Peuple Des Fontaines Lyrics in English Francis Cabrel

Below, I translated the lyrics of the song Peuple Des Fontaines by Francis Cabrel from French to English.
I entrusted my sorrow
To the people of the fountains
So you come back someday
To hang on my arm
Sunday and weekdays
Are nothing but a chain
Of those gray days that never end
Streets where I hang around, always, always
Always those moments too short come back to me
The Rhône or the Seine
Rimbaud or Verlaine, nothing will comfort me
Princes and sovereigns
Simple actresses
Like dozens of clumsy lovers
Have carved the same
Stupid refrains
The same sighs
In the same places
Streets where I hang around, always, always
Always those moments too short come back to me
The only ones who understand
Who know where it leads
Fountains, tell me
You who've listened to so many
You who couldn't lie
Do they know how to forgive, those beauties we breathe for
Have you seen them come closer
Leaning over your sapphire reflections
Saying we can start all over, look hard in your memories
Search hard
I entrusted my sorrow
To the people of the fountains
So one day the sound of your steps comes back to me
I'd give all of Göttingen
All Cohen's Suzannes
For that blessed day when you come back to me
I'd give all of Göttingen
All Cohen's Suzannes
For that blessed day when you come back to me
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SONG MEANING

Imagine wandering through the cobblestoned streets of France, stopping at every ornate fountain to whisper your secrets. That is exactly what Francis Cabrel does in Peuple Des Fontaines. The singer treats each fountain like a wise old confidant, pouring out his heartbreak and begging the waters to carry a single wish: may his lost lover return and slip her arm through his once more. Day after day feels colorless, and even the beauty of famous rivers (the Rhône, the Seine) or the words of legendary poets (Rimbaud, Verlaine) can’t wash away the ache.

Cabrel uses the fountains as a timeless bulletin board of love’s woes. He reminds us that princes, actresses, and countless clumsy lovers have all carved the same sighs into the stone. The question he keeps asking these silent witnesses is simple yet universal: Do the women we breathe for ever forgive? He is willing to trade celebrated songs like Barbara’s “Göttingen” and Leonard Cohen’s “Suzanne” for just one blessed day when he hears her footsteps again. The result is a tender, almost cinematic portrait of longing, where every splash of water echoes with hope, regret, and the age-old promise that love might still circle back.

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