#olympe de gouges

As @mathildeaquisexta and @robespapier already explained so well in this post, let’s be clear once and for all: Olympe de Gouges was not executed because she was a feminist, nor for any misogynistic reason.

She was executed under suspicion of modérantisme—a political stance that did not necessarily imply opposition to executions or support for clemency—and more crucially, under accusations of counter-revolutionary activity. In her writings, she advocated either a return to constitutional monarchy or the establishment of a federal republic. Given the intense internal and external civil war at the time, such views were considered dangerously destabilizing. The Montagnards, under mounting pressure, resorted to increasingly harsh measures—something that does not excuse their actions, many of which were indefensible, but places them in a broader revolutionary context.

Some sources—though I’ve yet to locate them again, so this should be taken cautiously—even suggest that she may have called for Robespierre’s death. In any case, she was far from the saintly figure some portray her as.

Did Olympe de Gouges deserve to die? Absolutely not. Was her execution condemnable, especially from a human standpoint? Yes. But from a legal perspective—however flawed the laws may have been—her writings were seen as criminal and therefore her trial was not, strictly speaking, unlawful.

Her feminism itself was full of contradictions. She opposed revolutionary women taking up arms, for instance. An interesting detail: historian Mathilde Larrère pointed out in a video that when de Gouges rewrote Article 12 of the Declaration of the Rights of Man and Citizen(La Déclaration des droits de l'homme et du citoyen) for her Declaration of the Rights of Woman and the Female Citizen (Déclarations des droits de la femme et de la citoyenne), she significantly altered its meaning.

Here is the original Article 12: "The security of the rights of man and citizen requires public military forces: these forces are therefore instituted for the benefit of all, and not for the personal use of those to whom they are entrusted."

Now Olympe's version: "The guarantee of the rights of woman and citizen requires a major utility; this guarantee must be instituted for the advantage of all and for the particular benefit of those to whom it is entrusted."

Where other revolutionary women were requesting weapons—and rightly so, given that they were at war—de Gouges stood firmly against it. At times, I can’t help but wonder if she wasn’t somewhat disconnected from the reality on the ground.

Yes, it's necessary to condemn lynchings, murders, and other excesses of the Revolution. But we must also avoid the "black legend" narrative that demonizes figures like the Montagnards, the CSP of the year II, Hébertistes, or the Enragés, just as we must reject the "golden legend" that romanticizes the Revolution. Much of the Revolution’s progress was driven by violent struggle: the storming of the Bastille, the fall of the Tuileries (which finally removed Louis XVI—a serious threat to the nation and the revolution because of his betrayal), or even the uprisings of enslaved Black people in the colonies.

These were violent acts—but how else could centuries of brutal oppression be overthrown? Enslavers were never going to relinquish power simply because someone asked nicely. The system itself was inventive in its cruelty and designed to resist any path toward Black liberation.

And yet, Olympe de Gouges, despite being an abolitionist, condemned the Haitian revolt in 1792. In a striking and disturbing passage from her play L'Esclavage des Noirs ou l'Heureux Naufrage, she directly addresses the enslaved and says:

"It is to you, now, slaves, men of color, that I am going to speak; I may have undeniable rights to condemn your ferocity: cruel ones, by imitating the tyrants, you justify them. Most of your masters were humane and kind, and in your blind rage, you do not distinguish innocent victims from your persecutors.

Men were not born for chains, and yet you prove they are necessary. If overwhelming force is on your side, why unleash all the furies of your burning lands? Poison, iron, daggers, the invention of the most barbaric and atrocious tortures cost you nothing, they say. What cruelty! What inhumanity! Ah! How deeply you make those groan who sought to prepare, through tempered means, a gentler fate for you — a fate more worthy of envy than all those illusory advantages with which the authors of France’s and America’s calamities have misled you.

Tyranny will follow you, as crime clings to those perverse men. Nothing will ever bring harmony among you. Fear my prediction — you know whether it is founded on true and solid grounds. I speak my oracles based on reason and divine justice. I do not recant: I abhor your tyrants; your cruelties fill me with horror »

Frankly, this is appalling. To suggest that enslaved people—who had endured horrors that defy comprehension—were just as bad as their oppressors is a cruel and absurd false equivalence when we know all the horrors of the slavery system and even if there were deaths on the other side who were truly regrettable, it is clearly not comparable. And what “tyrants” is she referring to? At the time, there was no formal revolutionary government in place in Saint-Domingue. There was no “major force” on their side. At that point in time, slavery had not yet been abolished, and the arrival of Sonthonax — a proponent of the gradual abolition of slavery — marked a turning point. One of the key factors behind the push for abolition was the execution of Louis XVI, which led some white royalist planters to seriously consider turning Saint-Domingue over to the British. In this context, the text appears, in my view, somewhat disconnected from the historical and political realities of the time.

In short, this is a deeply misjudged and insulting passage. That said, she's far from the only historical figure with contradictory views on slavery—Brissot and even Robespierre had their own problematic moments.

To her credit, de Gouges was lucid in other respects. She opposed the war that Brissot advocated, aligning instead—whether consciously or not—with Danton, Robespierre, and Billaud-Varenne, who foresaw the catastrophe it would bring. According to historian Antoine Resche, she supported constitutional monarchy but rejected the property-based voting system (suffrage censitaire).

Still, Olympe de Gouges was not widely known among revolutionary women of her time. Her Déclaration des droits de la femme et de la citoyenne (Declaration of the Rights of Woman and the Female Citizen) had limited impact. The true revolutionary womens "stars" were Théroigne de Méricourt, Pauline Léon, Claire Lacombe, Sophie de Grouchy, Louise Reine Audu, Manon Roland, Louise de Kéralio, Simone Evrard, Albertine Marat, the Ferning sisters, Rosalie Jullien, Sophie Momoro (as Goddess of Reason), Jeanne Odo, and perhaps Marguerite David ( of the group of Enragés).

In fact, it’s likely that de Gouges knew of these women, but not necessarily the other way around. Even after her execution, I’ve found almost no evidence of posthumous recognition during the revolutionary period.

From Year III to IV, women like Sylvie Audouin, Thérésia Tallien, Marie-Anne Babeuf, Sophie Lapierre, and possibly Élisabeth Le Bon (widow of Joseph Le Bon) gained more visibility — though Thérésia and Babeuf were probably more famous than Audouin or Lapierre. Still, Olympe remained largely absent from the collective memory ( at least to my knowledge). So she wasn't completely unknown, but her importance wasn't as great as some people would have us believe.

According to Mathilde Larrère, Olympe de Gouges only emerged from oblivion thanks to feminist Benoîte Groult, who revived her memory and her declaration. This was a fantastic move—it's always good to recover lost revolutionary voices.

But ironically, her legacy has since been co-opted by people who hold a very dark view of the French Revolution, some even veering toward counter-revolutionary ideals—because, yes, de Gouges was a staunch monarchist. Even worse, some who now praise her aren’t feminists at all, but use her image dishonestly to discredit the Revolution as a whole.

And the tragic twist? The women who were famous during the Revolution—Louise-Reine Audu, the Ferning sisters, Sophie Momoro, Marguerite David, Jeanne Odo, Rosalie Jullien, Sylvie Audouin, Sophie Lapierre, Marie-Anne Babeuf, Elisabeth Le Bon, Louise de Kéralio—have largely disappeared from collective memory. Others have been demonized or reduced to caricatures: Pauline Léon, Claire Lacombe, Simone Evrard, Albertine Marat.

Once again, my point is not to demonize Olympe de Gouges, but to highlight the problem of turning her into the only legitimate feminist voice of the French Revolution, while erasing or vilifying all others just because they held different political views.

If people genuinely want to honor Olympe de Gouges, they should portray her in full:

Her strengths—her opposition to property-based voting, her fight for the rights of children born out of wedlock, her courage in speaking out, her revolutionary spirit, her willingness to denounce Louis XVI’s betrayal despite her monarchist leanings.

And her flaws—her rejection of women bearing arms, her naivety about nonviolent change, her harsh and misguided condemnation of enslaved people fighting for their freedom.

She was sincere in her convictions, passionate about justice, and undoubtedly brave. But she was also human, with contradictions and limits like any of us.

People who take more of an issue with Olympe de Gouges than I do are perhaps better suited to answer this question, but from what I myself have seen, much of the animosity is perhaps grounded not so much in what de Gouges actually did as in the elevated status she has received in pop culture in recent decades. Since simplifications are always bound to happen there, de Gouges often end up getting portrayed as the only woman save Marie-Antoinette who played a part in the revolution. Common is also the claim she was the only revolutionary to push for women’s rights and that it was her feminist ideas that got her executed. This narrative does however come to overshadow both some of the women’s rights actually pushed through by the male revolutionaries (the right to divorce, right to their own property, reaching legal age etc) as well as other revolutionary women (Claire Lacombe, Théroigne Méricourt, Louise de Kéralio, Etta Palm etc) which they too have interesting stories to be told. Then it might again be worth mentioning that, according to the court records, de Gouges’ feminist ideas did not have anything to do with her getting condemned to death.

Aside from the fact De Gouges elevated status leads to other aspects of the revolution getting overshadowed and/or unfairly demonized, many also seem to find her too moderate to be deserving of said status in the first place. People have pointed out flaws in de Gouges’ reasoning when it comes to both of the areas where she today is most celebrated for having taken a stand — women’s rights and slave emancipation. When it comes to the first subject, people have underlined that her efforts mainly amounted to rewriting the Declaration of the Rights of Man and Citizen from 1789 so that it included both men and women, but in reality did very little to change the situation for actual French women. As for the abolishment of slavery, it has been pointed out that de Gouges was against slaves using violence to free themselves, which many find to be a naive take to say the least.

Now I think it deserves to be said de Gouges is hardly the only revolutionary to hold beliefs that were progressive for her time but still rather problematic for the modern day (for example, Claire Lacombe, a prominent member of the all female Society of Revolutionary and Republican Women, also openly told other women to stay out politics if they had children to take care of, while Robespierre wanted to abolish slavery but also accused the girondins of having ”wanted in an instant to free and arm all the Negroes to destroy our colonies.”) But it is of course much easier to point out someone’s ideas don’t reach perfection if the person in question is commonly presented in an idealized manner compared to if they’re not.

Finally, I think it should be said tumblr tends to skew robespierrist and montagnard, so a woman who outright wrote to Robespierre telling him to drown himself in 1792 and wanted the French people in 1793 to vote on whether they wanted a republican government, a federal government or a monarchic government might not always be received too well…

Here are two posts discussing de Gouges critically if you want to hear more:

La fessée publique d'Anne-Josèphe Théroigne de Méricourt, le 15 mai 1793 / The public spanking of Anne-Josèphe Théroigne de Méricourt, on May 15, 1793

Probably intrigued then boosted by the gradual arrival of Foreign Musicals on French soil, Claude-Michel Schönberg and Alain Boublil would collaborate to give birth, unknowingly, to the very first 100% French Musical : " La Révolution Française "

( * if these two names are not very familiar to you, they are simply the creators of Les Mis )

Choosing the French Revolution of 1789 as the subject of the show was a brilliant idea ! It's an event in French history important enough to be known by all generations and vague enough to allow for the creation of stories and memorable characters, even if, originally, this beautiful project was only intended to be a simple album, without any stage ambitions ...

This album was released in 1973

Accompanied by a short comic strip illustrating the story

DISTRIBUTION :

And the Charlots : Priests

Alain Bashung : Robespierre

Antoine : Napoleon

Jean Schultheis : Antoine Fouquier-Tinville

Claude-Michel Schönberg : Louis XVI

Franca di Rienzo : Marie-Antoinette

Noëlle Cordier : Isabelle de Montmorency

Jean-Pierre Savelli : Charles Gauthier

Gérard Blanc : Danton

Jean-Max Rivière : Marat

Jean Bentho : La Fayette

Gérard Rinaldi : Talleyrand

Françoise Boublil : Charlotte Corday

Élisabeth Vigna : Madame Sans-Gêne

Gérard Layani : La Terreur

Jean-François Michael : Les Chouans

Martin Circus : Tiers-État

****

The story follow the impossible love story of Charles Gauthier, a poor boy from the shallows , for Isabelle de Montmorency, daughter of aristocrats during the bloody events of 1789

( * This plot will be plagiarized without any embarrassment for another Musical " 1789 les Amants de la Bastille" many years later , I will probably talk about it in more detail one day )

This album was an unexpected success !!

So successful, in fact, that a stage adaptation was hastily staged at the Palais des Sports in October of the same year with Alain Bashung still in the role of Robespierre , and then at the Théâtre Mogador the following year with a new cast without the stars of the album

Despite its success, the show does not appear to have been filmed in its entirety , only the original album remains and some video archives :

The hype will continue to grow, the show will be performed by small amateur troupes all over the country, in holiday camps and even in schools ( I'll mention here that in France schools don't have musical theatre clubs and almost never put on end-of-year shows ) before disappearing completely all at once !

Completely overshadowed by all the Musicals who succeeded him , the show could very well have fallen into oblivion forever ...

Without the intervention of producer Pierre-Amar Chalal, who brought the show back to life at the Théâtre du Treizième Art in 2024 with multidisciplinary musician singers :

DISTRIBUTION :

Clara Poirieux : Marianne

Sébastien Duchange : Robespierre

Émilien Marion : Napoleon / Camille Desmoulins

Billy Boguard : Antoine Fouquier

Matthieu Vinel : Louis XVI

Julie Denn : Marie-Antoinette

Lucie Wendremaire : le Dauphin

Anne-Flore Roublique : la Dauphine

Marion Perronnet : Isabelle de Montmorency

Pierre Étienne : Charles Gauthier

Thomas Roditi : Danton / Charette

Henri Pauliat : Marat

Remi Torrado : Talleyrand

Diane Fourès : Charlotte Corday

Cindy Renou : Madame Sans-Gêne

Margaux Le Dorze : Olympe de Gouges

Laurine Dalbin : Théroigne de Méricourt

Madison Golaz : Pauline Léon

Antonin Holub / Madison Golaz / Romane Pollet / Laurine Dalbin

ANECDOTES :

The term " Comédie Musicale " used today to define musical in France had not yet been invented / democratized , that's why La Révolution Française and the shows that followed until the end of the 80s are classified in the "Opera Rock " category

...

In the album and on stage, a very young backing vocalist goes unnoticed , Yet, this is Daniel Balavoine who would become six years later the iconic face and voice of Starmania, one of the best French Musicals !!

Here , with the long green jacket in the middle ⤵️

...

It's true that this show has a slightly old-fashioned feel (I'd even say it's a bit cobbled together), but without it, without the audacity to try and equal shows performed abroad, perhaps Les Misérables would never have existed ? And perhaps no one would have had the courage to create what would later become the very precise norms and codes of French musicals