The Birmingham age-herald. [volume] (Birmingham, Ala.) 1902-1950, 1908-04-02
From the Chicago Herald.

From the Chicago Record-Hcrald.
(f@ A MARSEILLAIsE," the stir
"IV ring battle hymn Of the
- French revolution, which was
born in the heat of the most dramauc
and momentous single struggle of record
ed history has become in a sense the in
ternational lyric expression of the pas
sion for freedom. Not great as literature,
the direct and almost brutal assault which
it makes upon the emotions of men con-
stitutes it of that order of art which
eludes analysis and defies criticism.
The history of this song. which electr1-
fled people and played It's part IN the
shaping of events in the France OF I'sz'
has been almost as singular as the enour-
ing character of its appeal. Its erect mas
been far-reaching, indeed and its mean
ing has often been sadly perverted. Orig
inally IL appealed to the deep-seated sense
of patriotism and TO the lofty IDEAL Oh
freedom and brotherhood which even the
reign of terror and the Enchanting OF the
diabolic agencies of the revolution were
nowerless to uproot Today it is too often
the unofficial rallying cry Of anarchistie
outrages.
Where ii once stood for the freedom
which is implicit in a we'll organized gov
eminent where talent and personal force
are given the maximum OF political ana
social opportunity, it now represents 100
often the spirit of nihilism. Where 1t was
once constructive it is now, In other con-
tjnental and American countries at least,
destructive Its spirit was once intended
TO point the way to an ideal government
which should follow the overthrow OF
monarchy: it is now used to point the
way to the destruction of all governments
and tosthe subverson of all recognized in
sttutions
This perverted use of the old battle
hymn of the volunteers of Marseiiies'
which cheered them on their way 10
Paris. was we'll illustrated in the demon
stration of the unemployed In Union
Park. New York, on Saturday. When
the ranks threatened to give way before
the advance of the police it was the
swinging rhythm of THE Marseillaise
that held them in order and gave them
the desperate courage of opposition. In
their construction of the words it was
the police who were their natural enc
mics and no longer the "treacherous
kings confederate of the song. Like all
songs which appeal to abstract ldeais ol
Justice it's sense may be easily wresteo
to unworthy ends, and anarchy mas oiteh
committed its bloodiest deeds to the hlt
OF La Marseillaise." The very generosity
Of its sentiment has made of it danger
ous and subtle weapon in the hands of the
enemies Of society.
THE history of the writing of this most
famous and familiar. of French songs is
not without an interest OF its own. It's
author was Claude Joseph Rouget oe
Lisle. captain of engineers, VINO was
stationed during the anxious times OF
1892 at Strasburg on the Rhine. Inc
yo,ds and music were written, according
to tradition which has never been sue
cezsfullv disproved. on the night of April
"a 1892 after the captain of engineers had
returned from dinner. 1t was first called
by him Chant de guerre pour l. armee
du Rhin" This Chant de guerre' was
copied and arranged for military band.
The first public rendering of 1t. so far as
is known, was given by, the band Of the
April %. 1872.
| 1t was an accident that gave 1t its pres
ent name On the evening OF June % of
the same year a singer named Mreur
| sang it at civic banquet given at Mar
settles. 1t created an extraordinary i'm
preston. No time can well DE conceived
more opportune for the reception Of such
a hymn. The volatile and impressonable
French nation was passing through such
scenes as only the genius OF that nation
could make possible. Never before in his
tory had a revolution excited to such a
degree the imaginative and emotional ele-
ments in all the civilized world. France
was conceived to be fighting the battle Of
humanity, the world-old battle against