Albeit the Venice girls get praise
For their sweet speech and tender air,
And though the old women have wise ways
Of chaffering for amorous ware,
Yet at my peril dare I swear,
Search Rome, where God's grace mainly tarries,
Florence and Savoy, everywhere,
There's no good girl's lip out of Paris.
The Naples women, as folk prattle,
Are sweetly spoken and subtle enough:
German girls are good at tattle,
And Prussians make their boast thereof;
Take Egypt for the next remove,
Or that waste land the Tartar harries,
Spain or Greece, for the matter of love,
There's no good girl's lip out of Paris.
Breton and Swiss know nought of the matter,
Gascony girls or girls of Toulouse;
Two fishwomen with a half-hour's chatter
Would shut them up by threes and twos;
Calais, Lorraine, and all their crews,
(Names enow the mad song marries,)
England and Picardy, search them and choose,
There's no good girl's lip out of Paris.
Prince, give praise to our French ladies
For the sweet sound their speaking carries;
'Twixt Rome and Cadiz many a maid is,
But no good girl's lip out of Paris.
(translation by Algernon Charles Swinburne)
|
Translation :
Francois am I, - woe worth it me ! At Paris born, near Pontoise citie , Whose neck, in the bight of a rope of three , Must prove how heavy my buttocks be . |
Original text : |
Francois am I, - woe worth it me !
- Corbier my surname is aright :
Native of Auvers, near Pontoise citie ;
Of folk for sobriquet Villon hight .
But for the gallant appeal I made ,
My neck, in the bight of a rope of three ,
Had known ere this what my buttocks weighed .
The game scarce seemed to me worth to be played .
(translation by Algernon Charles Swinburne)
Tell me where, or in what country
Is Flora, the lovely Roman,
Archipiades or Thaïs,
Who was her nearest cousin,
Echo answering, at clap of hand,
Over the river, and the meadow,
Whose beauty was more than human?
Oh, where is last year’s snow?
Where is that wise girl Eloise,
For whom was gelded, to his great shame,
Peter Abelard, at Saint Denis,
For love of her enduring pain,
And where now is that queen again,
Who commanded them to throw
Buridan in a sack, in the Seine?
Oh, where is last year’s snow?
Queen Blanche of the Siren’s voice
White as a swan, and Alice, say,
Bertha Big-Foot and Beatrice,
Arembourg, ruler of Maine,
Or Jeanne d’Arc of Lorraine,
The English burned at Rouen? Oh,
Where are they Virgin, you who reign?
Oh, where is last year’s snow?
Prince, don’t ask of me again
Where they are, this year or no,
I have only this last refrain:
Oh, where is last year’s snow?
(translation by Algernon Charles Swinburne)
Besides his ballads in jargon, Villon's work consists of his Lais (also known as the Little Testament), written in 1456; the Testament or Grand Testament (1461); and a number of poems including the "Débat du cur et du corps de Villon [debate between Villon's heart and body] and the "Épitaphe Villon, better known as the "Ballade des pendus [ballad of the hanged], written during Villon's expectation of the same fate. The Lais (a pun on the words lais, or lays, and legs, or legacy) is a series of burlesque bequests to his friends and enemies. The Testament follows the same scheme (not uncommon in medieval literature), but is far superior in depth of emotion and in poetic value. The work is filled with irony, repentance, constant preoccupation with death, ribald humor, rebellion, and pity. The Testament is interspersed with ballads and rondeaux, including the "Ballade de la grosse Margot, his bequest to a prostitute, and "Ballade des dames du temps jadis" with the famous refrain "But where are the snows of yester-year? There have been many English translations of the poems, including those by Rossetti and Swinburne, and more recently (1973) by Peter Dale. The standard French edition of the works was made by Auguste Longnon (1892, several revisions).