Ah! c'est que pendant ton absence Lui font bien dure l'existence Dans ces climats. Plus rien aux champs plus rien sur l'arbre, Durcit les flots comme du marbre, A ton retour il croit renaître L'espoir s'attache à sa fenêtre THIS national and patriotic song-writer was born in Paris among the lowest ranks of the bourgeoisie. His songs are full of wit and feeling, strongly flavoured with the spirit and animus of political excitement, which, during the eventful periods of the Republic, the Consulate and Empire, the Restauration, and subsequent Revolution of 1830, would naturally impress so observant and clever an eye-witness as Béranger, living as it were amidst all these changes, and imbued with strongly popular tendencies. Béranger sings of the great Napoleon and his wars with as much pathos and vivacity as if he had been himself a tough old serjeant of the Vieille Garde. He revels in the rollicking_life of the Parisian students, and other members of the Bohemian persuasion, is the organ of the lower ranks of the people, and frequently the bitter critic of the upper. Except in his purposed imitations of the unlettered, his language and expressions are correct, natural and true, and free alike from all kinds of vulgarism and affectation, though his own education was a scramble, and left entirely to chance. Abandoned by his parents, his grandfather, a poor tailor, and subsequently an aunt, took charge of him. These needy people fortunately had had some instruction themselves, for they pos sessed "Télémaque," and some of Racine's and Voltaire's plays, and out of these Béranger was taught to read, which accounts for the familiarity of so low born a person with the classical characters of ancient mythology; and the fact of his having been for some time a chorister, explains his knowledge and use of the church latin. Béranger laments touchingly and deeply the misfortune of his great hero, Napoleon I., and of his valorous companions and followers, and repudiates in equally cutting terms the cruelly unfair behaviour of the returning Bourbons, surrounded by their hypocritical priesthood, and rife with the abuses of the old régime. Béranger witnessed the disgraceful welcome given in Paris to the allied sovereigns and their armies after Waterloo, and he never forgave the effect it produced. Béranger's songs are the best study which can be made of the real and intrinsic character of the French nation. 85. Le Vieux Drapeau. De mes vieux compagnons de gloire J'ai mon drapeau dans ma chaumière. Il est caché sous l'humble paille I Ce drapeau payait à la France Nos fils jouaient avec sa lance. Son aigle est resté dans la poudre, Las d'errer avec la victoire, Mais il est là près de mes armes ; Viens, mon drapeau! viens, mon espoir 2 3 4 86. Ma Guérison. Après un coup de Romanée, A railler les hommes puissans (bis). Après deux coups de romanée, Rougissant de tous mes forfaits, Je vois ma chambre environnée D'heureux que le pouvoir a faits. De mes juges l'arrêt suprême Touche mon esprit libertin ; J'admire Marchargy lui-même Après deux coups de chambertin. Après trois coups de romanée, Je n'aperçois plus d'oppresseurs. Court en habit de sacristain. Après trois coups de chambertin. Au dernier coup de romanée, Mon œil, mouillé de joyeux pleurs, D'olivier, d'épis et de fleurs. 5 6 7 8 9 ΙΟ II 12 O chambertin ! ô romanée ! De l'espérance et de l'amour (bis). Tantôt un cep de romanée, 87. Le Chant du Cosaque. Viens, mon coursier, noble ami du Cosaque, La paix, qui fuit, m'abandonne tes guides, Où, tout sanglant, tu t'es lavé deux fois. Et foule aux pieds les peuples et les rois. Comme en un fort, princes, nobles, et prêtres ; Et foule aux pieds les peuples et les rois. 13 14 15 16 |