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manner in which Rachel sang, or rather chanted, the "Marseillaise," was, perhaps, a greater manifestation of her unprompted natural genius than any other part she essayed during her brilliant career.

After the Revolution of February 1848, and the flight of royalty, mob law ruled unchecked. Every place of amusement was deserted; all excitement and interest concentrated on what was passing in the streets, where the people, wild with joy, set up trees of liberty, and shouted the "Marseillaise."

The idea of singing the national hymn first occurred to Rachel on one of these memorable days at the end of February. She lived near the Porte Maillot, and, in entering Paris, had to make her way through crowds declaiming it in every tone, and with every gesture of excitement and emotion. She then began to repeat it lowly to herself as she passed along, until the first idea took shape and form. M. Lockroy tells us:—

"One evening I was in Rachel's loge, when she suddenly said, 'I have dreamed of something extraordinary, which will draw all Paris. I will sing the "Marseillaise. 'But I did not know you could sing.' 'No, but I can chant it (make a mélopée of