Fully engaged with the liberal intellectual currents of the Enlightenment, de Gouges spent the 1770’s and 1780’s in Parisian salon circles cranking out plays (over 40) and petitions, pamphlets and manifestos on animal welfare, poverty, the treatment of orphans, and ending slavery.
The latter issue, and not women’s rights, was the cause her contemporaries would have most associated with her.
But the natural-born gadfly didn’t pick her battles with injustice, and the Terror was a bad period to be indiscriminate. Like some of her Girondist associates, she risked the Paris mob’s wrath by openly opposing Louis XVI’s execution — right in character, Olympe was down on the whole idea of the death penalty — and she carried principle into foolhardiness by printing broadsides savaging Robespierre.
There can be no mistaking the perfidious intentions of this criminal woman, and her hidden motives … calumniating and spewing out bile in large doses against the warmest friends of the people, their most intrepid defender.
Olympe de Gouges, born with an exalted imagination, mistook her delirium for an inspiration of nature. She wanted to be a man of state. She took up the projects of the perfidious people who want to divide France. It seems the law has punished this conspirator for having forgotten the virtues that belong to her sex.
And strange to say, that condescension outlived Robespierre by centuries.
Only recently, as mainstream thought has (sort of) caught up with de Gouges, has the scope of her work (French link) attracted renewed appreciation, and Olympe been acknowledged an Olympian herself.
* Article 10: “Woman has the right to mount the scaffold; she must equally have the right to mount the rostrum.” The work was dedicated to Marie Antoinette.
This afternoon in Paris, 1793, the French Revolution devoured the Queen.
Thirteen-year-old Madame Antoine — a year before marriage, and rebranding as Marie Antoinette. A vast gallery of her portraiture awaits here.
Among the most emblematic death penalty victims in history, Marie Antoinette — the “widow Capet,” as she was styled in egalite, after the guillotine shortened her husband — had the bad luck to personify the decadence of the ancien regime under the hegemony of the sans-culotte.
(And, of course, the good luck to be born heir to all the perks of absolutism she enjoyed for the first thirty-plus years of life. So, you know: a mixed bag.)
Those infamous excesses — and her infamous alleged bon mot, “let them eat cake” — are said to have been greatly exaggerated, nothing that everyone wasn’t doing, nothing that wasn’t understandable under the circumstances.
She had a gift, it seems, for accumulating to her personal reputation the outrage incurred by every gross and petty indulgence of the old order. And she had a popular press, the libelles, ready to embroider them salaciously.
Jacques-Louis David sketched this portrait of a haggard Marie Antoinette en route to the guillotine.
Cruel, wanton, senseless … her death was all of these, but then many others in the Terror suffered the same, as many others had under the Bourbons.
As royal dynastic pairings go, she’d been dealt a bad hand.
Her mere presence in France was fruit of the controversial policy of alliance with the Austrian Habsburgs from the Seven Years’ War, and she was trundled off with her dowry and her teenage wiles to the foreign snakepit of Versailles just as the minister advancing that policy fell. Distrusted by the French as an Austrian catspaw, castigated by her family for her inadequacies thereto, socially expected to display conspicuous regal largesse during a budget crisis not of her making, and unable for the longest time to get a successful fuck from her indifferent and/or impotent husband, it must have seemed to her some days like every play was a losing one.
She struggled to gain traction at court. But she would lose much more than influence.
I was a queen, and you took away my crown; a wife, and you killed my husband; a mother, and you deprived me of my children. My blood alone remains: take it, but do not make me suffer long. (WikiQuote)
Her bearing she kept forever: in a kangaroo court with a foreordained outcome where her imperious dignity still managed to turn aside an accusation of sexual abuse her son had been cajoled into supplying; on the scaffold, when she did not neglect courtesy to the executioner whose foot she trod:
“Monsieur, je vous demande pardon. Je ne l’ai pas fait exprès.”
For much more queenliness, Marie-Antoinette.org delivers what the url promises, in quantity. If this figure or this period appeals, be sure to browse its forums.
Naturally, the doomed queen has had plenty of attention from printed word as well:
Most recognizable today for her Declaration of the Rights of Woman and the Citizen* — a proto-feminist call for equality of the sexes issued in response to the day’s revolutionary but guy-centric Declaration of the Rights of Man and of the Citizen — de Gouges was much more than a one-issue woman.
Recently Commented