GAINSBOURG (Serge). Lord and Lord. [c. 1988]. Autograph manuscript. 1 f. in-4 handwritten on the front. "-> Fauchman *** / Fauchman/ I'm over / ->I'm loaded / of the dirty race / of the lords / you have the class / with your blade [crossed out "your shlass" "your switchblade"] / you have the soul [crossed out "s'ras toujours" "jamais"] / [of] a Lord". One of the three unreleased songs (with Hey Man Amen and You you but not you) created for the Zenith and performed in March 1988 during Serge Gainsbourg's last tour. The final version performed on stage, and recorded on the album Le Zénith de Gainsbourg released in 1989, offers some small variations or additions compared to the manuscript ("moi, je suis passe / impair et manque / comme tout à l'heure" ; "tu m'dédicaces / ma p'tite gueule d'amour / et j'comprends ma douleur" ; "tu fais des casses / et puis tu te casses / à tout à l'heure"). If the moving Hey Man Amen (made even more touching or pathetic, according to some, by the arrival on stage of his son Lulu, then two years old) was in a way a testament dedicated to his son, Seigneur et Saigneur is a song of twilight, energetic and even violent. Gainsbourg savors his recognition at the end of his career (he is also very touched by the much younger audience that came to the Zenith compared to his last concerts at the Casino de Paris) and his social success, he belongs from now on to the race of the lords: he does not hide his taste for luxury and his sometimes iconic relationship to money. No question of decadence (without a) here: if Gainsbarre tends more and more to eclipse Gainsbourg in everyday life, this piece would suggest that the artist has not said his last word while being aware that he plays with the inevitable death, the Lord. This game is accentuated on stage: Gainsbourg interprets the song with his careless nonchalance while miming sometimes stabbing while he violently pronounces the word Saigneur. This interpretation is supported by the repeated presence of the word "fauchman" in the manuscript (which will not be included in the final version at the Zenith): how can we not see in it the double meaning of the term "fauché"?... In this unpublished work, Gainsbourg returns to the eternal theme dear to the greatest poets, from Ronsard to Baudelaire, from Villon to Verlaine: the Grim Reaper.