La Marguerite- A wild daisy that falls from the priest's prayer book sets evil tongues wagging

In this simple poem, Brassens describes the hysteria and malice, which is aroused in a parish of traditional believers, when they suspect that their priest, at Easter, has accepted a tiny token of sexual affection from a person unknown, but who, they readily believe, could be a young nun from the local convent, in love with him. Brassens tells the tale, largely suppressing his personal reaction until his last line of inarticulate disbelief .

LA MARGUERITE

La petite Marguerite Est tombée, Singulière, Du bréviaire De l'abbé Trois pétales De scandale Sur l'autel, Indiscrète Pâquerette, D'où vient-elle ? Dans l'enceinte Sacro-sainte, Quel émoi Quelle affaire, Oui, ma chère, Croyez-moi ! La frivole Fleur qui vole, Arrive en Contrebande Des plat's-bandes Du couvent. Notre Père Qui, j'espère, Êt's aux cieux, N'ayez cure Des murmures Malicieux, La légère Fleur, peuchère ! Ne vient pas De nonnettes,(1) De cornettes En sabbat. Sachez, diantre ! Qu'un jour, entre Deux Ave, Sur la Pierre D'un calvaire Il l'a trouvée, Et l'a mise, Chose admise Par le ciel, Sans ambages, Dans les pages Du missel. Que ces messes Basses cessent, Je vous prie. Non, le prêtre N'est pas traître À Marie. Que personne Ne soupçonne, Plus jamais, La petite Marguerite, Ah ! ça mais !* Georges Brassens 1961 - Les trompettes de la renommé

The so tiny Daisy flower Fell down Strange to say From The breviary Of the priest. Three petals Of scandal On the altar An indiscreet Easter flower Whence comes it ? In the confines Sacrosanct What a fuss ! What an outrage, Yes my dear Believe me. The frivolous Flower in flight Arrives as Contraband From the flower beds Of the convent. Our father Who I hope Art in heaven Pay no regard To the whispers Of mischief. The slight Flower, God's truth ! Does not come From little nuns In cornets At a Black Sabbath. Know – devil take me! That, one day between Hail Marys On the footstone Of a wayside cross He found it. And he put it A thing allowed By heaven Without ado In the pages Of the missal. Let these masses, All low, cease now I pray you. No the priest Is not a traitor To Mary. Let nobody Ever suspect Ever more The so tiny Daisy flower. Words fail me!

TRANSLATION NOTE

(1) De nonnettes – I had never met this word and thought that Brassens had invented this diminutive. In fact, Larousse tells me that nonnette means a young nun.

COMMENTS

1) The music of this poem comes from the rhythm of two lines of four feet followed by one line of three feet. I have tried to keep to this, but have not always managed it.

2) There is a story that Brassens offered this song to Brigitte Bardot, who, it is believed, was an intimate friend. The story goes on to say that she refused because of one line. The line to which she is supposed to have objected is: Fleur, peuchère ! The word "peuchère" is an oath of southern French origin, which Collins Robert translates as "streuth!"- which makes it quite mild. Only a native speaker knows the power of an expletive and,no doubt, Brigitte Bardot found this very unladylike.

This is a relatively unimportant line and Brassens could have easily rephrased it. I would have thought that what she would have found difficult to deliver, would be the last line, where he finally expresses his despair and disbelief at the behaviour of the respectable devout in the supposedly enlightened 20th century.

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Les amoureux des bancs publics - Public passion needs to be encouraged as its lifespan is brief

Brassens is made very angry when he sees an intensely religious family abuse a couple for their public display of passion. To Brassens, moments of happiness are very precious as they fade so quickly.

Les gens qui voient de travers Pensent que les bancs verts Qu'on voit sur les trottoirs Sont faits pour les impotents ou les ventripotents Mais c'est une absurdité Car à la vérité Ils sont là c'est notoir'(2) Pour accueillir quelque temps les amours débutants(3) Les amoureux qui s' bécott'nt sur les bancs publics, Bancs publics, bancs publics, En s' fouttant pas mal du regard oblique Des passants honnêtes Les amoureux qui s' bécott'nt sur les bancs publics, Bancs publics, bancs publics, En s' disant des " Je t'aim' " pathétiqu's(5) Ont des p'tit's gueul'(6) bien sympatiqu's. Ils se tiennent par la main Parlent du lendemain Du papier bleu d'azur Que revêtiront les murs de leur chambre à coucher. Ils se voient déjà doucement Ell' cousant, lui fumant, Dans un bien-être sur Et choisissant les prénoms de leur premier bébé Les amoureux qui s' bécott'nt sur les bancs publics, Bancs publics, bancs publics, En s' fouttant pas mal du regard oblique Des passants honnêtes Les amoureux qui s' bécott'nt sur les bancs publics, Bancs publics, bancs publics, En s' disant des " Je t'aim' " pathétiqu's Ont des p'tit's gueul' bien sympatiqu's. Quand la saint' famill' Machin(7) Croise sur son chemin Deux de ces malappris Ell' leur décoche hardiment en passant des propos venimeux N'empêche' que tout' la famille Le pér' la mér' la fille Le fils le saint esprit(8) Voudrait bien de temps en temps pouvoir s' conduir' comme eux Les amoureux qui s' bécott'nt sur les bancs publics, Bancs publics, bancs publics, En s' fouttant pas mal du regard oblique Des passants honnêtes Les amoureux qui s' bécott'nt sur les bancs publics, Bancs publics, bancs publics, En s' disant des " Je t'aim' " pathétiqu's Ont des p'tit's gueul' bien sympatiqu's. Quand les mois auront passé Quand seront apaisés Leurs beaux rêves flambants Quand leur ciel se couvrira de gros nuages lourds Ils s'apercevront émus Qu' c'est au hasard des rues Sur un d' ces fameux bancs Qu'ils ont vécu le meilleur morceau de leur amour. Les amoureux qui s' bécott'nt sur les bancs publics, Bancs publics, bancs publics, En s' fouttant pas mal du regard oblique Des passants honnêtes Les amoureux qui s' bécott'nt sur les bancs publics, Bancs publics, bancs publics, En s' disant des " Je t'aim' " pathétiqu's Ont des p'tit's gueul' bien sympatiqu's. Georges Brassens 1954

People who give dirty looks Think that the green benches You see on the sidewalks Are made for people with bad legs or with pot-bellies But that’s an absurdity For if the truth be known They’re there, as is well-known To host, for a while, couples whose love has just begun. The lovers who smooch on benches in public In public, In public(4) Caring not much about critical looks from Decent passers-by The lovers who smooch on benches in public In public, In public While saying « I love you’s », deeply felt Have very nice, appealing little faces. They hold each other by the hand They speak of the morrow Of the sky blue wallpaper With which the walls of their bedroom will be decorated Sweetly, they already see each other She sewing, he smoking Comfortable and secure And selecting the Christian names of their first baby The lovers who smooch on benches in public In public, In public(4) Caring not much about critical looks from Decent passers-by The lovers who smooch on benches in public In public, In public While saying « I love you’s », deeply felt Have very nice, appealing little faces. When the holy family what’s-their-names Walk by on their way Two of these improper guys They hurl at them, full blast, vicious remarks as they pass Even though all of them Father, mother, daughter Son, Holy Spirit Would very much like to act the same from time to time. The lovers who smooch on benches in public In public, In public(4) Caring not much about critical looks from Decent passers-by The lovers who smooch on benches in public In public, In public While saying « I love you’s », deeply felt Have very nice, appealing little faces. When the months have flown by When there will have cooled down Their fine dreams, once aflame When their sky will become covered with great heavy clouds They will perceive fondly It was by off chance of streets On one such ill-famed bench That they lived through the best little piece of their love. The lovers who smooch on benches in public In public, In public(4) Caring not much about critical looks from Decent passers-by The lovers who smooch on benches in public In public, In public While saying « I love you’s », deeply felt Have very nice, appealing little faces.

TRANSLATION NOTES

1)     les bancs publics – I considered translating this with “park benches” as this is how  we readily refer to this style of seating even when not placed in a park.   In 2009 there was French film directed by Bruno Podalydès, whose title in France was “Bancs Publics.”  I note that its title in the English speaking world is “Park Benches”.  In this poem, however, the word “public “ is essential to the message and has to be retained.

2)     c'est notoir' – The adjective notoire means notorious but the phrase “Il est notoire que” means : it is public/common knowledge that- it’s an acknowledged fact that. (Robert).

3)     les amours débutants –Strictly speaking Brassens is making a grammatical mistake here as the rule is that “amour” in the singular is masculine, but “amours” in the plural is feminine.  Brassens is a purist however and deliberately makes this change.

4)     In public -  In public -  The French says of course “Public Benches”  but I think that I need to have a similar three syllable chorus with a similar rhythm and have taken the liberty to make this change.

5)     pathétiqu's – the most common usage of « pathetic » in English is as an insult.  “You are pathetic!” means “You are pitiably inadequate”.  However in both languages, it also means arousing pity, especially through vulnerability or sadness and this is the meaning here.

6)     Ont des p'tit's gueul' – La gueule an impolite word has two main meanings: firstly “Mouth” and so “Ta gueule!” Means “Shut up”.  Secondly “Face” and so “Il a fait une sale gueule quand il a appris la nouvelle » means « He pulled a face when he heard the news ».  The slang word for “face” in English is “mug” e.g.  “I never want to see your ugly mug again!”  When Brassens is in danger of being sentimental, he uses a disrespectful word.

7)     famill' Machin – *If you can’t think of a man’s name you say: le père Machin = Mr. What’s-his-name. 
Similarly “Mrs what’s her name” = la mère Machin.

8)     Le pér' …. Le fils le saint esprit to describe this family, Brassens ironically uses expressions from Christian liturgy.  He would blame the spirit of the Christian Church for making the natural reproductive processes shameful.

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