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.
Bentham, Essays on the Subject of the Poor Laws, Essay III, in Michael Quinn, ed., Writings on the Poor Laws (Oxford, 2001), vol. 1, p. 136.
Here’s Severine Dupelloux singing the French national anthem to open the Winter Olympics at Albertville in 1992:
The link popped up in my twitterstream this morning, and I was very pleased to see it, not only because of the (sort of) appropriate Bastille Day / Olympics mash-up effect, but also because this was the legendary performance–a sweet ten-year old French girl from the Savoie singing unaccompanied before the TV cameras of the world–that inspired Danielle Mitterrand and others to embark on their ludicrous campaign (leComité pour une Marseillaise de la Fraternité, no less) to rewrite the words of the Marseillaise to make them a little less bloodthirsty. Happily, nothing came of it, and the French continue to enjoy the finest national anthem in the world.
Other Stoa Marseillaise links, some possibly still functional, over here.
[It was somewhat appropriate to have a British cyclist win–David Millar–win yesterday’s stage of the Tour de France, on the 45th anniversary of Tom Simpson’s death on Mont Ventoux. (If you haven’t read it already, William Fotheringham’s book about Simpson’s death, Put Me Back on my Bike, is marvellous.) But today, it should be turn of a Frenchman.]
Here’s the French football team and the better part of a hundred thousand fans singing the Marseillaise before the start of the 1998 World Cup Final. (Starts at 5 minutes in; jump forwards to 5.48 or so for Jacques Chirac in full-throated song.)
“There were many early attempts to record synchronous sound, though all too often the accompanying discs have been lost even if the image track survives. The 1907 films contained a few such, but one, La Marseillaise, had its singerâ€™s original voice, remarkably clear and perfectly synchronized. The result was an unusually poignant and vivid sense of a link to a hundred-year-old performance, an immediacy that went beyond what most silent films can convey, wonderful though they might be.