Bangkok, 14 March 2015
I don’t know why, but yesterday the tune of a song which my mother used to sing popped unbidden into my head. As I hummed along, I was trying to remember the words. Snatches came back but there were frustratingly large holes. I decided it was now or never: either I dredged up the words today or they would be lost to me forever. Well, my memory is shot, but there is the internet. As I have had cause to mention before, the internet really is a wonderful thing. There is a lot of rubbish, but there is also a veritable treasure trove of stuff ready to be mined, put there by devoted souls. In this case, the devoted soul turned out to be Google, for after trying out a few key words and remembered phrases of the song, I finally found a book from 1843 entitled “Chants et Chansons Populaires de la France”, which Google had scanned as part of its Google Books initiative. There, tucked in among lots and lots of songs that I had never heard of, was mine.
The authors of the book are vague about the date of the song, but I reckon from some words it uses that it was written in the sixteenth century or thereabouts. Its title is “La Vieille”, which can be loosely translated “The Old Crone”, and it is a deliciously malicious take on the foolish desire of some old people to stay young and on the power of money. In a few words, the song tells us of an eighty-year old woman who wants not only to join the young people in their dance but also to be coupled with the youngest and handsomest man there. Not surprisingly, he tells her to go away, adding that she is far too poor for him. After she intimates that she is actually very rich, our young man immediately changes his mind and calls her back to the dance. In fact, he rushes her off to a notary public to be married and no doubt to make sure that a will is prepared leaving all her wealth to him.
He then takes her back to the dance, where she dances so energetically
that she expires.
Unceremoniously, her young husband and his friends look in his dead wife’s mouth, no doubt searching for her gold teeth, but find only three teeth, “une qui branle, une qui hoche, une qui s’envole au vent”, one which moves, one which wobbles, and one which is ready to blow away on the wind. They then look in her pockets and find only three small coins: “Ah, la vieille, la vieille, la vieille, avait trompé son gallant”, the song concludes; ah, the old crone had fooled her young paramour. Anyone who is interested in the original words can find them at the end of this post (although in the interests of brevity I’ve cut the repetitions of which the song is full).
My mother loved to sing, and had a really quite beautiful voice (whereas when my father – blessed be his memory – sang, it resembled the croaking of a crow). By the time I knew my mother – that is, by the time I was old enough to judge her – she was of course a decorous middle-aged matron, but also one who had had to endure the slings and arrows of life’s misfortunes. So, apart from the hymns in Church which she delivered with gusto, the songs she sang tended to be soulful and mournful. Edith Piaf was a favourite: “Ils sont arrivés se tenant par la main, l’air émerveillé de deux chérubins”, “they arrived holding hands, with the look of wonder of two cherubs”. But then they were found dead, together, in the hotel room they had rented to make love for the last time. There was another, a haunting lament, about a wife waiting for her husband knight to return from the wars so that she can announce to him that she is with child. He comes back, but only to die in the same bed where the child was conceived, of his wounds. There was also “A la claire fontaine”, which is a somewhat trite song about lost love, but has a beautifully quiet melody.
But when my mother sang “La Vieille”, a mischievous glint would come into her eye and I could see the young, cheeky girl which, in the autobiography that she wrote for us children, she confessed to having once been. The same glint would come into her eye whenever she told droll stories of her family. There were the two brothers, for instance, great-uncles, who were “of the left”, and fervent anticlericals (we are talking of the great anticlerical moment in French history during the late 19th Century). Every Good Friday, they would take a table at the window of a restaurant close by the cathedral and make sure to be eating heartily and mightily when the poor souls came out of Church hungry from their Lenten fasting. One of these same brothers indicated in his will that when he died he wished to be buried in a simple pine coffin like a man of the people. But his daughters, whom I have mentioned before, were having none of that. They found their father embarrassing enough in life, they were not going to be embarrassed by him in death in front of their bourgeois friends. He was buried in a sumptuous coffin, and with a church ceremony to boot. Then there was the uncle, Oncle Jacques, who had been a dashing rake in his youth. Why, he had even been a daredevil pilot, this at a time when it was lucky if planes stayed together in the air. A somewhat older woman, Renée, had fallen hard for him, and in a standard tactic announced that she was pregnant, a pregnancy which mysteriously vanished when he did the Right Thing and married her. In the event, the marriage held and they did eventually have children. But Tante Renée shed many a bitter tear during the marriage over Oncle Jacque’s serial infidelities. This last set of stories were delivered the day before Oncle Jacques and Tante Renée came to make one of their annual visits to my grandmother, using the little train which I’ve mentioned in an earlier post. I still have a memory of the pair, arriving in the garden to effusive welcomes after the walk up the long alleyway from the train station. Tante Renée was hideously made up with pink powder, bright red lipstick, and rinsed hair, and as she bent over to give me a peck on the cheek I was drowned in the overpowering scent of a very sweet perfume. Oncle Jacques, on the other hand, stood there looking distinguished in his old age and with a mischievous glint in his eye.
Ah, memories, memories. Come, let’s finish with the refrain from another old French song, this one about the capture of an English ship by a smaller French ship in the early 1800’s during the Napoleonic wars:
Buvons un coup, buvons en deux
À la santé des amoureux
À la santé du Roi de France
Et MERDE au Roi d’Angleterre
Qui nous a déclaré la guerre.
Let’s drink a cup, let’s drink two
To the health of all lovers
To the health of the King of France
And BUGGER the King of England
Who went and declared war on us.
photos: taken by me from https://books.google.co.th/books?id=2N7F5Gqine0C&dq=chanson+qui+avait+quatre+vingt+ans+l’autre+qui+s’envole+au+vent&source=gbs_navlink_s
A Paris dans une ronde
Composée de jeunes gens
Il se trouva une vieille
Agée de quatre-vingt ans!
Elle choisit le plus jeune
Qui était le plus galant
“Va-t-en, va-t-en bonne vieille
Tu n’as pas assez d’argent!”
“Si vous saviez c’qu’a la vieille
Vous n’en diriez pas autant”
“Dis nous donc ce qu’a la vieille?”
“Elle a dix tonneaux d’argent”
“Reviens, reviens bonne vieille
On la conduit au notaire
“Mariez-moi cette enfant”
“Cette enfant”, dit le notaire
“Elle a bien quatre-vingt ans”
Aujourd’hui le marriage
Et demain l’enterrement
On fit tant sauter la vieille
Qu’elle est morte en sautillant
On regarda dans sa bouche
Elle n’avait que trois dents
Une qui branle, une qui hoche
Une qui s’envole au vent
On regarda dans sa poche
Elle n’avait que trois liards d’argent
Ah la vieille, la vieille, la vieille
Avait trompé le galant!
What follows is a quick-and-dirty translation:
In Paris, at a round dance
Composed of young people
Arrived an old crone
Of the venerable age of eighty
She approached the youngest man
Who was also the most handsome
“Leave me be, you old crone
You’re far too poor for me!”
“If you knew what the old crone has
You wouldn’t say as much”
“Tell us then how much she has”
“She owns ten barrels-full of money”
“Come back, come back, you old dear
Let us marry forthwith!”
They took her to the notary
“Marry me to this child”
“This child”‘ intoned the notary
“Is not a day younger than eighty”
Today the marriage
Tomorrow the burial
They made the old crone dance so hard
That she died mid-hop
They looked in her mouth
She had but three teeth
One which moved, one which wobbled
One which blew away on the wind
They looked in her pockets
They found but three farthings
Ah the old, old crone
She had fooled her handsome boy!