Georges Moustaki's song “Ma Solitude” was first recorded in 1967 by Serge Reggiani. In 1969, Moustaki released his own version.
Moustaki personifies “solitude” as an active, reliable, positive and constant companion in life that encourages freedom, introspection and self-acceptance. He construes solitude as a faithful partner that fosters authenticity and growth and combats any sense of loneliness or separation.
Two linguistic quirks appear in the song. Moustaki’s “take” on Solitude is suggested by the possessive “Ma” (“My”) in the title. Solitude is “his.” He owns and cherishes it. He repeats 4 times: “Je ne suis jamais seul avec ma solitude.” It is not some unfortunate state of being that occurs for want of relationships. It is a chosen companion.
Secondly, the word “solitude” has female gender in French. A notable school of linguistics and psychology (Sapir-Whorf hypothesis) suggests that gender-marked words in some languages can affect the way we perceive the world. English, by contrast, has no gender marking. The feminine pronoun “elle” populates the song and is especially welcome when they share a bed “face à face.” This perception of “solitude” with its female gender conveys a relationship that is comforting and conventionally familiar.
Moustaki personifies “solitude” as an active, reliable, positive and constant companion in life that encourages freedom, introspection and self-acceptance. He construes solitude as a faithful partner that fosters authenticity and growth and combats any sense of loneliness or separation.
Two linguistic quirks appear in the song. Moustaki’s “take” on Solitude is suggested by the possessive “Ma” (“My”) in the title. Solitude is “his.” He owns and cherishes it. He repeats 4 times: “Je ne suis jamais seul avec ma solitude.” It is not some unfortunate state of being that occurs for want of relationships. It is a chosen companion.
Secondly, the word “solitude” has female gender in French. A notable school of linguistics and psychology (Sapir-Whorf hypothesis) suggests that gender-marked words in some languages can affect the way we perceive the world. English, by contrast, has no gender marking. The feminine pronoun “elle” populates the song and is especially welcome when they share a bed “face à face.” This perception of “solitude” with its female gender conveys a relationship that is comforting and conventionally familiar.
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Pour avoir si souvent dormi Avec ma solitude Je m'en suis faite presque une amie Une douce habitude Elle ne me quitte pas d'un pas Fidèle comme une ombre Elle m'a suivi çà et là Aux quatres coins du monde Non, je ne suis jamais seul Avec ma solitude Quand elle est au creux de mon lit Elle prend toute la place Et nous passons de longues nuits Tous les deux face à face Je ne sais vraiment pas jusqu'où Ira cette complice Faudra-t-il que j'y prenne goût Ou, que je réagisse ? Non, je ne suis jamais seul Avec ma solitude Par elle, j'ai autant appris Que j'ai versé de larmes Si parfois je la répudie Jamais elle ne désarme Et, si je préférais l'amour D'une autre courtisane Elle sera à mon dernier jour Ma dernière compagne Non, je ne suis jamais seul Avec ma solitude Non, je ne suis jamais seul Avec ma solitude |
Having slept so often with my solitude I almost made it my friend A sweet custom She never leaves my side Faithful like a shadow She followed me here and there To the four corners of the world No, I'm never alone with my solitude When she's in the middle of my bed She takes all the space And we spend long nights Both of us, face to face I really don't know how far it will go this complicity Will I have to fancy it Or will I have to react? No, I'm never alone with my solitude Through her, I learned so much that I shed tears If sometimes I deny her She never disarms me And If I should prefer love from another courtesan She will be on my last day, My last companion No, I'm never alone with my solitude No, I'm never alone with my solitude |
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