# La Marseillaise

"La Marseillaise" is the national anthem of France. It was written in 1792 by Claude Joseph Rouget de Lisle in Strasbourg after the declaration of war by the First French Republic against Austria, and was originally titled "Chant de guerre pour l'Armée du Rhin".
The French National Convention adopted it as the First Republic's anthem in 1795. The song acquired its nickname after being sung in Paris by Fédéré (volunteers) from Marseille marching to the capital. The song is the first example of the "European march" anthemic style. The anthem's evocative melody and lyrics have led to its widespread use as a song of revolution and its incorporation into many pieces of classical and popular music.
The Italian violinist Guido Rimonda pointed out in 2013 that the incipit of "Tema e variazioni in Do maggiore" of Giovanni Battista Viotti has a strong resemblance to the anthem. This incipit was first thought to have been published before La Marseillaise, but it appeared to be a misconception as Viotti published several variations of "La Marseillaise" in 1795 and wrote as a note "I have never composed the quartets below" (Je n'ai jamais composé les quatuors ci dessous).

## History

As the French Revolution continued, the monarchies of Europe became concerned that revolutionary fervor would spread to their countries. The War of the First Coalition was an effort to stop the revolution, or at least contain it to France. Initially, the French army did not distinguish itself, and Coalition armies invaded France. On 25 April 1792, Baron Philippe-Frédéric de Dietrich, the Mayor of Strasbourg and Worshipful Master of the local Masonic lodge, asked his Freemason guest Rouget de Lisle to compose a song "that will rally our soldiers from all over to defend their homeland that is under threat". That evening, Rouget de Lisle wrote "Chant de guerre pour l'Armée du Rhin" ("War Song for the Army of the Rhine"), and dedicated the song to Marshal Nicolas Luckner, a Bavarian freemason in French service from Cham. A plaque on the building on Place Broglie where De Dietrich's house once stood commemorates the event. De Dietrich was executed the next year during the Reign of Terror.
The melody soon became the rallying call to the French Revolution and was adopted as "La Marseillaise" after the melody was first sung on the streets by volunteers (fédérés in French) from Marseille by the end of May. These fédérés were making their entrance into the city of Paris on 30 July 1792 after a young volunteer from Montpellier called François Mireur had sung it at a patriotic gathering in Marseille, and the troops adopted it as the marching song of the National Guard of Marseille. A newly graduated medical doctor, Mireur later became a general under Napoléon Bonaparte and died in Egypt at age 28.
The song's lyrics reflect the invasion of France by foreign armies (from Prussia and Austria) that was under way when it was written. Strasbourg itself was attacked just a few days later. The invading forces were repulsed from France following their defeat in the Battle of Valmy. As the vast majority of Alsatians did not speak French, a German version („Auf, Brüder, auf dem Tag entgegen") was published in October 1792 in Colmar.
The Convention accepted it as the French national anthem in a decree passed on 14 July 1795, making it France's first anthem. It later lost this status under Napoleon I, and the song was banned outright by Louis XVIII and Charles X, being re-instated only briefly after the July Revolution of 1830. During Napoleon I's reign, Veillons au salut de l'Empire was the unofficial anthem of the regime, and in Napoleon III's reign, it was "Partant pour la Syrie", but the government brought back the iconic anthem in an attempt to motivate the French people during the Franco-Prussian War. During the nineteenth and early twentieth centuries, La Marseillaise was recognized as the anthem of the international revolutionary movement; as such, it was adopted by the Paris Commune in 1871, albeit with new lyrics under the title "La Marseillaise de la Commune". Eight years later, in 1879, it was restored as France's national anthem, and has remained so ever since.

### Music

Several musical antecedents have been cited for the melody:
* Tema e variazioni in Do maggiore, a work by the Italian violinist Giovanni Battista Viotti; the 1781 dating of the manuscript has been questioned, but it seems to have been published after "La Marseillaise", in 1795.
* Mozart's Allegro maestoso from the Piano Concerto No. 25 (composed in 1786).
* The oratorio Esther by Jean Baptiste Lucien Grison (composed in 1787).
Other attributions (the credo of the fourth Mass of Holtzmann of Mursberg) have been refuted.

## Lyrics

Generally only the first verse is sung.
| French original | IPA transcription | English translation |
| Allons enfants de la Patrie, Le jour de gloire est arrivé ! Contre nous de la tyrannie 𝄆 L'étendard sanglant est levé, 𝄇 Entendez-vous dans les campagnes Mugir ces féroces soldats ? Ils viennent jusque dans vos bras Égorger vos fils, vos compagnes ! Refrain : 𝄆 Aux armes, citoyens, Formez vos bataillons, Marchons, marchons ! Qu'un sang impur Abreuve nos sillons ! 𝄇 Que veut cette horde d'esclaves, De traîtres, de rois conjurés ? Pour qui ces ignobles entraves, 𝄆 Ces fers dès longtemps préparés ? 𝄇 Français, pour nous, ah ! quel outrage Quels transports il doit exciter! C'est nous qu'on ose méditer De rendre à l'antique esclavage ! Refrain Quoi ! des cohortes étrangères Feraient la loi dans nos foyers ! Quoi ! Ces phalanges mercenaires 𝄆 Terrasseraient nos fiers guerriers! 𝄇 Grand Dieu ! Par des mains enchaînées Nos fronts sous le joug se ploieraient De vils despotes deviendraient Les maîtres de nos destinées ! Refrain Tremblez, tyrans et vous perfides L'opprobre de tous les partis, Tremblez ! vos projets parricides 𝄆 Vont enfin recevoir leurs prix ! 𝄇 Tout est soldat pour vous combattre, S'ils tombent, nos jeunes héros, La terre en produit de nouveaux, Contre vous tout prêts à se battre ! Refrain Français, en guerriers magnanimes, Portez ou retenez vos coups ! Épargnez ces tristes victimes, 𝄆 À regret s'armant contre nous. 𝄇 Mais ces despotes sanguinaires, Mais ces complices de Bouillé, Tous ces tigres qui, sans pitié, Déchirent le sein de leur mère ! Refrain Amour sacré de la Patrie, Conduis, soutiens nos bras vengeurs Liberté, Liberté chérie, 𝄆 Combats avec tes défenseurs ! 𝄇 Sous nos drapeaux que la victoire Accoure à tes mâles accents, Que tes ennemis expirants Voient ton triomphe et notre gloire ! Refrain Couplet des enfants : Nous entrerons dans la carrière Quand nos aînés n'y seront plus, Nous y trouverons leur poussière 𝄆 Et la trace de leurs vertus 𝄇 Bien moins jaloux de leur survivre Que de partager leur cercueil, Nous aurons le sublime orgueil De les venger ou de les suivre. Refrain | [a.lõ.z‿ɑ̃.fɑ̃ də la pa.tʁi.ə |] [lə ʒuʁ də glwaʁ ɛ.t‿a.ʁi.ve ‖] [kõ.tʁə nu də la ti.ʁa.ni.ə |] 𝄆 [le.tɑ̃.daʁ sɑ̃.glɑ̃.t‿ɛ lə.ve ‖] 𝄇 [ɑ̃.tɑ̃.de vu dɑ̃ le kɑ̃.pa.ɲə |] [my.ʒiʁ se fe.ʁɔ.sə sɔl.da ‖] [il vjɛ.nə ʒys.kə dɑ̃ vo bʁɑ |] [e.gɔʁ.ʒe vo fis vo kõ.pa.ɲə ‖] [ʁə.fʁɛ̃]: 𝄆 [o.z‿aʁ.mə si.twa.jɛ̃ |] [fɔʁ.me vo ba.ta.jõ |] [maʁ.ʃõ | maʁ.ʃõ ‖] [kœ̃ sɑ̃ ɛ̃.pyʁ |] [a.bʁœ.və no si.jõ ‖] 𝄇 [kə vø sɛ.tə ɔʁ.də dɛs.kla.və |] [də tʁɛ.tʁə də ʁwa kõ.ʒy.ʁe ‖] [puʁ ki se.z‿i.ɲɔ.blə.z‿ɑ̃.tʁa.və |] 𝄆 [se fεʁ de lõg.tɑ̃ pʁe.pa.ʁe ‖] 𝄇 [fʁɑ̃.sɛ puʁ nu a kɛl u.tʁa.ʒə |] [kɛl tʁɑ̃s.pɔʁ.z‿il dwa.t‿ɛk.si.te ‖] [sɛ nu kõ.n‿o.zə me.di.te |] [də ʁɑ̃.dʁ‿a lɑ̃.tik ɛs.kla.va.ʒə ‖] [ʁə.fʁɛ̃] [kwa de ko.ɔʁ.tə.z‿e.tʁɑ̃.ʒɛ.ʁə |] [fə.ʁe la lwa dɑ̃ no fwa.je ‖] [kwa se fa.lɑ̃.ʒə mɛʁ.sə.nɛ.ʁə |] 𝄆 [tɛ.ʁa.sə.ʁe no fje gɛ.ʁje ‖] 𝄇 [gʁɑ̃ djø paʁ de mɛ̃.z‿ɑ̃.ʃɛ.ne.ə |] [no fʁõ su lə ʒu sə plwa.ʁɛ ‖] [də vil dɛs.pɔ.tə də.vjɑ̃.dʁɛ |] [le mɛ.tʁə də no dɛs.ti.ne.ə ‖] [ʁə.fʁɛ̃] [tʁɑ̃.ble ti.ʁɑ̃.z‿e vu pɛʁ.fi.də |] [lɔ.pʁɔ.bʁə də tu le paʁ.ti ‖] [tʁɑ̃.ble vo pʁɔ.ʒe pa.ʁi.si.də |] 𝄆 [võ.t‿ɑ̃.fɛ̃ ʁə.sə.vwaʁ lœʁ pʁi ‖] 𝄇 [tu.t‿ɛ sɔl.da puʁ vu kõ.ba.tʁə |] [sil tõ.bə no ʒœ.nə e.ʁo ‖] [la tɛ.ʁ‿ɑ̃ pʁɔ.dɥi də nu.vo |] [kõ.tʁə vu tu pʁɛ.z‿a sə ba.tʁə ‖] [ʁə.fʁɛ̃] [fʁɑ̃.sɛ ɑ̃ gɛ.ʁje ma.ɲa.ni.mə |] [pɔʁ.te.z‿u ʁə.tə.ne vo ku ‖] [e.paʁ.ɲe se tʁis.tə vik.ti.mə |] 𝄆 [a ʁə.gʁe saʁ.mɑ̃ kõ.tʁə nu ‖] 𝄇 [me.se dɛs.pɔ.tə sɑ̃.gi.nɛ.ʁə |] [me.se kõ.pli.sə də bwi.je ‖] [tu.se ti.gʁə ki sɑ̃ pi.tje |] [de.ʃi.ʁə lə sɛ̃ də lœʁ mɛ.ʁə ‖] [ʁə.fʁɛ̃] [a.muʁ sa.kʁe də la pa.tʁi.ə |] [kõ.dɥi su.tjɛ̃ no bʁa vɑ̃.ʒœʁ ‖] [li.bɛʁ.te li.bɛʁ.te ʃe.ʁi.ə |] 𝄆 [kõ.ba.z‿a.vɛk te de.fɑ̃.sœʁ ‖] 𝄇 [su no dʁa.po kə la vik.twa.ʁə |] [a.kuʁ a.te mɑ.lə.z‿a.ksɑ̃ ‖] [kə.te.z‿ɛ.nə.mi.z‿ɛks.pi.ʁɑ̃ |] [vwa tõ tʁi.õ.pe nɔ.tʁə glwa.ʁə ‖] [ʁə.fʁɛ̃] [ku.plɛ de.z‿ɑ̃.fɑ̃]: [nu.z‿ɑ̃.tʁə.ʁõ dɑ̃ la ka.ʁjɛ.ʁə |] [kɑ̃ no.z‿ɛ.ne ni sə.ʁõ ply ‖] [nu.z‿i tʁu.və.ʁõ lœʁ pu.sjɛ.ʁə |] 𝄆 [e la tʁa.sə də lœʁ vɛʁ.ty ‖] 𝄇 [bjɛ̃ mwɛ̃ ʒa.lu də lœʁ syʁ.vi.vʁə |] [kə də paʁ.ta.ʒe lœʁ sɛʁ.kœj ‖] [nu.z‿o.ʁõ lə sy.blim ɔʁ.gœj |] [də le vɑ̃.ʒe u də le sɥi.vʁə ‖] [ʁə.fʁɛ̃] | Arise, children of the Fatherland, The day of glory has arrived! Against us, of tyranny 𝄆 The blood-stained standard is raised, 𝄇 Do you hear in the countryside, Those blood-thirsty soldiers ablare? They're coming right into your arms To tear the throats of your sons, your wives! Refrain: 𝄆 To arms, citizens, Form up your battalions March on, march on! Let blood impure Water our furrows! 𝄇 What do they want, this horde of slaves, Of traitors, of conjured kings? For whom these ignoble chains, 𝄆 These long-prepared irons? 𝄇 Frenchmen, for us, ah! What outrage What outburst it must arouse! It's us they dare to conspire To return to the old slavery! Refrain What! These foreign cohorts Would make the law in our homes! What! These mercenary phalanxes 𝄆 Would strike down our proud warriors! 𝄇 Great God! With chained hands Under the yoke we'd yield ourselves Vile despots would become The masters of our destinies! Refrain Tremble, tyrants and ye traitors The disgrace of all parties, Tremble! Your parricidal schemes 𝄆 Will finally receive their prize! 𝄇 Everyone is a soldier to fight you, If our young heroes fall, The earth will produce new ones, Ready to fight against you! Refrain Frenchmen, as magnanimous warriors, Endure or hold back your blows! Spare these pitiful victims, 𝄆 That regret arming against us. 𝄇 But these bloodthirsty despots, But these accomplices of Bouillé, All these tigers who, without mercy, Would tear apart their mother's breast! Refrain Sacred love of the Fatherland, Lead, support our avenging arms Liberty, Liberty beloved, 𝄆 Fight with your defenders! 𝄇 Under our flags may victory Hurry to your virile accents, So that your dying enemies See your triumph and our glory! Refrain Children's verse: We will start our career When our elders are no more, We will find their dust there 𝄆 And the trace of their virtues 𝄇 Much less jealous to survive them Than to share their coffin, We will have the sublime pride To avenge them or follow them. Refrain |

## Cultural impact and musical adaptations

"La Marseillaise" was arranged for soprano, chorus and orchestra by Hector Berlioz in about 1830.
Franz Liszt wrote a piano transcription of the anthem.
During World War I, bandleader James Reese Europe played a jazz version of "La Marseillaise".
The anthem was used as a protest song in the Korean March First Movement protests against Japanese rule in 1919.

### Adaptations in other musical works

* Robert Schumann uses a brief quote of "La Marseillaise" in his solo piano work's Faschingsschwank aus Wien (1839) first movement, "Allegro". Singing "La Marseillaise" was forbidden in Austria at the time because "such a revolutionary piece might cause public disorder".
* Schumann also quotes the melody in the last verse of his song "Die beiden grenadiere" Op. 49 no. 1 (1840)
* Richard Wagner quotes the melody in last verse of his "Les deux grenadiers" (1840)
* Thomas Wiggins quotes the melody in his "Battle of Manassas" (ca 1861)
* Pyotr Ilyich Tchaikovsky quotes "La Marseillaise" in his 1812 Overture (1880), representing the invading French Army under Napoleon (although it had not been the French national anthem at that time), and it is drowned out by cannon fire, symbolizing the Russian defense at the Battle of Borodino.
* Pavlos Carrer quotes the tune in the overture to his opera Maria Antonietta (1884)
* Julián Felipe incorporated elements of "La Marseillaise" in the fifth and last bar of his incidental piece Marcha Filipina-Magdalo (1898) which eventually became the Filipino national anthem Lupang Hinirang.
* Erik Satie's song "Un Dîner à l'Élysée" quotes the tune
* The anthem has been sampled to reference France or Paris in countless film scores
* Dmitri Shostakovich quotes "La Marseillaise" at some length during the fifth reel of the film score he composed for the 1929 silent movie The New Babylon (set during the Paris Commune), where it is juxtaposed contrapuntally with the "Infernal Galop" from Offenbach's Orpheus in the Underworld.
* The Australian rules football team the Brisbane Lions use the melody of "La Marseillaise" in their club song, which their predecessor, the Fitzroy Lions, adopted in 1952.
* The Beatles' 1967 single "All You Need Is Love" uses the opening bars of "La Marseillaise" as an introduction.
* On Simchat Torah (18–19 October) 1973, the Lubavitcher Rebbe adapted the melody to the Jewish prayer "HaAderet v'HaEmunah". In Chabad, the melody is believed to convey the idea of a "spiritual French revolution" – in that Torah should be spread around the world as an advent to the Messianic era.
* Sarah Schachner used and reinterpreted the melody of "La Marseillaise" in the track "Rather Death Than Slavery" that is included in the official soundtrack to the video game Assassin's Creed Unity (2014), itself set during the French Revolution. This track was also used in 2015 in a trailer for season 5 of the TV drama Game of Thrones.

### Historical Russian use

In Russia, "La Marseillaise" was used as a republican revolutionary anthem by those who knew French starting in the 18th century, almost simultaneously with its adoption in France. In 1875 Peter Lavrov, a narodnik revolutionary and theorist, wrote a Russian-language text (not a translation of the French one) to the same melody. This "Worker's Marseillaise" became one of the most popular revolutionary songs in Russia and was used in the Revolution of 1905. After the February Revolution of 1917, it was used as the semi-official national anthem of the new Russian republic. Even after the October Revolution, it remained in use for a while alongside "The Internationale".

## Critique

The English philosopher and reformer Jeremy Bentham, who was declared an honorary citizen of France in 1791 in recognition of his sympathies for the ideals of the French Revolution, was not enamoured of "La Marseillaise". Contrasting its qualities with the "beauty" and "simplicity" of "God Save the King", he wrote in 1796:
   The War whoop of anarchy, the Marseillais Hymn, is to my ear, I must confess, independently of all moral association, a most dismal, flat, and unpleasing ditty: and to any ear it is at any rate a long winded and complicated one. In the instance of a melody so mischievous in its application, it is a fortunate incident, if, in itself, it should be doomed neither in point of universality, nor permanence, to gain equal hold on the affections of the people.
Valéry Giscard d'Estaing, President of France for most of the 1970s, said that it is ridiculous to sing about drenching French fields with impure Prussian blood as a Chancellor of the modern democratic Germany takes the salute in Paris. A 1992 campaign to change the words of the song involving more than 100 prominent French citizens, including Danielle Mitterrand, wife of then-President François Mitterrand, was unsuccessful.
The British historian Simon Schama discussed "La Marseillaise" on BBC Radio 4's Today programme on 17 November 2015 (in the immediate aftermath of the Paris attacks), saying it was "... the great example of courage and solidarity when facing danger; that's why it is so invigorating, that's why it really is the greatest national anthem in the world, ever. Most national anthems are pompous, brassy, ceremonious, but this is genuinely thrilling. Very important in the song ... is the line 'before us is tyranny, the bloody standard of tyranny has risen'. There is no more ferocious tyranny right now than ISIS, so it's extremely easy for the tragically and desperately grieving French to identify with that".
In 1979, a reggae version, "Aux armes et cætera" by Serge Gainsbourg, was received poorly by some in France, particularly in Le Figaro, where Michel Droit accused Gainsbourg of making money from the national anthem and suggesting that he was feeding antisemitism. Gainsbourg was also criticised for removing some of the military-focused aspects of the song.