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.  

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Acadia

Acadie (Acadia)

Acadian Music

 

01/16/25

Beothuk

The Beothuk (a word meaning “the people” or “true people” in the Beothuk language) were an Indigenous people who inhabited what is now called Newfoundland. They were coastal people who mainly lived off fish, seals, and other sea mammals and birds. They traditionally lived in settlements along the southern and northeastern coasts of Newfoundland. Their language is part of the Algonquian language family, and a dictionary of Beothuk vocabulary was created in the 1800s.

The Beothuk were likely the first Indigenous peoples to be in contact with Europeans, possibly as early as when the Norse settled in the area between 800 and 1000 CE. 500 years later, new European settlers arrived from England and France, and the Beothuk were immediately wary of them. As more Europeans flocked to the coasts of Newfoundland and encroached on traditional territory., the Beothuk moved inland. Interestingly, the Beothuk never participated in the trade of goods with Europeans but did repurpose metal objects left behind by settlers into tools for hunting.

As permanent settlements along the coast were established by the English and French, the Beothuk were blocked from fishing in their traditional waters and forced to live off of insufficient land and waterways for their needs. The deterioration of their living situation, combined with the introduction of European diseases, particularly tuberculosis, resulted in a rapid decrease in population. Many history books claim that the Beothuk were wiped out, with Shawnadithit, who died in 1829, being recorded as the last surviving Beothuk. However, the Mi’kmaq, who traded with the Beothuk, have always asserted that some Beothuk fled and intermarried with other Indigenous nations on the mainland.

Very little is known about the Beothuk’s musical traditions, but there are written accounts that reference traditional singing and dancing. One interesting musical artifact is a wax cylinder recording from 1910 of a Beothuk song sung by Santu Toney, a woman who self-identified as Beothuk despite speaking Mi’kmaq and living in Massachusetts. Toney claimed she learned the song from her father before fleeing Newfoundland. While we can never be sure whether the music was traditional or influenced by European traditions, the recording provides our only acoustic glimpse into the musical traditions of the Beothuk people.

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01/6/25

Évangéline (1971)

NOTE: Evangeline is also the main character in “Evangeline, A Tale of Acadie (1847)” an epic poem written by the American poet Henry Wadsworth Longfellow.

Les étoiles étaient dans le ciel
Toi dans les bras de Gabriel
Il faisait beau, c'était dimanche
Les cloches allaient bientôt sonner
Et tu allais te marier
Dans ta première robe blanche

L'automne était bien commencé
Les troupeaux étaient tous rentrés
Et parties toutes les sarcelles
Et le soir au son du violon
Les filles et surtout les garçons
T'auraient dit que tu étais belle

Évangéline, Évangéline

Mais les Anglais sont arrivés
Dans l'église ils ont enfermé
Tous les hommes de ton village
Et les femmes ont dû passer
Avec les enfants qui pleuraient
Toute la nuit sur le rivage

Au matin ils ont embarqué
Gabriel sur un grand voilier
Sans un adieu, sans un sourire
Et toute seule sur le quai
Tu as essayé de prier
Mais tu n'avais plus rien à dire

Évangéline, Évangéline

Alors pendant plus de vingt ans
Tu as recherché ton amant
À travers toute l'Amérique
Dans les plaines et les vallons
Chaque vent murmurait son nom
Comme la plus jolie musique
Même si ton coeur était mort
Ton amour grandissait plus fort

Dans le souvenir et l'absence
Il était toutes tes pensées
Et chaque jour il fleurissait
Dans le grand jardin du silence

Évangéline, Évangéline

Tu vécus dans le seul désir
De soulager et de guérir
Ceux qui souffraient plus que toi-même
Tu appris qu'au bout des chagrins
On trouve toujours un chemin
Qui mène à celui qui nous aime

Ainsi un dimanche matin
Tu entendis dans le lointain
Les carillons de ton village
Et soudain alors tu compris
Que tes épreuves étaient finies
Ainsi que le très long voyage

Évangéline, Évangéline

Devant toi était étendu
Sur un grabat un inconnu
Un vieillard mourant de faiblesse
Dans la lumière du matin
Son visage sembla soudain
Prendre les traits de sa jeunesse

Gabriel mourut dans tes bras
Et sur sa bouche tu déposas
Un baiser long comme ta vie
Il faut avoir beaucoup aimé
Pour pouvoir encore retrouver
La force de dire merci

Évangéline, Évangéline

Il existe encore aujourd'hui
Des gens qui vivent dans ton pays
Et qui de ton nom se souviennent
Car l'océan parle de toi
Les vents du sud portent ta voix
De la forêt jusqu'à la plaine

Ton nom c'est plus que l'Acadie
Plus que l'espoir d'une patrie
Ton nom dépasse les frontières
Ton nom c'est le nom de tous ceux
Qui malgré qu'ils soient malheureux
Croient en l'amour et qui espèrent

Évangéline, Évangéline

Author/Composer: Michel Conte

Lyrics source: Genius.com

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12/28/24

Les voyageurs

[Add text here]

 “Shooting the Rapids”

Top: “Quetico Superior Route, passing a waterfall.” Painting by Francis Anne Hopkins, 1869.
Botton: “Shooting the rapids, in a master canoe.” Painting by Francis Anne Hopkins, [date].

 

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“C’est l’aviron” (traditional)

“J’entends le moulin” (traditional)

“V’là le bon vent” (traditional; France)

“Chevaliers de la table ronde” (traditional)

“Auprès de ma blonde” (traditional; France)

“À Saint-Malo beau port de mer” (traditional; France)

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