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NOTES AND QUERIES. [ii s. XL JAN. 23, 1915.

No. 33. GREAT DINING ROOM. King James 2 nd Queen Mary Queen Ann King George 1 st King of Sweden Princess Royal Princess Amelia Princess Caroline Duke of Argyle Earl of Sussex S r Chr. Yelverton Ditto JLady Yelverton, wife of Sir Chris. [Anne, daughter

"of Sir William Twisden] Sir Henry Yelverton

No. 34. GREAT STAIR CASE. 1 Family Piece .Mast r and Miss Calthorpe Dame Spencer Chast Lucretia

No. 35. PASSAGE ROOM TO YE CHAI>PLE. Duke of Richmond Frances, Viscount" Hatton [daughter of Sir Henry

Yelverton] t/ady Bulkeley M rs Lawson

No. 36. DAMASK RED CIIAMB"- "The Picture of Lady Pembroke

No. 37. DRESSING ROOM. 'The Picture of Lady Lincoln

No. 40. CHAPPEL. Our Saviour on the Cross Arch. Bpp' Sheldon

No. 41. THE EATING PARLOUR. 7 Prints 1 Do. the Duke of Norfolk

No. 42. GREAT HALL. Duke of Shrewsbury Dutchess of Shrewsbury Earl of Shrewsbury Gilbert, Earl of Shrewsbury Duke of Monmouth Henry the 9 th Earl of Kent Elizabeth, wife of D Henry, the 11 th Earl of Kent Lady Susannah Grey

[The last four were ancestors of Charles Longue- ville, Lord Grey de Ruthin.]

IN THE STEWARDS PARLOUR AND PUMP

PARLOUR. -5 pictures (not described).

Sir Christopher Yelverton, 1st Bart., was father to Sir Henry Yelverton, who married Susan, daughter and heir of Charles Longue- ville, Lord Grey of Ruthin. Their second son, Henry, created Viscount Longueville, married Barbara, daughter of John Talbot of Laycock, co. Wilts, and was the father of Talbot, first Earl of Sussex, who married Lucy, daughter of Henry Pelham. Their two sons, George and Henry, were respec- tively second and third Earls of Sussex.

PERCY D. MUNDY.

THE MAKSEILLAISE.'

IT is curious that until 1908 the question as to who wrote this stirring national anthem had not formed the subject of much discussion in 'N. & Q.,' but a short note on the 24th of October of that year by MB. W. ROBEBTS (10 S. x. 326) states that

" a long and interesting article in the Figaro (Literary Supplement) of 7 August, by M. Michel Aube, proves, as conclusively as such things can be proved, that the author was undoubtedly Rouget de Lisle."

I have been moved by the incomplete- ness and inaccuracy of current English "versions" of the 'Marseillaise' to attempt the following more literal rendering of the whole of that magnificent battle-song. In this rendering my sole aim has been to keep as close as possible to the actual words as well as to the spirit of the original, my desire being to convey to some of the many English iolk whom the present happy alliance of France and England has made familiar with the music of the French national hymn, but who do not under- stand French, the marvellous appropriate- ness of the chant du combat of 1792 to the circumstances of 191415. In all the seven verses (six by Rouget de Lisle, and the seventh by Dubois) there are only three lines that might not have been "specially" written within the last six months.

O come, ye sons of France our motherland,

The day of glory dawns at last. See the tyrant foeman with bloody hand Waves his standard high on the blast Waves his standard high on the blast ! Hark ! hark ! his soldiers for their prey Come roaring o'er the country-side : Mother, sister, child, and bride In our very clasp they would slay ! To arms, ye men of France ! form up your ranks

once more :

March on, march on, and let oui fields be drenched with felon gore !

W T hat seek they as prize of battle,

This horde of traitors, princelings, and slaves ? For whom are these chains that they rattle Chains they long have been forging, the

knaves Chains they long have been forging, the

knaves !

Frenchmen, for us ! they boast it in bravery: How free souls revolt at the word ! 'Tis us these bondmen of the sword Dare to dream of bringing into slavery ! To arms, ye men of France ! form up your ranks

once more :

March on, march on, and let our fields be drenched with felon goro I