Charles Trenet cannot stand the criticism from Le Canard enchaîné.

Charles Trenet (1913.2001)

Two autograph letters signed to Ernest Raynaud, known as Tréno.

Two quarto pages on paper bearing his monogram.

La Varennes St Hilaire. [May 5 and 12, 1954]

"Writing 'sic' after the word 'song' regarding mine is neither a witty remark nor proof of your sensitivity."

Having just returned to the Olympia stage after a two-year absence, Charles Trenet was hurt by the critical articles published about him in Le Canard enchaîné . Trenet had indeed written a scathing article entitled "Charles Trenet at the Olympia : Y a d'la noix!" in the May 5, 1954 edition.

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Dear Mr. T., I would be most grateful if you would formally deny the letter you published this week under my name. Indeed, the content of this epistle is such as to lead genuine critics to believe that I am mocking them, whereas it is rather you whom I would allow to do so, for you richly deserve it! I therefore demand (please do not force me to resort to legal action) that you publish in full this short note, preceded by the apocryphal and hypocritical letter in question. No hard feelings (for now). Charles Trenet. P.S. The only sentence you quote, the origin of which I can verify, is "I find your article idiotic."  

Le Canard enchaîné had indeed "doubled down" in the May 12 edition by republishing Trenet's initial letter of protest, which we have attached: 

My dear T., I find your article idiotic. Not that you lack frankness—certainly you have the right not to find me to your old-fashioned taste—but writing "sic" after the word "song" regarding mine is neither witty nor proof of your sensitivity. I like Le Canard very much. Ask René Fallet who I am and come back to see me in ten years. I'll have other songs without "sic"! Best regards.

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Ernest Raynaud, known as Tréno, joined Le Canard Enchaîné in 1924 as a proofreader before becoming an editor in 1932. In September 1954, Tréno decided to dedicate himself entirely to Le Canard, where he served as editor-in-chief and de facto director until his death. The widow of the satirical weekly's founder, Jeanne Maréchal, gave him free rein to run the paper, which was then in dire straits. Tréno was the driving force behind the satirical weekly's recovery, quadrupling its sales between the early 1950s and the late 1960s (from approximately 100,000 to 400,000 copies), thus establishing his distinctive style and an identity closely aligned with libertarian and anarchist circles.