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Le trébuchet (1846)

Le trébuchet

Lison guettait une fauvette
Dans un buisson.
Tout auprès, l'amour en cachette
Guettait Lison.
L'oiseau s'enfuit; Lise, surprise
Par un amant,
Au trébuchet se trouva prise,
Ne sais comment.
Le bergerette, avec courage
Luttant déjà,
Du joli piège sous I'ombrage
Se dégagea.
Deux jours après, Iâme brûlante,
D'un doux émoi,
Elle revint, pâle et tremblante,
Ne sais pourquoi.
Deux jours plus tard, grandes alarmes.
Pauvre Lison
Attendit seule et toute en larmes,
Près du buisson.
Le beau berger guettait loin d'elle
Minois piquant.
Il reviendra vers sa fidèle,
On ne sait quand.
Stanza 1 - Antoine de Bertin (1752 - 1790)
Stanzas 2-3 - Émile Deschamps (1791 - 1871)

The snare

Liza lay in wait for a warbler
In a bush.
Just nearby, love secretly
Lay in wait for Liza.
The bird flew off; Liza, surprised
By a lover,
Was caught in the snare,
There’s no telling how.
The shepherdess struggled
Courageously,
Broke free from the pretty snare
Beneath the shade of the trees.
Two days later, her soul on fire,
With sweet emotion
She returned, pale and trembling,
There’s no telling when.
And two days later – what commotion –
Poor Liza waited alone and all in tears,
Near the bush.
The handsome shepherd lay in wait far away
For a saucy little face.
He’ll return to his faithful love,
There’s no telling when.

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Composer

Louis-Hector Berlioz (11 December 1803 – 8 March 1869) was a French Romantic composer. His output includes orchestral works such as the Symphonie fantastique and Harold in Italy, choral pieces including the Requiem and L'Enfance du Christ, his three operas Benvenuto Cellini, Les Troyens and Béatrice et Bénédict, and works of hybrid genres such as the "dramatic symphony" Roméo et Juliette and the "dramatic legend" La Damnation de Faust.

The elder son of a provincial doctor, Berlioz was expected to follow his father into medicine, and he attended a Parisian medical college before defying his family by taking up music as a profession. His independence of mind and refusal to follow traditional rules and formulas put him at odds with the conservative musical establishment of Paris. He briefly moderated his style sufficiently to win France's premier music prize, the Prix de Rome, in 1830 but he learned little from the academics of the Paris Conservatoire. Opinion was divided for many years between those who thought him an original genius and those who viewed his music as lacking in form and coherence.

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