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Chant de guerre de l'armée du Rhin, and as early as the following Sunday (April 29) was played at the Place d'armes by the musicians of the national guard.

It was first sung at Marseille, on the occasion of a banquet on June 25 of the same year, and was reproduced the next day under the title, Chant de guerre aux armées des frontières. Copies of the song were distributed among the volunteers from Marseille who were setting out for Paris. It was by these Marseillais that the hymn of Rouget de Lisle was first sung in Paris, on their entrance to that city July 30, 1792 (and again at the attack of the Tuileries on Aug. 10). From this time it began to become popular at Paris, and was called Chant des Marseillais, and finally la Marseillaise.

As composed by Rouget de Lisle la Marseillaise contained but six stanzas. The seventh, called la strophe des enfants, was added later in the same year, and was due to the poet Louis Dubois. Additional stanzas to the number of twenty were introduced during the Revolution, but disappeared with the circumstances which inspired them.

Rouget de Lisle is also the author of other patriotic poems (one is given on p. 15), most of which are much inferior to la Marseillaise. He published in 1799 some collections of Romances, and is the composer of fifty different airs (pub. 1825) to words by various authors.

In singing la Marseillaise the fourth line of each stanza, as also the Marchons of the refrain, is repeated.

Line 6: Mugir (Latin mugire), a severe word here which can hardly be rendered literally. Its primary meaning is to bellow, low (of oxen); is then used of the human voice when forced in an excessive manner; here the roar of.

Line 8: Égorger, to butcher, lit. to cut the throat of, a derivative of gorge (cf. the English word). compagnes, means female companions, wives. The masc. word is compagnon. The basis of these forms is found in the Latin words cum and panis, suggesting the meaning of one who eats bread with another.

Line 10: abreuve, subj. used in an optative or imperative sense : let an impure blood drench our furrows. Abreuver means primarily to water (animals), to give to drink. The Latin words ad and bibere (to drink) are the basis of the word.

Page 2, 1. 4: transports, violent passion.

Line 5: ose.

The verb oser comes from Latin *ausare, a deriv. of ausum supine of audere (to dare). For Latin au > French o, cf. causam > chose, aurum > or (gold).

Line 6 esclavage, a deriv. of esclave (p. 1, 1. 11), which is identical with the English word slave. Regarding the initial e, cf. English special and especial, spy and espy.

Line 9: Feraient, used, like the following conditionals, to express irony, surprise. foyers: Foyer means first a fireplace, hearth; then by extension fireside, house, home, and in the plur., native land. It has also the meanings: focus (the Latin word focus serves as a basis for a later form *focarium, which then develops into foyer), centre, and in theatrical language, lobby.

Line 11: Terrasseraient. noun terrasse (English terrace). dismay.

The verb terrasser is formed from the
It means jeter par terre, so overthrow,

Line 18: partis; le parti is to be carefully distinguished from la partie.

Page 3, line 6: Bouillé (1739-1800), one of the ablest generals of the time, and a devoted royalist. He aided Louis XVI. in his plan of escape from Paris and France (in 1791), which terminated fatally at Varennes, near the northeastern frontier.

Line 11: Conduis, imperative of conduire (to lead, conduct) from Latin conducere = English conduce; cf. English conduct.

Line 14: drapeaux, an example of words which in the course of their history depart widely from their primitive meaning, or drop one meaning to take on another. Drapeau is strictly a dim. of drap (cloth), and meant originally pièce de drap.

Page 4. LE CHANT DU DÉPART. — Marie-Joseph de Chénier, the author of this poem, was born at Constantinople in 1764, and educated at Paris, where he died in 1811. He was a younger brother of the brilliant poet André de Chénier, and himself a popular writer. He early became known by a series of tragedies, among which Charles IX. (1789) may be mentioned. Together with some epistles and satires, he composed a number of revolutionary songs, of which le Chant du départ is the most celebrated. It was written in 1794 for the anniversary of the taking of the Bastille (July 14), and was set to music by Méhul. Its appearance produced an immediate impression,

it grew at once into popular favor, and was raised forthwith to the rank of a second Marseillaise. It is considered, after Rouget de Lisle's celebrated poem, the best patriotic song of the period.

Lines 17, 18: doit, must, should, is (expected) to.

Page 5, 1. 2: lâches. The word lâche (from Latin laxum) is the same as English lax, but has often a much severer meaning, that of cowardly, and then mean, dastardly.

Line 3. devons; cf. doit above, p. 4, 1. 17.

Line 4 verser, from Latin versare; the primary idea is to turn (cf. the English derivatives adverse, transverse, etc.), then to turn over, upside down, out, and so to pour out, and here to shed.

Line 10: fer, from Latin ferrum (cf. English ferric, etc.); means lit. iron, and then in poetic language is synonymous with épée, poignard. Other terms belonging to the vocabulary of poetic words are, in the present selections: époux (for mari), épouse (for femme), flamme (for amour), flanc (for sein), onde (for eau), trépas (for mort).

Line 14: chaumière, is a cottage covered with chaume (thatch), a thatched house, cottage-home.

nous

Line 19: Barra (1780–1793), a French boy enlisted in the Republican troops at the age of thirteen in Vendée (western part of France), and noted for his valor. - Viala, also a common soldier who distinguished himself during the Revolutionary wars. fait envie, we envy, we long after. Envie, which gives English envy, is derived from Latin invidiam (from in, against, and videre, to see); it then means inclination, desire, longing.

Page 6, 1. 8: époux. The form époux (fem. épouse) comes from Latin sponsum, pp. of the verb spondere (to promise solemnly), and so means lit. the one promised. The earlier (Old French) masc. and fem. forms were espous, espouse, from which we get English spouse, one of the oldest words in the language of French origin. Cf. the English verb espouse, French épouser.

Line 15: flancs; flanc for sein; cf. note to 1. 10, p. 5.

Line 20: vœux, wishes. Vau is derived from Latin votum, a promise, vow, then (from the wish implied in the vow) a wish, desire; vau was in Old French vou, which gave the English word vow. Cf. French and English vote, which is a later word taken over from the Latin.

Line 21: Qu'ils, let them.

- murailles; cf. murs.

Page 7. ÇA IRA. This popular song of the Revolution dates probably from May or June, 1790. It met with unbounded enthusiasm, was taken up all over France and raised to the rank of chant national, along with la Marseillaise and le Chant du départ. Its authorship is uncertain. Attempts have been made to refer it to a certain Ladré, who was an itinerant singer, and who claimed the honor of having composed the words. Dumersan, who gives the text in his Chansons nationales et populaires de France, ascribes it to Ladré; but it is very doubtful if he was the author of it, at least in its original form. The words of the Ça ira were adapted to an air called le Carillon national, a contredanse composed by Bécourt, which was very much in vogue at the time.

Each of the five stanzas of the song begins with Ah! ça ira, ça ira, ça ira! meaning, it will go, or it will do, that is, it will succeed. There is some reason to believe that the song itself may have taken its origin in the expression ça ira as a popular cry or saying. It is even related that Franklin, during his residence at the French capital, being continually plied with questions regarding the success of the American Revolution, was accustomed to reply with a smile, ça ira, ça ira, and that later the French Revolution took up the saying and made a warsong of it. At all events, some uncertainty hangs over the original and authentic text of the composition.

Later on in the Revolution (from 1792) the Ça ira became the echo of public passions, and was reinforced by such lines as, Les aristocrates à la lanterne! ("To the lamp-post with aristocrats!") and Les aristocrates on les pendra!

Page 8, 1. 1: en restent là; en rester là means to stay, stop at that point of it, so, to leave off there, to stop short, etc.

Line 4: Boileau, Nicolas Boileau-Despréaux, a famous French critic of the seventeenth century (b. 1636, d. 1711), celebrated for his satires (borrowed chiefly from Horace) and other poems, and known especially by his Art poétique (1674), a work modelled on the Ars Poetica of Horace, in which he definitely formulated the rules for literary composition in France.

Lines 14-15. The Scripture reference is Matt. xxiii. 12. —on (formerly om) is derived from the Latin nom. homo, man, and then,

one, any one. Initial h was regularly suppressed. The form l'on represents Latin ille homo, as the French definite article comes from the Latin demonstrative pronoun. The acc. hominem gives French homme (formerly omme, until the h was replaced, as graphic sign only); so in this word (as in some others) two Latin cases remain in the modern language.

Line 23: Pierrette; another reading is Pierrot, likewise a dim. of Pierre, but masc. - Margot, a very familiar dim. of Marguerite. -guinguette, a popular name given to inferior taverns or drinking houses in the suburbs of Paris and other cities.

Page 9, 1. 1: à quia. To be à quia is to be reduced to a condition where one cannot reply, that is, at naught, nonplussed. Quia is the Latin word meaning because, and être à quia represents the situation of one who, being asked why? or wherefore? in a discussion, answers because! without being able to go on. — In this line the verb (était) is to be understood. - jadis, equivalent to autrefois. Line 2 mea culpa, Latin words equivalent to par ma faute; dit mea culpa: = avoue sa faute.

Line 6 Lafayette (1757-1834). The illustrious French statesman and patriot. The services rendered by him to the cause of American liberty can hardly be over-estimated, while in France he was an ardent and consistent supporter of moderate measures.

Line 13: d'avec, from (as differing from).

Line 14: pour le bien soutiendra, will stand up for the right. Soutenir is no longer used as neuter verb.

Line 17 au nez lui rira, will laugh in his face.

Page 10, 1. 1: du louche, something ambiguous. Louche means lit. squint-eyed; it comes from Latin luscum (properly, one-eyed). The confusion of these two ideas is frequent in French dialects. Line 3: Lafayette dit. Another version reads: La liberté dit. LA CARMAGNOLE. - La Carmagnole is a fourth song upon which has been conferred the rank of chant national. It was composed in 1792, after the events of the tenth of August, when the people rose in a mob and made an attack upon the palace of the Tuileries, resulting in the imprisonment of the royal family in the Temple. The federate troops from Marseille, who took a very active part in the scenes of that day, wore a kind of long jacket, still in use in the south of France,

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