Dans l'eau de la claire fontaine
Georges Brassens Lyrics
Dans l'eau de la claire fontaine
Elle se baignait toute nue
Une saute de vent soudaine
Jeta ses habits dans les nues
En détresse, elle me fit signe
Pour la vêtir, d'aller chercher
Des monceaux de feuilles de vigne
Fleurs de lis ou fleurs d'oranger
Un bout de corsage lui fit
La belle n'était pas bien grosse
Une seule rose a suffi
Avec le pampre de la vigne
Un bout de cotillon lui fit
Mais la belle était si petite
Qu'une seule feuille a suffi
Elle me tendit ses bras, ses lèvres
Comme pour me remercier
Je les pris avec tant de fièvre
Qu'elle fut toute déshabillée
Le jeu dut plaire à l'ingénue
Car, à la fontaine souvent
Elle s'alla baigner toute nue
En priant Dieu qu'il fit du vent
Qu'il fit du vent
Lyrics © Universal Music Publishing Group
Written by: Georges Brassens
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Georges Brassens was a French singer and songwriter known for accompanying himself with his acoustic guitar. He wrote some extremely controversial, yet poetic songs. In doing so, he managed to change attitudes across France. He was uncompromising when composing his songs. His tactical method of addressing issues was profound and often humorous, making him a unique and effective figure in the French community. Brassens, born in 1921 in the small Mediterrenean port of Sete, wanted to be a poet. He realized very early however that poetry in the 20th century could hardly put bread on the table and instead set Read Full BioGeorges Brassens was a French singer and songwriter known for accompanying himself with his acoustic guitar. He wrote some extremely controversial, yet poetic songs. In doing so, he managed to change attitudes across France.
He was uncompromising when composing his songs. His tactical method of addressing issues was profound and often humorous, making him a unique and effective figure in the French community.
Brassens, born in 1921 in the small Mediterrenean port of Sete, wanted to be a poet. He realized very early however that poetry in the 20th century could hardly put bread on the table and instead set himself to become a singer.
He is much less famous internationally than contemporaries like Charles Aznavour, Edith Piaf and Yves Montand, as much of the impact of his songs came from the lyrics, which proved difficult to translate into other languages. He loved the Middle Ages and used a great deal of Old French vocabulary, as well as many classical - ie., Latin and Greek - references. Few people, even in France, possess the background to fully understand his songs.
Yet he was at the same time a hugely popular singer and many of his songs still carry a lot of appeal and relevance. In this sense, he can be compared to Boris Vian, to Jacques Brel, and to a lesser extent to Serge Gainsbourg.
He was very sophisticated, yet at the same time used profanity liberally. While he wasn't politically engaged, he was nevertheless unambiguously a leftist, many of his songs carrying blatant and buoyant anarchist overtones.
While his music was initially quite primitive, the 1950's St-Germain-des-Pres influence quickly made itself felt and while subdued and - in his mind - always secondary to the lyrics, it became increasingly sophisticated - to the point that many of his songs have been covered and reinterpretated by jazzmen (see for instance this UK site: www.projetbrassens.eclipse.co.uk)
He died in 1981, but up to this date (2006) there are few French people - including most of those born since - who can't sing along to his most famous song, Les Copains d'abord ("Friends foremost") or his "Bancs public" ("Public Benches").
For those interested, this site carries a number of (quite good) English tranlations of his songs: www.brassens.org
He was uncompromising when composing his songs. His tactical method of addressing issues was profound and often humorous, making him a unique and effective figure in the French community.
Brassens, born in 1921 in the small Mediterrenean port of Sete, wanted to be a poet. He realized very early however that poetry in the 20th century could hardly put bread on the table and instead set himself to become a singer.
He is much less famous internationally than contemporaries like Charles Aznavour, Edith Piaf and Yves Montand, as much of the impact of his songs came from the lyrics, which proved difficult to translate into other languages. He loved the Middle Ages and used a great deal of Old French vocabulary, as well as many classical - ie., Latin and Greek - references. Few people, even in France, possess the background to fully understand his songs.
Yet he was at the same time a hugely popular singer and many of his songs still carry a lot of appeal and relevance. In this sense, he can be compared to Boris Vian, to Jacques Brel, and to a lesser extent to Serge Gainsbourg.
He was very sophisticated, yet at the same time used profanity liberally. While he wasn't politically engaged, he was nevertheless unambiguously a leftist, many of his songs carrying blatant and buoyant anarchist overtones.
While his music was initially quite primitive, the 1950's St-Germain-des-Pres influence quickly made itself felt and while subdued and - in his mind - always secondary to the lyrics, it became increasingly sophisticated - to the point that many of his songs have been covered and reinterpretated by jazzmen (see for instance this UK site: www.projetbrassens.eclipse.co.uk)
He died in 1981, but up to this date (2006) there are few French people - including most of those born since - who can't sing along to his most famous song, Les Copains d'abord ("Friends foremost") or his "Bancs public" ("Public Benches").
For those interested, this site carries a number of (quite good) English tranlations of his songs: www.brassens.org
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Cathy Nounou
Une splendeur de délicatesse, une mélodie à deux accords, efficace pour illustrer la fragilité de la femme, tout le respect qu' il ressent pour elle , et leur petit co"té cynique, ironique, toujours cette dernière pirouette( en priant qu' il y ait du vent) . Brassens, ici en grand poète suréaliste ( si petite, pas bien grosse- - - des pétales de roses, pampre de vigne, feuilles de lis, et d' oranger_ _ pour l' habiller) , n' arrive pas, par pudeur, certainement, à achever sa poésie façon totalement romantique, tel qu' il l' est vraiment!! Votre écriture me bouleverse Monsieur Brassens!! Quand vous écrivez- Je l' ai pris avec tant de fièvre, avec l' insistance sur les détails de la description frèle de la demoiselle, comment ne l' avez- vous pas cassée??, je sourie, avec toute l' admiration et la tendresse que je vous porte là dans mon coeur!
gerard marcoux
la douceur des mots qui soignent nos maux
ely ejoty
Certainement une des plus grandes chansons du répertoire français. On est là dans l'excellence.
Nicole Francois
❤rien à ajouter, un talent indiscutablement, merci 👱
P. Kuiper
Tres bon!
Elvira De Leo
Italian poet and singer Fabrizio De André paid homage to this great singer, translating some of his songs. I didn't know it and now that I listen to the original song I have goosebumps. Amazing!
franco pettinari
De 'Andrè n'a jamais été un poète mais seulement un plagiaire: il a non seulement copié Brassens, mais aussi Leonard Cohen, Joan Baez, Bob Dylan, Jacques Doui, Shirley Collins, Pink Floyd et...Jannacci!
Stigma Max
Petite erreur dans la description:
Fleurs de lis ET fleurs d'oranger
Mauricio Fenoglio
En el agua de la fuente clara
Dans l'eau de la claire fontaine
Ella se estaba bañando bastante desnuda
Elle se baignait toute nue
Una repentina ráfaga de viento
Une saute de vent soudaine
Arrojó su ropa a las nubes
Jeta ses habits dans les nues
En apuros, ella me hizo señas
En détresse, elle me fit signe
Para vestirla, para ir a buscar
Pour la vêtir, d'aller chercher
Montones de hojas de parra
Des monceaux de feuilles de vigne
Flores de lirio o azahar
Fleurs de lis, ou fleurs d'oranger
Con pétalos de rosa
Avec des pétales de rose
Un trozo de blusa la hizo
Un bout de corsage lui fis
La bella no estaba muy gorda
La belle n'était pas bien grosse
Una rosa fue suficiente
Une seule rose a suffi
Con la rama de vid
Avec le pampre de la vigne
Un trozo de cotillón lo hizo
Un bout de cotillon lui fis
Pero la belleza era tan pequeña
Mais la belle était si petite
Que una sola hoja fue suficiente
Qu'une seule feuille a suffi
Me tendió los brazos, los labios
Elle me tendit ses bras, ses lèvres
Gusta agradecerme
Comme pour me remercier
Los tomé con tanta fiebre
Je les pris avec tant de fièvre
Que ella estaba toda desnuda
Qu'elle fut toute déshabillée
El juego debe haber complacido a los ingenuos
Le jeu dut plaire à l'ingénue
Porque en la fuente a menudo
Car à la fontaine souvent
Se fue a bañar bastante desnuda
Elle s'alla baigner toute nue
Orando a Dios para que hiciera el viento
En priant Dieu qu'il fît du vent
Que hace viento
Qu'il fît du vent
anne senegas
Super