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Updated: May 26, 2025
A cardinal, two archbishops, dignitaries, monks, hoary with prejudices, antiquated with abuses, extinguishers of the new light of liberty, here were offered on the national shrine! Chantons la Carmagnole." But he was destined to be disappointed once more. Danton had been there, but was suddenly called away by a messenger from the Jacobins. Our direction was now changed again.
At once they began to cry, "The chorus, the chorus, let them sing, 'Chantons, celebrons notre reine!" "Very well," said Marat. "I am a good royalist, for I have trained the people to the cry." "Sing, sing!" shouted the men to the performers on the stage "sing the chorus, 'Chantons, celebrons notre reine!"
And in the boxes, parquette, everywhere was the cry, "Sing the chorus, 'Chantons, celebrons notre reine!" "No," roared Santerre, "no, they shall not sing that!" "No," cried Simon, "we will not hear the monkey-song!" And hundreds of men in the parterre and the upper rows of boxes echoed the cry, "No, we will not hear the monkey-song!" "The thing works well!" said Marat.
The Queen being at the Opera with the Emperor, the latter did not wish to show himself; but she took him by the hand, and gently drew him to the front of the box. This kind of presentation to the public was most warmly received. The performance was "Iphigenia in Aulis," and for the second time the chorus, "Chantons, celebrons notre Reine!" was called for with universal plaudits.
"Chantons!" cried the Regent, whose eyes, winking and rolling, gave token of his approaching state which equals the beggar to the king; "let us have a song. Noce, lift up thy voice, and let us hear what the Tokay has put into thy head!" Noce obeyed, and sang as men half drunk generally do sing.
The Queen being at the Opera with the Emperor, the latter did not wish to show himself; but she took him by the hand, and gently drew him to the front of the box. This kind of presentation to the public was most warmly received. The performance was "Iphigenia in Aulis," and for the second time the chorus, "Chantons, celebrons notre Reine!" was called for with universal plaudits.
At one stage of the representation, Iphigenia is led in triumph through the Greek camp, while a chorus of Thessalians sing "Que d'attraits que de majeste; Que de graces l que de beaute! Chantons, celebrons notre reine!" The audience took the cue and transformed themselves into actors. Every eye and every head turned to the royal box, and for the sea and time every hand was raised to applaud.
They were then giving in the great opera-house Gluck's "Alceste," the favorite opera of the queen the opera in which a few years before she had received so splendid a triumph; in which the public loudly encored, "Chantons, celebrons notre reine!" which the choir had sung upon the stage, and, standing with faces turned toward the royal box, had mingled their voices with those of the singers, and repeated in a general chorus, "Chantons, celebrons notre reine!"
He was led about by a brisk, middle-aged woman, in straw hat and wooden shoes; and a little barefooted boy, with clear, blue eyes and flaxen hair, held a tattered hat in his hand, in which he collected eleemosynary sous. The old fellow had a favorite song, which he used to sing with great glee to a merry, joyous air, the burden of which ran "Chantons l'amour et le plaisir!"
"Chantons, celebrons notre reine!" The heart of the young queen overflowed with excess of joy. She leaned toward the emperor, and gently drawing him forward, the brother and sister both acknowledged the graceful compliment. The emperor was saluted with shouts, and the singers began for the second time, "Chantons, celebrons notre reine!"
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