Remontrances

Song Meaning

This song presents a series of sharp, almost farcical reprimands from a madam to her male charges, each identified by name. The initial address to Roger sets a tone of domestic, yet vulgar, complaint, focusing on hygiene and sexual conduct with a bluntness that borders on the absurd. The narrator, seemingly in charge, lists Roger's transgressions: smelly socks, a long-worn slip, and the reuse of condoms, all delivered with a no-nonsense, almost parental, scolding. The narrator then turns to Gaston, a seminarian, whose outward piety is contrasted with his hidden, presumably attractive, physique. The implication is that Gaston is neglecting his duties, both spiritual and perhaps carnal, by not wearing appropriate undergarments beneath his religious attire. This juxtaposition of the sacred and the profane, the austere cassock hiding a "bodybuildé" form, highlights a perceived hypocrisy or a failure to reconcile outward appearance with inner desires or societal expectations. Anatole's critique shifts to a matter of professional conduct and appetite. He's accused of taking advantage of a "torture session" to indulge in food and drink, a clear breach of decorum. The narrator draws a stark line: "Ou l'on est morfale, ou l'on est vicieux" (Either we are gluttonous, or we are vicious), suggesting that even in this unconventional establishment, there are rules of moderation and propriety that Anatole has violated, leading to a loss of esteem. The address to Simon reveals a failed attempt at a lesbian liaison, orchestrated by the narrator. Simon was supposed to play the role of "Simone" in a sexual encounter, but he apparently found the prefect's advances unappealing and refused. The narrator's frustration is palpable, as she demands reimbursement for hormone treatments, framing the entire endeavor as a failed business transaction with personal consequences. Narcissio's transgression involves a misplaced key to a cabinet filled with sex toys. The narrator finds the key in his pocket but notes the cabinet is empty when he "practices alone at home." This suggests Narcissio is either incompetent in his sexual pursuits or has been using the toys without replenishing them, a failure in resource management and perhaps a lack of genuine skill despite his name. Patrick's situation is particularly ironic, as he's described as "gnangnan" (wimpy) and refusing sexual advances during a "Roman orgy." His excuse is recognizing his own father among the voyeurs, a revelation that prevents him from fully participating. The narrator concludes he'll never be a "real whore," a judgment that seems to align with his father's fears, adding a layer of familial shame and disappointment to his sexual inadequacy. Finally, the narrator consolidates her complaints, declaring her past leniency is over. She likens her charges' behavior to "the worst of girls" who "mess up our brothel." The demand for "rendement" (performance) and not "bamboula" (idleness or perhaps a specific sexual act) signals a shift to strict business. The closing lines, "Messieurs tous à poil, la nuit sera chaude / J'ouvre le salon / Les clients sont là..." (Gentlemen, all naked, the night will be hot / I'm opening the salon / The clients are here...), reveal the setting as a brothel and the narrator as the madam, ready to enforce discipline and extract profit from her charges' reluctant services.