warm. revolution, but had now become poor under the calamities and sacrifices of the time. Its frugal table had always a hospitable. place for Rouget de Lisle. He was there morning and evening as a son and brother. One day, when only some slices of ham smoked upon the table, with a supply of camp-bread, Diedrich said to De Lisle, in sad serenity, "Plenty is not found at our meals. But no matter: enthusiasm is not wanting at our civic festivals, and our soldiers' hearts are full of courage. We have one more bottle of Rhine wine in the cellar. Let us have it, and we'll drink to liberty and the country. Strasbourg will soon have a patriotic fête, and De Lisle must draw from these last drops one of his hymns that will carry his own ardent feelings to the soul of the people." The young ladies applauded the proposal. They brought the wine, and continued to fill the glasses of Diedrich and the young officer until the bottle was empty. The night was cold. De Lisle's head and heart were He found his way to his lodgings, entered his solitary chamber, and sought for inspiration at one moment in the palpitations of his citizen's heart, and at another by touching, as an artist, the keys of his instrument, and striking out alternately portions of an air and giving utterance to poetic thoughts. He did not himself know which came first; it was impossible for him to separate the poetry from the music, or the sentiment from the words in which it was clothed. He sang altogether, and wrote nothing. In this state of lofty inspiration, he went to sleep with his head upon the instrument. The chants of the night came upon him in the morning like the faint impressions of a dream. He wrote down the words, made the notes of the music, and ran to Diedrich's. He found him in the garden digging winter lettuces. The wife of the patriot mayor was not yet up. Diedrich awoke her. They called together some friends, who were, like themselves, passionately fond of music, and able to execute the compositions of De Lisle One of the young ladies played, and Rouget sang. At the first stanza, the countenances of the company grew pale; at the second, tears flowed abundantly; at the last, a delirium of en thusiasm broke forth. Diedrich, his wife, and the young offi. cer cast themselves into each others' arms. The hymn of the nation was found. Alas! it was destined to become a hymn of terror. The unhappy Diedrich a few months afterwards marched to the scaffold at the sound of the notes first uttered at his hearth, from the heart of his friend and the voice of his wife. The new song, executed some days afterwards publicly at Strasbourg, flew from town to town through all the orchestras. Marseilles adopted it to be sung at the opening and adjourn ment of the clubs. Hence it took the name of the Marseillaise Hymn. The old mother of De Lisle, a loyalist and a religious person, alarmed at the reverberation of her son's name, wrote to him, "What is the meaning of this revolutionary hymn, sung by hordes of robbers who pass all over France, with which our name is mixed up?" De Lisle himself, proscribed as a Federalist, heard its re-echo upon his ears as a threat of death as he fled among the paths of Jura. "What is this song called?" he inquired of his guide. "The Marseillaise," replied the peasant. It was with difficulty that he escaped. The "Marseillaise" was the liquid fire of the revolution. It distilled into the senses and the soul of the people the frenzy of battle. Its notes floated like an ensign, dipped in warm blood over a field of combat. Glory and crime, victory and death, seemed interwoven in its strains. It was the song of patriotism; but it was the signal of fury. It accompanied warriors to the field and victims to the scaffold! There is no national air that will compare with the Marseillaise in sublimity and power: it embraces the soft cadences full of the peasant's home, and the stormy clangor of silver and steel when an empire is overthrown; it endears the memory of the vine-dresser's cottage, and makes the Frenchman, in his exile, cry, "La belle France!" forgetful of the sword, and torch, and guillotine, which have made his country a spectre of blood in the eyes of nations. Nor can the foreigner listen to it, sung by a company of exiles, or executed by a band of musicians, without feeling that it is the pibroch of battle and war. YANKEE DOODLE. The good the Rhine-song does to German hearts, The good thy anthemed harmony imparts, "God save the Queen!" to England's field and flood, A home-born blessing, Nature's boon, not Art's, The same heart-cheering, spirit-warming good, To us and ours, where'er we war or woo, Thy words and music, YANKEE DOODLE!-do.-HALLECK. The origin of Yankee Doodle is by no means so clear as American antiquaries desire. The statement that the air was composed by Dr. Shackburg, in 1755, when the colonial troops. united with the British regulars near Albany, preparatory to the attack on the French posts of Niagara and Frontenac, and that it was produced in derision of the old-fashioned equipments of the provincial soldiers as contrasted with the neat and orderly appointments of the regulars, was published some years ago in a musical magazine printed in Boston. The account there given as to the origin of the song is this:-During the attacks upon the French outposts in 1755, in America, Governor Shirley and General Jackson led the force directed against the enemy lying at Niagara and Frontenac. In the early part of June, whilst these troops were stationed on the banks of the Hudson, near Albany, the descendants of the "Pilgrim fathers" flocked in from the Eastern provinces. Never was seen such a motley regiment as took up its position on the left wing of the British army. The band played music as antiquated and outré as their uniforms; officers and privates had adopted regimentals each man after his own fashion; one wore a flowing wig, while his neighbor rejoiced in hair cropped closely to the head; this one had a coat with wonderful long skirts, his fellow marched without his upper garment; various as the colors of the rainbow were the clothes worn by the gallant band. It so happened that there was a certain Dr. Shackburg, wit, musician, and surgeon, and one evening after mess he produced a tune, which he earnestly commended, as a well-known piece of military music, to the officers of the militia. The joke suc ceeded, and Yankee Doodle was hailed by acclamation "their own march." This account is somewhat apocryphal, as there is no song: the tune in the United States is a march; there are no words to it of a national character. The only words ever affixed to the air in this country is the following doggerel quatrain :— Yankee Doodle came to town Upon a little pony; He stuck a feather in his hat And called it macaroni. It has been asserted by English writers that the air and words of these lines are as old as Cromwell's time. The only alteration is in making Yankee Doodle of what was Nankee Doodle. It is asserted that the tune will be found in the Musical Antiquities of England, and that Nankee Doodle was intended to apply to Cromwell, and the other lines were designed to "allude to his going into Oxford with a single plume, fastened in a knot called a macaroni." The tune was known in New England before the Revolution as Lydia Fisher's Jig, a name derived from a famous lady of easy virtue in the reign of Charles II., and which has been perpetuated in the following nurseryrhyme : Lucy Locket lost her pocket, Kitty Fisher found it; Only binding round it. The regulars in Boston in 1775 and 1776 are said to have sung verses to the same air : Yankee Doodle came to town, For to buy a firelock; We will tar and feather him, And so we will John Hancock, &c. The manner in which the tune came to be adopted by the Americans, is shown in the following letter of the Rev. W. Gordon. Describing the battles of Lexington and Concord, before alluded to, he says: The brigade under Lord Percy marched out (of Boston) playing, by way of contempt, Yankee Doodle: they were afterwards told that they had been made to dance to it. It is most likely that Yankee Doodle was originally derived from Holland. A song with the following burden has long been in use among the laborers who, in the time of harvest, migrate from Germany to the Low Countries, where they receive for their work as much buttermilk as they can drink, and a tenth of the grain secured by their exertions : Yanker didel, doodel down, Didel, dudel lauter, Yanke viver, voover vown, Botermilk und Tanther. That is, buttermilk and a tenth. THE AMERICAN FLAG. A resolution was introduced in the American Congress, June 13, 1777, "That the flag of the thirteen United States be thirteen stripes, alternately red and white; that the union be thirteen stars, white in a blue field, representing a new constellation." There is a striking coincidence between the design of our flag and the arms of General Washington, which consisted of three stars in the upper portion, and three bars running across the escutcheon. It is thought by some that the flag was derived from this heraldic design. History informs us that several flags were used by the Yankees before the present national one was adopted. In March, 1775, a Union flag with a red field was hoisted in New York, bearing the inscription on one side of "George Rex and the liberties of America," and upon the reverse, "No Popery." General Israel Putnam raised on Prospect Hill, July 18, 1775, a flag bearing on one side. the motto of the commonwealth of Massachusetts, "Qui transtulit sustinet," on the other, "An appeal to Heaven,"-an appeal well taken and amply sustained. In October, 1775, the floating batteries of Boston bore a flag with the latter motto, and a pine-tree upon a white field, with the Massachusetts emblem. Some of the colonies used in 1775 a flag with a |