Post by Victoire Beaudoin on Nov 16, 2009 19:24:08 GMT
Country: Paris, France
Area/Setting: Underground pub
Current Time: 10:28 pm
Weather Conditions: Cold and windy, but with no chance of rain.
Victoire walked down the staircase from her small and loathsomely cold garret she lodged in Monmartre, in the Rue de la Vieuville, not far from the Place de Abbesses, in which she often liked to resort to whenever she wanted to clear her mind away from the stress of her situation – which was rather often, truth be told, heading towards a place she knew was forbidden to even consider going to. There was a strict eleven o’clock in the night curfew for Parisians, which had highly inconvenienced her, though she had of course to abide by the rules, or be otherwise arrested for her illegal action should she resolve to go against the regime (which would be foolish of her and anyone else, for that matter). Hitler had upon occupation immediately shut down cabarets and clubs, thus sending jazz underground, with regularly altering locations and passwords. Life was difficult for Parisians at this point in time, and Victoire was grasping from straws to keep her sanity together and survive through the period. And, oh how the Germans came and they forgot everything. Paris, the City of Light, the city of painters and all kinds of artists, Maurice Chevalier’s Paris, lovers kissing in the Seine River, the accordion making people dance in the ball musettes, the slow dances with the men smoking cigarettes and wearing berets, the Place de La Concorde, her very own Champs-Élysées, it was all gone. Paris belonged no more to the Parisians.
It was nine o’clock in the evening when she arrived at the secret place underground. She knocked the door, a small hole opened and she came face to face with a pair of familiar eyes. The older man from the other side immediately recognized her and she needed not even tell him the password; the door opened, and she entered. A new world seemed to have appeared upon her view, as the picture of a makeshift pub filled her eyes, one she was accustomed to nonetheless, and which she would work at every night to earn a living and fulfill her artistic hunger as a person who wished and believed that art and science were two gradually indiscernible terms in a world whose values and boundaries were presently facing a challenging demise. She had not established – nor wished to establish – a household name for herself in this business, for she was a mere showgirl, intending to stay away from the glamour and public criticism. What could the public know about art? What could they understand and appreciate? And she, moreover, far from wanted to associate herself with certain German ladies of entertainment or be a traitor to her country by having shows subsidized with German capital, which would be the case for extravagant cabarets. She began with ‘Seule ce Soir’ but then changed her repertoire to ‘Chant des Partisans’.
She acknowledged that art and politics were a different aspect of life, being consumed in the former and utterly repulsed by the latter; nonetheless, one tended to interweave into the other from time and time, and this was certainly one of these times. She desired to infiltrate courage and a fierce agony of anticipation in the soldiers’ souls for their homeland’s present and future situation, she reached out to them to give them hope when there was none, and speak in their ears dreams that would have them victorious in battle so that they would return to her and she would in turn fulfill them; it was, in a sense, a pure and innocent form of manipulation. It was, in her view, the nucleus of patriotism and devotion to the country who gave birth to you. The song had become so popular that it was proposed as a new national anthem for France and had even unofficially became so when most of the country resolved that their actual anthem, La Marseillaise, wasn't nearly violent enough. She was wearing a deeply scarlet dress that embraced her curves lovingly and worshipped her femininity, with a rich but light cleavage, her curvaceous lips tainted with red, and her eyes mesmerizingly looking from one soldier to the other, giving them hopes of bearing a chance only to swiftly snatch them away as her glance travelled to the comrade next to them.
“Ami, entends-tu le vol noir des corbeaux sur nos plaines? Ami, entends-tu ces cris sourds du pays qu’on enchaîne?” she sang, and approached a Private with his left leg mutilated. She smiled warmly at him, and his eyes glinted. “Ohé partisans, ouvriers et paysans, c’est l’alarme! Ce soir l’ennemi connaîtra le prix du sang et des larmes.” Her lips formed the words in bittersweet fashion, slow and aching, for the homeland, and for the souls that had been lost forever. She sat at the edge of the wooden table in which he was sat by, looking at him intently. She had a soft spot for the handicapped; she believed they deserved every glory and national acknowledgement that could be provided for them, as they constituted living proof of patriotism and courage. She loved them all greatly. “Montez de la mine, descendez des collines, camarades,” she continued, the dim lights falling over her elegant figure, lighting certain angles of her marble-white face whereas leaving other parts in mystical darkness, her free hand resting upon the table’s edge to support herself; “sortez de la paille les fusils, la mitraille, les grenades. Ohé les tueurs, à la balle et au couteau tuez vite! Ohé saboteur, attention à ton fardeau, dynamite ...” She smiled at him, and stretched out her free hand to caress his cheek softly. “C’est nous qui brisons les barreaux des prisons, pour nos frères, la haine à nos trousses, et la faim qui nous pousse, la misère. Il y a des pays où les gens aux creux du lit font des rêves. Ici, nous, vois-tu, nous on marche et nous on tue, nous on crève!”
She could easily tell he had been a handsome young man, one of France’s blossoming youth, merely nineteen years old, and now scarred, scarred forever; not merely physically, everywhere around his scalloped face and arms, but on an emotional level, there would be no peace for this man. She distinguished this pain, the terror and anguish, and she embraced it for him; she respected the trauma and the fears, and she made it into art. She at this moment only adored him more than the wildest creature that could distract her devotion away from him, and worshipped him inside her in ways unimaginable, as she would never forget him – the soldier who literally offered himself for the country. And he would return to battle, and only his helmet would be sent to his poor mother to bury. His helmet and nothing else. “Ici chacun sait ce qu’il veut, ce qu’il fait, quand il passé. Ami, si tu tombes, un ami sort de l’ombre à ta place,” she sang, slowing the song even more as it came to the end, as the soldier would soon come to an end, as though it was the only requiem she could ever offer him, the only tribute of respect. “Demain du sang noir séchera au grand soleil sur les routes, chantez, compagnons, dans la nuit la liberté nous …” She sighed, and leaned forward to kiss him on his scarred and bloody lips; bloody as her dress, as the lipstick she was wearing, or the colour of his star-crossed fate, the passions he would never experience and which she graciously wished to give him a glimpse of; “ … écoute.”
Area/Setting: Underground pub
Current Time: 10:28 pm
Weather Conditions: Cold and windy, but with no chance of rain.
Victoire walked down the staircase from her small and loathsomely cold garret she lodged in Monmartre, in the Rue de la Vieuville, not far from the Place de Abbesses, in which she often liked to resort to whenever she wanted to clear her mind away from the stress of her situation – which was rather often, truth be told, heading towards a place she knew was forbidden to even consider going to. There was a strict eleven o’clock in the night curfew for Parisians, which had highly inconvenienced her, though she had of course to abide by the rules, or be otherwise arrested for her illegal action should she resolve to go against the regime (which would be foolish of her and anyone else, for that matter). Hitler had upon occupation immediately shut down cabarets and clubs, thus sending jazz underground, with regularly altering locations and passwords. Life was difficult for Parisians at this point in time, and Victoire was grasping from straws to keep her sanity together and survive through the period. And, oh how the Germans came and they forgot everything. Paris, the City of Light, the city of painters and all kinds of artists, Maurice Chevalier’s Paris, lovers kissing in the Seine River, the accordion making people dance in the ball musettes, the slow dances with the men smoking cigarettes and wearing berets, the Place de La Concorde, her very own Champs-Élysées, it was all gone. Paris belonged no more to the Parisians.
It was nine o’clock in the evening when she arrived at the secret place underground. She knocked the door, a small hole opened and she came face to face with a pair of familiar eyes. The older man from the other side immediately recognized her and she needed not even tell him the password; the door opened, and she entered. A new world seemed to have appeared upon her view, as the picture of a makeshift pub filled her eyes, one she was accustomed to nonetheless, and which she would work at every night to earn a living and fulfill her artistic hunger as a person who wished and believed that art and science were two gradually indiscernible terms in a world whose values and boundaries were presently facing a challenging demise. She had not established – nor wished to establish – a household name for herself in this business, for she was a mere showgirl, intending to stay away from the glamour and public criticism. What could the public know about art? What could they understand and appreciate? And she, moreover, far from wanted to associate herself with certain German ladies of entertainment or be a traitor to her country by having shows subsidized with German capital, which would be the case for extravagant cabarets. She began with ‘Seule ce Soir’ but then changed her repertoire to ‘Chant des Partisans’.
She acknowledged that art and politics were a different aspect of life, being consumed in the former and utterly repulsed by the latter; nonetheless, one tended to interweave into the other from time and time, and this was certainly one of these times. She desired to infiltrate courage and a fierce agony of anticipation in the soldiers’ souls for their homeland’s present and future situation, she reached out to them to give them hope when there was none, and speak in their ears dreams that would have them victorious in battle so that they would return to her and she would in turn fulfill them; it was, in a sense, a pure and innocent form of manipulation. It was, in her view, the nucleus of patriotism and devotion to the country who gave birth to you. The song had become so popular that it was proposed as a new national anthem for France and had even unofficially became so when most of the country resolved that their actual anthem, La Marseillaise, wasn't nearly violent enough. She was wearing a deeply scarlet dress that embraced her curves lovingly and worshipped her femininity, with a rich but light cleavage, her curvaceous lips tainted with red, and her eyes mesmerizingly looking from one soldier to the other, giving them hopes of bearing a chance only to swiftly snatch them away as her glance travelled to the comrade next to them.
“Ami, entends-tu le vol noir des corbeaux sur nos plaines? Ami, entends-tu ces cris sourds du pays qu’on enchaîne?” she sang, and approached a Private with his left leg mutilated. She smiled warmly at him, and his eyes glinted. “Ohé partisans, ouvriers et paysans, c’est l’alarme! Ce soir l’ennemi connaîtra le prix du sang et des larmes.” Her lips formed the words in bittersweet fashion, slow and aching, for the homeland, and for the souls that had been lost forever. She sat at the edge of the wooden table in which he was sat by, looking at him intently. She had a soft spot for the handicapped; she believed they deserved every glory and national acknowledgement that could be provided for them, as they constituted living proof of patriotism and courage. She loved them all greatly. “Montez de la mine, descendez des collines, camarades,” she continued, the dim lights falling over her elegant figure, lighting certain angles of her marble-white face whereas leaving other parts in mystical darkness, her free hand resting upon the table’s edge to support herself; “sortez de la paille les fusils, la mitraille, les grenades. Ohé les tueurs, à la balle et au couteau tuez vite! Ohé saboteur, attention à ton fardeau, dynamite ...” She smiled at him, and stretched out her free hand to caress his cheek softly. “C’est nous qui brisons les barreaux des prisons, pour nos frères, la haine à nos trousses, et la faim qui nous pousse, la misère. Il y a des pays où les gens aux creux du lit font des rêves. Ici, nous, vois-tu, nous on marche et nous on tue, nous on crève!”
She could easily tell he had been a handsome young man, one of France’s blossoming youth, merely nineteen years old, and now scarred, scarred forever; not merely physically, everywhere around his scalloped face and arms, but on an emotional level, there would be no peace for this man. She distinguished this pain, the terror and anguish, and she embraced it for him; she respected the trauma and the fears, and she made it into art. She at this moment only adored him more than the wildest creature that could distract her devotion away from him, and worshipped him inside her in ways unimaginable, as she would never forget him – the soldier who literally offered himself for the country. And he would return to battle, and only his helmet would be sent to his poor mother to bury. His helmet and nothing else. “Ici chacun sait ce qu’il veut, ce qu’il fait, quand il passé. Ami, si tu tombes, un ami sort de l’ombre à ta place,” she sang, slowing the song even more as it came to the end, as the soldier would soon come to an end, as though it was the only requiem she could ever offer him, the only tribute of respect. “Demain du sang noir séchera au grand soleil sur les routes, chantez, compagnons, dans la nuit la liberté nous …” She sighed, and leaned forward to kiss him on his scarred and bloody lips; bloody as her dress, as the lipstick she was wearing, or the colour of his star-crossed fate, the passions he would never experience and which she graciously wished to give him a glimpse of; “ … écoute.”
♠ Song Translation ♠