New-York tribune. [volume] (New York [N.Y.]) 1866-1924, August 08, 1915, Image 19

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New-York tribune. [volume], August 08, 1915, Image 19
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New-York tribune. [volume] (New York [N.Y.]), 08 Aug. 1915. Chronicling America: Historic American Newspapers. Lib. of Congress. <https://chroniclingamerica.loc.gov/lccn/sn83030214/1915-08-08/ed-1/seq-19/>

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RESORTS, SOCIETY, THEATRES.
WOMAN'S PAGES.
Ito lorJk ?Iribtmt
RESORTS, SOCIETY, THEATRES,
WOMAN'S PAGES.
PARI IV.
SUNDAY, AUGUST x. 1915.
l'\KT IV.
r^.TMOTEC SONGS OF THE WAIRMNG NATIONS
^seillaise/1 ch-r* Revo?
lutionary Canti?
of France
By 1!. !.. KRK1IHII-.I.
Boble and op
aturally and
he mouths of the multi
. I's national anthem
? to all the nations of the earth
i tonic stock. Xo nation
? Ij ever to adopt,
"La Marseillaise." That tune is
bound up with the poem which
and text of any
? world, secular or religious.
??fute and
who have attempted I i
?
oth.
.:er. They an
' ' ' .
. ?ted passion whose
amparts of liberty.
again ;?"d
march whereby the
itride than
. ;n the sibylline chant of
. ? ? ?
.;it the ai :
What Heine called "the
iy" lias i
'
"Moi ter!'
.'nor.
jmen have
and
rime,
? ' 'ins."
?
, "Eii
; rough the
. :
dynas
,;i the sur
ch in
; eauty.
lousi f Bou
? '
which it had
?
have
liting corn?
il
? '.ike il ; and
?f E
l
!!i to write
? '
' ?! ? ?
?
the
lative As
?
?
'
f thei
. the Faubourg
?
iburg to
? which tili '
.
? eadway an
lilt's ti,
he
? . ? i ?
1 d of
i 'aubourg
? ad ?nail?'
?h? Feuilla
? d en
??AM.?I . u \ i OF How "IV M \k
\\ \?? \\ KHI IV
>e writt? ;
... ?uni
p , .
antic embellishments it
"There wa at thi
? artillery in garri on a
' ?' !
? 7 aulnier, in the Jura,
an?! energy, as mot?n
I'm.- young
. th< Revolutioi ;
? ! hi- music he '
double tal?
a poe1 : ? becaim .?
?' ? hou e ?.' ,!,:,'
M :.." of Strasburg. Tbc
' I bel rich
and th< K- 4- ution.
.? officer. They inspired
ic; and, trust
Of hit genius, they
.1 1, I] . p
I ; ' a ? e p i ?
? I net rich family werf | ?
, bill 11 'was ;,!?
i " ?? day, when th? re
*"?? eothing ou the board but
some ainnium
tion bread aid a few slices of ham, Dii
g at Im Lisle with melancholy calmness,
?aid to him: 'Abundance is wanting at out
banquet, bul what matters that when neithei
m is wanting at our civic feasts nor
age in th?- - our soldiers? I have
till a bottle of wine loft in my cellar; let it
be brought up and let US drink to liberty and
ir country. There will soon be a patriotic
burg ; may these last drops
i ?'ith one of those hymns which
. y to the .-oui of the people the intoxica
they proceed.' The young
.i.i ied. brought in the wine and filled
father and the young
i! tl'.e liquor was exhausted. It was
. ; ' v. a- cold. De Lisle wa?
in a .. ate; his heart was touched; his
rented. The cold overpowered him,
and he tottered int i ely room .lowly.
01 . now in hi- patriotic soul.
..-i his harpsichord; sometimes composing
before the words, sometimes the words
the air, and SO combining them in his
'?at he himself did not know whether
the : came first ami that it
was ?le to separate the poetry from
music or the sentiment from the expr?s
g all and set down nothing.
"Ove powered with this Bublime inspiration,
ep on the harpsichord and
did not wake until day. lie recalled the
of the previous night with a difficulty like thai
wi'h which >>?? recall the impressions of a
i. He row sel down the words and mu
an with them to Dietrich, whom he
work in the garden. The wife and
the ? d patriot had not yet risen.
ii.1 them and invited sonv
Is who were as passionately fond of mu
and were capable ?>f executing
composition. His eldest daughter
pi - i ment, while Rouget sang,
tanza all face.- turned pale; at
. tears ran down every cheek; at
a I the madne of enthusiasm broke
Dietrich, his wife, his daughters ami
ping into each other's
the hymn of the count j ?'... found. It
tined, alas! to lie ai. o the hymn of
terror. A few months afterward the unfortu
.-h went to the scaffold I -
., which had their origin on
-. n hearth, in thi I nd and
if his children.
??'I" ? .executed some ?lays after?
ward ;.* . to city,
y all the public ore!;'
? -"?i it to bi t 1he begin
clubs.
hrough Fi
? on their route, whence it acquired
?be ram.- of " aise.' Th?- ? M
le, v. m? v.?-. - a pious Royalist,
ied at her ? ?of her son's
m : 'Whal 11 this revolu
? n which i by
rdc of ch our nan
ward
vith a shud
igh a pass in
?\v hat . ? f thai
i>- -,-:? : ?--?;._r_i-Tr__t_.-:_:r'?^:.:- PCTj I -j
e? - # -or-*-- ' ""** '
-
1 Ai ,'.,'<? fitntt?t ...- /M ? /m f, .'.?? ? . . ? ?/
A-T?ic, ye cnil-dreo ?o? the o?
-?? i' !!>? l?4-r-?"_r ? ?*-- e"r r'^-j
1 =s P N=i*ffi ! _F_S
1 .- . ' 1 ?*! I, r *- MII?J p? il? ^ ? ? ?V ? ? t * -- .' ? - ? ? ' *-? -?' ' ?
1 A n$c,jte cnildrto of ihc oa - tioi_,'Ihc d*) o? Rio ry do* it
3^-h?
??r ?#'
i_M... i ?
: ? ras ti.'~"t? ?^ .f.Jsm?zi
a? ? TT. -J
-->?.
lare I
(??, frit tumi dt la ty-r.in ? ni e, /.'t;r mi ru ?t ?
Scia-the htjsti bf dark op ? pres ? nun, Then ti!ix?3 stair.ed ban ntrs
Mk ?,?.... ^_? j-- -~i-1-?PS -,?F**? -*?*""? ? ? ?!-*-r-_r**i
g ; et .;:.;? -c'f?___| r R i . t s i r*p. ?r= e ? r-j
? a? 0 0
si * -T* _? _ - -?i_ ?_-.q .-1 ?.??_?_=__?_"? '
: .
-_? ?*<
__ rt-i
ZV? .Vu Sard san^ /iiat til ?t - ?/.
Tbeii blood f.U' ?i han neis, rear i
-??_ ??' g?? - - 0 0 "r-?
_ o? . .3vC?
? r? - 4? ?
-v-==j__a
/???.'. j . ? .i ?.?j; ??<?' rew
IK. ye not bevd? roar ing the
?J
? 9-?u-t/-9 IT0-0'm~ eT~sr
E=*_-_a
-f?r -?-.- ?1~
- 1. '--T^J?^-'.
?
OSg t^/ at/?
ty - i'nti h -,
_3 __=___fc----)--T->-^_?u------r:?-r^r....: P # ?
?J-4- aT ? J__d^-rr--::^:T^f^^_; __E?Eg-_Eg
fie at J? ? rv ? ?r: soi dats t
Sen - let uv? bo*_??s and [>eace ,
Hi RUM a- . Ml nc>i
Our *ors, oui ? ii.icc.h'.
(JLJ ..i II J J_J J'J?jJ-T "v--.-'^: 1
V - C r ' ', !| i " . * ? ? ? J ' -: '?
[ a i an? J. ' 4" ??, ~t --~- ??-?I '?'?' ?*-'~f' " ?> ' ' ?" " "**~" "-*?? ? ? ? ? -i iiaa .????, , , ,
V _ i i .^? ?a ?, ?. .??__?" < '' ?-1 ? ' ' " ' ' 0?-?- *
19 w St -mt_
"i,a Marseillaise,," the French National Anthem,
Trans?crri et de Lisle to the Palace of the Invalides.
was the pea ant'i reply. Tt was then that he
lean ? .He wa
pursued by th? id seal
*h dif?
ficulty. T . " hand
?
."
It i I ill
imag ? -?dents
whicl
the hyperbole
history r<
?? night
of Apr;! .' I,
... with the
? in a
sma'i ' .
Russia,
the mu? ic '?f ??? i d by a
The
Dietrich's
-
j after thai for a mili
It he hand
i iday,
.. pril 29. Al ' les on
I to the
motley volunteers who were about to start on
their march to Paris. The original title of
the song wa "Chan - - - pour l'Arm?e
?in Rhin" and had but six stanzas. The sev
rvas add-d by I.oui- Fran?ois Dubois, ed
of the "Journal de Litt?rature," so says
? ve Chouquet, "when it was dramatized
the F?te of the Federation in ord?
complete the characters an old man, a sol?
dier, a wife and a child among whom the
were distributed. Chouquel ei
: to high credence. He was a learned mu
ical historian, long keener of ?he museum of
I1 Coi ervatory, and, it is inter?
om 18 1 <* t<> i w, a teacher
of music in New York. .
Lamartine' concluding reflections are ex?
plained by the fact thai de Lisle was for a
? pace threatened with the fate which befell the
other patriot whose names have been men
? ? Mme. Roland, Barba
roux and Dietrich. I - nova!
of the attack upon the Tuileries on August 10
he wa ca hiered and thrown into pi
?s
r*r,.'i
Itv
; > ?M : r* - iT?. .*?. *)u qpfj
-? ?'? /?.'(, r?**? r->?n a. ,--.??
I ? -. i : ? stA' m ? -,i
*?. ?,; ..-s- , ..?.# ;
1 ? .ma
, B? ._-?* i*.*???? ?.mm m 5?._ ,.*
-_*? ** ? tf? a? a? - ^
1 ?;??.,( '; ?
-?-?_
a?
a? ??
?? aa
0 0?
gl _ -* # .j.-** ? # ?
4
' .
'# #" '?*
I? Z? T 0 ' - 5
S J! ;;? .: !-???
i_ . .-: e> ? et
. r- I : . '?- ?* - '-' ? i -?
/-"?r - "?'t . ... **W h?'taSH ?''.'?'
Your bold .- U.1 ' ?' UfW - bU '
0
.?/*>
Mardi
* i'i j || " :. :-: ..??;?. ! g 5
? -?*? .?? -*-?**/?. -?. ' *&-?- 5
#* ?er--0'?t
m -0.'mr-9 -?T
*i?
.?=? ? -* ^---?itlTi-'-^-|5^?5'---2-t
,2 HottS mlrtrcnt -font /.i ?S'riire,
Quand not aln/s n'y urent ffut,
JeoWe y trouveront leur fsjmstire,
Et i,t tract tir '??*??? Verfiel ?' <bi?>
Bit* ?util jj'cux dt km* survivre,
Qm Jf par toter leur cncueiL,
fftmt auront it sui.'ime orpttit
Dt iff venger (t? dt lei suivre.
Aux armes, citoyens ' etc.
3 Amcur m. ri d> ta Pat rit.
Conduit, tJe.i -.. mot trat "tofemri.
/.teert/, liber!/ ch/r?.
Combats avec Ut ?/femuun ! 'bii)
Sont net drapeaux eue /a VLt?irt
Accoure ?t Ut m?iet svetnti ;
Qui tes ennemit estHronit
Votent too trienpht fi ootFt etam /
Atta ormmtt, otsytot ' *%.
fi
Within the tomb ourselv? must enter,
When all wir '.kiest are at r?si,
We ?halt Und ?heir dust rcpoin^,
Tra?*e (he virtues each ?losse-'f ? '.i.':}
Then, then .hail we, jealuui of bono iryei
Sbr nk not to ihm Useji pare,
For ?it.de, -i'erroiT.in?; v..m r .-.-/et,
Avenge? sii!'. ?he brave
To ?III.., )f! aT-pt o
That M<*rcd I if '.?- ' v
<p\itt ?in afreth ont **.. *?r tt r.?.,
And to* runiju?".! ??gal ha fret
We ?ttt i)* o?s* tu ?
Spe?*d,ly ?Keii. < r mmn.- hrn ?
Tnu-op*. ?lull tit ea. h I .
And our One r-'U ? fl ,. . r , <-t
The living an.l tl. ? dead '
To a*m?, yc earr-ron a ' -,
Eis WoinideriFial Power amd
Sii-g'ulaF Eins-opy, as Told
by Lamartine
where be remained until Robespierre's head
had fallen, on July 28, 17!?I. He was born in
1760 and died in 1836, living long enough to
sing Republican, Royalist, Legitimatist and
Imperialist son;,'., and to receive a pi
from Louis Philippe for "La .Marseillaise."
DE LI8Ia_ra AUTHORSHIP QUESTIONED.
"La Marseillaise" has shared the fate of
the national hymn? of England, Austria and
Russia in having its authorship questioned.
The history of the orijri.-ial poem ha? been left
out of the controversy, but that of the music
has excrci ied the minds of carping critics and
foolish romancers for year-, despite the a".: :
ment ? ?le a judge and advocate ai M.
Chourpiet and the nephew of de Lisle, who in
1865 published a pamphlet .etti'ig forth in?
formation and documentary evidence which in
the opinion of Chotiquet i
chums without a doubt. The disposition of
? cs to disprove the accepted paternity of
? which have won the heart i of the multi?
tude is a singular feature of musical history,
and the flimsiness of the evidence relied on by
them is frequently a cause of amazement to
the judicious. A love for romantic el?
on the part of readers of musical literature
seems to be responsible directly or indirectly
for this tendency to sophisticate biographical
history. Stories which are purely imaginative
become current ? so few of those who
repeat them take the trouble to subject them
to critical examination. If a parallel is found
between the melody of an admired sonj? and
one that is unknown to fain? it i? the rule to
assume without further ado that the admire?!
one was cribbed from the unknown one and
that the reputed author of the former was a
conscious plagiarist. Even M. Chouquet,
though alleging that Georges K?stner and he
had clearly disproved a:; allegation made by
Fetis that the melo.ly of "I.a Marseillaise"
ha?l been written by a composer named Navoi
gille, repeats without comment a statement
made by a German writer in IST'J that the
tune is the same as that to which a folksong
beginning, "Stand ich auf hohem Berge" i
sung in 1'pper Bavaria. Now in the colo sal
collection of German folksongs publi.-he 1 by
Erk and B?hme, the result of a lifetime's
Ing all over Germany by Ludwig Erk,
there are several variants of "Die Nom:
the song is called, but in none of the melodies
is there a resemblance to the tune of the
French song. Moreover, to adapt the ?Germ?n
ballad to the melody of "La Marseillaise" it
would be necessary to make many awkward
repetitions utterly foreign to the nature of
folksong, and omit its most stirring portion
:he refrain. By much ?greater right one misrht
say that the germ ??f De Lisle'.- melody i
fourni in the tune of another German folk?
song entitled "Rinaldo Rinaldlr.i." for the con?
cluding period of that tune is the opening
period of the French tune, fact, how?
ever, has no bearing whatever on the author?
ship of "La Marseillaise." but only on i?? wide?
ly, for 'In- <?? song
cannot be traced further back than the year
So, too, a story has been told with a jrreat
deal of particularity to the effect that the en?
tire melody of the Marseilles hymn has been
found in the Credo of a mas? the manuscript
of which, dated 177'i, ami subscribed with the
name "Holtzmann" a? r , was dis
COVered in the library of the parish church of
Meersburg, on Lake Constance. No musical
historian knows aught ol imed
Holtzmann. though there has been a vajrue in?
timation given out that BOntebedy with that
surname once filled the 0_ irt ?Chapel?
master to the Elector Palatine. But when in
quiries were made at Ifeersb irg ii '1879 noth
ing could be learned from the parish curate of
such a mas.-. The author of the original
printeii in 1861, -aid that the ?:. of the
manuscripl was ready to show it to any ii?ter
ested inquirer, and the Credo 1? -aid to have
been reprinted in a book on De Lisle, pub
lished in Lcip.ic in 1898. That publication
has never come under the notice of this writer,
but if the manuscript of a Credo in which' he
tune of "La Marseillaise" app? I ? it is
high time that it.i authenticity lie proved or
that the champions nan authorship
for trie tune hold their peace. Againot the
theory of it? genuineness ami its spoliation by
De Lisle lies tl improbability thi
Midier in Frai n familiar
with an unpublished mass which lay hidd?
the srchiv? ?vn in Wurtemberg until
? early three-quarters ?>f a century afterword.
Such tardy documentary evidence may x
ally be set down at once a? spul : man
ufoctured for the purpose of t> ? pre
(ived theory. A significant case in point
ca:44e to notice a very feu when an
attempt was made t.? introduce new evidence
touching the identity of Beethoven's "Immortal
red" by means of an additional love-letter
to the pair whose ?late has called out volumes
..;' controversy. In th
? was in:. of recent com]
tion. The writer of th;
called upon the editor of "Die Musik," in which
journal the new evidence was set forth, for an
examination of the document by an expert in
caligraphy. !!? i few
months later the alleged letter was prow
ie an impudenl forgery and the editor
?I that he had been imposed upon.
FANTASTIC TALKS BEFI 111?.
In the c.-i tempted Beethoven fraud
detection v... i i omparison of p i
handwriting and a chemical test of ti.,
in the genuine ami gpurio , ents. There
wa? also evidence sufficient for the careful
Btudent in 'he phra the
obviotl :? to in'.".!,'
Composer's epistolary style. '.in?
deed, aiiled in the ?i? ' the fraud, for
the perpetrator put one of Beethove
lions mto the leite!' .?.'.u' before the occasion
which had led to i: coinage had arise:., and in
quoting a phrase inder
? copied the
have written them for the voice, but a
actually wrote them for the violin.
A great deal of : to history
and maintain.? itself there
to til?? fancj ai tl emol ? I i
. of "I.a Mai ge.lla.se" v ,1 by
Dubois, as has
attributed also to A i . whom it
would be pleasant to a oc?ate with De I
if for no other reason ?than ( the
political sympathies of the two poet... But
though the la.- which Ch?
m all likelihood were those of De Lisle's mel?
oily, CUt short b of the blade of the
guillotine, he bad nothing to do with th.
ation "f the ong. The family name, how
ever, ition?
ary ?ng, f " er, Marie
.;?, i? ph I h< ' i? , ?'? ho v te the words ?if the
"Chant ?lu Depart" ." d the "Chant ?lu Vie?
toire?:." The >', M?hul,
oras " y <?.I m popularitj t,, "1.a Marseil
' the hit'
which might be ? v througho il I
with a new meaning:
?i "ii.|, receive our h?.?t ??f war!
Haughi v \ imur, : ? re us bou :
' now!
Charleroi and M
Bru
The light ?>f libertj du
Now, plaintive Li? '?' ?
Receive the 11 ?color ensign 1
wrong she
brings !
Live kingal
There is an amiable appeal t?> fancy
emotions in . t
provide a fictitious author fur I
of De 1 hjmn. Il \>-?- printed in a b.v.k
entitle?! "An Englishman in Paris," pub'
.?me eighteen or tw?
? ild in detail how a priest who ha?l re?
fused to take th?' oath of the repubh,
brought I?. fore 'he Revoluti. 'mal.
.???I : "I -im th? \
Vienne and th?
the 'Ms ?? a word the
tribunal signified h their
? "t at the take
the Tuile? \ .". :. the
. i
!.. On ti .
of thei'- arrival, th? \ ' ?1
! but f.r hi? seiz ire
hip won!?:
ma'''
, <
Cu-tutum ou ?omita yac?,

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