Tag Archives: children

‘Le Mistral Gagnant’ by Renaud

A m’asseoir sur un banc cinq minutes avec toi Et regarder les gens tant qu’y en a Te parler du bon temps qu’est mort ou qui r’viendra En serrant dans ma main tes p’tits doigtsPuis donner à bouffer à des pigeons idiots Leur filer des coups d’ pieds pour de faux Et entendre ton rire qui lézarde les murs Qui sait surtout guérir mes blessuresTe raconter un peu comment j’étais mino
Les bonbecs fabuleux qu’on piquait chez l’marchand
Car-en-sac et Minto, caramel à un franc
Et les mistrals gagnants

A r’marcher sous la pluie cinq minutes avec toi
Et regarder la vie tant qu’y en a
Te raconter la Terre en te bouffant des yeux
Te parler de ta mère un p’tit peu

Et sauter dans les flaques pour la faire râler
Bousiller nos godasses et s’marrer
Et entendre ton rire comme on entend la mer
S’arrêter, r’partir en arrière

Te raconter surtout les carambars d’antan et les cocos bohères
Et les vrais roudoudous qui nous coupaient les lèvres
Et nous niquaient les dents
Et les mistrals gagnants

A m’asseoir sur un banc cinq minutes avec toi
Et regarder le soleil qui s’en va
Te parler du bon temps qu’est mort et je m’en fou
Te dire que les méchants c’est pas nous

Que si moi je suis barge, ce n’est que de tes yeux
Car ils ont l’avantage d’être deux
Et entendre ton rire s’envoler aussi haut
Que s’envolent les cris des oiseaux

Te raconter enfin qu’il faut aimer la vie
Et l’aimer même si
le temps est assassin
Et emporte avec lui les rires des enfants

Et les mistrals gagnants

My Translation:

‘Le Mistral Gagnant’
 
(A note about the title: the ‘mistral’ is a well known wind that blows in the south of France. ‘Gagnant’ gives the idea of a wind that is gaining ground — advancing and taking things from the singer… it is difficult to express this with just one word as in French and so I have translated it in the song as “the advancing winds”.)To sit down on a bench, five minutes with you
and watch the people while they’re still there;
to tell you about the good days that are gone, or that will return,
while holding your little fingers in my hand.

Then to feed the stupid pigeons,
and pretend to kick them,
and to hear your laugh that crawls up the walls
and that, most of all, knows how to heal my wounds.
To tell you a bit about when I was a kid,
the fabulous sweets that we nicked from the shopkeepers,
Car-en-sac, Minto, and caramel for a franc.
And the advancing winds.To walk in the rain, five minutes with you,
and watch life going by, while it’s there;
to tell you about the World, while scaring you with my eyes,
to tell you about your mum a little bit.And to jump in the puddles to get her annoyed,
to wreck our shoes, and laugh about it,
and to hear your laugh like one hears the sea –
it stops, then starts off again backwards.To tell you especially about the carambars of the past
and the coco boheres (these are all sweets; so are roudoudous)
and the real roudoudous that cut our lips
and screwed up our teeth.And the advancing winds.To sit down on a bench, five minutes with you,
and watch the sun going down;
to tell you about the good times that are gone, and I don’t care,
and to tell you we’re not the bad guys.That if I’m crazy, it’s only about your eyes,
because they have the advantage of being two;
and to hear your laugh fly off as high
as the cries of the birds fly.To tell you at last that you must love life,
and love it even if time is a murderer;
and takes with him the children’s laughter,

and the advancing winds.
and the advancing winds.

My thoughts:

This is a song that I completely fell in love with the first time I heard it. I was also fascinated by the lyrics, because they have a strange beauty and are full of French slang. I didn’t understand the slang the first time I heard it, but these words have now become very familiar to me, and I think they are so cleverly used in this piece. It is about fatherly love, and it’s so sad and sweet and (I think!) wise.

Lyrics are extremely important in modern French music, and I think that is perhaps why some of the great singers like Brel, Brassens and Gainsbourg have not travelled so well to the UK and elsewhere. It makes me sad because for me these songwriters are poets, just as much as Bob Dylan is a poet, and their lyrics are incredibly rich and rewarding.

I have tried to translate ‘Le Mistral Gagnant’ to the best of my ability, but of course, the lyrics are great in French because of the assonance and the rhyme etc… So you must listen to it, too. My favourite thing about this song, (and I think this is the great appeal of many of Renaud’s lyrics) is how very common slang expressions have been made poetic… I find it quite wonderful.

Reviewed by Emily Ardagh

‘The Tay Moses’ by Kathleen Jamie

What can I fashion for you
but a woven creel of river-
rashes, a golden
oriole’s nest my gift
wrought from the Firth –

And choose my tide: either
the flow, when, watertight
you’ll drift to the uplands
my favourite hills, held safe
in eddies where salmon, wisdom
and guts withered in spawn,
rest between moves – that
slither of body as you were born –

or the ebb, when the water
will birl you to snag
on reeds, the river
pilot leaning over the side
Name o’ God!‘ and you’ll change hands:
tractor-man, grieve, farm-wife
who takes you into her
competent arms

even as I drive slamming
the car’s gears,
spitting gravel on tracks
down between berry-fields,
engine still racing, the door wide
as I run toward her, crying
LEAVE HIM! Please,
it’s okay, he’s mine.

This is a poem by Scottish poet Kathleen Jamie, which I listened to on The Poetry Archive today.
The poet says that she wrote The Tay Moses when she was expecting her first son, and was feeling apprehensive about the new arrival and addition to her household. I like this poem because it seems to me to be very brave in its emotional honesty; it is not acceptable in our society for women to express these sorts of feelings and I just think it was brave to publish this.

She begins the poem by imagining making a little Moses basket for her baby, from reeds from the Tay river (“wrought from the Firth”). In the poem, she puts the basket and baby in the river, choosing her “tide”, and nonetheless making sure that the basket is “water-tight”. I love the language here, with the “woven creel of river” and the “golden oriole’s nest”.

We follow the poet’s imagination as the basket with the baby drifts “to the uplands”, “held safe in eddies”… until it gets caught somewhere and is rescued by a “tractor man” and his “farm-wife”, who takes the baby in her “competent arms”. The image of this capable farmer’s wife taking the baby into her strong, motherly arms, is something that seemingly triggers the protective instinct in our mother-poet, for she is suddenly racing to get her baby back. I love the urgency of the language describing this, as she is “slamming/ the car’s gears” and “spitting gravel on tracks”. This is such efficient, evocative language and I think it’s really clever. You can hear the regret and the frantic desire to undo the situation her imagination has produced. The poem ends with the poet running to her child, crying “LEAVE HIM! Please,/ It’s ok, he’s mine.”

I love the nightmarish/dreamlike quality to this poem, and the way that letting that Moses basket float down the river is like the poet’s mind running off with her fears that she won’t be a good mother. At the end, I love how the way she races to salvage her child and her urgency to take him back from the “competent” farmer’s wife is like her mother’s instinct retrieving her fearful mind that was running away with a crazy notion. In the end, she salvages everything, undoes the nightmare she has dreamt up in a panic, and realises how much she already loves her child.

Reviewed by Emily Ardagh