On August 8, at the closing ceremony of the Tokyo Olympic Games, a short video of the next Paris 2024 Olympic Games was played, allowing many spectators who do not bird Japan's "Hades" culture to call back to the "Yang".
Indeed, as soon as the tune of "Marseillaise" came out, coupled with the sunny weather in Paris, the feeling of the sun came up.
The performers of the French National Symphony Orchestra spread The Marseillaise throughout the city.
Flute players play solo on the roof of the Stade de France, violinists play on the seine, in front of Notre Dame Cathedral; marimbas are played on the steps of the Louvre, behind one of the three treasures of the town hall, the statue of victory; and pianists play on the tracks of the old train station in Paris... The most wonderful thing is that on the International Space Station, the astronauts used the saxophone to blow out the last melody of the Marseillaise.
Under the haze of the epidemic, sunny and vibrant Paris is shown with "Marseillaise", and I have to say that the French understand it too well.
The Marseillaise is probably the most well-known of the national anthems of various countries, and it even transcends national borders and becomes synonymous with ideals and revolutions, perseverance and faith.
One night genius created immortal songs
The most legendary and powerful claim to the birth of the Marseillaise comes from Zweig's When the Stars Of Humanity Shine.
The author of the Marseillaise, Rouge, was a captain in the Strasbourg garrison and was good friends with the local mayor.
In 1792, the year the French Revolution had broken out, and the Bastille, a symbol of the dictatorship of the monarchy, had also been captured by the angry people of Paris. On 25 April 1792, the French National Assembly, in the name of fighting for new freedoms, officially declared war on the Austro-Prussian anti-French coalition forces in the name of maintaining the old order.
"At such moments, the whole nation has reached unprecedented unity through confidence in victory and a fervent yearning for the cause of freedom. Just as such speeches and toasts were marching, Mayor Dietrich suddenly turned to the young Captain Rouge of the Fortress Troops sitting next to him...
The mayor suddenly remembered that when the Constitution was promulgated six months ago, Rouge had written a fairly brilliant ode to freedom, suitable for singing. So the military band practiced it to maturity, playing and chorusing in public squares.
Isn't the declaration of war and the march now also a great opportunity to use music to represent solemn scenes? So Mayor Dietrich casually asked the Captain Rouge (who had arbitrarily added to himself the symbol "de"3, named Rouge de Lier, which he had no right to do) – as if to ask a good friend of his own – whether he would like to use this patriotism to compose some lyrics for the departing troops, to compose a war song for the Rhine Army that would go out on a crusade tomorrow? ”
Luge never regarded himself as a serious composer, and he expressed his willingness to obey in order to make the mayor happy.
Captain Rouge de Lier
Back at the apartment, "all those inspiring words in the various appeals, speeches, and toasts are still rolling in my head in a haphazard way... Almost subconsciously, he wrote down the first two lines of the lyrics, which were nothing more than the echoes, echoes and repetitions of those shouts: Forward, forward, sons and daughters of the motherland, the glorious moment has come! ”
Zweig's next description is very eloquent:
So he took his violin from the cupboard and tried it. Wonderful. The rhythm of the first few beats quickly matches the melody of the lyrics. As he hurriedly continued to write, he felt as if a force had poured out of his whole body, dragging him forward, and everything: the feelings in his heart at this moment; the words he had heard in the streets and at banquets; the worries about the countryside; the confidence in victory; the love of freedom—all came together at once.
"LuGe didn't need to create, he didn't need fiction, he just had to rhyme all the words that are being spoken today, with melodies and charming rhythms, and he would have already expressed the innermost feelings of all the people, spoken out, and sung."
"Moreover, he did not have to compose music, for the rhythm of the street, the rhythm of time, the scrappy rhythm of the soldier's marching pace, in the high sound of the trumpet, in the rutting of the gun car, had passed through the closed shutters and reached his ears."
"The melody is more and more submissive to the powerful beat of cheering—the pulse of the people of the whole country... In the narrow mind of a citizen, there had never been such passion.
It was not a kind of excitement and enthusiasm of his own, but a magical power that gathered at this moment and burst out, dragging the poor amateur composer a thousand times far away from himself, shooting him like a rocket—shining with a very brief light and flame—toward the stars. Overnight, captain Rouge de Lier was made one of the immortals. ”
The song was originally called "The Battle Song of the Army of the Rhine", and the mayor of Strasbourg did not pay much attention to it. However, the song soon spread among the French people.
At the end of May, the volunteers from Marseille rushed to Paris, where a young volunteer from Montbellier, François, sang the song at a patriotic rally in Marseille, which was later identified as a military song on the march.
After arriving in Paris, the maasai song greatly boosted morale, and the name "Marseillaise" was determined, and eventually became the official name of the song.
Zweig went on to write that a month or two later, the Marseillaise had become a song of the whole people, a song of the whole army. At that time, there was not a festival that did not end with the Marseillaise, and there was not a single battle that was not played by the team's band. Right now, Marseillaise is like the winged goddess of victory, soaring through all the battlefields of France, bringing passion and death to countless people.
With the waves of the revolution, it floats and sinks
The process of one night of genius is like divine help, and as an amateur composer, his personal ending is dismal.
It can be seen from the addition of the aristocratic name "De" to his name by Luge that he was not a true revolutionary.
At the end of the Revolution, he left the army and his pension was abolished.
He became a cynical man and lived a sloppy life. He is said to have been a thief and chased by the police for his debts. When Napoleon wanted to give him some money, he rebuked the great man: "What have you made of the revolution?" What did you make of the Republic? ”
Like Luge's many ups and downs, marseillaise's fate is also tortuous, and the two are sometimes intertwined. With the change of regime, the Marseillaise brought him honor one moment and an insult to him the next.
On July 14, 1795, the French Governor announced the designation of the Marseille as the national anthem. But after Napoleon came to power, he banned the singing of the Marseillaise.
In 1817, Rouge settled in Paris, but his works were banned from appearing on the stage in Paris and in the National Library. He was imprisoned at the age of 70 for debt and was later released on the back of a friend.
Three glorious days (three days of the revolt of the parisian people to overthrow Charles X on July 27-29, 1830) revived the Marseille, which was sung at the Paris Opera.
For this song, people awarded Rouge a prize and a leather coat symbolizing honor. But the coat didn't take long for him to die.
Although the author is dead, the Marseillaise has a longer life. In the political trial of 1834, the Marseillaise was slandered as a song that "incites riots".
In 1848, a wave of revolution broke out in Europe, and the Marseillaise began to spread in Europe, while in its homeland, the Second French Empire, declared it a song of "incitement to subversion".
However, Napoleon III once imitated his late uncle and allowed the singing of the Marseillaise during the Franco-Prussian War. In 1880, the status of the Marseillaise was finalized, and the government stipulated that schools must teach the singing of the Marseillaise.
The First World War confirmed the marseillaise's ability to rally hearts and minds in the face of death threats. But abroad, "Marseille" is still a revolutionary song. Lenin, who ended his exile, returned to Russia in the singing of the Marseillaise.
Between 1906 and 1910, the French who participated in the Tour de France hummed the song involuntarily as they rode through German-ruled Alsace.
An unforgettable scene in the classic World War II film Casablanca is when Victor, the owner of Rick's Bar, orders the band to sing "Marseille" in order to overwhelm the Nazi army in order to overwhelm the Nazi army.
The French, along with some other guests, sang along, and when the song was over, people shouted excitedly, "Long live France!" "Long live freedom!"
At the time of the liberation of Paris, General de Gaulle also sang the Marseille.
Not everyone likes its military themes. Valery Tiscard Destin, the president of France who was in power from 1974 to 1981, ordered the song to be slowed down because he felt the song's war spirit was too strong.
After THE VIOLENT ATTACK ON PARIS IN 2015, "Marseillaise" awakened the morale of Paris.
Historian Simon Sharma said on a BBC programme that "The Marseillaise is a good example of the most courageous and united in the face of danger. That's why it's so uplifting, and why it's the greatest national anthem the world has ever made. ”
Playing the Marseillaise in front of Cixi
The "Marseillaise" appeared in China's earliest "Popularization of Law and War" written by the late Qing dynasty political commentator Wang Tao, and later with the continuous strengthening of exchanges with the world in the late Qing Dynasty, the "Marseillaise" actually appeared in the ceremony to greet Empress Dowager Cixi.
In the 30th year of Guangxu (1904), the construction of the Beijing-Feng railway was completed. Empress Dowager Cixi took a train to Shengjing (Shenyang).
When the train passed through Tianjin, Yuan Shikai, who was training at the small station, pulled out his small station band to help entertain. The Small Station Band was formed by selecting from among the 162 musicians in the army who were familiar with various military instruments. He also collaborated with the "HD Band" to perform for Empress Dowager Cixi.
The "HD Band" is a pipe band recruited by the General Taxation Department of China Customs and the British robert Hurd to form a former band in Tianjin. The instruments were purchased by HD at his own expense and can be said to be the grandfather of the Chinese pipe band.
This time, the small station band once again undertook the task of taking over the driving, and actually played "Marseillaise". Because there was no official national anthem of the Qing Dynasty at that time, the band that took over played the most popular music.
Small Station Military Band
The Marseillaise is a fighting hymn to freedom, calling for the abolition of the feudal nobility.' This can be regarded as a public curse on Cixi.
However, Cixi could not understand the "Marseillaise" and thought it was quite good, so she simply let the small station band go to Shenyang with the car and play on different occasions.
The Qing court was not a nobody in the court, and The female official Yu Deling, who was close to Cixi, had accompanied her father Yu Geng on an envoy to France and still knew about the Marseillaise. But Cixi's temper could not be pointed out to her face.
After a while, Yu Deling suggested to Cixi to formulate a national anthem so as not to make jokes, which was also a disguised persuasion not to play these revolutionary songs. However, the national anthem was not fixed until Cixi's death 8 years later.
Resources:
"When the Stars Of Humanity Shine" Zweig
The Voice of Revolution in Paris: From the Marseillaise to the Internationale
The story behind "Marseillaise" Zhang Jieyuan
"Marseillaise" has been weathered
Tsumon Shu Past · The earliest Western band in Tianjin walkers have no boundaries
The pictures in this edition are based on the Internet