Category Archives: Analysis

03/13/25

L’Alouette chanta le jour (Mon père m’y marie)

Song Title: L’Alouette chanta le jour                            Source: Frémeaux & Associés (Canada)

Strophe Rhyme Line Text Translation
A a 1 Mon père m’y marie avec un marchand de velours (bis) My father married me with a velvet merchant 
a (s) 2 Le premier jour de mes noces, ils m’ont joué un vilain tour The first day of my marriage, they played a nasty trick on me 
b 3 O gué lon la Vive la roulette, gué lon la Vive la roulette Hurray for roulette
A a 2 Le premier jour de mes noces, ils m’ont joué un vilain tour (bis) The first day of my marriage, they played a nasty trick on me 
a (s) 4 Je ne fus pas si tôt couchée, que l’alouette chanta le jour I did not go to bed so early, that the lark sang during the day;
b 3 O gué lon la Vive la roulette, gué lon la Vive la roulette Hurray for roulette
A a 5 Disait en son langage, lève toi car il est jour (bis) Said in his language, get up for it is day
a (r) 6 Faut il donc qu’une jeune mariée s’y lève avant le petit jour  Should a young bride therefore gets up there before dawn
b 3 O gué lon la Vive la roulette, gué lon la Vive la roulette Hurray for roulette
A a 7 Faut-il qu’une jeune mariée s’y lève avant le petit jour (bis) Is it only necessary to have a bride if he gets up before the dawn
a (s) 8 Y’a du monde à la boutique qui veut marchander le velours  There are people at the store who wants to bargain for velvet
b 3 O gué lon la Vive la roulette, gué lon la Vive la roulette Hurray for roulette
A a 9 Le diable emporte la boutique et les marchands de velours (bis) The devil takes away the store and the velvet merchants
c 10 Les blancs chevaux de chez mon père, ils sont bien mieux soignés que moé  My father’s white horses, they are much better cared for than me
b 3 O gué lon la Vive la roulette, gué lon la Vive la roulette Hurray for roulette
A a 11 Ils ont du foin d’l’avoine un coup d’étrille chaque jours (bis) They have oat hay one brush per day; 
a (r) 12 Et moi qui suis jeune mariée, faut m’y lever avant le jour  And I, who am a young bride, I have to get up before daybreak
b 3 O gué lon la Vive la roulette, gué lon la Vive la roulette Hurray for roulette

Song type: Chanson en laisse

Performers: Le Trio Lyrique; a vocal & piano group formed in 1932, members are baritone Lionel Daunais, contralto Anna Malenfant, tenor Ludovic Huot, pianist & arranger Allan McIver

Notes: This version performed by Le Trio Lyrique was recorded in Montreal, February 16, 1947. This song was from a compilation of folk songs that are entirely orally transmitted, but the author of these songs are unknown. The songs from Quebec have origins in Brittany and Normandy, but eventually got modified during transmission, according to regions and the time so some song titles are bound to change. Examples include “Mon Père m’y marie” and its variants: “Le Marchand de velours”, “L’Alouette chanta le jour”, and “Gai lon la, vire la roulette”. Even though the title and some text were altered, it still shares the same theme. English translation was done using an online dictionary and the help of Google Translate.

Instrumentation: woodwinds, strings & 3 voices

Rhyme scheme: It’s mostly monorhyme with each strophe consisting of the aaab rhyme pattern, except for 5th strophe/stanza which is more aacb.

Rhyme type: suffisante with the ou+r combination for strophes 1, 2, and 4; then riche with j+ou+r combinations for strophes 3 and 6.

Context: marriage

Narrative: The text is on the story of a bride from the day she gets married off by her father to living the first day as a newlywed with a velvet merchant (“marchand de velours”) and she complains she wasn’t treated well to her expectations and very dissatisfied. She even compares herself to her father’s horse in her treatment and how even a horse gets a better treatment than her.

Lyrics retrieved from:

Suggested sources:

03/13/25

Parlez-nous à boire

Song title: Parlez nous à boire — The Balfa Brothers

A song in the film Southern Comfort (1981)

Strophe Rhyme Line Text
A a 1 Oh parlez-nous à boire, non pas du marriage
b 2 Toujours en regrettant, nos jolis temps passés 
B b 3 Si que tu te maries avec une jolie fille 
b 4 T’es dans les grands dangers, ça va te la voler 
A a 1 Oh parlez-nous à boire, non pas du marriage
b 2 Toujours en regrettant, nos jolis temps passés
B b 5 Si que tu te maries avec une vilaine fille 
b 6 T’es dans les grands dangers, faudra tu fais ta vie avec
A a 1 Oh parlez-nous à boire, non pas du marriage 
b 2 Toujours en regrettant, nos jolis temps passés 
Interlude
A a 1 Oh parlez-nous à boire, non pas du marriage 
b 2 Toujours en regrettant, nos jolis temps passés 
B c 7 Si que tu te maries avec une fille bien pauvre
d 8 T’es dans les grands dangers, faudra travailler tout la vie
A a 1 Oh parlez-nous à boire, non pas du marriage
b 2 Toujours en regrettant, nos jolis temps passés
B e 9 Si que tu te maries avec une fille qu’a de quoi
f 10 T’es dans les grands dangers, tu vas attraper des grands reproches
C g 11 Fameux, toi grand vaurien, qu’a tout gaspillé mon bien 
g 11 Fameux, toi grand vaurien, qu’a tout gaspillé mon bien
A a 1 Oh parlez-nous à boire, non pas du marriage
b 2 Toujours en regrettant, nos jolis temps passés

 

Style: Cajun French Music

Type: Enumerative

Narrative: A song telling people to drink and not get married. Because no matter what kind of girls you marry, you are in great danger.

Translation:

Oh parlez-nous à boire, non pas du marriage

Oh, let’s talk about drinking and not about marriage

Toujours en regrettant, nos jolis temps passés

Always regretting our pretty time past

Si que tu te maries, avec une jolie fille,

If you marry a pretty girl,

T’es dans les grands dangers, ça va te la voler.

You’re in great danger, someone’s going to steal her.

Refrain

Si que tu te maries avec une vilaine fille 

If you marry an ugly girl,

T’es dans les grands dangers, faudra tu fais ta vie avec 

You’re in great danger, you’ll have to live with her

Refrain

Si que tu te maries avec une fille bien pauvre 

If you marry a very poor girl,

T’es dans les grands dangers, faudra travailler tout la vie 

You’re in great danger, you’ll have to work all your life.

Refrain

Si que tu te maries avec une fille qu’a de quoi 

If you marry a rich girl,

T’es dans les grands dangers, tu vas attraper des grands reproches 

You’re in great danger, you’ll get great reproaches

Fameux, toi grand vaurien, qu’a tout gaspillé mon bien (bis)

Damned you, great good-for-nothing, you spilled all my possessions. (twice)

Source:

03/13/25

La chanson de la Grenouillère

Song title: La Chanson de la Grenouillère

Source: Recording from The Canadian Museum of History

Strophe Rhyme Line Text
A a 1 Voulez vous écouter chanter, Une chanson de verité
b 2 Dix-neuf des gens d’arrière,
B a 3 là-bande des bois brûlés sont arrivés
c 4 comme des bravieri.
C d 6 En arrivant de la gare nordière,
e 7 nous avons pris trois prisonniers.
D f 8 J’avance armée, Puis quittons son armée
f 9 Deux sur la bande, Quatre ou cinq sont sauvés.
g 10 Les gouverneurs qui s’écroient l’Empereur,
g 11 ils l’attagisent avec rigueur
h 12 Les gouverneurs qui l’étaient enragés,
h 13 elles détachaient les soldats tirés.
E i 14 Le premier coup,
g 15 c’est l’Anglais que a tiré l’ambassadeur.
j 16 Il a menté tué.
k 17 Si vous avez vu ces Anglais, des tous ces bois brûlés après,
B l 18 de bête en bête, les Anglais tuent vite les bois brûlés
m 19 en chantant des cris des joies.
D n 20 Il a composé la chanson
n 21 Pierre et Falcon, ce bon garçon
A o 23 À l’altifète que composé, chantons la gloire
p 24 que nous avons gagné.
B o 25 À l’altifète qui compose, sur la victoire
p 24 que nous avons gagné.

Note: I used any2text.com to transcribe this song as I cannot understand French and was not able to find the lyrics online.

*I am not confident about the strophes labelling here nor some of the lyrics as I know AI isn’t too accurate

 

English Translation from here: Lyrics Source (also cited in suggested sources)

Would you care to hear sung  

A song of truth? 

Last June 19th,  

The band of Bois-brûlés arrived — 

A band of brave warriors. 

  

When we got to la Grenouillère, 

We took three prisoners. 

We had surrounded  

Almost all of their army below the hill; 

Only four or five of them escaped.    

  

The governor, imagining himself an emperor, 

Responded harshly. 

The governor, filled with rage, 

Told his soldiers — Fire! 

The first shot  

Was fired by the English. Our ambassador,  

Was nearly killed. 

  

You should have seen the English  

And all the Bois-brûlés chasing them!  

From hill to hill,  

The English fell. The Bois-brûlés 

Shouted for joy!    

  

Who composed this song?  

Good old Pierriche Falcon!  

It was written  

And composed to sing of the glory  

That was ours. 

It was written  

And composed to sing of the victory  

That was ours

Commentary

1 “La Chanson de la Grenouillère,” or “The Song of Frog Plain,” goes beyond a catchy tune—it’s a powerful ballad with deep historical roots, crafted by Métis poet and Northwest Company clerk Pierre Falcon (1793–1876). This song pays tribute to the Métis victory at the Battle of Seven Oaks on June 19, 1816, which stands as a key moment in Métis history. Falcon’s song is an early celebration of Métis identity and strength, displaying their resilience in the face of adversity. The lyrics vividly recount the battle, emphasizing the courage of the Métis fighters and the strategic blunders of their opponents. One of the emphasizes in the song is how the Métis outmaneuvered the enemy, eventually leading to their major victory.

1 The Battle of Seven Oaks happened during a time of rising tension between the Hudson’s Bay Company (HBC) and the Northwest Company (NWC), both vying for dominance in the fur trade around the Red River Valley. The Métis, who were allied with the NWC, were frustrated with the HBC’s restrictive practices that threatened their livelihoods and way of life. When the dust settled at Seven Oaks, the HBC had lost 21 men, including Governor Robert Semple, while the Métis faced only minor losses.

Right from the start, the song invites listeners to tune in to a “song of truth,” promising an authentic retelling of the battle. The Métis warriors, fondly called “Bois-Brûlés,” are depicted as heroic and clever, making tactical moves to capture prisoners and outflank their foes. In contrast, the governor is portrayed as a bit of a braggart, thinking of himself as an emperor, which proves to be a costly mistake. This portrayal really drives home the song’s message about Métis unity and their determination to resist outside control. The song’s lyrics radiate bravery and defiance, detailing the courage displayed by the Métis in the face of violent confrontations. For instance, the line “le premier coup, c’est l’Anglais qui a tiré l’ambassadeur,” which translates to “the first shot is the English who shot the ambassador,” captures an important moment in their fight for survival and rights. This imagery paints a vivid picture of the physical battles while also simplifying psychological impacts of conflict on the Métis community.

2 “La Chanson de la Grenouillère” is typically sung in a folk style that reflects the oral traditions of the Métis culture. You’ll often hear it sung a cappella or possibly accompanied by simple instruments like the fiddle or guitar—both of which are essential to Métis musical heritage. The melody is lively and rhythmic, making it perfect for community gatherings where singing and dancing unite people and strengthen their bonds.

Related Sources

Cass-Beggs, Barbara. Seven Metis Songs of Saskatchewan. 2025. BMI Canada Limited, 1967, pp. 5–26.

Chartrand, Margaret, and Denise Ménard. “Pierre Falcon.” Www.thecanadianencyclopedia.ca, 21 Feb. 2008, www.thecanadianencyclopedia.ca/en/article/pierre-falcon. Accessed 12 Mar. 2025.

Giroux, Monique. “Singing for Frog Plain.” Ethnologies, vol. 37, no. 1, May 2017, pp. 43–64, https://doi.org/10.7202/1039655ar. Accessed 12 Mar. 2025.

Ingraham, Mary I., and Robert C. Rival. Reflections on Malcolm Forsyth. 2025. University of Alberta, 2019, pp. 49–77.

Suggested Sources

Canadian Museum of History. “La Chanson de La Grenouillère.” Teachers’ Zone | Canadian Museum of History, 1957, www.historymuseum.ca/teachers-zone/think-like-a-historian-working-with-primary-source-evidence/audio/la-chanson-de-la-grenouillere/. Accessed 12 Mar. 2025.

References

  1. Barkwell, Lawrence. “Bataille de La Grenouillère | l’Encyclopédie Canadienne.” Www.thecanadianencyclopedia.ca, 7 Feb. 2006, www.thecanadianencyclopedia.ca/fr/article/seven-oaks-incident-de. Accessed 12 Mar. 2025.
  2. Canadian Geographic. “Music and Dance.” Indigenouspeoplesatlasofcanada.ca, 25 Sept. 2018, indigenouspeoplesatlasofcanada.ca/article/music-and-dance/. Accessed 12 Mar. 2025.
  3. Canadian Geographic. Indigenous Peoples Atlas of Canada. 2025. Canadian Geographic, 2018.
  4. Wright, Heather. “La Dernière Bataille de La Grenouillère – Histoire Canada.” Histoirecanada.ca, 1 Jan. 2019, www.histoirecanada.ca/consulter/paix-et-conflit/la-derniere-bataille-de-la-grenouillere. Accessed 12 Mar. 2025.
03/13/25

Pagayez

Strophe Rhyme Line Text
A a 1 Pagayez chers camarades, pagayez
a 2 Encore loin pour faire la fin de la journée
b 3 J’suis voyageur des eaux et coureur des bois
b 4 Depuis l’nord Manitoba aux Illinois
A’ c* 5 J’connais toutes les rivières, tous les ruisseaux*
c* 6 Depuis l’île d’Orléans, jusqu’à la terre haute*
B 7 Courir, courir, courir, courir, courir dans l’bois
8 Aussi longtemps, aussi longtemps, aussi longtemps
A d 9 Dans la ville de Montréal, y a une belle brune
d 10 À laquelle je donnerais toute ma fortune
e 11 Elle a les yeux couleur du fond d’un lac glacé
e 12 C’est en bas ses couvertures, j’veux me réchauffer
A f* 13 Si j’avais un dernier souhait, pour toute ma vie*
f* 14 Je d’manderais à la pleine lune nous réunir*
g 15 Avec sa lumière, faire une corde pour attacher
g 16 Ce grand bois avec le coin de son foyer
B 7 Courir, courir, courir, courir, courir dans l’bois
8 Aussi longtemps, aussi longtemps, aussi longtemps
A i 17 Allez mes braves, allons se mettre sur le chemin
i 18 Faudra pas qu’l’hiver vienne nous prendre avant la St-Quantin
j 19 Si la tempête nous attrape pas, je ferai un vœu
j 20 De passer le mois de janvier auprès de son feu
A’ k 21 Allez mes braves, allez amis, allons, allez
k 2 Encore loin pour faire la fin de la journée

Artist: Zachary Richard (b. 1950)

Rhyme scheme: rimes plates

*These rhymes are based on the singer’s pronunciation of the words. “Ruisseaux” rhymes with the pronounced “hau” and “vie” rhymes with the pronounced “réuni”.

Rhyme type: pauvres

Context: This is not a folk song, but speaks of themes related to the lives of voyageurs and coureurs du bois.

Narrative: The song is about a group of voyageurs who are paddling along a body of water. One of them sings about a woman he misses who lives in Montreal. He wishes they could be reunited. The voyageurs continue their journey, attempting to beat a winter storm before they can stop paddling for the day.

Musical/Stylistic Elements: Many elements in this contemporary song evoke ties to the voyageurs and their folk music.

In the second couplet (Dans la ville de Montreal), a chorus of men begin to interject with the main singer, singing “Hé,hé,hé”. This sound in particular is very ingrained as belonging to voyageur culture (the slogan for Winnipeg’s Festival du voyageur, for example, is “Hé, ho!”).

Another element that enriches the narrative of the story is in the opening seconds. A woman sings/speaks, and, while I am not 100% sure, I believe these are Indigenous words. The union the voyageur sings of, would then be between a European man and an Indigenous woman, something that was common and led to the birth of the Metis identity.

The instrumentation very clearly belongs to the rock genre. I hear guitars, bass, and drums along with the aforementioned backup singers.

Suggested sources:

Related Contents:

  • Radio-Canada, ed. “D’où Vient Le ‘Hé Ho!’?” Ici Manitoba, February 16, 2019. https://ici.radio-canada.ca/nouvelle/1153321/festival-voyageur-louis-boys.

Related links:

Les voyageurs

Zachary Richard

Translation 

Paddle dear friends, paddle

Still further to go before we can end our day

I’m a voyageur of the waters and a coureur des bois
From the north of Manitoba to Illinois

I know all the rivers, all the streams

From L’Île d’Orléans, to the highlands

Run, run, run, run, run in the woods

For as long, for as long, for as long

In the city of Montreal, there’s a beautiful brunette
To whom I would give all my fortune

She has eyes the colour of the bottom of a frozen lake
Her blankets are downstairs, I want to warm up

If I had one last wish, for all my life

I’d ask the full moon to reunite us

With its light, I’d make a rope to join

These large woods with the corner of her house

Run, run, run, run, run in the woods

For as long, for as long, for as long

Go my brave ones, let’s get back on the trail

We don’t want winter to reach us before St-Quantin

If the storm doesn’t catch us, I’ll make a wish

To spend the month of January by her fire

Go my brave ones, go my friends, let’s go, go

Still further to go before we can end our day

03/13/25

L’Aumône refusée

Link: On Canvas (no online copy)

Lyrics from Liner notes to CD (via Discogs)

Song title: L’Aumône refusée

Source: Marcel Bénéteau, À la table de mes amis (2000)

 

Strophe Rhyme Line Text Translation
1 a 1 Père et mère qu’élevez des enfants, (bis) O father and mother who raise children,
b 2 Corrigez-les dans leur jeune âge. (bis) Correct them at a young age.
a (p) 3 Pour moi j’ai bien élevé les miens, (bis) As for me, I’ve raised mine well,
c 4 Tout doucement, comme un bon père. (bis) Very gently, like a good father.
2 d 5 Chez mon fils bourgeois j’été, (bis) I went to my gentleman son’s house,
a 6 Pour le lui demander l’aumône. (bis) To ask him for alms.
d (p) 7 La table était tout bien garnie, (bis) The table was laid out really well,
e 8 Garnie de tartes et de pâté-es. (bis) Laid out with pies and pastries.
3 f 9 Héla! Grand Dieu, qui est ceci, (bis) Alas! Great God, who is this,
g 10 Qui est toujours rendu à ma porte? (bis) Who is always coming to my door?
c 11 Mon bon bourgeois, c’est votre père, (bis) My good gentleman, it’s your father,
a 12 Qui vient vous demander l’aumône. (bis) Who comes to ask you for alms.
4 f 13 Qu’on l’ôte ces pâtés-là d’ici, (bis) Take these very pastries away from here,
h 14 Qu’on mettre le pain dessus la table. (bis) Put the bread on top of the table.
a 15a Qu’on lui donne un morceau de pain  Give him a piece of bread,
a 15b Qu’on lui donne tout comme un chien.  Give it to him like a dog.
g 16 Par dessour la sol de la porte. (bis) Below the threshold of the door.
5 d 17 Quand c’ le bonhomme fut retiré, (bis) When the good man had left,
h 18 Ils ont mis les pâtés sur la table. (bis) They put the pastries on the table.
d (p) 19 Le premier qu’il a entammé, (bis) As he was beginning the first one,
i 20 Un crapaud lui saute au visage. (bis) A toad jumped into his face.
6 f 21 Héla! Grand Dieu, qui est ceci (bis) Alas! Great God, who is this
i 22 Qui me déchire tout le visage? (bis) Who’s tearing off my face?
j 23 C’est une pénitence de Dieu, (bis) It’s a penance from God,
c 24 Pour avoir envoyé votre père. (bis) For sending off your father.
7 f 25 Vite, Saint Malcom, allez me le qu’ri, (bis) Quickly, Holy Malcolm, go get him,
c 26 Vite, pour aller chercher mon père. (bis) Quickly, to go and get my father.
d 27 Quand c’ le bonhomme fut arrivé, (bis) When the good man had arrived,
k 28 Trouva son fils réduit en cendres. (bis) He found his son reduced to ashes.

 

Notes on the text: According to the liner notes, this is a Medieval song preserved in about a dozen versions throughout Quebec and Acadia; this version comes from Stella Meloche in Detroit, who learned it from her uncle.

 

Type: Strophic, narrative, ethical fable

 

Context: Perhaps could be sung at a soirée or other family gathering, considering it extols the value of hosting? Bénéteau’s presentation of the album might also suggest this.

 

Narrative: 

Begins with an exhortation to parents in the first strophe; the next 6 illustrate a fable of a poor father and his well-to-do son. When the father comes to ask for some help and finds his son’s table already set with a decadent meal, the son acts annoyed and hides his food, slipping his father bread beneath the door ‘like a dog.’ As the son sits down to enjoy his pastry, a toad jumps onto his face and begins to destroy him; he sends for his father, but it’s already too late – by the time his father arrives, he’s reduced to ‘cendres!’

While the fun narrative is probably the focus here (the song lasts nearly 6 minutes), there is certainly an ethical element to it – the values of hospitality, sharing what you have, and family are all extolled. There’s also a theological element; the son takes God’s name in vain (not cool!) and ends up being stricken down by God for his complacency. Interestingly, I couldn’t find any ‘Saint Malcom’ in the Roman martyrology; perhaps this is a unique feature of the story, but as the only named character in the plot, I would expect there to be some context for this mention.

The text is generally not rhyming (with some exceptions in the beginning) and is repeated throughout – I think this heightens the tension of the narrative. Bénéteau also builds further tension with instrumental interludes between key plot developments, and a regular but surprisingly nonmetrical rhythm.

Information on Bénéteau himself is rather scarce; what I can find is that he’s a professor in Sudbury of Franco-American studies, and has catalogued thousands of Francophone songs from the Detroit region.

This song is performed in a more intimate, narrative style. Instrumentation includes guitar, Bénéteau’s voice, a background fiddle, jaw harp at the end, and what sounds like a mandolin, but they don’t all play at once. The emphasis is definitely on the text and the narrative; even the mastering of the recording brings this out.

 

The music deserves a bit of analysis as well, because of the interesting nonmetrical rhythmic scheme:

I think this could either be read as a sort of elided 6/8, or simply as groups of 2 and 3 pulses. The latter idea could be supported considering the musicians were familiar with Gregorian chant, only I’m not sure whether the idea of subdividing Gregorian chant into 2 and 3-pulse groups would predate the composition of this song. Either way, the rhythms ensure the music flows very nicely and the repetition never gets lugubrious, which is remarkable for a text this long.

02/9/25

La poulette grise

Song title: C’est La Poulette Grise      Source: https://www.youtube.com/watch?v=L2n6uRii3og

Strophe Rhyme Line Text
A a 1 C’est la poulette grise
  a 2 Qui a pondu dans l’église
B b 3 Elle a pondu un petit coco
  c 4 Pour son petit qui va faire dodiche
  b 5 Elle a pondu un petit coco
  b 6 Pour son petit qui va faire dodo
  b 7 Dodiche, dodo
C d 8 C’est la poulette noire
  d 9 Qui a pondu dans l’armoire
B b 10 Elle a pondu un petit coco
  a 11 Pour son petit qui va faire dodiche
  b 12 Elle a pondu un petit coco
  b 13 Pour son petit qui va faire dodo
  b 14 Dodiche, dodo
D e 15 C’est la poulette blanche
  e 16 Qui a pondu dans la grange
B b 17 Elle a pondu un petit coco
  c 18 Pour son petit qui va faire dodiche
  b 19 Elle a pondu un petit coco
  b 20 Pour son petit qui va faire dodo
  b 21 Dodiche, dodo
E f 22 C’est la poulette brune
  f 23 Qui a pondu sur la lune
B b 24 Elle a pondu un petit coco
  c 25 Pour son petit qui va faire dodiche
  b 26 Elle a pondu un petit coco
  b 27 Pour son petit qui va faire dodo
  b 28 Dodiche, dodo Dodiche, dodo

 

01/23/25

Ma Virginie

Song title: Ma Virginie

Source: YouTube https://www.youtube.com/watch?v=UVob2wJtKQs (could not find on Naxos)

Strophe Rhyme Line Text
A a 1 Ma Virginie, les larmes aux yeux, (M)
a 2 Je viens pour te faire mes adieux. (M)
B b 3 Ah, Je m’en vais vers l’Amérique, je m’en vais vers l’Occident. (M)
b 4 Oh, adieu donc, ma Virginie, les voiles sont déjà au vent (bis). (M)
A b 5 Les voiles au vent, mon cher amant, (F)
b 6 Cela me cause bien du tourment. (F)
B c 7 Tu subiras une tempête (F)
b 8 De l’orage aussi du vent (F)
C d 9 Tu périras dans un offrage, (F)
b 10 Moi je serai sans amants, (bis) (F)
A e 11 Chère Virginie, ne crains donc rien, (M)
e 12 Je suis un des premiers marins. (M)
B f 13 Je te promets ma mignonnette de revenir au pays. (M)
f 14 Nous nous marierons ensemble, moi et toi, chère Virginie, (bis) (M & F)

Legend: M = male singer; F = female singer

Rhyme Type: Coupled (M); Enclosed and irregular (F)

Rime: Suffisante (e.g., lines 1/2) and pauvre (e.g., lines 3/4)

English Translations

My Virginie, with tears in my eyes,
I come to bid you farewell.
Ah, I'm going to America, I'm going to the West.
Oh, farewell then, my Virginie, the sails are already in the wind (repeat).

Sails in the wind, my dear lover
That causes me much torment.
You will endure a storm.
From the storm also from the wind
You will perish in an offering,
I will be without lovers, (repeat)

Dear Virginie, do not fear anything,
I am one of the first sailors.
I promise you my darling to return to the country.
We will marry together, me and you, dear Virginie, (repeat)

Note: I used “Transcribe Tube” to transcribe lyrics for this piece as I could not find the French lyrics online. Then, I copy and pasted the result into Google Translate to get the English translations as I cannot understand French.

Context

Could be sung in moments of personal reflection, during social gatherings like family events or cultural celebrations, or even during more somber occasions like funerals.

Narrative

The theme of the text is about farewell and the expectation of separation, but it is based on the expression of love and promises to return. In the beginning, the speaker is sad and decides to leave for America and the West. The repeated use of “les voiles sont déjà au vent”, which translates to “the sails are already in the wind” symbolizes departure. In the next section, the speaker’s lover is distraught and looks ahead to the hardships and potential danger, but still pledges to not have lovers during the speaker’s absence. Finally, the speaker reassures their lover that they will return and be together sometime in the future, though they will have to endure many challenges. The development of the poem moves from a sad farewell through anxiety and up to hope and promises about life together in the future.

Historical Influences

In the song, the speaker talks about leaving from Europe to America, which were both destinations during mass migrations, particularly during the 19th century, where people moved in search of better opportunities. These movements often involved leaving behind loved ones and facing the uncertainty of the unknown, themes central to the lyrics.

The themes in the song might be influenced by Romanticism, which is a cultural movement emphasizing emotions, individualism, and the search for personal and national identity. It accords with the themes of longing, separation, and idealization of the future. Much of the literature and poetry of the era dealt with exile, homecoming, and personal and national concerns. The speaker vows to return to Virginie, an idealized figure representing the homeland. The action of leaving—especially as a trip to the Americas—could be due to the socio-economic environment at that time; perhaps the speaker’s separation represents some kind of economic or social necessity in which his promise to return is a metaphor for hope, duty, and loyalty. It may have said something about the pressures on people who were forced to leave their homelands in search of a better life and who often left loved ones behind with promises to return that were not always fulfilled.

The writer’s personal relation to the themes of love, departure, and promises of return might mirror their own life experiences. Maybe the author suffered from separation, migration, or the loss of love due to distance. Cultural influence has probably dictated the idealized depiction of love as emotional and romantic, and a function of the latter may find reflection in the writer’s life through hopes or regrets over promises to return. The romantic ideal of Virginie, perhaps a metaphor for the homeland or a loved one, brings it closer to the personal connection that the writer of the song has with the themes involved.

Related Contents

  • Clifford, Becky. “Marie Madeleine: Exploring Language, Style, and Humour in the Acadian Folksong Tradition.” OUPblog, 2 July 2021, blog.oup.com/2021/07/marie-madeleine-exploring-language-style-and-humour-in-the-acadian-folksong-tradition/. Accessed 14 Jan. 2025.
  • A. Sance, Elisa. “The Great Deportation: A Recurring Theme in Acadian Song.” Khronikos: The Blog, 2 Apr. 2014, khronikosum.wordpress.com/2014/04/02/1247/. Accessed 13 Jan. 2025.
  • Winick, Stephen. “Caught Our Ears: Two French Songs from Maine | Folklife Today.” The Library of Congress, Mar. 2021, blogs.loc.gov/folklife/2021/03/caught-our-ears-two-french-songs-from-maine/. Accessed 13 Jan. 2025.

Suggested Sources

  •  YouTube Recording of Ma Virginie (2017): https://www.youtube.com/watch?v=UVob2wJtKQs
01/23/25

Vive la Canadienne

 

Strophe Rhyme Line Text
A a 1 Vive la Canadienne,
b 2 Vole, mon coeur vole!
a 1 Vive la Canadienne,
c 3 Et ses jolis yeux doux,
B c 3 Et ses jolis yeux doux, doux, doux, et ses jolis yeux doux. (bis)
A d 4 Nous la menons aux noces,
b 2 Vole, mon coeur, vole!
d 4 Nous la menons aux noces,
e 5 Dans tous ses beaux atours,
B e 5 Dans tous ses beaux atours, atours, atours, dans tous ses beaux atours. (bis)
A f 6 Nous faisons bonne chère,
b 2 Vole, mon coeur, vole!
f 6 Nous faisons bonne chère,
g 3 Et nous avons bon goût!
B g 3 Et nous avons bon goût, goût, gout; et nous avons bon gout! (bis)
A h 7 On danse avec nos blondes,
b 2 Vole, mon coeur, vole!
h 7 On danse avec nos blondes,
i 8 Nous changeons tour à tour,
B i 8 Nous changeons tour à tour, tour, tour; nous changeons tour à tour, (bis)
A j 9 Ainsi le temps se passe,
b 2 Vole, mon coeur, vole!
j 9 Ainsi le temps se passe,
k 10 Il est vraiment bien doux!
B k 10 Il est vraiment bien doux, doux, doux; il est vraiment bien doux! (bis)
A a 1 Vive la Canadienne,
b 2 Vole, mon coeur vole!
a 1 Vive la Canadienne,
c 3 Et ses jolis yeux doux!

Song type: Traditional; strophic

Context: former national anthem, portrayal of the happy moments of French-Canadians in the 19th century.

Narrative: Celebration of the French-speaking Canadian identity, celebration of French cultural identity, and preservation of their identity. The theme of cherishing joyful moments together.

Suggested sources:

  • “Vive La Canadienne.” 2025. Chezyolie.com. 2025. https://www.chezyolie.com/2009chansons/chansons_autrefois/vive_la_canadienne.htm.
01/22/25

La belle, si j’avais su!

Strophe  Rhyme  Line  Text 
A 1 a  1  La belle, si j’avais su, la belle, si j’avais cru, 
  a  2  Que jamais nos amours en aurions parvenu.   
A2  a  1  La belle, si j’avais su, la belle, si j’avais cru,   
  a  2  Que jamais nos amours en aurions parvenu.   
B1  b  3  J’aurais partout dépensé mon argent,   
  b  4  Le soir au cabaret avec tous tes parents. 
B2  b  3  J’aurais partout dépensé mon argent,   
  b  4  Le soir au cabaret avec tous tes parents. 
A1  a  5  Si tu l’as défoncé, c’est parce que tu l’as bien voulu.   
  a  6  Combien de fois je te l’ai défendu.   
A2  a  5  Si tu l’as défoncé, c’est parce que tu l’as bien voulu. 
  a  6  Combien de fois je te l’ai défendu. 
B1  c  7  Combien de fois nous avons veillé tous deux   
  c  8  Le soir à la chandelle comme de braves amoureux. 
B2  c  7  Combien de fois nous avons veillé tous deux,   
  c  8  Le soir à la chandelle comme de braves amoureux. 

Rhyme Analysis: Each four-line stanza features two lines that repeat, of the monorhyme type and “pauvre” quality. The second half begins with the same rhyme at the beginning, but then brings in a different rhyming sound (i.e., ab/ac).

The text seems to be split into two parts, sung by two different singers. The first two stanzas are sung by the man, and the last two are sung by the woman. These two singers are presumably meant to embody two lovers who are breaking up. As both singers do not sing back and forth to each other, but rather in a long form monologue one after another, it is likely that the text reflects the point of view of each lover after the relationship has ended. 

The first two stanzas, sung by Allan Mills (embodying the man), is mournful about ending his relationship with his lover. He sings about how he would have tried harder to impress her parents, and splurged them with nights at the cabaret, had he known their relationship was leading to an end. 

The second half is sung by Helene Baillargeon (embodying the woman) who sings about the likely reasons why she has decided to end the relationship. In the first stanza, she sings about how it seems her ex-lover has gotten himself in trouble by getting into one too many fights. The last stanza indicates that their relationship was already in troubled waters and had to be kept secret. 

There is a good indication that this may have been a drinking song; despite the text being about two lovers breaking up, it is light-hearted and comical. This is especially evident in the second stanza when the man sings that he would have wooed his partner’s parents by taking them to a cabaret; a seemingly counterintuitive decision. Also, in contrast to the subject, the rhythm of the music is bouncy and set in a major key.  

Suggested sources:

Related contents:

Acadia

Acadie (Acadia)

Acadian Music

 

01/22/25

Bal chez Boulé

Dimanche après les vêpr's y aura bal chez Boulé
Mais il n'ira personn' que ceux qui sav'nt danser.

Vogue marinier vogue, vogue,
Vogue, beau marinier.

Tout l'mond'dansait d'son mieux, on s'faisait pas prier
La fill' de "Jos Via-lon" ne voulut pas danser.

Vogue marinier vogue, vogue,
Vogue, beau marinier.

Pourquoi n'dansez-vous pas? êt's vous trop fatiguée?
Ou bien avez-vous peur d'user vos beaux souliers?

Vogue marinier vogue, vogue,
Vogue, beau marinier.

Non, non, ce n'est pas ça, j'ai un p'tit cor au pied,
Je vais me contenter de vous r'garder danser.

Vogue marinier vogue, vogue,
Vogue, beau marinier.

Tinest, le violoneux, laissait pas l'temps d'souffler,
Pour mettr' ça plus soul'vant, tapait de ses deux pieds.

Vogue marinier vogue, vogue,
Vogue, beau marinier.

Baptist', qui "câlait l'set", tout tremp' comme un' lavette
S'écria: "Domino! parc' que les femmes on chaud!"

Vogue marinier vogue, vogue,
Vogue, beau marinier.

 

Source: Le bon vieux temps

Suggested Sources:

Related Contents: