Colombine - This poem by Verlaine tells of the female star character of the Italian mime theatre.

Colombine

Brassens put music to this lilting, melodic poem of Paul Verlaine. The poet tells how someone who ruthlessly exploits his or her sexual charm is able to reduce to a state of abject subjugation those who fall victim - and Verlaine’s life story suggests that perhaps he should know! To illustrate this farcical, human situation, he enacts a typical scene, performed by the Italian mime theatre the Commedia dell'arte.(1)

Verlaine's Colombine

Léandre le sot, Pierrot qui d'un saut De puce Franchit le buisson, Cassandre sous son Capuce, Arlequin aussi, Cet aigrefin si Fantasque, Aux costumes fous, Les yeux luisant sous Son masque, Do, mi, sol, mi, fa, Tout ce monde va, Rit, chante Et danse devant Une frêle enfant Méchante Dont les yeux pervers Comme les yeux verts Des chattes Gardent ses appas (2) Et disent : "A bas les pattes ! " A verse with no words is played next and then Brassens sings the following as his last verse: L'implacable enfant, Preste et relevant Ses jupes, La rose au chapeau, Conduit son troupeau De dupes ! From the poem of Paul Verlaine Song by Georges Brassens -1955 - Chanson pour l'auvergnat

Silly Leander, Pierrot who with one Flea-like jump Springs over the bush Cassander neath his Deep monk’s cowl, Harlequin also, That cheating rogue so Full of guile In crazy costume, His keen eyes glinting Neath his mask Do, mi, so, mi, fa, All these go along Laugh and sing They dance in front of A skinny girl who Means trouble Whose eyes of menace Like the bright green eyes Of felines Guard her body’s charms As they say Wand’ring hands, keep off! The child, hard to please Spry and with her skirts Lifted high The rose in her hat Leads on her flock of Those she fools!

NOTES

1)The Commedia dell'arte - The poem gives a glimpse of the “Commedia dell'arte”, the Italian theatre which was popular to French audiences during three centuries. Molière knew it well and its influence is seen in his comedies. Two hundred years later, Balzac, in “Le Père Goriot” shows the members of Parisian high society making a weekly visit to the Italian theatre.

The noble and distinguished people who attended this theatre were enjoying boisterous knockabout comedy, which could be very racy. There was comic portrayal of sex and the plot was often based on sexual infidelity and promiscuity. Situations which enacted shipwrecks and fires allowed the actresses to cast off their clothes.

The admirable skill of these players was to go onstage to perform an unwritten drama which, to a great extent, they improvised on the spot.

The theatre had stock characters and we meet some of them in this poem:
.
• The young lovers- often naïve. In this poem Leander is the young hero, foolishly besotted (with Colombine).
• The easily deceived old man. In this poem it is Cassander, who is wearing a hood to hide his lustful pursuit of the young girl temptress, Colombine.
• The cheeky young serving girl was very often called Colombine as here. She was usually completely amoral and although she had a lover, she shared her favours as she liked.

• The rascally servants. There were usually several of these. They were usually lazy scoundrels and sometimes cruel and cunning. Although they deceived others, they were often so stupid that they were themselves open to deception. Verlaine gives us here the two most well-known:
a. Pierrot was the white faced clown – hence the acrobatics.

b. Harlequin was one of the characters who traditionally wore a mask. He was deeply in love with Colombine, who caused him great jealousy.

(2) Gardent ses appas – « Les appas » mean charms or charming features. A plural noun with the same sound would be « Les appâts » - the bait used to catch your prey. Both could apply to the armoury of the predatory female.

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