#louis marie prudhomme

[anotherhumaninthisworld]

Out of interest for his wife, we invited [Desmoulins] to stop writing [Le Vieux Cordelier], telling him that he was running the greatest dangers, and that, not being able to dip my pen in blood, I was going to stop writing my journal, Révolutions de Paris. He answered me: “What are you going to do? Maybe you will write our crimes.” Which, indeed, I did. His wife arrived; he told her the subject of my approach against him. She said: “My husband would be a coward to stop his Vieux Cordelier at a time when tyranny has no limits!” “Well, I am sorry, madame,” I said to her, to predict that you yourself will be one of the victims; those who govern respect neither beauty nor kindness.” Leaving her house, I ran to her mother to tell her my fears for her daughter and son-in-law. This lady admitted to me that she could not see without pain the stubbornness of her daughter, and the influence she had over her husband, who had much less character than her.

Biographie universelle et historique des femmes célèbres mortes ou vivantes (1830) by Louis-Marie Prudhomme, volume 2, page 273-274. Prudhomme gets in a huge load of errors throughout the rest of the article (Lucile’s first name, date of birth, marriage and death, the circumstances regarding her arrest as well as Saint-Just attending Louis-le-Grand with Desmoulins and being one of their wedding witnesses) but seeing as he claims it is from he himself this anecdote originates I’m willing to give it a bit more credibility. It also fits nicely with this other anecdote, reported by both Marcellin Matton (in 1834) and Nicolas Villiaume (in 1851) who in their turn had acquired it from Lucile’s mother:

[Guillaume] Brune, afraid of the danger that Camille, his former college friend [sic], was running, came to find him and begged him, for the interest that true republicans had in him, for the love of his parents, for the tenderness of his wife, not to not further irritate the enemies that his satirical and biting wit had made him, to show more moderation in the picture he painted of the misfortunes of the times, and even to cease the publication of his Vieux Cordelier. Camille, who had initially only responded with jokes, began to justify his behavior, as beautiful as it was angry, with reasons to which it was not easy to answer.

”I admit it to you,” Brune said to him, ”I cannot help but admire you; However, be certain that with more moderation you will do real good, while by continuing you give yourself up, you immolate yourself, you lose yourself and you save nothing.”

”Do you believe,” he then replied, ”that they will dare to attack me, declare me a traitor, me and my Vieux Cordelier, and that for having requested a committee of clemency and justice; for wanting to complete and consolidate the work of our revolution? I have all of France om my side. Desenne (that was the name of his bookseller) cannot suffice for the sale of my issues. I am read, heard everywhere.”

”You are also read by Barère who recognizes himself; by Saint-Just, who promised to make you carry your head like Saint Denis.” 

”That’s true,” he replied, ”I remember it: it was a very bad joke, and my answer was much better. Have you seen my letter to Dillon? In the approach and posture of Saint-Just, we see that he regards his head as the cornerstone of the republic, and that he carries it on his shoulders with respect like a holy sacrament. Was I wrong, and do you think that for such a good joke he would want to kill me? I only ask him for one favor, and that is to wait until he has given a valid response.”

Madame Desmoulins had invited Brune to family dinner, it was served and they sat down at the table. Camille, gradually warming up, explained to him the bright future he was preparing for his homeland.

”Believe me,” he said to him, ”I am the man of the revolution. When it was necessary, I risked my life for her at the Palais-Royal. At that time they also wanted to make me worry, like you are doing today; but the nation walked with me, and I was at peace. I am still sure, with my Vieux Cordelier, to lead her in my footsteps, to respond to her wishes, to her needs; public opinion will still be my strength.”

”And if it gives your enemies time to strike you?”

”I have ready friends. Have you not heard the eloquent voice of Philippeaux? Danton sleeps: it is the lion's sleep; but he will wake up to defend my cause.”

His friend was far from convinced and repeated the same prayers to him; but Lucille, who at first had shown herself to be very sensitive to Brune's worries and fears, now shares all of Camille's enthusiasm; she notices that this interview has made him hot, she immediately puts a handkerchief on his forehead; gives him a kiss on the cheek and cries: “Let him do it, Brune, let him do it, he must save his country; let him fulfill his mission.” Then she pours her husband and Brune an exquisite chocolate with enchanting grace. When the chocolate had been served, Camille said: edamus et bibamus cras enim muriemur (let us eat and drink for tomorrow we die); while pronouncing these words of death, he affected an air of gaiety and took his child, his little Horace, on his knees. Camille had only supported his thesis because of his wife, whom he did not want to sadden for anything in the world.

[mucillo]

( by Paz)

"I grandi si sentono grandi solo perché noi siamo in ginocchio: alziamoci!”

LOUIS MARIE PRUDHOMME

Slogan della rivoluzione francese

[vivelareine]

The last words of Louis XVI can be traced back to the Abbe de Edgeworth, who accompanied him to the scaffold. But what of the last words of Marie Antoinette? There were many last words attributed to the queen during the 18th and 19th centuries, but there is one set which has become the de-facto last sentence uttered by the former queen of France: “I’m sorry, Monsieur. I did not do it on purpose,” after she stepped on the foot of the executioner.

The earliest usages of this quote were published in 1793, in the aftermath of her execution, in Prudhomme’s Révolutions de Paris, which is where the above engraving was initially published as well.

Prudhomme suggests that perhaps Marie Antoinette stepped on the executioner’s foot on purpose, ‘arranging’ the scene for self-interest:

As she ascended the scaffold, Antoinette inadvertently placed her foot on that of Citizen Samson; and the executor of judgments felt enough pain to exclaim: “Aiè!” She turned around, saying to him: “Sir, I beg your pardon, I didn't do it on purpose.”

It could be that she has arranged this little scene so that we are interested in her memory; for self-love leaves certain individuals only at death. Moreover, such were all these court personages. They committed the greatest horrors, the most revolting injustices, in cold blood and without remorse; and they asked forgiveness for the petty nonsense that eluded them.

Was Prudhomme’s account accurate?

His recap of the queen’s final morning has some curious details that we don’t find in other accounts, fragmented and biased in their own ways.

For instance, Prudhomme claims she cut her hair herself, before Samson arrived; and that she wore white "like her late husband," in an affectation of innocence that was "ill suited to Marie Antoinette." He also claims the crowd let her pass "quite peacefully," except for some clapping, because the people were only focused on her current fate (death) and not what she had done before. 

The most glaring detail here is the scissors. I genuinely can’t imagine Marie Antoinette being allowed scissors or a knife to cut her own hair.

The rest is really subjective opinion glossed with revolutionary sentiment, in the same way that Prudhomme suggests her ‘firmness’ was from habitual pride. Was she wearing white because of some desire to connect with Louis XVI’s last outfit--an affectation of innocence? Or because she wasn’t allowed to wear the widow’s clothing she’d been wearing for months, or because she wanted to wear something clean? Etc.

I read somewhere that the quote was also used in Le Père Duchesne, but I have been unable to find any evidence for this yet.

I do think it’s fascinating that the most steadfast “last words” attributed to Marie Antoinette came from a revolutionary pamphlet that essentially described her as a monstrous habitual criminal, and suggested it was perhaps a staged act intended to satisfy her need to be interesting and remembered.

[yespat49]

Dictionnaire des 17 500 individus condamnés à mort pendant la Révolution de 1789

17 500 français de toutes conditions officiellement condamnés à mort durant la Révolution de 1789 !  Connu pour son Histoire générale et impartiale des erreurs, des fautes et des crimes commis pendant la Révolution française (6 volumes), ouvrage saisi par la police du Directoire, le journaliste Louis-Marie Prudhomme publia en 1796 son Dictionnaire des individus condamnés à mort pendant la…

[marieheiram]

Parce que demain sera un 2 septembre, je vous recommande la lecture des 6 volumes de cet ouvrage de Louis Marie Prudhomme, journaliste français républicain (1753-1830) :

[johnsellph]

Jean-Pierre Carenso

Jean-Pierre Carenso has died aged 86. A former director of the Tour de France, Carenso – pictured on the right – is one of several “forgotten” directors from the 1980s and did a lot to change the race and the business of pro cycling in a short space of time.

Go back to the 1980s and the Tour de France had the feel of a travelling circus and a tired one at that. A lot of the features we take for granted didn’t exist. The village départ at the start, the big arch over the finish line, a slick podium ceremony, all had yet to be invented. Yet it was the pre-eminent bike race, so important that teams used to pay entry fees to start. All this changed in the late 1980s and Jean-Pierre Carenso was a driving force behind this.

A brief history of Tour de France directors… How many Tour de France directors can you name? Christian Prudhomme occupies the role today, many will remember Jean-Marie Leblanc. Jacques Goddet, Félix Lévitan and Henri Desgranges all have their name in history… and Wikipedia pages, as a proxy for this. But in the 1980s there were four others, but often with short roles that they’ve been overlooked.

Today the Tour de France is run by Amaury Sport Organisation and to cut a story short it was called Société du Tour back then. Just like today, the Société du Tour was under the same roof as L’Equipe, the daily sports newspaper, but then also alongside other titles like Le Parisien, a daily newspaper. In the 1980s the Amaury group hired former tennis pro and advertising executive Jean-Pierre Courcol to help develop Le Parisien and within a few years he was running L’Equipe. Courcol seems to have opened up the Amaury group to the world of advertising and business and when Tour de France directeurs Jacques Goddet and Félix Lévitan left – Goddet halting a 50 year run; Lévitan leaving under a financial cloud – after 1986, Courcol introduced Jean-François Naquet-Radiguet as the new directeur of the Tour de France for 1987. Naquet-Radiguet was an outsider, having been in charge of a French wines and spirits business in Mexico and his tale is well told in “The Cognac Salesman and the Conman” in The Cycling Anthology, Volume 5 by Daniel Friebe. Naquet-Radiguet accelerated the process of modernisation. Acceleration, not starting, because if Goddet had ran the show for 50 years he hadn’t pickled the Tour in time, after all he signed the sponsorship contract to replace Perrier as the “official drink” with Coca-Cola a couple of years before Naquet-Radiguet appeared. The first thing Naquet-Radiguet did was put some theatre into the route presentation… by putting the route presentation in a theatre. Until then next year’s map had been handed out to journalists in a room but he turned it into the format we know today, with a staged presentation, complete with a highlights reel from the previous edition. He was also behind the village départ, the VIP zone where riders, sponsors and other guests can hob-nob before a stage, radical in 1987, ubiquitous at any big stage race today. But he lasted less than a year and was out by May 1988. With the race just weeks away Courcol had to step in as co-directeur, hired Xavier Louy to help, a man so discreet entries about his time at the Tour see his name also listed as Louis sometimes.

When 1989 Tour de France route was unveiled in the autumn of 1988 so were the race’s new directors. Carenso was unveiled as a new co-director in tandem with Jean-Marie Leblanc. Leblanc was an ex-pro who’d become a journalist, rising up to become the cycling chef at L’Equipe before joining sister company the Société du Tour as the race radio announcer and moving into race organisation. Carenso had enjoyed cycling in the hills behind Nice in his youth but made his name in advertising in Paris and was part of a series of high profile campaigns. He invented the slogan “du pain, du vin et du Boursin” for a brand of cheese spread that’s still a catchphrase in France today despite the ad being outlawed by anti-alcohol ad laws in the early 1990s. Carenso was also part of the team behind the campaign in 1981 that used billboards across France featuring a model in a bikini with the strapline (translated) “tomorrow I’ll take my top off” and sure enough two days later billboard was reposted with the model now standing topless… and a new strapline saying “tomorrow I’ll take the bottoms off”. You can guess what the billboard looked like next, albeit with the model’s back to the camera. Now you can question the taste of these ads – and complaints flew in across France – but they were radical in adland not for the nudity but the rapidity, to prove that billboards get noticed and crucially the content could be changed across France in a day. So Carenso was Monsieur Business to Leblanc’s Monsieur Cyclisme but not just anyone from French corporate life but someone who’d been behind influential ad campaigns.

Carenso picked up where Naquet-Radiguet stopped. The Tour got a new logo, brands were trademarked. Teams no longer paid to start the Tour de France but were instead given a payment to cover expenses, a practice that continues today. The Tour – a bit like the Giro today – had many ancilliary competitions but Carenso thought it was all too complicated: the podium ceremonies bored the public and hogged riders when they could be going on television instead. The problem was each ceremony had its sponsor and so to cut this would mean slicing income too. Or not because Carenso shifted the focus to a few would pay beaucoup in order to stand out. He started with about 50 sponsors in 1988, cut that in half for 1989 and delivered his plan to reach just five for 1990. Or take the example of the cars used in the Tour, the race had enjoyed a long rapport with Peugeot for the official vehicles. The Société du Tour went to Peugeot and asked for the cars plus a payment of 500,000 francs (about €120,000 today). Peugeot boss Jean Todt thought it was a joke, a bluff that this rambling circus could ask for money on top but while he was chuckling to himself Italy’s Fiat offered six million francs and so the Tour swapped from French cars to Italian in 1989: c’est le business. Things even went as far as selling the naming rights to in the 1989 event with Stage 20 going from Aix-les-Bains to “Hewlett-Packard-l’Isle-d’Abeau”, the US computer company branding the finish thanks to their offices there. Carenso left the Tour de France in 1994 after “strategic differences” with Jean-Claude Killy, a former downhill ski champion then appointed as Carenso’s senior.

Today? What’s striking is that there don’t seem to be any Carensos in and around the sport now. All races today look and feel very similar to a decade ago now; maybe Wouter Vandenhaute has modernised some Flemish races, but setting up VIP villages beside the course is straight out of Carenso’s handbook rather than something radical. Michele Acquarone had some fresh ideas but was driven out of RCS. It’s hard to imagine someone in a big ad agency, Google or Facebook, quitting their job today to run a major race although like Carenso perhaps some would jump, Carenso described landing the job as “the holy grail”. “No bad thing” some may quip if outsiders cam to trample on traditions and sophistications for the sake of a quick buck. But Carenso’s tandem with Leblanc seemed to improve the Tour as a business without altering the sport, Carenso handled sponsorship, TV rights and the image of the race but left the route, time bonuses and all that to Leblanc.

France changed a lot in the 1980s and there’s a thesis waiting to be done about the extent to which the Tour mirrors change in France, whether socio-cultural attitudes, business or the media are just reflected back by the Tour de France. Naquet-Radiguet and Carenso were brought in to do a job and perhaps if it wasn’t them could have been others who’d modernise the Tour de France? But it wasn’t others, it was them. Naquet-Radiguet and Carenso did a lot in a very short time to make the Tour what it is today, and by extension the sport and business of professional cycling too.

Photo: Société d’art et d’histoire du Mentonnais

Jean-Pierre Carenso published first on https://motocrossnationweb.weebly.com/

[rudyroth79]

Vineri, 5 mai 2017, la ora 16.00, la Centrul Socio-Cultural ”Jean Louis Calderon” din București (str. Jean Louis Calderon nr. 39, sector 2) va avea loc lansarea volumelor ”Trecea un cântec peste veacuri”, antologie de poezie franceză (selecţie de poeme şi traducere în limba română de Paula Romanescu) și ”Et si l’amour avait raison?”, selecție din lirica originală a Paulei Romanescu, ambele apărute la Editura Tipo Moldova. Prezintă: George Corbu.

Antologia de poezia franceză cuprinde traduceri din Guillaume Apollinaire, Louis Aragon, Felix Arvers, Aliette Audra, Henri Bachou, Georges Bataille, Charles Baudelaire, Pierre Bearn, Joachim Du Bellay, Yves Bonnefoy, Georges Brassens, Jacques Brel, Paul Celan, André Chénier, Paul Claudel, Jean Cocteau, Pierre Corneille, Robert Desnos, Paul  Éluard, Benjamine Fondane (Barbu Fundoianu), Théophile Gautier, Iulia Hașdeu, Victor Hugo, Jean de La Fontaine, François de Malherbe, Stéphane Mallarmé, Henri Michaud, Molière, Gérard de Nerval, Anna de Noailles, Charles d’Orléans, Charles Péguy, Jacques Prévert, Sully Prudhomme, Henri de Regnier, Arthur Rimbaud, Pierre de Ronsard, Léopold Sédar Senghor,  Jules Supervielle, Tristan Tzara, Elena Văcărescu, Paul Valéry, Emile Verhaeren, Paul Verlaine, Boris Vian, Alfred de Vigny, Voltaire, Ilarie Voronca ș.a., aforisme de Martha Bibescu, Constantin Brâncuși, Emil Cioran.

”[…] Pe vremea când, copil îndrăgostit de hărţi şi stampe cum am fost, transcriam într-un «jurnal» frânturi de poeme descoperite în acea foarte de folos zăbavă care-mi era cetitul cărţilor, nici nu îndrăzneam să-mi imaginez că acela va fi fost grăuntele primei mele antologii, azvârlit în câmpul fertil al tăcerii, în aşteptarea vremii de cules. Mă mulţumeam cu bucuria fără nume de a mai fi adăugat micilor mele comori de gând o frumuseţe nouă. Uneori nu păstram dintr-un poem decât un vers, o frântură de zicere ca un tăiş de fulger pe care-ai vrea să-l prinzi în palmă, nebănuindu-i dulcea arsură. Împărţeam cu cei de-o cale spre împlinire într-un mâine al vieţii de adult (vai, cât de grăbiţi copiii să devină oameni mari de ani, ignorând capcana de a se trezi bătrâni chiar fără a fi fost vreodată adulţi!) noua bogăţie şi, prin acest gest simplu am înţeles că a dărui frumuseţe înseamnă a te îmbogăţi, îmbogăţindu-i şi pe ceilalţi.

Aceasta mi-a fost porunca: Să realizez din iubire de cuvânt prezenta antologie în limba română. 

Cuvintele ard uneori. Chiar sângeră. Alteori capătă adâncimi în care, de te afunzi, «dai de stele-n apă», cum zice lancrămeanul poet din Valea Frumoasei. Dar numai astfel sufletul se preschimbă-n armonie, bucuria în lumină şi lacrima în cânt.

Selectând şi traducând poeme din literatura franceză, apărute de prin secolul al paisprezecelea până în zilele noastre, am vrut prin aceasta să aduc un omagiu culturii unei ţări de la care au luat lumină de-a lungul timpului şi «ai noştri tineri» care vor fi învăţat pe la Paris nu doar «la gât cravatei cum se face nodul», ci şi cum se poate înnobila prin cunoaştere mintea şi sufletul omenesc.

Dacă nu am ocolit nici poeţi anonimi din nu se mai ştie care timp, nici poeţi-interpreţi de muzică dintre cei care s-au impus în conştiinţa publicului şi care au fost percepuţi de cititori drept creatori de poezie adevărată – Brel, Brassens, Ferré –, cum aş fi putut ocoli pe acei poeţi români sau trăitori un timp în România, cărora limba română le-a rămas patria din suflet şi, care au adus prin scrisul lor în limba  franceză o contribuţie deloc neglijabilă ba chiar de o excepţională originalitate şi valoare – Emil Cioran, Gherasim Luca, Iulia Hașdeu, Anna de Noailles (prinţesă Brâncoveanu), Paul Celan, Martha Bibesco, Barbu Fundoianu (Benjamin Fondane), Elena Văcărescu, Tristan Tzara, Ilarie Voronca dar şi un Brâncuşi, acest sculptor de aforisme şi poet al pietrei, al lemnului, al metalului…

Am credinţa că doar astfel «sporim a lumii taină» ori de câte ori un poem care va fi traversat veacurile se amestecă în cântul nostru luminându-ne cu o frumuseţe nouă.” – Paula Romanescu, ”Mărturie”, prefață la vol. ”Trecea un cântec peste veacuri”.

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Ilustrații coperți: Adina Romanescu

Arhur Rimbaud

Cel ce-odihneşte-n vad (Le dormeur du val)

E un vad de verdeaţă unde un râu subţire Cântă aninând prin ierburi de-argint străluminări, Unde un soare mândru îşi cerne peste fire Din crestele muntoase luminile din zări.

Un soldat tânăr doarme cu gura-ntredeschisă, Cu capul gol, cu ceafa scăldată-n reci undiri, Doarme întins în iarbă sub bolta necuprinsă, Palid în patu-i verde sub ploaia de lumini.

Doarme şi gladiole picioarele-i cuprind, Surâde-n somn cum face copilul suferind. Leagănă-l cu blândeţe, natură, îi e frig.

Întreaga-nmiresmare nu-l tulbură ca alt’ dată, Tihnit doarme sub soare cu mâna aşezată Pe piept; în coasta-i dreaptă două răni se deschid.

Traducere de Paula Romanescu

Paula Romanescu

Je n’aime pas les statues

Je n’aime pas les statues, Néron non plus d’ailleurs ; Il les décapita Puis sa tête roula Et le jeu continue: Un tyran est tombé De son socle rougi, L’oiseau dans la forêt Chante et l’herbe refleurit.

Un nouveau jour se lève, D’autres pas sur la grève, Et moi je rêve D’un Paradis perdu Au goût de bonheur.

Je n’aime pas les statues: La vie non plus d’ailleurs.

Știri: Dublă lansare de carte Paula Romanescu (5 mai 2017, București) Vineri, 5 mai 2017, la ora 16.00, la Centrul Socio-Cultural ”Jean Louis Calderon” din București (str. Jean Louis Calderon nr.

[homotimens]

Mi chiese [Louis Marie Prudhomme] con che spirito intendessi scrivere il giornale. Risposi: con spirito liberale. Allora scosse la testa e disse che non era sufficientemente preciso. Era necessario farsi capire bene e presentare i principi in modo netto — netto, questa fu la sua parola. Io però, da bravo e onesto tedesco, non ero grande amico di questa nettezza, e per questo, dentro di me, abbandonai subito quell’impresa, che forse non era pensata così seriamente. Quell’uomo aveva ragione però. L’onestà dei tedeschi è come una piramide, grande, antica e indistruttibile; ma sta nel deserto ed è dimora della morte. Il tedesco pensa che anche nello scontro tra opinioni politiche sia importante combattere per la verità e dire ciò che si ritiene giusto e ragionevole. Egli dimentica completamente che si tratta di una guerra come le altre, e che quindi non basta combattere per la giusta causa, ma è necessario preoccuparsi anche dei compagni di lotta. Bisogna reclutarli, radunarli, equipaggiarli, incitarli e ricompensarli. Noi non siamo fedeli a nessun partito. Il francese ricopre di elogi e favori chiunque stia dalla sua parte, mentre biasima e danneggia chiunque gli sia avverso. Così facendo, non solo fa crescere e rafforza il suo partito, ma costringe anche tutti coloro che in segreto vi si oppongono a dichiarare apertamente la loro ostilità e a costituire anch’essi un partito. Per questo i francesi ottengono tutto, e noi non giungiamo a nulla. Un giornale per noi è soltanto un foglio di critica, dedito alla scienza della politica. Noi critichiamo dunque un’azione politica o un evento politico come se fosse un libro, una volta per tutte, e poi rimaniamo in silenzio. Parlare ogni giorno della stessa cosa ci sembra così noioso e scontato come se si trattasse di recensire ogni giorno di nuovo lo stesso libro, e resi stolti dal nostro abbaglio, ridiamo poi della «stereotipa polemica» dei francesi. Dimentichiamo del tutto che un giornale politico rappresenta una sorta di governo, che non può mai stare fermo se non vuole essere rovesciato.

⸻Ludwig Börne, pagina di diario del Maggio 1830.

[reseau-actu]

Dans une tribune au Parisien-Aujourd’hui en France, le collectif Langue française et cent signataires des cinq continents appellent Emmanuel Macron à protéger la langue française.

Le collectif Langue française et cent signataires des cinq continents dont les représentants des associations partenaires.

« La langue française va mal. Étouffée par l’anglo-américain, elle voit désormais son usage même évincé par celui-ci. Confrontée à cette invasion, notre mémoire renvoie en écho un passé douloureux de soumission et d’oubli de soi. Une majorité capitulatrice plaidera le réalisme, hermétique aux cris sourds d’une identité enchaînée par une pseudo-langue universelle en réalité servante d’un maître particulier. Le français outragé, le français brisé, le français martyrisé. Mais le français rendu à la dignité si, monsieur le président, vous choisissez de suivre enfin la trace laissée par l’esprit de résistance.

Il est demandé au chef de l’Etat, premier contributeur à l’Organisation internationale de la francophonie (OIF), de montrer l’exemple :

1) en renonçant à l’emploi de l’anglo-américain à l’étranger, quand le français demeure l’une des deux premières langues d’usage d’une majorité d’organes internationaux ; en renonçant à l’utilisation de l’anglo-américain en France même, décourageant ainsi nos visiteurs de pratiquer une langue désertée par ses locuteurs naturels.

2) en renforçant par une loi le dispositif linguistique présent en en rendant notamment l’application contraignante ; en rappelant aux autorités judiciaires leur pouvoir de poursuivre les contrevenants ; en rappelant les préfets à leur obligation de contrôle de légalité pour les collectivités en infraction.

3) en interrompant la marche suicidaire vers l’intronisation de la langue anglo-américaine comme seconde langue officielle de la nation ; ainsi devrez-vous mettre un terme au projet sacrilège prétendant dispenser dans les établissements scolaires des cours de matières générales en anglo-américain.

Du pays source de la langue commune, la francophonie attend légitimement le signal fort d’une résistance enfin consciente de l’enjeu. Il est donc attendu du chef de file de l’OIF que vous êtes qu’il mette la politique étrangère de la France en accord avec les revendications humanistes de l’organisation, fidèle à la langue des Lumières, celle de l’égalité et du partage. À cet égard, nous déplorons l’installation au poste de secrétaire général de l’OIF d’une personnalité rwandaise membre actif d’un régime politique détestable. Il est attendu du chef de file de l’OIF qu’il défende l’usage de la langue française, non qu’il le rétrécisse. Les francophones se sont émus de votre adoubement, lors du dernier Sommet de la francophonie, de l’anglo-américain comme langue d’usage pour le monde. À en juger par le dynamisme économique d’une majeure partie de l’Afrique francophone, comme par la vitalité du Canada francophone, leur langue d’usage — le français — en vaudrait pourtant d’autres.

Lors de ce Sommet, nous vous avons également entendu ceindre la langue française du titre de langue de la création. Il conviendrait déjà que l’Etat encourageât les appellations françaises pour baptiser nouveaux produits et services créés par toute entreprise revendiquant son aide ; mieux, par toute entreprise où entrent des capitaux d’Etat. Or il se produit très exactement l’inverse. Faute d’avoir su précéder le Québec comme référence mondiale pour la défense du français, du moins sachons nous inspirer de sa pugnacité et abandonner nos comportements serviles. Il y va de notre identité nationale et de l’avenir de la francophonie. »

Les signataires

Associations du collectif Langue française

Louis Maisonneuve et Dr Pauline Belenotti, Président et secrétaire d’Observatoire des Libertés, France. Philippe Carron et Jacques Badoux, responsables de l’antenne Suisse romande pour le collectif, Suisse. Jean-Paul Perreault, Président du Mouvement Impératif français, Montréal, Canada. Philippe Reynaud et Lucien Berthet, Président et secrétaire de Défense de la Langue Française-Savoie, France.

Associations partenaires

Pierrette Vachon L’Heureux, Présidente de l’Association pour le soutien et l’usage de la langue française, Québec-ville, Canada. Albert Salon, docteur d’État, ancien ambassadeur, Président d’Avenir de la langue française (ALF), Paris, France. Régis Ravat Président de l’Association Francophonie Avenir (AFRAV), Nîmes, France. Edgar Fonck, directeur de l’Association pour la Promotion de la Francophonie en Flandre, De Haan, Belgique. Alain Ripaux, Président de Francophonie Force Oblige, Appilly, France. Catalina Hadra, secrétaire générale de Dicifran (Association pour la diffusion de la Civilisation Française en Argentine), Buenos Aires, Argentine.

Personnes privées

Ilyes Zouari Président du Centre d’étude et de réflexion sur le monde francophone, France. Jean-Pierre Luminet, astrophysicien, directeur de recherche au CNRS, Marseille, France. Tahar Ben Jelloun, écrivain, Prix Goncourt, France, Maroc. Michel Bühler, auteur-compositeur et chanteur. Sainte- Croix, Suisse. Vladimir Fédorovski, écrivain, Neuilly, France. Rémy Pagani, Maire honoraire de la ville de Genève, Suisse. Zachary Richard, auteur-compositeur et chanteur (« Travailler c’est trop dur »), Louisiane, États-Unis d’Amérique. Jean-Marie Rouart, écrivain, membre de l’Académie française, Paris, France. Jean Ziegler, homme politique, écrivain, vice-président du comité consultatif du « conseil des droits de l’homme » de l’ONU, Suisse. Pierre Perret, chanteur, Seine-et-Marne, France. Jeannie Longo, cycliste, championne olympique et du monde, Savoie, France. Boris Cyrulnik, neuropsychiatre, Toulon, France. Guimba Konate, ingénieur, ex-conseiller au Ministère des Télécommunications du Sénégal, Sénégal. Didier Van Cauwelaert, écrivain, Prix Goncourt, France. Jacques Drillon, journaliste-écrivain, Paris, France. Lakhdar Amrani, professeur de français, Algérie. Benoit Bergeron, enseignant en biologie, Montréal, Canada. Anna Maria Campogrande, fonctionnaire européenne, président d’Athena, Association pour la défense et la promotion des langues officielles de la Communauté européenne, résident à Bruxelles, Belgique. Huguette Lemieux, interprète, Ottawa, Canada. Michel Feltin-Palas, journaliste, Paris, France Marianne Périllard, traductrice, Lausanne, Suisse. Erasmia Boutsikari, avocate, Gytheion Grèce. Agnès Rosenstiehl, auteur, illustratrice (« Mimi Cracra »), Paris, France. Ingrid Stromman, professeur de français et d’anglais, Trondheim, Norvège. François Delarue, cardiologue, Paris, France. Jean-Pierre Siméon, poète et dramaturge, directeur de la collection poésie, éditions Gallimard, Clermont-Ferrand, France. Paul Miédan-Gros, pilote de ligne, ancien Président du Syndicat National des Pilotes de Ligne, Santeny, France. Rosana Pasquale, professeur de français, université nationale de Lujan-Buenos Aires, Argentine. Fernand Melgar, cinéaste, Lausanne, Suisse. Yvan Lepère, journaliste, Bruxelles, Belgique. Alexandre Riblet, professeur de français, Mexico, Mexique. Angel Viñas, enseignant, ancien directeur à la Commission européenne, Bruxelles, Belgique. Miltiades Vassilatos, ingénieur, Montréal, Canada. Renato Corsetti, enseignant, Londres. Royaume-Uni. Thierry Saladin, médecin, vice-président de l’AFRAV, Montpellier, France. Paolo Monaco, expert de l’organisation internationale pour la sécurité de la navigation aérienne, Bruxelles, Belgique. Jean-Louis Carpe, professeur de philosophie, Orléans, France. Pia Sylvie Marquart, enseignante, Hurghada Égypte. Monique Phuoeng, directrice de société, Phnom Penh, Cambodge. Rodolphe Clivaz, artiste, directeur de théâtre, Lausanne, Suisse. Alain Borer, écrivain, poète, Los-Angeles (E.U.A.) et Paris, France. Olivier Belle, auteur-compositeur et chanteur, Neuilly, France. Étienne Guilloud, pasteur, Bière, Suisse. Yves Montenay, Président de l’Institut culture, économie et géopolitique, vice-président de l’ALF, France Bérénice Franca Vilardo Irlando, ex-fonctionnaire du ministère des Affaires étrangères d’Italie, Rome, Italie. Valeria Pancrazzi, professeur de français, Tigre-Buenos Aires, Argentine. Philippe Mougel, conseiller artistique, Clermont-Ferrand, France. René Fournier, maire honoraire de Carignan, Québec, Canada. Louise Chevrier, romancière, Chambly, Québec, Canada. Micheline Khemissa, enseignante, Écublens, Suisse. Daniel Perrenoud, médecin, Lausanne, Suisse. Gérard Laurin, professeur de français, Gatineau, Québec, Canada. Ralph Stehly, professeur émérite de l’Université de Strasbourg, France. Claude Filatrault, conseiller à Hydro-Québec, Québec-ville, Canada. Françoise Carré, enseignante, Landevieille, France. Philippe Prudhomme, professeur de français, Président de l’association « Les amis de Bougainville », Papeete. Tahiti, France. Benoît Cazabon, linguiste, enseignant en biologie, cofondateur et ex-directeur de l’Institut franco-ontarien, Vernet, Ontario, Canada. Claude Sybers, auteur littéraire, dramaturge Saly, Sénégal. Jean-Louis Brion, ingénieur, Nouvain-la-Neuve, Belgique. Veronica Gebauer, professeur de français, Université nationale de Cordoba, Argentine. Luc Charrette, pédiatre, Gatineau, Québec, Canada. Cyril R. Vergnaud, professeur de langues, Pingtung, Taiwan. Nicolae Dragulanescu, professeur d’université, Président de la Ligue de coopération culturelle et scientifique Roumanie France, Bucarest, Roumanie. Bert Schumann, ingénieur, Rennes, France. Michel Donceel, violoneux, Bertirx, Belgique. Gérard Cartier, ingénieur et auteur, L’Étang-la-Ville, France. Laurent Martin, pianiste, Vollore, France. Madana Gobalane, Président de l’association indienne des professeurs de français, Chennai, Inde. Fara Nume, professeur de français, Temara, Maroc. Alicia Santana, professeur de français, Tigre-Buenos Aires, Argentine. Jean Maisonneuve, pilote de ligne, Billom, France. Évelyne Raimbault, secrétaire, Fontenay-sous-Bois, France. Daniela L. Martinez, professeur de français, Buenos Aires, Argentine. Nicolas Bitterlin, ouvrier du livre, Québec-ville, Canada. Bernard Joss, dessinateur, Lausanne, Suisse. Geneviève Despinoy, professeur d’espagnol, Agen, France. Emilie Szczukiecka, enseignante, Wroclaw Pologne. Damien Feron, photographe. Madrid, Espagne. Ines Mensi, enseignante, Tunis, Tunisie. Dominique Lambilotte, fonctionnaire de police, Bertrix, Belgique. Kader Ali Lahmar, inspecteur d’enseignement du français, Oran, Algérie. Johan Nijp, professeur de français, Groningen, Pays-Bas. Mohamed Farhat, enseignant, Joub Jenin, Liban. Nathalie Pacico, technicienne, Courcelles, Belgique. Didier Catineau, journaliste, écrivain, Plassay, France. Jean-Pierre Roy, réalisateur, Montréal, Canada. Roger Rochat, ingénieur, Cottens, Suisse. André Creusot, administrateur, Ottawa, Canada.

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Cyril Grenier, Melanie Valier, François Feys, Aurélien Nibau, Ulysse Lefebvre, Aurelie Toque, Arthur Bourret, Clément Cheung, Gregory Chevallier, Gael Jourdan, Gregory Chalamet, Arthur Bourret, Clément Sezestre, Dionisio Vegas, Adrien Goraguer, Christelle Pellet, Raphael Sanguiniti, Corentin Rossier, Benoit Gaillard, Laurent Larroutis, Christophe Angot, Nicolas Campodonico, Sylvain Chaumeau, Jean-Marc Meunier, Paul-Emmanuel Souteyrand, Cédric Mage, Agathe Arnaud, Anthony Cloarec, Benoit Ollivier, Florian Rumeau, Benoit Richard, Olivier Dumont, Geoffrey Salingue, Josephine Buais, Alexandre Boucheix, Olivier Borredon, Pierre-Alexandre Cardinal, Emmanuelle Bellotto-Laurencon, Lucie Duchatelle, Pierre Bureau, Thibaut Quemener, Pascal Thibout, Anne-Cécile Boulet, Renaut Colin, Delphine Fuhry-Steininger, Claire Taurisson, Vincent Ricaud, Stéphane Stierlin, Timothee Pierre, Guillaume Fabry, Emmanuelle Maury, Antoine Jeanroy, Pierre-Yves Henry, Frédérick Vaillant, Damien Burel, Romain Poilane, Eliott Boucard, Ismael Moussa, Sandra Sineux, Julien Canal, Julien Toulouze, Nicolas Cheret, Maxime Chaboud, Julien Liot, Benjamin Drezet, Clément David, Quentin Muffat, Jean-René Molina, Vincent Pascal, Tanguy Verluise, Adrien Lode, Arnaud Rathier, Jeremie Daels, Dorian Rodot, Aurore Ziller, Louis Renucci, Frédéric Bougeot, Felix Lelievre, Remy Marcel, Julien Sicard, Cédric Jablowski, Marc Etienne, Jérôme Bruyas, Alexandre Chasteloux, Thibaut Flament, Pierre Provansal, Jean-Marie Jaouannet, Steven Coutereel, Jean-Luc Chevallier, Sébastien Nachon, Olivier-Jeremie Bois, Florian Dupuy, Melissa Anglade, Remi Wolf, Ugo Perrin, Alexis Guyoton, Benoit Gandolfi, Jacques Chaban, Sébastien Lamy, Clément Fabre, Clément Andrieux, Matthieu Giraud, Christian Piffard, Romain Keirle, David Voltolini, Jérémy Plumejault, Benoit Aveline, Jean-Philippe Christmann, Romain Herfort, Quentin Idenn, Nicolas Hennebelle, Franck Cardin, Brendan Rannou, Thomas Dulaurent, Victor Hadrien Faulx-Briole, Thibaut Muller, Adrien Schweizer, Gregory Bonvin, Ingrid Zeller, Matthieu Gandolfi, Antoine Dhaynaut, Erwan Fourrier, William Girard, Simon Patrice, Philippe Lecolle, Pierre Bichon, Melodie Ligier, Jérémy Yaya, Mathieu Van Overeem, Christophe Nonorgue, Erwann Moreau, Jean-François Coeurjolly, Noé Bardone, Ludwig Rohart, Fabien Goby, Alice Marlois, Sébastien Latella, Laure Verdier, Florian Diana, Thomas Haumonte, Annecy Kiné Sports, Kevin Morisseau, Nicolas Agassis, Robin Brissaud, Romain Lanier, Laurent Bouvier, Sandrine Laspoussas, Julien Carlier, Baptiste Planchard, Maxime Pechenart, Julien Bertrand, Martin Kern, Marie-Camille et Benjamin Cheron, Sandrine Naill-Billaud, Julien De Caso, Arthur Jacob, Mickael Lheritier, Manon Cayre, Alban Mattel, Olivier Angonin, David Bonzom, Guillaume Desgache, Jean-Baptiste Schmidt, Matthieu Denais, Martin Gillain, Patrick Bord, Gwilherm Rocher, Magalie Lavergne, François Tamburro, Pascal Daviot, Jérôme Brunol, Gildas Desevedavy, Guillaume Combes, Christophe Raffel, Hervé Testeil, Julien Damesin, Nicolas Hoffschir, Gautier His, Albin Quere, Killian Breuillard, Damien Le Cornec, Claire Baron, Anna Sentis, Pantxika Larramendy Pochelu, Benoit Sxay, Maria Semerjian, Thomas Salmon, Vincent Richard, Anthony Leroux, Coline Debreux, Christophe Chavanne, Julien Affre, Martin Kaszuba, Guillaume Jeannin, Fabien Pertuy, Thibaud Sader, Benoit Prangere, Jérôme Menard, Cédric Lohe, Christophe Gosselin, Samuel Leduc, Remi Dupuis, Tony Boudet, Nelly Ledrich, Julien Aussel, Nicolas Fontaine, Theo Belbezier, Adrien Maerten, Jérémy Cregut, Guilhem Prax, Mickael Planche, Antoine Curien, Loïc Andre, Gabin Mantulet, Claire Lacoste, Bastien Perez, Frédéric Morand, Jérémy Combe, Antoine Baisnee, Paul Milhau, Laurent Mouchon, Bastien Brel, Emiline Thouret, Arnaud Henin, Theo Breuzin, Olivier Szrama, Franck Gellenoncourt, Maroussia Renucci, Nicolas Thiry, Benoit Zehfus, Simon Bleus, Julien Gasne, Antoine Van Nooij, Germain Peltier, Yannick Lugan, Thibault Negra, Clément Guillout, Florent Deschepper, Florent Legname, Quentin Faure, Virgile Grandjean, Julien Soulliere, Marie-Aline Putz-Perrier, Olivier Vital, Maxime Grelet, Sébastien Jeans, Adrien Servieres, Yves Bothorel, Florent Marichez, Pierre Sabatier, Nicolas Mayot, Benoit Gandelot, Manuel Cretot, Thibault Liebenguth, Gregory Screve, Eric Besson, Fabrice Cifre, Amaury Robert, Manea Lebrun, Ronan Delanoe, Julien Djozikian, Damien Selle, Cédric Riboulet, Mathieu Vergnaux, Jean François Cabre, Kevin Robert, Juliane Willems, Franck Ladet, Nicolas Regnault, Sébastien Beaussart, Stéphane Roux, Loïc Gaudry, Victor Darchis, Aimee Mouliom, Boris Ploujoux, Nicolas Cuny, Antoine Gregoire, Laetitia Bassani, Ulrich Almeida, Olivier Prelle, Pierre-Yves Geant, Benjamin Heisser, Arnaud Deloraz, Fabien Cazenave, Vincent Houssin, Jonathan Tramoy, Dimitri Piriou, Pauline Mosset, Yoann Gondonneau, Pierre Sarthou, Cyril Mornay, Myriam Bober, Patricia Grimaud, Samy Bonifacie, Romain Chanon, Julien Lemond, Gerald Auboyer, Stéphane Romy, Lise Dauban, Olivier Des Rieux, Dorian Gricourt, Jonathan Livin, Frédérick Rochette, Christelle Aron, Thomas Seramour, Valentin Jacquemin, Emmanuel Lagarde, Matthieu Cheneby, Ludovic Pommeret, Benjamin Cortese, Maeva Bellemin-Noel, Pierre Baladier, Yoann Bodin, Sébastien Valette, Nicolas Philipona, Nathan Savary, Antoine Marois, Cécile Coulon, Antoine Chadeau, Virginie Quesnay, Clémence Gevrey, Matthias Mouchart, Fabrice Bey, Maxime Rotier, Jean-Regis Roux, Thomas Leparlier, Joris Josia, Jean-Baptiste Cotte, Bertrand Dumont, Jean-Baptiste Bellet, Cécile Molveaux, Corine Casciano, Philippe Audrant, Mathieu Colussi, Laurent Themlin, Yoan Bapst, Pierre-Marie Billon, Jérôme Gay, Antoine Troullier, Henri Fayolle, Thomas Ramoussin, Geraldine Richard, Simon Le Goff, Romain Sempey, Antoine Forey, Antoine Guillarme, Camille Demure, Romain Chabot, Serge Vito, Jean-Philippe Heitz, David Barbier, Mathieu Cailliez, Rejane Gocel, Yannick Garbin, Myriam Muris, 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Nicolas Guerard, Kevin Iticsohn, Laurent Cloatre, Nicolas Merce, Matthieu Payer, Ludovic Collet, Nicolas Martin, Alexis Berg, Guillaume Puig, Anthony Toulze, Quentin Raissac, Romain Vigne, Cédric Fabulet, Pierre-Michel Sarrazin, Romain Jezequel, Audrey Bassac, Romain Derreumaux, Elodie Gonon, Kevin Guillotte, Romain Gtl, Jérôme Walrave, Jean-Christophe Guillot, Michael Clavery, Julien Tissot, Julien Chorier, Fleury Roux, Dimitri Lomer, Jérôme Richard, David Lacotte, Sébastien De Rossi, Johann Girost, Francis Marielle, Blandine Remy, David Houlbert, Jean-Christophe Parichault, Yoann Stuck, Antoine Charbonnier, Thomas Montana, Marc Lecoin, Delphine Pol, Steve Cailler, Romain Bony, Jérémy Buffet, Pierre-Yves Descombes, Damien Varnier, Guillaume Gruot, Laurent Ducasse, Benjamin Manoukian, Patrick Gerber, Zeline Lacombe, Marie Somm Croset, Christophe Capitan, Maxime Baumard, Valery Bougard, Elsa Thual, Arnaud BouBout, Marion Barbarit, Willy Deprez, Frédéric Machabert, Cédric Gehin, Karine Bourgeon, Olivier Engel, Pierre Brequigny, Eric Thouvenin, Benjamin Mun, Manuela Savel, Cyril Cointre, Yann Truc, Frédéric Moulis, Fabien Beaufils, Philippe Jourdes, Andy Vassard, Thomas Depret, Virginie et Patrick Bohard, Nicolas Blommaert, Guillaume Boschini, Coline Demontoux, Pascal Serent, Baptiste Escoute, Cécile Bertin, Charlie Perdrieau, Cyrille Rouge, Sébastien Baillieul, Ronan Nignol, Augustin de Narp, Claire Louyot, Jeremie Rivaliere, Brice Roffino, Vincent Viet, Lucile Dufau, Amaury d'Oleon, Gregory Laplaud, Pauline Puteaux, Bertrand Delhomme, Maxime Brodard, Florimond Cahez, Guillaume Cribier, Yoann Mougel, Camille Metzdorff, Benjamin Tremey, Benoit Barnabe, Lucie Arnal, Samuel Graux, Loïc de Checchi, Nadia Desrayaud, Adrien Tarenne, Martin Michaudet, Raphael Naudet, Yoann Gilbart, Emmanuel Bezard, Sophie Maufrais, Charles Cribier, Franck Martel, Florian Weisser, Joakim Ribier, Nicolas Decostanzi, François Vivares, Franck Vaillant, Alexandre Koch, Mathieu Bernard, Jérôme Sequin, Anthony Muscio, François-Xavier de Boismenu, Nathalie Ecuer, Olivier Picard, Remi Jean, Sylvain Giraud, Fabien Boesso, Anthony Marty, Guillaume Abry, Gregory Bombardo, Laurent Cambefort, François-Xavier Amiel, Mikael Aigroz, Thibaut Bandini, Guillaume Requier, Benjamin Cornuel, Richard Reverte, Daphné de Guembecker, Bruno Cantieri, Michael Crausaz, David Laulhey, Nicolas Gaudin, Fabien Bonnaffous, Guillaume Perrein, Michael Ligier, Charles Centofanti, Caroline Weste, Vincent Dupin, Marco Roumi, Olivier Roualdes, Ghislain Davost, Vianney Poiron, Geoffroy Degrange, Mickael Gouget, Alexandre Parpillon, Samuel Nascimento, Mathieu Zimmer, Vincent Germain, Maxime Granier, Romain Leblanc, Ana Calatayud, Lambert Santelli, Michel Lanne, Matthieu Catelain, Jérémy binet, Remy Decoopman, Florent Lescarret, Jeremie Le Lievre, Xavier Teychenne, Fabien Lambin, Gael Clerval, Benoit Fousse, Yvon Rouzic, Mathieu Dubois, Benoit Boistard, Christophe Tabar, Benoit Olivier, Pierre-Henri de Bettignies, Alexandre Meurgue, Marie Boggio, François Baly, Remi Boudet, Thibaud Lafon, Bastien Ganivet, Fabrice Thomas, Bastien Mateo, Philippe Monteil, Baptiste Prive, Frédéric Le Meur, Olivier Morineau, Gael Malacarne, Emeric Claveau, Yann Miehlbradt, Thomas Doualle, Guillaume Roux, Ivan Rulleau, Laurent Galvani, Nicolas Trouilhet, Jason Langenegger, Sébastien Pedelucq, Jeremie Vernoit, Julien Daviau, Maxime Tartre, Leo Sayagh, Jean-François Munoz, Baptiste Leger, Laure Chabbert, Timothee Wetzel, Maxime Quillivic, Gaetan Timmermans, Nicolas Thal, Romain Merlaud, Benjamin Neveu, Laure de Cabissole, Ronan Guiheneuf, Guilhaume Feregotto, Laurent Mercey, Thomas Zeggane, Benoit Leroux, Julien Fauchard, Pascal Aymar, Maxime Morin, Jonathan Rouquairol, Olivier Bloch, Stéphane Cambefort, Cims Magics, Jérémy Gaudez, Olivier Rodriguez, Romain Valette, Quentin Duhamel, Cyril Bouchet, Guillaume Poublan-Couste, Daniel Carree, Romain Husson, Pierre Schmidt, Etienne Loisel, Marie-Gabrielle et Cédric Selmi, Pascal Mouquet, François Jacquet, Raphael Monteil, Charles Garreau, François D'Haene, Seb Molinier, Jean-Philippe Home-Sanfaute, Guillaume Dupre la Tour, Thomas Ruynat-Franzini, Martin Girard, Thierry Gandilhon, Renaud Enjalric, Theo Cizeron, Nicolas Carle, Clémentine Geoffray, Sébastien Henri, Florian Renault, Roxanne Lorrain, Paul Gardere, Johanna Dannreuther, Alexandre Paimparay, Steeve Brousset, Anne Corriol, Mathieu Dauron, Quentin Bievre, Stéphane Filias, Damien Cloarec, Romain Penot, Simon Mergui, Michael Roch, Nathalie Gautheron Cerroti, Nicolas Gourdon, Thibaud Costes, Arnaud Petiot-Rouzet, Sébastien Magyari, Charles-Antoine Dupuy, Guillaume Delachat, Romain Durand, Sylvain Reculeau, Elsa Birman, Audrey Camus, Chencheng Huang, Gwendal Pencreach, Remi Hermant, Nicolas Bouron, Carlos Pinilla, Vincent Kerbarh, Christopher Dore, Nicolas Bertaux, Benoit Emprin, Jérôme durivault, Xavier Morin, Sarah Balichard, Fred Sanca, Kevin Nickler, Rodolphe Cazenave, Vincent Rota, Laurentx Pebet, Odette et Jean-Marie Schmitt, Didier Hauswald, Thibault Bottemanne, Yoann Huguet, Anne-Sophie Bour, Clément Dudal, Jérôme Dani, Romain Mandard, Nicolas Pierron, Elouan Rebillard, Cédric Schepens, Maxime Soriano, Stéphane Brogniart, Cédric Andre, Guillaume Leonarf, Franck Levillain, Christophe Anselmo, Bertrand Tappy, Benjamin Bera, Alexis Jamet, Pierre-Alexandre Delayre, Steve Hanot, Pauline Ballereau, Benoit Cuisy, Pierre-Henry Coppere, Mathieu Dupuis, Sarah Nael, Arthur Flipo, Annick Brandenberger, Pierre-Albert Carlier, Pierre Ribault, Alban Grandjean, Antoine Malaunais, Philippe Poncin, Claire Ferhane, David Preti, Eric Grelier, Aurélien Blanchard, Fabrice Deschamps, Gilles Guillon, Cyril Ettien, Gregory Bardin, Maxime Bracqbien, David Michel, Robin Malagie, Stéphane Lemaitre, Guillaume Schutz, Pierre-Hugo Romain, Aurélien Coude, Etienne Choqueux, Baptiste Poly, Jean-Sébastien Mayen, Cecilia Sanchez, Antoine Lagasse, Hoel Poissonniet, Thomas Crenier, Oliver Jutzi, Paul Dabertrand, Pierre-Arnaud Bourguenolle, Alexis Grappin, Stéphane Bernard, Andrea Braga, Romain Baziries, Caroline Koller, Alexis Strievi, Pierre Borie, John Evaelyjo, Steve Revoil, Jules-Henri Gabioud, Aldo Barnaba, Simon Fraisse, Mickael Martin, Nicolas Moreau, Antoine Gendre, Guillaume Nardin, Arnaud Dethorey, Olivier Moutin, Julien Seiler, William Lemaire, Tanguy Chauviere Le Drian, Natascha Richter, Julien Collet, Remi Poeydomenge, Tristan van Ee, Olivier Abbet, Aziz Ouaabi, Dominique Chaput, Martin Bay, Amaury Arnaud, Maxime Vergnieres, Julien de Freitas, Diego Pazos, Gabriel Gaultier, Gaetan Longeon, Laurent Neau, Julien Metivier, Andy Lenoir, Cécile Vince, Laetitia Vicart, Jeandel Laurent, Matthieu Poittevin, Flavien Alfero, Cédric Barrau, Vincent Dumont, Pascal Moulis, Kevin Colin, Sandrine Prieur, Jean-Patrick Mercier, Benoit Thouary, Colin Olivero, Paul Scourzic, Gaetan Chicanne, Simon Delamarre, Jérôme Ricol, Benjamin Testelin, Sylvain Guillermo, Marc-Henri Depotte, Thomas Gomez, Pierre-Antoine François, Julien Hoarau, Pierre-Antoine Piter, Sébastien Guirao, Cyprien Louis, Anthony Gautier, Yannick Martin, Jeremie Ballet-Baz, Kevin Bouvier, Guillaume Bonnaure, Guillaume Settembrini, Leslie Roquecave, Xavier Thevenard, Kevin Bouchery, Romain Lacaille, Vincent Laffay, Bob Brunot, Raphael Mateos, Pauline Schmidt, Christophe Lapoirie, Regis Adam, Guillaume Marmer, Gwendal Moysan, Jonathan Moncany, Jean-Michel Challe, Stéphanie Vizot, Cristelle Robert, Antoine Dragon, Michel Della Maria, Hadrien Dulau, Alain Speckbacher, Remi Jallon, Matthieu Peyrin, Dany Moulin, Maxime Trichot, Olivier Valla, Pierre Meslet, Theo Meunier, Martin Thoris, François Beruard, Guillaume Perrin, Benoit Beaubier, PIerre-Jacques Laurand, Ugo Lovera, Remi Peron, Marion Paquet, Maelane Mialle, Vincent Mira, Eric Charlet, Fred Hamon, Cristophe Modat, Stéphanie Gadroy, Matthieu Blanc, Fabien Candy, Raphael Poughon, Christophe Arcin, Mathieu Gery, Paul-Edouard Juan, Julien Chambat, Aline Froger, Jean-Pierre Caridi, Florent Lorin, Virginie Goetzmann, Romain Ors, Aurélien Le Nouaille, Stéphane Lacouture, Gregory Puech, Céline Marteau, Christophe Poussard, Gildas Desevedavy, Benoit Dumontet, Jérémy Gotto, Laurent Calvet, Monique Thevenard-Bonino, Didier Lesourd, Pierre Poirier, Donatien Drouin, Yasmina Plaindoux, Sophie Picavet, Guillaume Primard, Fabien Blas, Jordan Hibon, Regis Lebarbier, Gatien Janton, Julien Baixas, Olivier Stora, Florian Le Grand, Gael Cantenot, Christophe Mazaud, Mickael Arhan, Youssoupha Ndiaye, Guilhem Millet, Sébastien Furet, Sébastien Cellier, Stéphane Chalmeau, Jacques Ricoux, Anthony Marthinet, Guillaume Fierling, Pierre Jaouen, Guillaume Scheer, Vincent Bouchet, Sébastien Doutreligne, Jean-Pierre Ricard, Pierre Papet, Carlos Oliveira, Benoit Latus, Gregory Scotta, Olivier Gerin, Anthony Le Goff, Anais Terrettaz, Nicolas Simonet, Vincent Minet, Jean-Philippe Guerin, Guillaume Blandin, Julien Meschberger, Dorian Laithier, Mathieu Garat, Thibaut Fortin, Noémie Andre, Bruno Turbe, Cyril Solbach, Xavier Briez, Antoine Juillion, Benoit Lardeux, Jérôme Gervais, Johan Paris, Sébastien Picaud, Julien Lantuejoul, Antoine Fourmentin, Serge Dany, Stéphane Huser, Pierre Ameglio, Tom Gathier, Rodolphe Genitoni, Fabien Richard, Nadine Racat, Jérémy Binette, Felix Defrance, Raphael Baudoin, Marc-André Verpaelst, Franck Scandella, Aurelie Le Fur, Sylvere Pruvost, Emmanuel Arcis, Marc Bee, Arnaud Thomas, Nicolas Butz, Vivien Mennesson, Cédric Lecohue, Elie Guy, Severine Grilhe, Guillaume Ring, Arthur Ohl, Adrien Morent, Mathieu Demarson, Thomas Lorblanchet, Lionel Reynier, Mathieu Bouton, Béatrice Patizel, Quentin Mugnier, Jérémy Chicoine, Pascal Ndiaye, Sébastien Khali, Aude Hourtal, Lois Perrier, Etienne Gleizes, Bastien Munoz, Jeanne Peyron, Frédéric Navillon, François Monge, Jérémy Marie, Mathieu Cousinie, François-Xavier Dion, Julien Seguin, Benoit Pavee, Pierre-Jean Cot, Cyril Auvinet, François Cornic, Damien Pereira, Benjamin Asselbourg, Eric Sun, Alexis Neaux, Julien Majou, Marie-Jose Maigrat, Quentin Guillier, Simon Girard, Gautier Daras, Didier Pecoul, Yves Girard, Nicolas Esther, Cédric Desforges, Michel Remy, Alexis Lecanu, Benoit Leroy, Maxime Nigra, Guillaume Cretinon, Antoine Mougel, Gabriel Guibert, Kamel El Khayari, Joel Ormeno, Gregory Isnardi, Jonathan Roy, Florian Bissay, Michel Mouraille, Johan Chouteau, Romain Soubde, Anthony Amoudruz, Nicolas Boeyaert, Valentin Rivalan, Sarah Renaud, Pierre Druart, Julien Courdes, Gaelle Martin, Christophe Beauseigneur, Nicolas Pastorino, Tristan Pignier, Erwann Odye, Bastien Lhermite, Lionel Miconi, Jean Regaldo, Anthony Pouille, Alban Venneugues, Stéphanie Grotzinger, Patrick Toutain, Lucas Toulier Ancian, Max Godet, Stefan Rutz, Sébastien Chaboud, Yann Despicht, David Colasuonno, Robin Schmitt, Anthony Launay, Emeline Lacote, Clément Aeschbacher, Benjamin Peigne, Matthieu Lefort, Maxime Crozon, Geoffrey Dequidt, Alexis Valtat, Lucas Bastoul, Frédéric Degruel, Anne-Elise Dely-Duguey, Clément Eliot, Dominique Boiret, Tifenn Kerbiriou, Ariane Wilhem, Marie Line Rapin, Mireille Masson, Mederic Bonnet, Marilyne Lopez, Cyril Caillou, Simon Paillard, Lola Vanderkam, Loïc Jalmin, Michael Salerno, Fabrice Soulier, Jérôme Volck, Vincent Bourlier, Florian Charles, Cécile Cheron Goiset, Thibaut Baronian, Thibaud Langlet, Mathieu Pardon, Briec Boucher, Sandrine Rozenberg, Floris Calori, Thibaut Verlyck, Julien Durechou, Jérémy Sevellec, Eric Masse, Christine Hoja, Jérémy Draguis, Nikolay Popgeorgiev, Simon Janin, Philippe Blanchard, Antoine Wolff, Antoine Joal, Benoit Desaute, Arthur Decostanzi, Florent Chateigner, Sébastien Yvart, Marie-Odile Mery, Guillaume Cosson, Jules Pijourlet, Pierre Prosperi, David Leprovost, Benoit Sautreuil, Gwenole Louarn, Laurent Montel, Kevin Faria Fernandes, Jérémy Franchemiche, Emeric Soulier, Benoit Arnoult, Mikael Mongiovetto, Christopher Retiere, Fabrice Baret, Dimitri Larbi, Sylvain Rousselot, Pierre-E Ory, Kelig Houze, Christophe Sanchez, Hugo Sapin, Romain Taupin, Nicolas Enjalbert, Aurélien Hernandez, Romain Bidoli, Edgar Speckbacher, Julien Michaud, Nils Rochereau, Matthieu Obach, Christopher Nese, Arnaud Sauvaget, Yann Blanchard, Guillaume Vansuyt, Valtres Triathlon, Aurélien Teten-Prod, Fabian Cucchiara, Benjamin Biga, Pierre Janin-Potiron, Marie Wagner, Clément Guibert, Vincent Affholder, Frédéric Rolland, Arnauld Hervieux, Bastien Seon, Remy Myre Sennepin, Cécile Rossin, François Billy, Cédric segura, Thomas Cordival, Aubin Calamaro, Franck Nadaus, Laetitia Palatini, Patrick Douin, Ludovic Edel, Pierre Remigereau, Lidwine Szymczykowski, Lea Pouzaud, Charline Sadzot, François Arrighi de Casanova, Nicolas Delmi-Deyirmendjian, Alexandre Jamet, Adrien Marcourt, Maxime Hourdebaigts, Aurélien Reymond, Jordan Bessiere, Louis Audoin, Julien Vieille, Cyril Bernard, Aurélien Reymond, Killian Garnier, Sophie Camus, Nicolas Jeanjean, Damien Pitiot, Sylvie et Pierre Leyendecker, Jacques Vacher, Thomas Kernen, Elric Aublant, Sébastien Repeto, Alexandre Meheust, Robert Nicol, Nicolas Goffe, Benoit Rybarczyk, Arthur Giuliani, Mickael Robert, Antoine Jourjon, Philippe Chatelot, Nathan Coubes, Laura Garrivet, Remy Perez-Martin, Arnaud Grisey, Gabriel Gobat, Gregory Vollet, Morgan Le Lann, Cyssou Buffat, Matthieu Forichon, Jérémy Suzanne, Alexis Coince, Romain Boudet, Patrick Faramaz, Bastien Deliau, Mathieu Treuil, Benoit Bordigoni, Louis Fournier, Najib Laatiaoui, Guillaume Lamirand, Olivier Gerard, Nicolas Olive, Ben Violot, Jean Blancheteau, Mickael Mysoet, Hugo Fartaria, Marie Sammons, Fabien Coste, Marion Mahieu, Boris Favario, Jérôme Gaudin, Cédric Dupuich, Bastien Peron, Valentin Orange, Antonin Boiffier, Pierre-Emmanuel Julia, Edouard Corbel, Vincent Souvras, Laurent Sabre, Geoffrey Carion, Laura Becognee, Mohamed Senouci, Matthieu Manet, Clément Berchet, Gaetan Dervaux, Christophe Portalez, Mathieu Bocchi, Florent Porras, Baptiste Dugue, Thomas Besnier, Laurent Sitbon, Frédéric Berg, Romain Andrieux, Remi Verardo, Aurélien Lopez-Simier, Thibaut Heusse, Yannick Reliaud, Florian Saint-Pierre, Jean-Etienne Celle, Thibault Lacroix, Brian Verthier, Jose Fernandez, Romain Rizzarello, Baptiste Cosson, François Guillevic, Arnaud Vandal, Christophe Caron, Guillaume Desuzinges, Damien Millon, Jean-Baptiste Mullie, Romain Viode, Alexandre Lataste, Gregory Bertrand, Antoine Labourier, Clément Dumont - Dayot, Gilles Frezier, Gregory Richen, Florian Nivet, Julien Jallamion, Yannick Ratakek, Vincent Auboiroux, Fabrice Staub, Estelle de Pelichy-Jeanson, Paul Parant, Benjamin Gayaud, Matthieu Fosse, Jonathan Tabutin, Martin Beche, Jules Briatta, Regis Belhomme, Maximilien Clayton, Stephane Flueli, Damien Orsal, Yann Treguer, Nicolas Dublanchet, Christophe Hamm, Caroline Huet, Kilian Jornet, Claire Tourment, Benjamin Schmitt, Cédric Ferrin, Cyril Nodin, Cyril Carvalho, Morgan Pouliquen, Samuel Bard, François Pellissier, Julie Tharaud, Cédric Tanvet, Andy Symonds, Colin Saillet, Florent Vilisques, Aurelio Guerra Vigo, Nicolas Conquer, Isabelle Tondelier, Michael Hutin, Raphael Campion, Antoine Nicolas, Florence Santrot, Frédéric Chaney, Michel Arnaud, Benoit Mazingant, Maxime Beffy, Cédric Deline, Thomas Guillaumond, Elisa et Sébastien Mariette, Yannick Simonneau, Thomas Arnoux, Jean-Philippe Ajuste, Emmanuel Renault, Scott Simonin, Benoit Gourde, Xavier Constans, Yannick Melet, Yannick Granger, Paul Boussemart, Nicolas Douay, Cédric Lasgleyses, Jérôme Lastapis, Benjamin Legrand, Yann Morello, Corentin Davy, Julien Trefcon, Marianne Holtzer, Celien Guovannetti, Elo Die, Alan Le Guen, Raphael Ebrard, Bastien Vallet, Ghislain Paladini, Christophe Mare, David Perdrel, Julien Rage, Clément Delhaye, Erwan Pelan, Estelle-Marie Kieffer, Baptiste Galant, Sylvain Equel, Simon Laverriere-Duvaux, David Mislin, Mathias Puzzolante, Renaud Perrin, Lucas Rohart, Julien Pivet, Cédric Pion, Julien Pelle, Arnaud Kremeur, Alexandra Nitescoux, Laura Orsal, Cyrille Tumson, Jean Magnol, Julien Carayon, François Guerin, Pierre Roques, Romain Ausseur, Gauthier Galland, Philippe Thuret, Philippe Duhamel, Katia Demont, Gael Marty, Richard Dion, Theo Orange, Jimmy Trouillard, Damien Cremilleux, Pierre Bruet, Pierre Jacqueau, Tomy Delcroix, Antoine Garrigue, Jonathan Mertens, Xavier Meziere, Guillaume Vautier, Nicolas Mauclert, Pierre Cabannes, Jeremie Priarone, Antoine Peduzzi, Arthur Szadeczki, Eric Nougayrede, Hadrien Cadiou, Laurent Muscarnera, Jean-Gael Le Floc'h, Cyril Mallard, Charlotte Catel, Yann Olivier, Clément Collart, Laetitia Henry, Mickael Sourd, Maxime Gosset, Maximilienw, Nicolas Le Bail, Adrien Troesch, Vincent Rabec, Estelle Fey, Ronan Bibens, Boris Paulme, Frédéric Delattre, Matthieu Peche, Eric Delmas, Matthis Granet, Julien Farre, Robin Gremmel, Jude Rezin, Tanguy Fetsch, Arnaud Guillemin, Quentin Broue, Pierre Zimmer, François-Xavier Olivier, Maxence Becourt, Quentin Debray, Claire Beraud, Maxime Laget, Ewen Henaff, Quentin Allard, Serge Mennecier, Aurélien Autret, Solene De, Cédric Richter, Matthieu Giraud, Julien Jay, Mario Toussaint, Felix Richard, Julian Virlogeux, Guillaume Pujolar, Quentin Guerrero, Nathanael Hittinger, Jérôme Sigrist, Xavier Martin, Gaetan Barralon, Teddy Hernandez, Geoffrey Conti, Julien Brengel, Nicolas Chiabaut, Camille Serre, François Devaux, Julien Le Foll, Anthony Goavec, Benoit Vasset, François Tetu, Tristan Cariou, Eddy Wegrzyn, Marion Favier, Antoine Guenin, Florian Mairy, Emmanuel Abele, Raphael Fevrier, Julien Toubeau, Cédric Tshibasu-Kabeya, Florian Loubard, Blandine Leperlier-Morel, Amelia Perier, Quentin Antoine, Romain Carpentier, Nicolas Chiaffredo, Antoine Boinay, Antoine Jeantot, Julien Chassagne, Anthony Gottiniaux, Slaven Depuiset, Christopher Martin, Gaetan Hascoet, Julien Salomon, Aurélien Perol, Jonathan Merceron, Ousmane Camara, Benoit Dupraz, Julien Burton, Brieuc Viel, Apostolos Teknetzis, Julien Ben amar, Romain Voreaux, Clément Diaz, François Colinet, François Mourgues, Thibaud Sambourg, Julien Bernard, Antoine Perez-Martin, Rudy Bottin, Alexandre Khali, Jérôme Defer, Damien Jubely, Nicolas Micoud, Nicolas Cotte, Benoit Lancon, Thierry Wergifosse, Paul Eeckeman, Etienne Montalban, Etienne Monbaron, Gael Revelin, Dimitri Chapelle, Pierre Oudar, Mickael Blanchard, Laurent Bazet, Flora Delmas, Nicolas Le Dot, Maxime Musial, Yann Audouin, Vincent Jouvin, Karine Girard, Pierre Gallat, Antoine Lombard, Marine Mejri, Jean-Pascal Bernard-Hervé, Lionel Porte, Hadrien Jourdan, David Tissot, Robin Feigne, Thomas Vericel, David Eck, Baptiste Jardine, Mathieu Pogeant, Romaric Bouillard, Thomas Thiebaud, William Leroy, Artiom Ganchine, Bertrand Lamoise, Nicolas Reczek, Geoffrey Noel, Bastien Isere, Minnierunneuse, Timothee Vandel, Jean Allenbach, Maxime Villoria, Lucas Billuart, Anne Vialatte, Damien Prigent, Baptiste Minart, David Sacleux, Lionel Cachot, Jean-Baptiste Roze, Louis Deque, Christophe Thierry, Pascal Cotret, Remi Lacroix, Jean-Charles Vauthier, Simon Giraudy, Julien Guillerault, Morgane Vitry, Philippe Benier, Edouard Coquatrix, Morgan Beaujouan, Guillaume Bour, Laurent Canon, Frédéric Vogin, Matthias Noguera, Tom Spach, Johan Martin, Damien Borensztein, Yann Seral, Glen Buron, Catherine Favre, Thibault Quemener, Lionel Guillaume, Hervé Villard, Richard Imperial, Anne Amarenco, Josef Potoski, Alban Ribault, Jean-Baptiste Prichystal, Nicolas Bruneau, Olivier Le Roux, Guillaume Arthus, Samuel Maraffi, Kevin Baldauf, Benoit Gilabert, Paolin Thoury, Fabrice Severac, Morgan Legros, Jean-Charles Siffrine, Benoit Testard, Stephan Tranchant, Eric Siber, Stephan Hugo, Sarah Balichard, Virgile Demolliens, Benoit Ferron, Jean Cottenceau, Benoit Hoolans, Fabien Tarantola, Fabrice Austruy, Raphaelle Chauffour, Fabien Demure, Jean-Maxime Robin, Sébastien Cloux, Td Nguyen Khac, Didier Gardan, Allowin Marchal, Stéphanie Nemos, Maxime Thibault, Antoine Quidet, Loïc Leyendecker, Naim Schnegg, Thomas Desprez, Romain Berger, David Jolivet, Marie Leyendecker, Jean-Luc Cadenel, Gaelle et Vincent Poirier, Baptiste Falgayrat, Stéphane Gourdon, Eric Seyfried, Mathieu Ravent, Etienne Valentin, Adrien Lietsch, Dominique Deflorenne, Pierre-Yves Stopin, Gaetan Masset, Anne-Laure Roux, David Pujol, Samih Marzouki, Brice Denis, Valerie Suchet, Bertrand Mathy, Fabien Genetier, Pierre Derumaux, Xavier Allanic, Nathan Levray, Adrien Barbier, Edouard Leculier, Loïc Stas, Paul Guernalec, Carole Lafontan, Nils Cuinat-Guerraz, Jean-Philippe Le Pennec, Julien Kerfers, Florentin Body, Quentin Cuartielles, Stéphane Bondot, Paul Bablot, Jérémy Brialon, Bastien Le Calvez, Bastien Chevalier, Titouan Feldmann, Loïc Lagadec, Nathalie Rosolek, Pierre Leweurs, Florian Zacharias, Jérôme Decisier, Alexandre Batz, Maxime Pinel, Willy Jollivet, Valentin Kiselak, Yann Le Saux, Remi Allegre, Ludovic Antoine, Julien Delattre, Julien Peignot, François Balao, Vivien Ghestem, Aymeric Matias, Florent Lombard, Benjamin Delattre, Arnaud Paillard, Xavier Barral, Marion Delage, Felicie Lefevre-Michelson, Sylvain Gasquet, Charlotte Petit, Emmanuel Calfayan, Stéphane Bessieres, Jean-Marc Djian, Cyril Guillonneau, Vincent Dupont, Alexandre Beraud, Yves-Marie Hervault, Jérôme Platret, Mickael Rialland, Quentin Danel, Julien Moret, Loïc Andre, Sébastien Durand, Camille Sentissi, David Dubos, Antoine Lallier, Anthony Lattion, Simon Baron, Yves Heloury, Damien Imparato, Victor Grandchamp, Mathieu Dufournier, Camille Chanel, Thomas Deruaz, Ronan Pierre, Camille Belsoeur, Paul Chastroux, Emmanuel Pochat, Cyril Defraize, Thomas Leufen, Isabel Levionnois, Laure Gauthier, Cyrille Morvan, Melanie Macioce, Pap's Blin, Sébastien Castel, Aurélien Moliere, Kevin Schultz, Romain Le Pemp, Marion Blanchard, Michael Sarrato, Mathieu Lion, Adrien Gentizon, Fanny Trecourt, Martin Gaffuri, Nicolas Tissot, Anne Chagny, Bruno Poussard, Laure Zahnd, Hermance Lauras, Thomas Heitz, Nicolas Puentes, Sébastien Begel, Jérémy Mann, Florian Moron, Clément Eigenschenck, Renaud Samuel, Matthieu Velay, Stany Minckwitz, Guillaume Routin, Julien Saint-James, Cédric Banelli, Benoit Mottier, Laurent Germain, Ewen Roth, Lionel Bonzoumet, Clément Fernandez, Simon Leclerc, Nicolas Blanc, Thomas Friol, Nicolas Devroux, Guillaume Chelius, Helene Brunel, Yannick Senechal, Eric Lacroix, Cyril Laffitte, Benjamin Oger, Louise Petigny, Alex Rosenbaum, Gweltas Odye, Chantal Desmurs, Sébastien Pitoiset, Matthieu Byrdziak, Maud et Nicolas Rousseau, Fabrice Perrin, Guillaume Ditsch, Arthur Plunet, Geoffroy Bonnet, Camille, Adèle et Sébastien Maury, Cédric Burnet, Christine et François Cheron, Pascale et Philippe Schmitt.

[anotherhumaninthisworld]

hebert had a wife and daughter?

Indeed he had!

Hébert’s wife’s name was Marie Marguerite Françoise Goupil. I haven’t found better information regarding her birth more than that it happened in Paris in ”the first days of 1756” (she was in other words one year older than her future husband). I also haven’t found out which of her three names was her first name, though all texts I’ve checked settle on Françoise, so I’m also going to call her that.

Françoise, according to Paris révolutionnaire: vieilles maisons, Vieux papiers (1903) was the only child of Jacques Goupil and his second wife Marie-Louise Morel. The former had been the owner of a not very successful lingerie business which his wife then took over after his death. When Marie-Louise died as well, on July 16 1781, she had for a while lived with and worked as a nurse for the abbot Vaudair, who it is possible her daughter then turned to when she a while later started working for religion. Françoise became a nun of the Couvent des Filles de la Conception on rue Saint-Honoré, the same convent where Élisabeth Duplay claimed she and her three sisters took their first communion.

In June 1790, municipal commissioners presented themselves at the convent to hear its inhabitants’ declaration on whether they would stay there or leave. Out of the 24 nuns, only Françoise responded that ”she could not make up her mind at the moment,” the other 23 declaring that ”faithful to their wishes, they wanted to live and die in their state as nuns.” A year later, July 1 1791, Françoise’s name no longer featured among the convent’s inhabitants, meaning she had left it, be that out of free will or her sisters kicking her out for what she had said the previous year.

Hébert’s fellow journalist Louis Marie Prudhomme claimed in his l’Histoire générale et impartiale des erreurs, des fautes et des crimes commis pendant la Révolution (1797) that it was while at La Société Fraternelle des Patriotes de l'un et l'autre sexe Françoise for the first time met her future husband. Their wedding was held in the parish of Saint-Gervais on February 7 1792 (see the image below). After the marriage, the couple settled on Rue Saint-Antoine.

According to the same Prudhomme, Hébert was however not heads over heels in love with his wife:

[Hébert] married more to appear to have carried out an act of good citizenship than out of esteem and love for his wife. Nevertheless, they got along quite well, although she was ugly. It was a large spider that came out of the convent of the Assumption or the Annunciation. […] A wonderful revolutionary frenzy took hold of the couple, and they were faced with the people, who shouted bravo!

Hébert’s own letters would however appear to contradict this:

My situation, although difficult given the immensity of occupations with which I am responsible, becomes happier every day. I must inform you, my good friends, of the alliance that I am contracting with a very amiable young lady of excellent character. It would be enough of these advantages and were she devoid of all resources, the one I love would not be any less dear to me; but to fill my happiness I find enough fortune with my wife to be reassured about her fate if death separates us. I therefore ask you, my dear sister, to give me your approval and to ask the same from Boissierre. […] I am very assured that you will sympathize with my lovable pretender. She is very spiritual. Speaking in the old style I would say that she is comme il faut, but as I have been assured that you are as patriotic as me I only use constitutional expressions. This demoiselle is called Goupil: she has spent her entire life in the convent up until now. By her personal qualities and by the advantages she enjoys she could claim to someone much richer than me; but my good fortune gave me preference over several competitors. You see, my good friend, that not everything in life is bad and that fate has finally tired of persecuting me and through consistency I have been able to create a pleasant and lucrative position for myself. Hébert in an undated letter to his sister, written somewhere in 1791

I am healthy and very happy. United with a woman who combines all the good qualities with the charms of the mind, whose education is completed, whose character is perfect, I lead the sweetest and most peaceful life. Hébert in an undated letter to his sister, written somewhere in 1792

Réné Desgenettes, who in his memoirs claimed to have met Hébert in late 1791 (though it was most likely early 1792) also hints at a loving relationship:

After my return to Paris, by the end of 1791, I had met at la Grave, or rather under the Saint-Jean arch, my fellow patriot and almost fellow student Hébert, who showed me with satisfaction his feelings over seeing me again, how much he had often regretted that I had been absent from the capital during the first days of the revolution. ”You would have surely played an important role,” he told me, ”but now that you’re here everything is almost over. I live pretty close to this place, rue Saint-Antoine, opposite the passage of this name, which leads to rue du Roi des Deux-Siciles. My little apartment is on the third floor at the front. I have not at all forgotten your constant kindness or what I owe you. I want to speak of money so generously lent, because I would not dare to recall and could not count how much you often gave me at the traitors of the rue de la Parcheminerie, de Mâcon and de la Grille du Carrousel. Without you and the honest patriots from rue des Noyers, I would have starved to death… I can’t say, monsieur, which hours I will be at home, where I still dine everyday, and where I would consider myself both happy and honored to find you. But you will be sure to always find my wife there, because I’m married. Madame Hébert is a former nun from Conception-Saint-Honoré, young and very spiritual. Despite her burning patriotism, she has kept a lot of piety, and considering I love her so much, I never contradict her on this point, contenting myself with a few jokes.” I never answered to this invitation, nor did I find the occasion to see Hébert again after the end of 1791.

From the summer of 1792, we have two letters Françoise wrote to her husband’s sister, which they too seem to indicate a happy marriage:

To mademoiselle Hébert the older in Alençon Paris, 24 July 92 We were firmly convinced, my husband and I, that you received the newspaper as well as Mr. Desnos. M. Hébert had taken all the necessary means for this; but we had the misfortune of associating ourselves with the biggest rascal in Paris, who deceives us in every way. It is therefore not surprising that you were deprived of the papers he was responsible for sending you. We are ready to leave him and you will receive what you want without fail, I hope. We would already be on top of our affairs without this man, hardly worthy of a partner as upright as my husband, who has been fooled ever since he started working; but whose well-known probity and frankness made an infinitely honest young man desire his association. So we will work through new charges and I hope that this time we will not be unsuccessful. If M. Hébert is good enough to make his happiness consist in having me, it is indeed me, mademoiselle, who without grace can certify that I am perfectly happy with he who never ceases to everyday give me new proofs of his tenderness. I have carried a precious token of him in my belly for three months now, he wants the child to look like me, and I want it to look like its father, this, mademoiselle, is the continual subject of our differences. We agree more willingly on the desire to have you as a witness of our love, it will not be up to us unless it happens soon. You are very worried about the dangers of the fatherland. They are imminent, we cannot hide them: we are betrayed by the court, by the leaders of the armies, by a large part of the members of the assembly; many people despair; but I am far from doing so, the people are the only ones who made the revolution. It alone will support her because it alone is worthy of it. There are still incorruptible members in the assembly, who will not fear to tell it that its salvation is in their hands, then the people, so great, will still be so in their just revenge, the longer they delay in striking the more it learns to know its enemies and their number, the more, according to me, its blows will only strike with certainty and  only fall on the guilty, do not be worried about the fate of my worthy husband. He and I would be sorry if the people were enslaved to survive the liberty of their fatherland, I would be inconsolable if the child I am carrying only saw the light of day with the eyes of a slave, then I would prefer to see it perish with me. I gave Mde Pelletier the papers for you that I haven't through up much since M. Desnos left. I have the most ardent desire to see you. Mademoiselle and dear sister Your very humble servant Goupil… Hébert My husband tenderly embraces you as well as your sister, whom I beg you to accept the assurance of my very sincere feelings.

To Mademoiselle Hébert the older.  Rue de la Mairie, Alençon, département de l'Orne.  Mademoiselle and dear sister-in-law, I don't know what to attribute your long silence since last time I had the pleasure of writing to you; but it surprises and distresses me, I would have already complained if my since five months back very bad health would have left me that possibility. My husband, who was chosen by his section to serve as city commissioner on the night between August 9 and 10, has run the greatest of risks. He had the pleasure of rendering services to his fatherland, and always with that noble disinterestedness that you know from him. He has done and still does good without respite, he has seen and still sees intrigue rise up, and modestly remains Père Duchesne, a poor newspaper seller. He stood for election and was undoubtedly well worthy of becoming a member of the Convention; but he believed he had to hide nothing of the truth, more than once he made the intriguer who enjoyed a great reputation turn pale, he seemed too pure and too formidable to those who had influence in the nominations, and to the great astonishment of the brave sans-culottes, he himself is still a brave sans-culotte, which is enough for my happiness. Satisfied to know my husband was worthy and capable of doing anything to be satisfied, his hands remained pure like his soul and were not soaked in the blood that flowed in the prisons. For my part, I suffered from such a great horror that I almost lost my life; I believe that the law alone can strike down the guilty, and until then I will cover them with my body. All that can console me in this tragic event is that the names of those who are its authors are already in execration and that history by transmitting them to posterity will justify the people of Paris who has lost nothing (it must be said) of its urbanity. You would oblige me infinitely if you could tell me if the former Viscount the huntsman Lord of Carrouge has emigrated. I suspect that he has and if I was certain of it I would put an opposition against his property as he owes le 600 livres. My husband, who loves you very tenderly, says a thousand tender things to you and to your sister, and I ask you to believe me, both of you, with a very sincere attachment. Mademoiselle and dear sister-in-law . Your very humble, . Servant G... HÉBERT. My address from now on will be: Cour des Miracles rue de Bourbon Ville Neuve.

A few months later, Réné Desgenettes claimed to have run into Hébert and been invited to dinner yet again, and this time he did follow through with it, resulting in this very long anecdote:

On February 24 1793, I spotted him, on rue Saint-Honoré, part of the procession bringing the remains of Pelletier de St-Fargeau to the Panthéon. […] Hébert, who had noticed me as well, dispatched himself from the group, approached me, shook my hand roughly and said: ”Where in the devil’s name do you live?”

”Rue du Paradis au Marais, n. 3.”

”I have important things to tell you and still live on rue St-Antoine.”

I still refrained from visiting Hébert. However, after a very few days, I learned that a gentleman of fairly good appearance, well dressed and calling himself substitute deputy of the Commune, had come to ask for me, and that he seemed upset for not having met me. Thinking there was no way to back down, the next day, around five o’clock, I went home to Hébert, where I found his wife, the former sister Goupille [sic], who, while waiting for her husband, occupied herself with preparing a rather delicate dinner, because the orator loved good food. Madame Hébert received me very well and told me her husband so many times had spoken of me with affection, that we were two old acquaintances. I approached to contemplate an engraving based on the beautiful painting by Titian or Paul Veronese, showing Jesus Christ with two of his disciples at Emmaüs’, when I noticed that Hébert below it had written: the sans-culotte Jesus dining with two of his disciples in the castle of a ci-devant…

”Here you see,” Madame Hébert told me, ”one of these bad jokes my husband often allows himself to make against religion, as a result of a detestable habit I have no hopes of curling him from... I am, monsieur, very much attached to Christianity… It’s our religion at its most beautiful, because I don’t subscribe to everything… I preach to the Jacobins, in the society of our sisters, the same doctrine that abbot Fauchet preach to our brothers at their reunions. He is a great and true apostle who inspired me with a perception of the enthusiasm which animates him, and I have reason to believe that he is also not dissatisfied with the zeal with which I seek to imitate him. I know all the advantages that the Bishop of Calvados has for me; he owes them to nature and to his superior talents, because he is a very handsome man, and everyone agrees that he is also very eloquent.”

Hébert arrived at six o’clock. Before sitting down at the table, where we then stayed for three hours, he took from a secretary a certain number of gold francs, which he handed over to me like an old debt with a thousand thanks. […] 

Let us [said Hébert] speak a bit about Alençon and the first time of our youth. Madame Hébert will see that I have hidden nothing from her about the time of my life when it has been claimed that I was a scoundrel. You surely remember, monsieur, that upon leaving college, where I quite simply had the well-deserved reputation of being lazy and mischievous, I had the misfortune, or perhaps the good fortune, to fall out with la justice? 

R.D.G: I remember it well. 

Madame Hébert: But that is always very grave. 

Hébert: This was also very grave, because the bailiwick of Alençon condemned me to banishment; but I appealed to the parliament of Rouen, which did not confirm the sentence of the first judges.

Madame Hébert: I’ve only ever known of this in a rough and very imperfect way.

Hébert: Well, you will know, my good friend, that in the town where monsieur and I were born, women have always had a great reputation for gallantry. Now the widow of an apothecary, who had been accused of bigamy, had in turn many lovers. In the front line there was a doctor who was very handsome, and after him, living under the same roof as the lady, was her premier garçon, as they expressed it then, and then finally the man who managed the very busy pharmacy. A rivalry which existed secretly between the doctor and the pharmasist broke out one day with so much fury that the doctor murdered his rival...

Madame Hébert: The horror! How did he kill him? 

Hébert: The doctor took an iron or copper pestle, and delivered several strong blows to the head and across the face of my poor friend L..., who was on the point of being trepanned. However, even before public rumor got around, the king's prosecutor was seized as suspect in this criminal matter, it was dormant or rather stifled by a transaction which was attributed throughout the city to the conciliatory spirit of M. Desgenettes, your respectable father. Doctor Cl.... however, had aggravated his crime, because he was closely pursued, it is true, sword in hand, by the brother of L..., employed on the farms, he had tried twice to kill him. Outraged with rage upon learning that just revenge was going to elude the L... brothers and their friends, I drew up a note which was posted at the doors of the main church, the commissary, the courts and other places.

Madame Hébert: What did it say on the note? 

Hébert: It said: ”Sentence rendered to the Supreme Court of Honor which condemns Doctor Cl... to the pillory of infamy, for compensation, etc. Then I drew two bloody knives in a saltire, with this motto: Olim veneno, nunc cultro.”

Madame Hébert: Which means? 

Hébert: Formerly with the poison, now with the knife.

Madame Hébert: Is that right, M. Desgenettes?

R.D.G: Yes, madame, and if you want a different version: ”He has replaced the knife with the poison.” Nevertheless I must have the honor of observing to you, as your husbands already knows, that the doctor did not use the knife.

Hébert: The knife made Cl... more odious, and that's what I intended. The assassination is therefore tolerated by a court which had just hanged two unfortunate people, for having burglarily stolen forty sous from a church trunk, which I would happily call provocative, since it jutted out onto a main road. The veil of oblivion is extended over a crime that was to be punished by the torture of the wheel, and here I am, for a placard which repaired the wrongs of justice, extraordinarily prosecuted, and decreed for personal adjournment . This is not yet enough, and both God and the devil are invoked against me.

Madame Hébert: You are aware, my friend, that all justice emanates from God; but the possible intervention of the devil in a judgment rendered by men is a superstition that I reject, although you have sometimes regarded me as superstitious. Monsieur, she said, addressing the author of these Memoirs, I am not superstitious, but no one is more penetrated than me by the power of God and the ineffable benefits of the religion of Jesus Christ... Is it not the Savior who said to men: You are the children of the free woman? I have never blushed over my [connection to] the first estate, and admit it in front of everyone. I still keep, and you have it before your eyes, the bed that I had at the Assomption; when it becomes that of a mother, it will change in neither shape nor color... My principles are still the same as those of Sister Goupile [sic]. But, tell me, Hébert, please, how was Satan brought into your business?

Hébert: Because it was brought before the official of Seez, and the general vicar and canon of the cathedral, who presides over this ecclesiastical tribunal, launched a monitory against me. This act fulminated in the sermon in the parish church of Notre-Dame d'Alençon, with an apparatus and ceremonies borrowed from the inquisition, which filled the common people with terror, and part of the population barricaded themselves in their homes, at the the onset of night, while the proud men of the city, and especially the armed butchers, searched everywhere for the werewolf. You know, monsieur, that they are a brutal and even ferocious type of man. The fanaticism of butchers has long been maintained in our city, by making them appear with their cleavers and their dogs in the procession of the little Corpus Christi, in memory of the assistance they had given, in 1500, to the Catholics against the Calvinists, then very numerous and very powerful in our country. Do you remember, monsieur, seeing this ceremony?

R.D.G: Yes, monsieur, and to have seen at the head of the butchers, with his sword raised and his arm bare, a Malêfre. This gentleman who, I believe, lived in Seez and had a stronghold at the gates of Alençon, was descended from the one who first commanded the butchers in this ceremony. The dogs had been removed, because they bit those of the assistants who stepped on their feet, and because they howled in a terrible manner when the culverines of the castle came to shoot to salute the Blessed Sacrament.

Hébert: If the butchers, who were pleased by my known cheerfulness, had suspected me of being the author of the placard, I would have been very uncomfortable, and if they had been convinced of it, I would perhaps have been treated like the werewolf that they wanted to skin like a calf... Barricaded at the house of my poor mother, who borrowed books for me from all directions, I acquired this profound knowledge of history that deigned to grant me. My misfortunes in Alençon, repaired a little in Rouen, led me to Paris, and you know, very roughly, what the rest of my life was like.

Madame Hébert: It was during your debut in Paris, my dear friend, that you were the most silent…

Hébert: However, I had no reason to keep silent about the fact that for a long time I had struggled with the devil by the tail, even up to the time when I obtained a small job as a tobacconist at the Théâtre des Variétés. Yes, I suffered from hunger, thirst and cold for a long time. You are not unaware of the services rendered to me by Monsieur; I also had many obligations to the Parisot hairdresser on rue des Noyers, as well as to his wife. This graceful couple reminded us of the wigmaker, the Love of the Lutrin, and his wigmaker... We still had charming neighbors, the two daughters of the butcher across the street from Saint-Jean-de-Beauvais... Then, close to that of the English, this woman who loved you so much...

Madame Hébert: Is it so, monsieur, that you also have a good friend (girlfriend) in the quarter? 

R.D.G: No, madame, but I often chat with a rather laughable old woman, who ran a tobacco shop and housed two or three students. The house, which was no more than fifteen feet wide, as deep, and yet five stories high, had belonged to the father of J.-B. Rousseau, who was born there on April 6, 1671.  The good woman in question, who daily and naively repeated that she had once been young and had always haunted minds, had written on her door: This is where Rousseau was born.

Arriving quickly at the first days of the revolution, Hébert began to talk about how he had determined to write in a genre which was neither in his taste nor in his habits, but which he considered as having a powerful effect on the popular masses. Everyone believed that Père Duchesne was an essentially crude man; one will believe that by reading his papers, and one will be wrong, because he was, on the contrary, very polite. The conversation, which changed subject at every moment, because Hébert had little consistency in ideas, focused on Louis XVI and his family, whom the substitute of the commune had seen very often since August 10 at the Temple. At first he spoke of the dethroned monarch as a vanquished man who did not inspire him with any kind of interest. However, the day when Garat the younger, as minister of justice, and Grouvelle, as secretary general of the executive council, notified and read the final judgment to Louis XVI, he shared the emotion that this great misfortune caused them... He attended the execution, and recounted the circumstances with marked infidelity... After believing for a moment, he said, that he was going to persuade the people, Capet showed the greatest cowardice and began screaming like a calf... He had to be dragged to be placed under the blade…

R.D.G: What you say, monsieur, is in complete opposition to what thousands of men have seen and heard... The resignation of Louis XVI is a historical fact which cannot be altered, and we will not forget this resignation more than the sublime words of Father Edgeworth, which must have inspired him. 

Madame Hébert: This is true, and if Louis Capet, like we believe, was a tyrant, we must today, and after his death, consider him as a martyr to his position, and I too would perhaps invoke him.

Hébert: My good friend, what extravagances... Women almost never listen to anything other than imagination and rarely to reason. Anyway, he said (and he pulled a bloody handkerchief out from his pocket), look at his blood… I gathered it while it was flowing from the scaffold… I won’t believe, monsieur, in the success of the revolution, until I’ve seen that the Swiss have been disarmed and had their throats cut, that the statue of Henri IV has been toppled and the head of Louis XVI off. […] In desiring, monsieur, to have the honor of speaking to you, I was moved by a motive more important than the subjects of which we have spoken so far. My gratitude to you makes it my duty to warn you of what is happening regarding Mr. de V..., your uncle, and his friends. You are perhaps aware that they have declared themselves enemies of the municipality of Paris, which has little fear of them and accepts combat, even to the death.

R.D.G: Monsieur, I am not in my uncle's political confidence... He has the rigidity of a Cato, and I cannot tell him anything.

Hébert: The statesmen, sir, have spoken of our heads... The municipality will ask for theirs, if necessary, and the people will grant them.

R.D.G: I thank you, monsieur, for your communications, but I cannot use them and consider them useless.

When we seperated, it was more than nine o’clock, and I never saw Hébert or his wife again.

In his testament, François Chabot, who was among the ”indulgents” executed on April 5 1794, claimed that Françoise was ”very close with [Joseph] Delaunai's [sic] mistress for more than two years as far as I’m aware, and my brave colleague Forestier saw them together occupy themselves with my trial at the time when the faction doubted my will to serve it…” How much truth there is to this is probably impossible to know.

On March 14 1794, four a’clock in the morning, Jacques-René was arrested and taken to the Conciergerie prison. Françoise stayed behind at their apartment, watched over by a guard as seals were placed on her husband’s papers. However, at six o’clock the same evening, she too was arrested and brought to the women section of the same prison as her husband. Before leaving, she handed over her watch and a pair of earrings to her ”woman of trust” Marie Gentille.

I’ve not been able to track down the arrest warrant for Françoise, but I suppose it was issued by the Committee of General Security, as I couldn’t find anything in Recueil des actes du Comité de Salut Public. The act of accusation proclaimed her suspected of being ”conspirator with her husband, immediate agent of the system of corruption imagined by the horde of foreign bankers against a few unworthy representatives of the people, accomplice of Kock, du Frey, Despagnac.” The draft of the public prosecutor's indictment did in its turn state that ”The widow Hébert has, I do not say perverted her husband, whose immorality has been demonstrated to you, but supported with all her means the liberticidal projects of this monster.”

Ten days after the two had been arrested, March 24 1794, Jacques-René was executed alongside 17 other ”hébertists.” In Paris révolutionnaire: Vieilles maisons… there is to read (though without any source cited) that with her husband dead, Françoise asked to go back to their child, but that this request was ignored. Two weeks later, April 9, Françoise was joined at the Conciergerie by the fourteen years younger Lucile Desmoulins, who had been arrested on the fourth and widowed just a day later. The two women supported each other and became friends despite the antagonism their husbands had held for one another while they were alive:

A few days later we saw her arrive, [Desmoulins’] widow so lovely and so gentle, she was still inside the vertigo and pain, she walked and watched like Nina. Oh what bizarre a game revolutions are! The widow Hébert and the widow Camille Desmoulins, who’s husbands had just been sent to the scaffold, often sat together on the same stone in the heart of the Conciergerie and cried together. Mémoires sur les prisons (1823) by Honoré Jean Riouffe, page 66.

I saw at the registry of the Conciergerie, the day after their appearance at the hearing, and the very day of their trial, the wives of Hébert and Camille together. Hébert’s wife said to Camille’s wife: ”You are real lucky, you, there was not a single statement against you yesterday; no shadow of suspicion cast upon your conduct; you are no doubt going to go out by the main staircase, while I will be sent to the scaffold.” The wife of Camille, no doubt imbued with the atrocity of her judges, did not raise her eyes, showed neither fear nor hope, but modestly awaited her judgment. She went up a few minutes later; the debates had been closed the day before; the hearing was held only for the pronunciation of the judgment; she was condemned like the others and executed. I recall this conversation as precious, because in coming from the mouth of the wife of Hébert, in the presence of several people, it has a character of truth which gives an idea of ​​the innocence of the wife of Camille, and of the barbarism of the court.  A witness during the trial of Fouquier-Tinville 1795. Cited in Histoire parlementaire de la Révolution française… volume 34, page 427

Françoise and Lucile were both part of a group made up of 26 people, all accused ”of having, in complicity with the infamous Hébert, Clootz, alias Anacharsis, Ronsin, Vincent, Mazuel, Momoro, Camille Desmoulins, Danton, Lacroix and others, already struck by the sword of the law, conspired against the liberty and security of the French people, by wanting to trouble the state through civil war, by arming the citizens against one another, and against the exercise of legitimate authority, as a result of which, during last ventôse and current germinal, conspirators were to dissolve the national representation, assassinate its members and the patriots, destroy the republican government, seize the sovereignty of the people, and give a tyrant to the state.” Their trial began on April 10, and continued for three days. Looking over the protocol, these are the only times I’ve found where the proceeding concerned Françoise:

Louis-Claude Adnet, cavalry captain, testifies that, during Momoro's arrest, the latter told him that Barras was a good citizen; that Hébert’s wife was asking for news the day before it; that it is absolutely true that this Barras should have been made lieutenant-colonel of the gendarmerie, as a price for his crimes, and that he bragged about it to several people.

These facts are denied by Barras and Hébert’s wife, who are convinced by other statements to the same effect.

[…]

Finally, from the last depositions in this affair, it appears that about two months ago Chabot said: You are complaining about the scarcity of provisions, about their lack of arrival. If you sincerely want to put an end to all these evils, to bring back abundance, arrest the leaders of the conspiracy, who are Hébert, his wife, and Baron de Batz. The same witnesses declared having found themselves at dinner with Hébert and his wife, and having heard them utter the most atrocious insults against Robespierre and the Committee of Public Safety; that Hébert’s wife in particular indulged in the most indecent rants against the Committee of General Security and all kinds of authority; that in a session at the Cordeliers, where the question was raised as to whether the Rights of Man would be unveiled; on the petition of Collot-d'Herbois, representative of the people, sent commissioner on this subject, she said to the people placed near Hébert, on the questioning made to her relating to said Collot-d'Herbois and his patriotism: This Collot is nothing but an intriguer, an actor who comes to try his talent for theatrical stunts; he is paid by the Jacobins to demand the uncovering of Rights of Man; but we who are not millionaires do not pay; finally the same witnesses said that the wife of Hébert daily preached the sation and subversion of the most sacred principles, and spoke about the revolution as being the first of its declared enemy. 

Hébert’s wife was content with denying all these facts; she claimed to have never known her husband to be a conspirator, if he was he would have died by her hand; and the witnesses for their part persisted in their statements against Hébert’s wife.

Immediately after this last deposition, the debates were closed and sentences handed out. The tribunal found Françoise and 18 of the other accused guilty of being part of a conspiracy attempting to ”trouble the state through a civil war, by arming the citizens against each other and against the existence of legitimate authority, as a result of this, as a result of which, in the course of the last ventôse, conspirators were to dissolve the national representation, assassinate its members and the patriots, destroy the republican government, seize the sovereignty of the people, reestablish the monarchy and give a tyrant to the state.” They were sentenced to death and to have their belongings confiscated by the state. 

Shortly after the sentences had been passed, Françoise did however declare herself to be around three months pregnant:

Second year of the French Republic  24 Germinal, half past four in the afternoon. On the notice given to the public prosecutor that the widow Hébert, who has just been condemned to death by today’s judgment, had a pregnancy declaration to make, we, François Joseph Denizot, judge at the revolutionary tribunal, assisted by Robert Wolff, clerk commissioner, in the presence of Citizen Nautin, one of the public prosecutor’s substitutes, are transported to one of the rooms of court house of the Conciergerie where said widow Hébert had been brought. She declared that her name was Marie-Marguerite-Françoise Goupil, widow Hébert, and that she is approximately three months pregnant. She signed with me, the aforementioned Clerk and the other aforesaid. / Widow Hébert

This claim was however quickly dismissed and/or disproven, and Françoise got driven to the scaffold the very same day, dying at the age of 38. The execution got described the following way in number 146 of the journal Nouvelles politiques et étrangères (April 15 1794):

The conspirators condemned by the Revolutionary Tribunal were executed yesterday [sic] at a quarter to seven [in the evening]. Chaumette, sitting next to Gobel, replied with a smile of rage to the reproaches of atheism that were made against him; Gobel was gloomy, silent, downcast; pale Dillon sat beside Simon; the actor Grammont next to his son; the widow of Hébert and that of Camille Desmoulins, elegantly dressed and maintaining composure, were chatting together. Gobel and Chaumette were the last to suffer their ordeal. Chaumette's head was shown to the people, to the sound of applause and cries of "Vive la République.” The wife of Hébert and the wife of Camille Desmoulins were the first to climb the scaffold, they embraced each other before dying.  Françoise left behind the following effects (cited in Camille Desmoulins and his wife: passages from the history of the dantonists (1874), page 443): ”350 livres in assignats, a knife with a horn handle ornamented with silver, a pair of scissors, and a portrait of the traitor Hébert set in gold.”

The Héberts only child, Scipion-Virginie, was born in February 1793. Her birth record (cited within Mémoires de la Société historique, littéraire et scientifique du Cher) goes as follows:

February 8, 1793, birth of an unbaptized female child who one wishes to call Scripion-Virginie, born on the day and time of yesterday, at 11 a.m, in Paris, Cour des Miracles, daughter of Jacques-René Hébert, man of letters and substitute for the Commune prosecutor, and Marie-Marguerite-Françoise Goupil, his wife. First witness: Anaxagore Chaumette, man of letters and prosecutor of the Commune, living in Paris, rue du Paon n 3. Second witness: Scipion Duroure, man of letters and municipal officer, living in Paris, rue de Buffaut, faubourg Montmartre, n° 506, designated godfather. Third witness: Marie-Jeanne Doity, widow of Paul-François Maillard, living at Grande-Rue, faubourg Saint-Martin, n° 37, designated godmother. Signed, M.-J. Doisy, Scipion Duroure, — Hébert, — Bourner, — p. g. Anaxagore Chaumette. 

According to the article La Fille d’Hébert (1947), Scipion’s godfather (who, as it can be seen, was also the one she was named after) was imprisoned just four days after her parents (he would however escape the guillotine and be set free on September 27 1794). After the death of her mother and father, Scipion-Virginie was therefore taken in, not by him, nor  by her godmother, but instead Françoise’s older half brother J-J Goupil. On March 12 1795 we do however find a decree handing tutorship over to ”Jacques-Christophe Marquet, printer, Rue de Vaugirard,” and it was under the eyes of him and his wife Anne (married August 29 1794) that Scipion-Virginie grew up. On October 7 1808, at age 15, she got baptised in a religious baptism as seen by the following decree:

On December 9 1809, at the age of 16 years and ten months, Scipion married the nine years older priest’s son Léon-Frédéric Née from Bohain. She was by then working as ”institutrice” at the home of a priest by the name Masson. Scipion and Léon-Frédéric moved to Marsauceux, where the latter exercised the functions of ”minister of Saint Evangile” and where they had six children, half of which died while in infancy. Of the surviving children, Paul-Emile-Frédéric died in Paris in 1829, aged 17, Timothée died in Marsauceux in 1843, aged 19 and Frédéric-Auguste died in 1877, aged 63. The latter was the only one to marry and have a child, a son born in October 1841 that lived for less than a year. As a result, no decendant of the Hébert lineage exists today. Scipion-Virginie herself died on July 11 1830, aged 37, one year younger than her mother. Her husband remarried six years later, but did not have any more children. He died himself in 1856.

[verasbookreviewsandstuff]

I Was Justin's Nanny By David Belisle

I Was Justin’s Nanny By David Belisle

    I Was Justin’s Nanny, Cover

    STORY-LINE I WAS JUSTIN’S NANNY:

Author David Belisle crafted an insanely funny tongue in cheek political satire in I Was Justin’s Nanny.  Marie Bellehumeur, finds herself nanny to the new Prime Minster of Canada’s, Justin Prudhomme’s, children.  Marie has been around the block, and probably all around the entire city of St. Louis-du-Ha-Ha, her native home.  …

[giosoti]

I grandi si sentono grandi solo perché noi siamo in ginocchio: alziamoci!

Louis Marie Prudhomme

[anotherhumaninthisworld]

Apologies if I’ve asked something similar to this before , but what do primary sources tell us on Danton’s actual role in the indulgent campaign, and specifically Vieux Cordelier? Because we hear a lot about Danton persuading Camille to make this move, but frankly, I think the direct attack on Robespierre and refusal to back down fits more with Camille’s reckless impulsivity than Danton’s more comprising and savvy (and arguably self-interested) political style. Is the idea he was behind it actually supported by evidence outside the notorious trial notes , or was that something invented (or falsely believed) by Robespierre in an attempt to portray his friend as “misled” rather than counter-revolutionary, and Danton as power hungry ?

I still have your ask from like half a year ago and am working on it, there’s just so much interesting stuff to look over (and I would be lying if I didn’t say I’ve taken massive breaks now and then :\ ). But so far, I have yet to find any hard evidence of Danton’s involvement in the Vieux Cordelier.

We have several contemporaries designating Danton as some kind of leader of a moderate faction. His friend Dominique-Joseph Garat did for example in his Memoirs of the revolution; or, an apology for my conduct, in the public employments which I have held (1795) claim that Danton had been deeply moved by the fate of the 22 girondins, to the extent it motivated him to quit politics for a month and retire to Arcis-sur-Aube. When Danton returned to Paris in November 1793, Garat argues it was with a ”conspiracy” in mind, a conspiracy which had as it goal to ”restore for the benefit of all the reign of justice and of the laws, and to extend clemency to his enemies,” and to which Desmoulins belonged:

At Arcis-sur-Aube, the aspects of nature, while it calmed the anxieties of his breath, inspired him with generous and magnanimous resolutions. In the silence of the country and of retreat, he conceived the design of a new and benevolent conspiracy. All his friends entered into it. […] The measures by which Danton proposed to ally his conspiracy into execution, were, to prepare the minds of men for such a change, by means of such papers as those of Camille Desmoulins.

In Histoire générale et impartiale des erreurs, des fautes et des crimes commis pendant la Révolution Française (1797), Desmoulins’ fellow journalist Louis Marie Prudhomme also wrote the following:

Piqued by this despotic pride, which openly reduced them to the role of subordinates, Danton, Lacroix, Camille-Desmoulins, Fabre-d'Églantine, put themselves at the head of a secret party against the emerging authority of the Committee which was their work. It was to overthrow it in public opinion that they undermined its fundamental basis, terror. Camille was charged with this moral attack, and his numbers of Le Vieux Cordelier seemed for a moment to ensure the triumph of the system of clemency.

Finally, Danton’s friend Edme-Bonaventure Courtois wrote in Notes et souvenirs de Courtois de l’Aube, député à la Convention nationale (cited in La Révolution française: revue d’histoire moderne et contemporaine (1887), that ”it was in these painful moments that [Desmoulins] put to paper (in his Vieux Cordelier) the reflections that his indignation could no longer contain, and whose acrimony Danton, through his advice, softened in many places.”

But the very first contemporary to make Danton into the leader of an ”indulgent faction” who had proofread the Vieux Cordelier would indeed appear to be Robespierre, who in his notes against the dantonists (dated to around March 1794) has written the following:

Desmoulins; even the title of this pamphlet (the Vieux Cordelier) was destined to conciliate public opinion with the leaders of this coterie who hid their projects under the name of Vieux Cordeliers, of veterans of the Revolution. Danton, in capacity of president of this Vieux Cordelier, corrected the prints of his numbers; he made changes there, by his own admission. One recognizes his influence and his hand in the writings of Philippeaux, and even in the ones of Bourdon.

This was passed on in the report based on the notes written by Saint-Just:

…What shall I say about the confession made by Danton, that he had edited the latest writings of Desmoulins and Philippeaux?

Like you say, it is however hard to say if these charges are to be treated seriously or just as a cheap way to make Danton into the ”spider in the web” (the truth evidently not being that important when it came to French revolutionaries cutting each other’s heads off). I would say Robespierre’s claim is somewhat undermined by the fact he accuses Danton of editing not just Desmoulins’ writings, but those of Philippeaux and Bourdon as well, because while he in the first case did have an opportunity to know more about the work, having himself been involved in its publication by proofreading one or two numbers (this is for example the way the movie La Terreur et la Vertu has him find out it’s Danton who has asked Camille to pick up his pen again), we don’t have anything suggesting that was the case for the latter two. If Robespierre had hard evidence of Danton’s influence over these three writings, it also seems a bit strange he doesn’t elaborate on it a bit more… Furthermore, since Saint-Just’s report was read aloud at the Convention and published in different journals we also can’t entirely rule out the possibility the people who attested to Danton as leader of a faction after the fact to some extent built their testimonies on said report, which of course would make them much weaker.

Of course, all of the things above are still just claims made by contemporaries. Looking over the things Danton and Camille are themselves confirmed to have said and done during Vieux Cordelier’s publication, it’s more foggy. For the former, we more or less only have interventions made by him at the Jacobins and Convention to go on, considering the lack of private papers left behind by him. I have not gone through all of these yet, but some sort of big revelation of Danton’s role in the ”indulgent campaign” is not something I’ve found so far. That there doesn’t exist any place where Danton openly states ”it was I who told Camille to start writing the Vieux Cordelier and I’m the puppet master behind it” is of course not exactly strange, but not very helpful for our question either… I also can’t find the question of who was really responsible for the Vieux Cordelier’s publication posed to Danton or any of the other ”indulgents” anywhere during their trial, so neither that’s of much use. More damning evidence, such as a draft of a number of the journal with Danton’s handwriting/notes on it, I have not heard anything about.

As for Camille, nowhere in the notes he wrote on Saint-Just’s report does he confirm, reject or even bring up the accusation there printed that Danton was the one truly in charge of the Vieux Cordelier, something which I suppose could be read as implying the charge was true, or that he simply ignored it. Similarily, the fact that Robespierre on December 14 is recorded to have said ”[Camille’s] energetic and easy pen can still serve [the revolution] usefully, but, more circumspect in the choice of his friends, he must break all pacts with impiety, that is to say, with the aristocracy,” and that Camille in his very last letter to his wife claims that ”I die as a victim of these jokes [in the Vieux Cordelier] and my friendship to Danton. I’m glad my assassins let me die with him and Philippeaux.” could be interpreted as evidence Danton had a considerate influence over Camille’s actions, but are still too vague to really say anything more concreate. It can be observed that in the first number of Vieux Cordelier, released December 5 1793, Desmoulins designates the session at the Jacobins just two days earlier, during which Robespierre defended Danton after he had been accused of ”moderatism” by Coupé d’Oise, as the event that caused him to return to the journalistic pen: 

Victory is with us because, amid the ruins of so many colossal civic reputations, Robespierre’s in unassailed; because he lent a hand to his competitor in patriotism, our perpetual President of the “Old Cordeliers” […] I learned some things yesterday. I saw how many enemies we have. Their multitude tears me from the Hotel des Invalides and returns me to combat. I must write.

This at least clearly and quickly cements that the journal is sympathetic towards Danton. At the same time, it also implies the founding of the journal was spontanous and not part of some great scheme (though again, if it was part of a scheme, Camille would of course not say that outloud, so…)

When it comes to what historians/biographers have written, Danton (1914) by Louis Madelin claims that ”Danton saw in [Hébert] the man to be killed before everyone else. Against this wretch, he would throw Camille: “Take your pen,” he told him as soon as he returned [from Arcis-sur-Aube] “and ask for mercy!” Desmoulins, to obey him, founded the Vieux Cordelier and took Hébert by the throat.” while Jules Claretie in Camille Desmoulins and his wife; passages from the history of the Dantonists founded upon new and hitherto unpublished documents (1876) argues Camille wrote under the dictation of both Robespierre and Danton. None of them do however cite a real source for this… In the more recent Danton (1978), Norman Hampson writes that ”the question of how far Danton approved of this [”indulgent”] campaign, or even directed it from behind the scenes, merits careful examination,” and that, at least by late December 1793, ”If indulgence was the programme of a dantonist faction, Robespierre looked a better dantonist than [Danton] was,” while Hervé Leuwers in the even more recent Camille et Lucile Desmoulins: un rêve de république (2018) firmly declares that ”[Camille’s] journal is personal, he is writing on the command of neither Danton nor Robespierre, much less under their dictation, as is too often affirmed.”

I definitely don’t think Robespierre would be incapable of wanting to portray someone as just ”misled” rather than ”counter-revolutionary” if said someone was his personal friend (though why that even matters if you’re just gonna kill them anyway can be a question for another day). After all, this same phenomenon of wanting to downplay the actions (alternatively claim they are the effect of ”bad influence”) of someone liked or admired can be observed both in the attitude of Brissot towards Robespierre, Charlotte Robespierre towards her brother and the Desmoulins couple towards Robespierre, so why not the opposite way around?

Finally, out of curiosity, what ”direct attack” on Robespierre is it you’re referring to? Because Camille never attacked Robespierre personally in the Vieux Cordelier as far as I’m aware, there only exists one place in the draft of the seventh and final number where he reproaches Robespierre for going against his former anti-war campaign, that would appear to ultimately have been cut and nevertheless was never released since both Camille and his printer were arrested before it could happen. Are you talking about Camille’s legendary ”to burn is not to answer” rebuttal?

[anotherhumaninthisworld]

Do you know the primary source (if there is one) for the Brissotin all going to their death singing the Marseillaise?

The best description of the execution I’ve got so far is the one published in number 64 of Bulletin du Tribunal Criminel. According to it, the girondins did sing ”the first four verses of the anthem of the Marseillaise” as they were being brought from the Revolutionary Tribunal to the Conciergerie prison right after the death sentences had been passed on October 30. When they on the next day were shipped off to their fate, the bulletin does however report that, once arrived at the Place de la Révolution, the girondins sang not the Marseillaise but rather the refrain of the one year older Veillons au salut de l'Empire, another revolutionary song.*

In number 213 of his Révolutions de Paris (October 28 1793) Louis Marie Prudhomme him too writes that it was Veillons au salut de l'Empire the condemned sang at the foot of the scaffold:

…Never, despite the bad weather, did an execution attract more spectators and appear so necessary for the maintenance of the republic. Despite what some of the condemned said on the road and on the scaffold, who shouted: long live the republic! but you will not have it, one was very convinced that their death contributed not just a little to consolidating it. Several also at the foot of the guillotine, embracing each other, sang this well-known refrain: Plutôt la mort que l’esclavage; C’est la devise des français.

Other contemporary journals mentioning the execution that I could lay my hands on only announce that the 21 girondins have been sentenced to death and the execution has taken place (Le Moniteur, number 42, November 1), Le Créole Patriote, number 99, October 31) and Journal de la Montagne, number 152, November 1).

In a letter written November 6 1793, a week after the execution, the former duchess of Elbeuf Innocente-Catherine de Rougé reported that the girondins had gone to their demise ”singing about the nation’s glory,” but without specifying which songs:

The bishop of Calvados and the count de Sillery were in the same cart along with the confessors they had asked for; the others did not request one. Brissot and one other, following in the next cart, were clearly distressed. The rest, all young people aged twenty-seven, twenty-nine, thirty, thirty-two, followed on behind laughing, singing about the nation’s glory, and shouting out to the people ‘Long live the Republic’. And it is in this manner that these 21 individuals entered into the great light of eternity.

Finally, in his Memoires d'un détenu: pour servir à l'histoire de la tyrannie de Robespierre (1795) Honoré Jean Riouffe, a fellow prisoner of the Conciergerie, claims the girondins sang a modified version of the Marseillaise the night before their execution:

It was patriotic songs which burst out simultaneously, and all their voices mingled to address the last hymns to liberty; they parodied the song of the Marseillais in this way: Contre nous de la tyrannie; Le couteau sanglant est levé. etc. All this terrible night resounded with their songs, and if they interrupted them, it was to talk about their homeland, and sometimes also, for a meeting of Ducos.

*The book Brissot de Warville; a study in the history of the French revolution (1915) interestingly enough cites Bulletin du Tribunal Criminel as the source for the girondins singing the Marseillais on their way to the scaffold and not the Conciergerie…