L’âme des poètes/The poets’ soul
Trenet’s 1951 song-about-a-song is a tribute to his friend, the poet Max Jacob, who died en route to Auschwitz in 1944. Long, long, long after the poets have disappeared, their songs still walk the streets. The crowd sings them, slightly absent-mindedly, ignorant of the author’s name, not knowing for whom their hearts beat. Sometimes we change a word, a phrase, and when we run out of ideas, we sing la la la:
Longtemps, longtemps, longtemps
Après que les poètes ont disparu
Leurs chansons courent encore dans les rues
La foule les chante un peu distraite
En ignorant le nom de l’auteur
Sans savoir pour qui battait leur coeur
Parfois on change un mot, une phrase
Et quand on est à court d’idées
On fait la la la la la la
La la la la la la
In 1965 Charles Trenet is presented to General de Gaulle on the occasion of the annual gala of the Ministry of Justice. The Head of State says to him: “You know, I mentioned you this morning in the Council of Ministers. I said to them, ‘And above all, remember that long, long, long after you have disappeared, your decrees will still walk the streets.'”
Douce France/Sweet France
The French Wikipedia entry suggests a link between the commonplace taken as the title of this song, issued in 1943, and the 11th century Chanson de Roland, in which Roland dies fighting the Muslims at Roncesvalles, 1 his gaze fixed on Spain but his mind recalling sweet France:
Le comte Roland s’étendit dessous un pin.
Vers l’Espagne, il a tourné son visage.
Bien des choses lui reviennent en mémoire,
Tant de terres que le baron conquit,
La douce France, les hommes de son lignage,
Charlemagne, son seigneur qui l’éleva.
Il ne peut s’empêcher de pleurer et de soupirer.
Mad Beppo: Dear land of my childhood, I have kept you, cradled with tender thoughtlessness, in my heart:
Cher pays de mon enfance
Bercée de tendre insouciance
Je t’ai gardée dans mon cœur
General de Gaulle visits Quebec, where the band, instead of striking up La Marseillaise, plays Douce France. The General doesn’t bat an eyelid and stands to attention.
I got to know Trenet’s repertoire via an artistic dynasty in Barcelona, which had a well-worn disc of La Mer from the early 1960s:
The clear barrel organ allusions in the arrangement of L’âme des poètes at the beginning of this post thus remind me of grandma, who inter alia created puppets like this Madrilenian dance scene with pianola which is currently in the marionette museum at Tibidabo:
- Roland seems to have suffered a cerebral haemorrhage as a result of blowing the elephant horn. I believe this to be the first self-inflicted death by aerophone on record. Joshua’s trumpets at Jericho must have caused considerable loss of life, but afaik there were no recursive (or even friendly fire) casualties. ↩
- How to perform El retablo de Maese Pedro aka El retablo de la libertad de Melisendra in Don Quixote with one puppeteer and a narrator/bottler
Whether Cervantes saw it or not, it is possible as he describes.
- Four more African inflationary tunes
Ghana, Sierra Leone and the Congo are now represented, but so far there’s nothing from Zimbabwe or in French.
- Donald for Dalai Lama, or Pope, or Caliph, or something
A Trump Taj Mahal Casino multitrack jukebox, to help make religion rather better than it has been, again.
- Daisy Bell aka the little dicky bird
A curious marriage of songs.
- Transvestite barrel organ dancers in 1930s Whitechapel and the 1860s London West End
With acrobats, clowns, and Doris and Thisbe, goddesses of wind.