial grievance were the main factors behind the attack.
At trial, the defendant described her statements as “hateful” but denied that her actions were driven by racism or antisemitism.
The appeal comes as France continues to face a steep rise in antisemitic incidents in the wake of the Palestinian terrorist group Hamas’s Oct. 7, 2023, invasion of and massacre across southern Israel.
In a disturbing new case, French authorities have also opened an investigation after a social media video went viral showing a man harassing a young Jewish child at a Paris airport, shouting “free Palestine” and calling him a “pig.”
Widely circulated online, the video shows a young boy playing a video game at Paris’s Charles de Gaulle Airport when a man approaches, grabs his toy, and begins verbally assaulting him.
“Are you gonna free Palestine, bro?” the man, who remains off-camera, yells at the boy.
“If you don’t free them, I’ll snatch your hat off, bro,” the assailant continues, referring to the child’s kippah.
ANTISEMITIC INCIDENT AT PARIS–CDG AIRPORT :
Wednesday, June 25, 2025, at around 7:00 a.m, in the PlayStation Zone
of Terminal 2B at Paris–Charles de Gaulle Airport, a man in his early 30s, speaking with a British accent
, verbally and physically targeted two… pic.twitter.com/8XY3ze0EYb
— SwordOfSalomon (@SwordOfSalomon) December 21, 2025
The man is also heard repeatedly telling the child, “Dance, pig,” while the confused and frightened boy is seen trying to comply
Local police confirmed that an investigation has been launched into the incident, classified as violence based on race, ethnicity, nationality, or religion, as authorities work to identify the individual and bring him to justice.
Paris police chief Patrice Faure expressed his “outrage at these unacceptable and intolerable remarks,” promising that the incident “will not go unpunished.”
Yonathan Arfi, president of the Representative Council of Jewish Institutions of France (CRIF) — the main representative body of French Jews — condemned the incident, calling it “yet another illustration of the climate of antisemitism that has prevailed in Europe” since the Hamas-led atrocities of Oct. 7, 2023.
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Pennsylvania School Board Votes to Fire Principal Over ‘Jew Money’ Comments
Philip Leddy, principal of Lower Gwynedd Elementary School in Pennsylvania, faces termination for allegedly making antisemitic comments. Photo: Screenshot
The Wissahickon School District Board in Pennsylvania has voted to terminate a school principal who confessed to leaving an antisemitic voicemail on the answering machine service of a Jewish parent.
As previously reported by The Algemeiner, Philip Leddy, principal of Lower Gwynedd Elementary School (LGE), spoke of a “Jew camp,” “Jew money,” and argued that Jews “control the banks” in reference to a Jewish parent he had called but did not reach. The remarks were recorded when Leddy forgot to hang up his line after the parent, whom he at one point suggested is most likely an attorney for being Jewish, did not take the call. Having assumed that what he was about to say was private, he then reportedly launched into the tirade before an audience of at least one other district employee also present in the room.
During a meeting on Tuesday, members of the school board voted to fire Leddy, acting on the recommendation of Wissahickon School District superintendent Mwenyewe Dawan — who has herself been accused of promoting and showing bias toward anti-Zionist viewpoints by the North American Values Institute (NAVI). According to local reports, an interim principal, Sue Kanopka, has already been serving in Leddy’s place since Monday.
“Mrs. Kanopka is a familiar and trusted leader in the LGE community and is pleased to provide continuity and stability for students and staff,” Dawan said in a statement shared by a local NBC affiliate.
Dawan also announced a discussion series on antisemitism that will include local Jewish groups.
“We will be partnering with the Jewish Federation of Greater Philadelphia’s Jewish Community Relations Council to facilitate these structured conversations, focused on listening, understanding impact, and moving forward together,” she said. “This session will be designed to listen, learn, and better understand the experiences and concerns of our Jewish community members.”
Leddy’s comments stunned the local community, Jewish and non-Jewish, and on Friday the Jewish Federation of Greater Philadelphia said they betrayed a “mindset” that is indicative of a “broader, systemic issue.”
“The presence of others in the room, the lack of challenge or interruption, and the comfort with which these remarks were spoken raise serious questions about culture, accountability, and oversight within the school environment,” the group said. “We understand the district is also investigating the involvement of others whose voices are audible on the recording, which is a necessary and appropriate step. Words spoken behind closed doors matter. When those words reflect bias, they erode trust and harm entire communities.”
As previously reported by The Algemeiner, the Wissahickon School District has been flagged for previously fostering what some parents described as antisemitic bias.
In June, it was revealed that the district is presenting as fact an anti-Zionist account of the Israeli-Palestinian conflict to its K-12 students by using it as the basis for courses taken by honors students.
Then earlier this month, reports emerged that during a recent demonstration at Wissahickon High School, a Muslim student group festooned signs which said, “Jerusalem is ours,” offered cash prizes related to anti-Israel activism, and swayed school principal Dr. Lynne Blair into being photographed with them, a feat which, according to concerns members of the community, created the impression that anti-Zionism is a viewpoint held by the administration.
Public sector education unions have played a major role in turning K-12 classrooms across the country into theaters of anti-Zionist agitation, thereby alienating Jewish teachers and students, according to a report issued by the Defense of Freedom Institute (DFI) in September.
Titled, “Breaking Solidarity: How Antisemitic Activists Turned Teacher Unions Against Israel”, the report examined several major teachers unions and their escalation of anti-Zionist and anti-Jewish activity following the Hamas-led Oct. 7, 2023, massacre across southern Israel — a series of actions which included attempting to sever ties with the Anti-Defamation League (ADL), staging protests in which teachers led chants of “Death to Israel,” and teaching students that Israel constitutes an “settler-colonial” state which perpetrates ethnic cleansing against Palestinians.
In New York City, report author Paul Zimmerman wrote, the United Federation of Teachers (UFT) has advanced from fostering popular support for anti-Zionism among students to seeking cover from government by placing one or more of its fellow travelers in high office. The UFT endorsed the New York City mayoral candidacy of Zohran Mamdani in July, calling the avowed socialist and Hamas sympathizer a potential “partner.”
“The historical record shows that, whatever their shortcomings, previous generations of teacher-union leaders stood up to antisemitism in K-12 schools on behalf of their Jewish members and promoted strong US support for Israel in the face of existential attacks on that country,” the report said. “Now, antisemitic activists grossly dishonor that legacy by weaponizing teacher unions to spread antisemitism, intimidate Jewish teachers, and recast the classroom as a battlefield against the West.”
Follow Dion J. Pierre @DionJPierre.
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Yehuda Gur-Arye and Shiri Shapira win Rubinlicht Prize for Literature
דער אָנגעזעענער פּאָעט און רעדאַקטאָר יהודה גור־אריה און די טאַלאַנטירטע שרײַבערין שירי שפּירא זענען הײַיאָר געוואָרן די לאַורעאַטן פֿון דעם רובינליכט־פּריז. די אויסטיילונג פֿון די פּריזן איז פֿאָרגעקומען דורך זום דעם 16טן דעצעמבער.
די פּרעמיע ווערט געשטיצט פֿון דער פֿונדאַציע אויפֿן נאָמען פֿון אַנאַ און לייב רובינליכט, וועלכער איז אַליין געווען אַ ייִדישער פּאָעט. די פֿונדאַציע, וואָס איז פֿאַרלייגט געוואָרן אין 1986, טיילט צו יערלעכע פּרעמיעס פֿאַר ליטעראַרישער און קולטורעלער טעטיקייט אויף ייִדיש און לטובֿת ייִדיש.
יהודה גור-אריה איז אַ פּאָעט, איבערזעצער און רעדאַקטאָר אין ייִדיש און אין העברעיִש. אַ געבוירענער אין בעסאַראַביע אין 1934 האָט ער דורכגעמאַכט דרײַ יאָר אין טראַנסניסטריע. ער האָט יונגערהייט עולה געווען און זיך באַזעצט אין אלומות, אין עמק הירדן. צענדליקער ביכער האָט ער איבערגעזעצט פֿון ייִדיש אויף העברעיִש, רומעניש און רוסיש. צו זײַן ליד „כפֿל“ האָט נחום היימאַן קאָמפּאָנירט מוזיק און דאָס ליד האָט געזונגען די באַרימטע זינגערין חוה אַלבערשטיין.
אַ גרויסע צאָל ביכער האָט גור־אריה אַרויסגעגעבן; צווישן זיי — „זערורים“, „לידער אין בלוי“, „מיניאַטורן“ (1966); „שבחי קיץ“, לידער (1978); „תעלולי טלי“, דערציילונגען פֿאַר קינדער (1983); „צבעי פרפר“, לידער און אַ צאָל אַנדערע ווערק.
ער האָט אויף העברעיִש איבערגעזעצט ייִדישע ווערק פֿון עלי שעכטמאַן, לייב ראָכמאַן, יצחק באַשעוויס-זינגער, מרים יהבֿ, יהושע פּערלאַ, יענטע מאַש, ש. ל. שנײַדערמאַן, י. י. טרונק און אַלכּסנדר שפּיגלבלאַט, ווי אויך אַן אַנטאָלאָגיע פֿון ייִדישע אַרבעטער־לידער און יאַפּאַנישע לידער.
דער זשורי, וואָס איז באַשטאַנען פֿון טובֿה רעשטיק-דודזאָן, רוני כּהן און דניאל גלאי יהודה גור-אריה, האָט געמאָלדן אַז יהודה גור-אריהן האָט פֿאַרדינט דעם פּריז צוליב „זײַנע ליטעראַרישע שאַפֿונגען אויף עטלעכע זשאַנערן ווי דיכטונג, פּראָזע און דערציילונגען, זײַנע פֿאַרשידנאַרטיקע איבערזעצונגען פֿון ייִדיש, רומעניש און רוסיש וועלכע האָבן באַרײַכערט אונדזער ליטעראַטור, און זײַן אַלגעמיינעם בײַטראָג במשך יאָרן צום קולטור-לעבן אין ישׂראל.“
שירי שפּירא איז אַ יונגע ייִדיש-פּראָזאַיִקערין וואָס איז געבוירן געוואָרן אין ישׂראל אין 1987 און וווינט הײַנט אין ירושלים. די טעג איז זי אַ דאָקטאָראַנטקע בײַם בן-גוריון אוניווערסיטעט, וווּ זי לערנט אויך ייִדיש-קלאַסן. זי האָט אויף העברעיִש איבערגעזעצט די ראָמאַנען פֿון מאַקסים בילער, מאַרלען האַוסהאָפֿער, רות אָזעקי און ריטשאַרד פאַווערס, און טעקסטן פֿון פֿרידריך העלדערלין, דניאל קעלמאַן, ישׂראל ראַבאָן און דבֿורה פֿאָגעל. זי איז אויך אַ רעדאַקטאָרשע אין „המוסך“, אַ העברעיִשן ליטעראַטור־זשורנאַל. אירע ייִדישע דערציילונגען זענען געדרוקט געוואָרן אין די זשורנאַלן „ייִדישלאַנד“, „אויפֿן שוועל“ און „די גאָלדענע פּאַווע“.
הײַיאָר דערשײַנט אין לייוויק-פֿאַרלאַג איר ערשטלינג „די צוקונפֿט“, אַ באַנד דערציילונגען. אַ טייל פון זיי זענען געדרוקט געוואָרן אין ליטעראַרישע זשורנאַלן און אַנדערע זענען אין גאַנצן נײַע שאַפֿונגען. דאָס בוך איז אַן אויסדרוק פֿון אַ פֿרוי, אַ שרײַבערין, וואָס איז אויסגעוואַקסן אין ישׂראל מיט אַלע אירע טראַוומעס און קאָנפֿליקטן, און אַ טיפֿן גלויבן אין דער צוקונפֿט.
דער זשורי האָט געזאָגט אַז שפּירא האָט פֿאַרדינט דעם פּריז „פֿאַר אירע ליטעראַרישע, אייגנאַרטיקע שאַפֿונגען וועלכע שטיצן זיך אויף טיפֿע קענטענישן פֿון דער ייִדישער שפּראַך און ליטעראַטור, מיט די פֿאַרשידענע קוואַלן פֿון וועלכע זי שעפּט אַ זעלטענע אַטמאָספֿער און אינספּיראַציע.“
אין איר דאַנקרעדע בײַם באַקומען די פּרעמיע האָט שפּירא אָפֿן־האַרציק אויסגעדריקט אירע געדאַנקען:
„איך פֿיל זיך אַ ביסל אומגעלומפּערט באַקומענדיק אַ פּרעמיע, בפֿרט ווי אַ שרײַבערין וואָס פּובליקירט אַ בוך אויף אַ שפּראַך וואָס איז ניט איר מאַמע-לשון. אָבער איך האָב אַ חשד, אַז אַלע דורות ייִדישע שרײַבערס האָבן זיך געפֿילט ניט באַהאַוונט אין עפּעס אַ זאַך. מסתּמא האָבן זיך ס׳רובֿ פֿון זיי גאָר היימיש געפֿילט אויף מאַמע-לשון, אָבער אָפֿט זענען זיי געווען מענטשן וואָס האָבן געדאַרפֿט זיך שאַפֿן אַ נײַע היים, און אַ נײַע אידענטיטעט, אַ מאָדערנע, אַ וועלטלעכע. אַזאַ פּאָזיציע איז בדרך-כּלל אַ טייל פֿונעם זײַן אַ קינסטלער, און אַ שרײַבער בפֿרט. און גיכער – זי איז אַ טייל פֿונעם ווערן אַ קינסטלער. די אומזיכערע צוגעהעריקייט איז אויך אַ מין אומגעלומפּערטקייט, און אויך אַ שעפֿערישע קראַפֿט. איך אַליין פּרוּוו זי אויסצוניצן ווען איך שרײַב אויף אַ שפּראַך אין וועלכער איך בין נאָך אַלץ אַ גאַסט.
„עס איז ניט גענוג צו זײַן אַ גאַסט אין אַ נאָך אומבאַקאַנטער שטוב. אַ נײַער קינסטלער דאַרף זײַן אַן אָנגעלייגטער גאַסט, אָדער בקיצור – מע דאַרף אַן עולם. דער זשורי פֿונעם רובינליכט-פּריז גיט מיר אַזוי אַ מין צוזאָג אויף אַן עולם. דאָס צוטיילן דעם פּריז אויך יהודה גור-אריה, אַ שרײַבער און איבערזעצער פֿונעם עלטערן דור, איז פֿאַר מיר אויך אַ צוזאָג אַז דער עולם וויל נאָך בלײַבן אויף לאַנגע יאָרן. איך וויל דאָ אויסדריקן אַ האַרציקן דאַנק פֿאַר אָט דער פֿאַרבעטונג, און אויך אַ האָפֿענונג אַז ווײַטערע אָנגעלייגטע געסט וועלן נאָך אָנקומען אין דער ייִדישער ליטעראַטור, און אַז זיי וועלן נאָך בלײַבן.“
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