Brel was born on 8th April 1929 in Schaarbeek, a district of Brussels, and lived half of his life in Paris. He died of lung cancer on 9th October 1978 in Bobigny in the suburbs of Paris, and is buried in the Marquesas Islands.
Although the Brels spoke French, they were of Flemish descent, with some of the family originating from Zandvoorde, near Ieper. Brel's father was co-owner of a cardboard factory and Brel started his professional life at that firm, apparently destined to follow in his father's footsteps. However he had no interest in it, showing instead an interest in the arts, having joined the Catholic-humanist youth organisation Franche Cordée, where he did some singing and acting. At Franche Cordée he met Thérèse Michielsen ('Miche'), and they married in 1950.
In the early 1950s Brel achieved some minor success in Belgium, singing his own songs. A 78rpm record ("La foire"/"Il y a") was released as a result. From 1954 Brel seriously pursued a singing career. He quit his job and moved to Paris, writing music and singing in the city's cabarets and music-halls.. In January 1955 he supported in the Ancienne Belgique in Brussels the performances of the Belgian pop and variety pioneer Bobbejaan Schoepen. After some success his wife and daughters joined him from Belgium. By 1956 he was touring Europe and he recorded the song "Quand on n'a que l'amour", which brought him his first major recognition. He appeared in a show with Maurice Chevalier and Michel Legrand.
By the end of the 1950s Miche and Brel's three daughters moved to Brussels. He and his family led separate lives from then on. Under the influence of his friend Georges Pasquier ('Jojo') and pianists Gérard Jouannest and François Rauber, Brel's style changed. He was no longer a Catholic-humanist troubadour, but sang grimmer songs about love, death, and the struggle that is life. The music became more complex and his themes more diverse, exploring love ("Je t'aime", "Litanies pour un retour"), society ("Les singes", "Les bourgeois", "Jaurès") and spiritual concerns ("Le bon Dieu", "Dites, si c'était vrai", "Fernand"). His work is not limited to one style. He was as proficient in comic compositions ("Le lion", "Comment tuer l'amant de sa femme...") as in more emotional ones ("Voir un ami pleurer", "Fils de...", "Jojo"). He composed and recorded his songs almost exclusively in French, and is widely recognised in French-speaking countries as one of the best French-language composers of all time.
Brel himself occasionally included parts of his songs in Flemish (Dutch), one of the three official languages of Belgium, as in Marieke. He also recorded eight other Flemish versions of songs, such as Mijn vlakke land (Le plat Pays), Laat Me Niet Alleen (Ne me quitte pas), Rosa, De Burgerij (Les Bourgeois), and De Nuttelozen van de Nacht (Les paumés du petit matin). Since his own command of the language was poor, these were translated by Ernst van Altena, renowned translator of French song. Although France was Brel's "spiritual home" and he expressed contradictory statements about his native Belgium, some of his best compositions pay tribute to Belgium.
A very successful theatrical review of his songs, "Jacques Brel is Alive and Living in Paris," was launched in 1968. It featured English translations of his songs, and it was late made into a film.
To English-speaking listeners, Brel's best-known song is probably "Seasons in the Sun," a hit for Terry Jacks in 1973. Its English lyrics are a translation by Rod McKuen of Brel's "Le Moribond."
For twenty years he was a major star gaining recognition beyond French audiences. In 1973 he retreated to French Polynesia, remaining there until 1977 when he returned to Paris and recorded his well-received final album.
A heavy smoker, it was discovered in 1973 that Brel had lung cancer. He died in 1978 and was buried in Calvary Cemetery in Atuona, Hiva Oa, Marquesas Islands, French Polynesia only a few yards away from painter Paul Gauguin.
Jaurès
Jacques Brel Lyrics
Jump to: Overall Meaning ↴ Line by Line Meaning ↴
Ils finissaient en débutant
Les douze mois s'appelaient décembre
Quelle vie ont eu nos grand-parents?
Entre l'absinthe et les grand-messes
Ils étaient vieux avant que d'être
Quinze heures par jour, le corps en laisse
Laissent au visage un teint de cendres
Pourquoi ont-ils tué Jaurès?
Pourquoi ont-ils tué Jaurès?
On ne peut pas dire qu'ils furent esclaves
De là à dire qu'ils ont vécu
Lorsque l'on part aussi vaincu
C'est dur de sortir de l'enclave
Et pourtant l'espoir fleurissait
Dans les rêves qui montaient aux yeux
Des quelques ceux qui refusaient
De ramper jusqu'à la vieillesse
Oui notre bon Maître, oui notre Monsieur
Pourquoi ont-ils tué Jaurès?
Pourquoi ont-ils tué Jaurès?
Si par malheur ils survivaient
C'était pour partir à la guerre
C'était pour finir à la guerre
Aux ordres de quelque sabreur
Qui exigeait du bout des lèvres
Qu'ils aillent ouvrir au champ d'horreur
Leurs vingt ans qui n'avaient pu naître
Et ils mouraient à pleine peur
Tout miséreux, oui notre bon Maître
Couverts de prêtres, oui notre Monsieur
Demandez-vous, belle jeunesse
Le temps de l'ombre d'un souvenir
Le temps du souffle d'un soupir
Pourquoi ont-ils tué Jaurès?
Pourquoi ont-ils tué Jaurès?
The lyrics of Jacques Brel's song Jaurès reflect on the lives of the lower class in the early 20th century and the struggles they faced. The first verse talks about how these individuals were worn out by the age of 15 and started their working lives just as they were beginning. They worked long hours, often in difficult conditions, for little pay. Their lives were marked by the monotony of work, with every month feeling like December, a month that can be bleak and never-ending. Their grandparents who came before them didn't have it any better, as they were also made to work long hours and were aged before their time with weathered faces. The "Monsieur" or "Maître" mentioned in the lyrics is likely a reference to the bourgeoisie or upper-class who oppressed and exploited the working class.
The refrain of the song asks the question "Pourquoi ont-ils tué Jaurès?" which translates to "Why did they kill Jaurès?" This is a reference to Jean Jaurès, a French socialist leader who was assassinated in 1914. The question is both literal and metaphorical, as Jaurès represented hope for the oppressed classes and his death was a devastating blow to the socialist movement.
The second verse of the song talks about how difficult it was for those in the lower class to escape their circumstances. Even if they were not literal slaves, they were trapped in an enclave of poverty and oppression that made it hard to rise above their station. However, there was still hope, as some started to dream of a better world and refused to be resigned to a life of drudgery. Despite this, their lives were often cut short, either by death from their work or being sent off to war, where they were treated as expendable pawns by those in power.
Overall, Jaurès is a powerful song that speaks to the struggles of the working class and the sacrifices they made for a chance at a better life. The questions it asks are still relevant today, as income inequality and the exploitation of the working class continue to be pervasive issues in society.
Line by Line Meaning
Ils étaient usés à quinze ans
They were worn out at fifteen
Ils finissaient en débutant
They finished as beginners
Les douze mois s'appelaient décembre
The twelve months were called December
Quelle vie ont eu nos grand-parents?
What life did our grandparents have?
Entre l'absinthe et les grand-messes
Between absinthe and high masses
Ils étaient vieux avant que d'être
They were old before being
Quinze heures par jour, le corps en laisse
Fifteen hours a day, the body on a leash
Laissent au visage un teint de cendres
Leaves an ashen complexion on the face
Oui, notre Monsieur, oui notre bon Maître
Yes, our Mister, yes our good Master
Pourquoi ont-ils tué Jaurès?
Why did they kill Jaurès?
On ne peut pas dire qu'ils furent esclaves
One cannot say they were slaves
De là à dire qu'ils ont vécu
From there to say they've lived
Lorsque l'on part aussi vaincu
When one leaves so defeated
C'est dur de sortir de l'enclave
It's hard to get out of the enclave
Et pourtant l'espoir fleurissait
And yet hope was blooming
Dans les rêves qui montaient aux yeux
In the dreams that rose to the eyes
Des quelques ceux qui refusaient
Of the few who refused
De ramper jusqu'à la vieillesse
To crawl up to old age
Oui notre bon Maître, oui notre Monsieur
Yes, our Mister, yes our good Master
Pourquoi ont-ils tué Jaurès?
Why did they kill Jaurès?
Si par malheur ils survivaient
If, unfortunately, they survived
C'était pour partir à la guerre
It was to go to war
C'était pour finir à la guerre
It was to end up at war
Aux ordres de quelque sabreur
Under the orders of some swordsman
Qui exigeait du bout des lèvres
Who demanded with the tip of his lips
Qu'ils aillent ouvrir au champ d'horreur
That they go and open up the field of horror
Leurs vingt ans qui n'avaient pu naître
Their twenty years that couldn't be born
Et ils mouraient à pleine peur
And they died in full fear
Tout miséreux, oui notre bon Maître
All in misery, yes our Mister
Couverts de prêtres, oui notre Monsieur
Covered in priests, yes our good Master
Demandez-vous, belle jeunesse
Ask yourselves, beautiful youth
Le temps de l'ombre d'un souvenir
The time of the shadow of a memory
Le temps du souffle d'un soupir
The time of the breath of a sigh
Pourquoi ont-ils tué Jaurès?
Why did they kill Jaurès?
Pourquoi ont-ils tué Jaurès?
Why did they kill Jaurès?
Lyrics © WARNER CHAPPELL MUSIC FRANCE
Written by: Jacques Brel, Marcel Azzola, Gerard Jouannest
Lyrics Licensed & Provided by LyricFind
@mensaudax
Ils étaient usés à quinze ans
Ils finissaient en débutant
Les douze mois s'appelaient décembre
Quelle vie ont eu nos grand-parents
Entre l'absinthe et les grand-messes
Ils étaient vieux avant que d'être
Quinze heures par jour le corps en laisse
Laissent au visage un teint de cendres
Oui notre Monsieur, oui notre bon Maître
Pourquoi ont-ils tué Jaurès?
Pourquoi ont-ils tué Jaurès?
On ne peut pas dire qu'ils furent esclaves
De là à dire qu'ils ont vécu
Lorsque l'on part aussi vaincu
C'est dur de sortir de l'enclave
Et pourtant l'espoir fleurissait
Dans les rêves qui montaient aux cieux
Des quelques ceux qui refusaient
De ramper jusqu'à la vieillesse
Oui notre bon Maître, oui notre Monsieur
Pourquoi ont-ils tué Jaurès?
Pourquoi ont-ils tué Jaurès?
Si par malheur ils survivaient
C'était pour partir à la guerre
C'était pour finir à la guerre
Aux ordres de quelque sabreur
Qui exigeait du bout des lèvres
Qu'ils aillent ouvrir au champ d'horreur
Leurs vingt ans qui n'avaient pu naître
Et ils mouraient à pleine peur
Tout miséreux oui notre bon Maître
Couverts de prèles, oui notre Monsieur
Demandez-vous belle jeunesse
Le temps de l'ombre d'un souvenir
Le temps de souffle d'un soupir
Pourquoi ont-ils tué Jaurès?
Pourquoi ont-ils tué Jaurès?
@jeanclaudemarcilese1812
Un homme hors du commun dont chaque mot et d’une vérité étonnante
Repose en paix loin des inepties de certains
@raf007partirloin8
Qui pourrait écrire une merveille pareille de nos jours....immense Brel
@arnaudfauchere1769
Franchement..de nos jours ??? Personne !!!
@spak.36
C formidable ...
@gillesvaxelaire6573
Lynda Lemay écrit des textes formidables ... alors, peut-être mais sûrement avec un autre angle d'attaque, une autre philosophie et avec une sensibilité féminine que Brel touchait du doigt. Bravo Mr Brel.
@solenn3796
Jaurès pour toujours dans nos cœurs...
@lacamiens
J'ai écouté cette chanson la première fois lors d'un cours d'histoire lorsque j'étais en première, en 1984, notre prof nous l'avait passée sur un électrophone, je n'ai jamais oublié cette chanson.
@amadeoups
Et c'est toujours d'actualité.
"Demandez-vous belle jeunesse, le temps de l'ombre d'un souvenir..Le temps du souffle d'un soupir, Pourquoi ont-ils tué Jaurès"
@ramonzarate6684
Comme vous avez raison !
@fafastrato8123
Brel et Jaurés sont maintenant au ciel parmi les anges!!!!!!!!!!!!!