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.
Un Animal
Jacques Brel Lyrics
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Un animal mais tout de même
Je sais les hommes et je sais même
Qu'au feu du lit lampes éteintes
Ils ressemblent tous à des chiens
Que ce soit toi ou bien ton frère
C'est le même ennui dans les mêmes bras
Tu me prendras toi ou ton frère
Vraiment pourquoi parler d'amour
Pour Aldonza l'amour c'est ça
Et quand les chiens parlent d'amour
Ils ne crient pas mais ils aboient
Un animal qui brûle qui mord
Une Aldonza pour les crapules
Un animal qui mord qui brûle
Mais qui choisit ses autres corps
Comme l'oiseau je suis en cage
Suis-je de trop ou trop sauvage
Pourtant parfois j'espère un peu
J'espère un peu je ne sais quoi
Je te préviens je brûle, je mords
Même les chiens même les crapules
Je te préviens je mords je brûle
Et je choisis mes autres corps
Je te préviens je suis Aldonza
Je te préviens, tant pis pour toi!
The lyrics of Jacques Brel's Un animal are spoken by Aldonza, who describes herself as an animal. She says that she understands men and knows that in the heat of passion, they all seem like dogs. Whether it's her or her brother, it's the same boredom in the same arms. She says that they can take her or her brother, but they won't find love with her.
Aldonza wonders why people talk about love, because for her, love is just that. She compares it to when dogs talk about love, they don't cry, they just bark. She sees herself as an animal that burns and bites, and is seen as a target for the worst kind of men. Despite being caged, Aldonza still hopes for something more, but warns that she burns and bites, and chooses her partners carefully.
Line by Line Meaning
Un animal mais tout de même
I am an animal, but still a human with emotions
Je sais les hommes et je sais même Qu'au feu du lit lampes éteintes Ils ressemblent tous à des chiens
I know men too well and I know that in heat and darkness, they all act like dogs
Que ce soit toi ou bien ton frère C'est le même ennui dans les mêmes bras Tu me prendras toi ou ton frère Mais pour l'amour tu repasseras
Whether it's you or your brother, it's the same boredom in the same arms. You or your brother may take me, but love won't be on the agenda.
Vraiment pourquoi parler d'amour Pour Aldonza l'amour c'est ça Et quand les chiens parlent d'amour Ils ne crient pas mais ils aboient
Why even talk about love? As Aldonza, this is what love means to me. And when dogs talk about love, they don't speak, they bark.
Un animal qui brûle qui mord Une Aldonza pour les crapules Un animal qui mord qui brûle Mais qui choisit ses autres corps
I am an animal that burns and bites. I am a last resort for scoundrels. I am an animal that bites and burns, but I get to choose who I become.
Comme l'oiseau je suis en cage Suis-je de trop ou trop sauvage Pourtant parfois j'espère un peu J'espère un peu je ne sais quoi
Like a bird, I am trapped in a cage. Am I too much or too wild? Yet, sometimes, I hope for something...I don't even know what.
Je te préviens je brûle, je mords Même les chiens même les crapules Je te préviens je mords je brûle Et je choisis mes autres corps
I warn you, I burn and bite. Even dogs and scoundrels know it. I warn you, I bite and burn, but I get to choose who I become.
Je te préviens je suis Aldonza Je te préviens, tant pis pour toi!
I warn you, I am Aldonza. I warn you, too bad for you!
Contributed by Lucy P. Suggest a correction in the comments below.
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