Ballade des dames du temps jadis - Georges Brassens

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Ballade des dames du temps jadis Lyrics

Tell me where, tell me in what land
Is Flora, bonny Roman lady?
Where Archippa, where Thais fair,
Who was her cousin? O tell me!
Now where will be Echo, who babbled
Back at you o'er rivers and ponds,
And whose beauty was more than human?
O where are gone the snows of yore?
And whose beauty was more than human?
O where are gone the snows of yore?

Where is Heloise chaste and wise,
For whom unmanned and made a monk
Was Abelard in Saint-Denis?
For love of her he suffered so.
In the same way where is the queen
Who gave command that Buridan
Be bagged and thrown into the Seine?
O where are gone the snows of yore?
Be bagged and thrown into the Seine?
O where are gone the snows of yore?

What befell the lily-white queen
Who sang with her voice like a bird's;
'Big Feet' Bertha, Beatrix, Allys,
Arembour, who ruled o'er Maine;
And the sweet Joan from Lorraine,
Whom the English burned at Rouen?
Where are they all, Sovereign Lady?
O where are gone the snows of yore?
Where are they all, Sovereign Lady?
O where are gone the snows of yore?

My Prince, seek not endlessly to know
Where they are now, why time has passed;
But only remember this chorus:
O where are gone the snows of yore?
But only remember this chorus:
O where are gone the snows of yore?

Lyrics provided by LyricsEver.com
Georges Brassens was a French singer-songwriter known for accompanying himself with his acoustic guitar. He wrote some extremely controversial, yet poetic songs. In doing so, he managed to change attitudes across France.

He was uncompromising when composing his songs. His tactical method of addressing issues was profound and often humorous, making him a unique and effective figure in the French community.

Brassens, born in 1921 in the small Mediterrenean port of Sete, wanted to be a poet. He realized very early however that poetry in the 20th century could hardly put bread on the table and instead set himself to become a singer.

He is much less famous internationally than contemporaries like Charles Aznavour, Edith Piaf and Yves Montand, as much of the impact of his songs came from the lyrics, which proved difficult to translate into other languages. He loved the Middle Ages and used a great deal of Old French vocabulary, as well as many classical - ie., Latin and Greek - references. Few people, even in France, possess the background to fully understand his songs.

Yet he was at the same time a hugely popular singer and many of his songs still carry a lot of appeal and relevance. In this sense, he can be compared to Boris Vian, to Jacques Brel, and to a lesser extent to Serge Gainsbourg.

He was very sophisticated, yet at the same time used profanity liberally. While he wasn't politically engaged, he was nevertheless unambiguously a leftist, many of his songs carrying blatant and buoyant anarchist overtones.

While his music was initially quite primitive, the 1950's St-Germain-des-Pres influence quickly made itself felt and while subdued and - in his mind - always secondary to the lyrics, it became increasingly sophisticated - to the point that many of his songs have been covered and reinterpretated by jazzmen (see for instance this UK site: www.projetbrassens.eclipse.co.uk)

He died in 1981, but up to this date (2006) there are few French people - including most of those born since - who can't sing along to his most famous song, Les Copains d'abord ("Friends foremost") or his "Bancs public" ("Public Benches").

For those interested, this site carries a number of (quite good) English tranlations of his songs: www.brassens.org Read more on Last.fm. User-contributed text is available under the Creative Commons By-SA License; additional terms may apply.

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Georges Brassens