1 00:00:01,280 --> 00:00:04,320 Speaker 1: Welcome to Stuff You Missed in History Class, a production 2 00:00:04,360 --> 00:00:13,880 Speaker 1: of I Heart Radio. Hello, and welcome to the podcast. 3 00:00:13,920 --> 00:00:16,919 Speaker 1: I'm Tracy V. Wilson and I'm Holly Frying. We have 4 00:00:17,040 --> 00:00:20,400 Speaker 1: gotten a lot of requests over the years for an 5 00:00:20,440 --> 00:00:24,759 Speaker 1: episode on o Lampe de Gouge, who's known, at least 6 00:00:24,800 --> 00:00:31,800 Speaker 1: outside of France, primarily for a nine pamphlet titled Declaration 7 00:00:31,880 --> 00:00:35,040 Speaker 1: of the Rights of Women and the Citizen, and this 8 00:00:35,159 --> 00:00:38,240 Speaker 1: was published as a direct response to the seventeen eighty 9 00:00:38,320 --> 00:00:41,800 Speaker 1: nine Declaration of the Rights of Man and the Citizen, 10 00:00:42,600 --> 00:00:44,960 Speaker 1: with the Declaration of rights of the rights of Man 11 00:00:45,080 --> 00:00:50,360 Speaker 1: using the French words citoyen and Degouge's response using the 12 00:00:50,440 --> 00:00:55,880 Speaker 1: more feminine form of that word citoyenne. They look very 13 00:00:55,920 --> 00:01:00,480 Speaker 1: different uh in writing, but they're pronounced a little similarly. 14 00:01:01,480 --> 00:01:04,959 Speaker 1: Olympe de gouge is writing and political activity though, went 15 00:01:05,080 --> 00:01:08,800 Speaker 1: way way beyond that one pamphlet that she's famous for now. 16 00:01:09,440 --> 00:01:12,520 Speaker 1: And also her execution, which happened just before the start 17 00:01:12,560 --> 00:01:15,560 Speaker 1: of the Reign of Terror, was not because of the 18 00:01:15,600 --> 00:01:18,520 Speaker 1: calls for equal rights for women that she's become so 19 00:01:18,600 --> 00:01:22,399 Speaker 1: associated with. It's a whole other thing. Um, So that's 20 00:01:22,400 --> 00:01:24,960 Speaker 1: who we're going to talk about today and Olympe de Gouge. 21 00:01:25,760 --> 00:01:28,600 Speaker 1: Her upbringing and early life are really hazy and they 22 00:01:28,600 --> 00:01:31,399 Speaker 1: are full of contradictions, some of which are thanks to 23 00:01:31,480 --> 00:01:34,640 Speaker 1: her own writing. We do know that she was born 24 00:01:34,720 --> 00:01:39,240 Speaker 1: Marie Goose on May seven in Montebon, which is north 25 00:01:39,280 --> 00:01:43,800 Speaker 1: of Toulouse in southern France. Her mother was Anne Olympemoisie, 26 00:01:44,000 --> 00:01:46,920 Speaker 1: a maid servant whose father was a draper, and at 27 00:01:47,000 --> 00:01:50,560 Speaker 1: least legally, Marie's father was a butcher named Pierre Goose, 28 00:01:51,360 --> 00:01:54,360 Speaker 1: but there were rumors that her father was actually Jean 29 00:01:54,440 --> 00:01:57,680 Speaker 1: Jacques le Franc who would later become Marquis da Pampaigne. 30 00:01:58,480 --> 00:02:00,720 Speaker 1: And the Le Francx and the Moi days had been 31 00:02:00,720 --> 00:02:03,960 Speaker 1: connected for generations, and although Jean Jacques was only five 32 00:02:04,040 --> 00:02:09,440 Speaker 1: years her senior, he was an Olymps godfather. The Tarn River, 33 00:02:09,720 --> 00:02:13,840 Speaker 1: which is prone to really dangerous and dramatic flooding, runs 34 00:02:13,919 --> 00:02:17,720 Speaker 1: through the region where the Goose family lived, and when 35 00:02:17,720 --> 00:02:21,760 Speaker 1: the young Marie Goose was only two, Pierre Goose died 36 00:02:21,919 --> 00:02:24,639 Speaker 1: as a result of one of these floods. Aside from 37 00:02:24,639 --> 00:02:27,320 Speaker 1: the fact that it was connected to the flooding, we 38 00:02:27,440 --> 00:02:29,720 Speaker 1: don't really know the details of the cause of death. 39 00:02:29,880 --> 00:02:33,240 Speaker 1: I mean, an obvious one would be that he drowned, 40 00:02:33,440 --> 00:02:37,760 Speaker 1: but you know, flooding also causes disease and famines and 41 00:02:37,800 --> 00:02:41,560 Speaker 1: other issues, so we don't really know. At some point 42 00:02:41,600 --> 00:02:44,480 Speaker 1: after that, Marie's mother got married again, this time to 43 00:02:44,560 --> 00:02:47,799 Speaker 1: a police officer, and beyond that we don't know much 44 00:02:47,840 --> 00:02:51,600 Speaker 1: else about Marie Goose's early life. She probably got at 45 00:02:51,639 --> 00:02:55,760 Speaker 1: least some education at an Ursuline convent. She could write 46 00:02:55,760 --> 00:02:58,080 Speaker 1: well enough to sign her own marriage documents, and the 47 00:02:58,160 --> 00:03:01,000 Speaker 1: Ursuline convent would have been the most likely placed for 48 00:03:01,040 --> 00:03:04,600 Speaker 1: a girl of her station to have become literate. That 49 00:03:04,720 --> 00:03:07,919 Speaker 1: marriage was to Louis Aubrey, who was a caterer who 50 00:03:07,919 --> 00:03:11,080 Speaker 1: had been one of the late Pierre Goose's associates, and 51 00:03:11,120 --> 00:03:15,079 Speaker 1: this happened when Marie was only seventeen. Marie and Louise 52 00:03:15,160 --> 00:03:18,440 Speaker 1: had a son, also named Pierre, about two years later, 53 00:03:18,800 --> 00:03:21,560 Speaker 1: and then a few months after that Louis died. This 54 00:03:21,760 --> 00:03:24,920 Speaker 1: was also as a result of a Tarn River flood, 55 00:03:24,960 --> 00:03:28,280 Speaker 1: and once again we don't really know much clarity on 56 00:03:28,360 --> 00:03:32,040 Speaker 1: the details beyond it being related to the flooding. Marie's 57 00:03:32,040 --> 00:03:35,040 Speaker 1: marriage to Louise had been against her will, and after 58 00:03:35,080 --> 00:03:38,800 Speaker 1: his death, she refused to marry again, and she also 59 00:03:38,880 --> 00:03:43,920 Speaker 1: refused to conform to what was expected of a widowed mother. Instead, 60 00:03:44,040 --> 00:03:47,640 Speaker 1: she moved to Paris in seventeen sixty seven. It is 61 00:03:47,720 --> 00:03:50,320 Speaker 1: unclear whether she took her son with her or whether 62 00:03:50,360 --> 00:03:52,880 Speaker 1: she left him in someone else's care while he was young, 63 00:03:53,600 --> 00:03:56,440 Speaker 1: and she also changed her name to Olympe de Gouge, 64 00:03:56,840 --> 00:04:00,320 Speaker 1: drawing from parts of Anna lymp and Pierre Goose's name aims, 65 00:04:00,800 --> 00:04:03,520 Speaker 1: and also adding the d e, which made it sound 66 00:04:03,560 --> 00:04:07,520 Speaker 1: a little more aristocratic. She may have also meant her 67 00:04:07,560 --> 00:04:10,280 Speaker 1: new name as sort of a racy joke, because at 68 00:04:10,280 --> 00:04:15,080 Speaker 1: the time, googe was a slang term for body women. Yeah, 69 00:04:15,080 --> 00:04:19,280 Speaker 1: I found totally opposite accounts of whether she took her 70 00:04:19,279 --> 00:04:23,000 Speaker 1: son with her or left him with someone else. Regardless, though, 71 00:04:23,320 --> 00:04:27,719 Speaker 1: in Paris, Olampta Gouge was supported by Jacques Pietre de Rosier, 72 00:04:27,880 --> 00:04:31,799 Speaker 1: who was a wealthy man who owned a military transport company, 73 00:04:31,880 --> 00:04:35,039 Speaker 1: and she spent her first years in Paris really immersed 74 00:04:35,080 --> 00:04:40,120 Speaker 1: in self study, attending and possibly even hosting literary salons, 75 00:04:40,200 --> 00:04:44,160 Speaker 1: and then pouring over the work of Enlightenment thinkers, particularly 76 00:04:44,279 --> 00:04:47,880 Speaker 1: Jean Jacques Rousteau. During these years she also would have 77 00:04:47,920 --> 00:04:51,839 Speaker 1: expanded her knowledge of French as a language. Her first 78 00:04:51,920 --> 00:04:54,640 Speaker 1: language was actually a regional dialect called as sit Down. 79 00:04:55,400 --> 00:04:58,120 Speaker 1: Because French was her second language and her formal education 80 00:04:58,200 --> 00:05:01,160 Speaker 1: was pretty minimal, she didn't most of her writing in 81 00:05:01,360 --> 00:05:05,719 Speaker 1: French through a secretary. In seventeen eighty four, Jean Jacques 82 00:05:05,800 --> 00:05:09,920 Speaker 1: le franc Marquis da Pompillon died and de Gouge started 83 00:05:09,960 --> 00:05:14,080 Speaker 1: working on an epistolary novel that would be published in Sight, 84 00:05:14,560 --> 00:05:17,600 Speaker 1: and that was called Madame de Valmont's Memoirs on the 85 00:05:17,760 --> 00:05:21,479 Speaker 1: ingratitude and cruelty of the Floucore Family toward her own, 86 00:05:21,839 --> 00:05:26,120 Speaker 1: which rendered such services to the Serge Floure. So this 87 00:05:26,160 --> 00:05:28,120 Speaker 1: book is one of the reasons why some of the 88 00:05:28,160 --> 00:05:33,400 Speaker 1: biographical accounts of Olampe de Gouge's early life are really contradictory. 89 00:05:33,600 --> 00:05:37,479 Speaker 1: She framed this book as a real correspondence with only 90 00:05:37,520 --> 00:05:41,839 Speaker 1: the names changed to protect their reputations of the people involved. Today, 91 00:05:41,880 --> 00:05:47,680 Speaker 1: though most sources described this book as semi autobiographical, but 92 00:05:47,839 --> 00:05:50,599 Speaker 1: sometimes they also used the letters contained in it to 93 00:05:50,640 --> 00:05:54,240 Speaker 1: try to kind of glean some details about Degouge's early life. 94 00:05:55,000 --> 00:05:58,880 Speaker 1: On the other hand, the first de Gouge biography available 95 00:05:58,880 --> 00:06:02,479 Speaker 1: in English is Women's Rights in the French Revolution, a 96 00:06:02,560 --> 00:06:07,080 Speaker 1: biography of Olampe de Gouge. That's by Sophie Mosse and 97 00:06:07,160 --> 00:06:11,279 Speaker 1: it was translated from French. This biography was first published 98 00:06:11,320 --> 00:06:15,120 Speaker 1: in two thousand and seven, and the author cites these memoirs, 99 00:06:15,440 --> 00:06:18,920 Speaker 1: which again is on a pistolary novel. She's left them 100 00:06:18,960 --> 00:06:22,680 Speaker 1: repeatedly as fact, like the footnotes are literally this book 101 00:06:24,200 --> 00:06:28,040 Speaker 1: and this novel was inspired in part by laz Danchuse, 102 00:06:28,240 --> 00:06:31,640 Speaker 1: which had been published in sevent two and was also 103 00:06:31,800 --> 00:06:35,240 Speaker 1: written in the form of letters exchanged among its characters. 104 00:06:36,000 --> 00:06:39,480 Speaker 1: In the Memoir of Madame de Valemond, the main characters 105 00:06:39,560 --> 00:06:42,800 Speaker 1: are Madame de Vellemont and her half brother son of 106 00:06:42,839 --> 00:06:46,839 Speaker 1: the Marquis de Flacour. In addition to their correspondence, the 107 00:06:46,839 --> 00:06:51,320 Speaker 1: book also includes Madame de Vellemont's correspondence with other family members. 108 00:06:51,760 --> 00:06:55,640 Speaker 1: Part of this book's framework is an unnamed narrator or 109 00:06:55,880 --> 00:06:59,599 Speaker 1: editor who has brought these letters together to publish and 110 00:06:59,680 --> 00:07:02,359 Speaker 1: also takes a part in some of the correspondence. And 111 00:07:02,400 --> 00:07:06,400 Speaker 1: this unnamed editor maintains that all the facts she's putting 112 00:07:06,440 --> 00:07:10,480 Speaker 1: forth in the letters are quote authentic truths and then 113 00:07:10,520 --> 00:07:13,600 Speaker 1: what starts out as a comic story told through letters 114 00:07:13,720 --> 00:07:18,480 Speaker 1: gradually shifts to document Madame de Velmont's attempts to prove 115 00:07:18,560 --> 00:07:21,960 Speaker 1: that she is really the marquise daughter and to get 116 00:07:22,040 --> 00:07:26,120 Speaker 1: his recognition and support. The letters come together to paint 117 00:07:26,120 --> 00:07:29,680 Speaker 1: the Flacour family is having been cruel and indifferent to 118 00:07:29,760 --> 00:07:33,720 Speaker 1: Madame Develoment's mother, with the Marquis trying to distance himself 119 00:07:33,720 --> 00:07:36,240 Speaker 1: from her while never flat out denying that he is 120 00:07:36,280 --> 00:07:40,200 Speaker 1: the father of her child. The unnamed editor and Madame 121 00:07:40,240 --> 00:07:43,520 Speaker 1: de Vellemont are both generally interpreted as stand ins for 122 00:07:43,600 --> 00:07:47,440 Speaker 1: de Gouge herself, with the Marquis de Flac representing the 123 00:07:47,480 --> 00:07:52,840 Speaker 1: Marquis de Pompignan. Biographer Sophie Musse contends that the Marquis 124 00:07:52,880 --> 00:07:57,840 Speaker 1: de Pompailler was unquestionably a Lampta Googa's biological father, and 125 00:07:57,920 --> 00:08:02,320 Speaker 1: that everybody in the community you this. Even that the 126 00:08:02,400 --> 00:08:05,800 Speaker 1: la franc family had taken pains to send Jean Jacques 127 00:08:05,800 --> 00:08:09,480 Speaker 1: away from the area to separate him from an olamp 128 00:08:09,520 --> 00:08:12,960 Speaker 1: when they were young. This just isn't something that it's 129 00:08:13,000 --> 00:08:16,440 Speaker 1: possible to conclusively know at this point, though for a 130 00:08:16,560 --> 00:08:21,240 Speaker 1: Lampta Gouge's own part She didn't overtly claim that the 131 00:08:21,280 --> 00:08:24,640 Speaker 1: Marquis da Pampaigne was her father, but she did sort 132 00:08:24,640 --> 00:08:26,560 Speaker 1: of seemed to stoke the idea that he could be. 133 00:08:27,160 --> 00:08:29,840 Speaker 1: Since he had been dead for four years by the 134 00:08:29,880 --> 00:08:32,839 Speaker 1: time The Memoirs of Madame Valmont was published, we really 135 00:08:32,880 --> 00:08:35,439 Speaker 1: do not have his thoughts on this matter at all, 136 00:08:35,600 --> 00:08:40,560 Speaker 1: unless the letters really are his real letters, as the 137 00:08:40,559 --> 00:08:43,720 Speaker 1: book contends, which seems like a very long walk. But 138 00:08:43,840 --> 00:08:46,600 Speaker 1: I mean, it could be what, like, we just don't 139 00:08:46,800 --> 00:08:50,160 Speaker 1: We don't really know. And this purported connection to the 140 00:08:50,200 --> 00:08:53,480 Speaker 1: Marquis d Pompagne may have given o Lampe de Gouge 141 00:08:53,679 --> 00:08:57,240 Speaker 1: access to theatrical and literary circles that she might not 142 00:08:57,400 --> 00:09:01,360 Speaker 1: have had otherwise. Apart from his attis, the Marquis was 143 00:09:01,400 --> 00:09:05,160 Speaker 1: a poet, playwright, and literary critic whose biggest claim to 144 00:09:05,200 --> 00:09:07,800 Speaker 1: fame at this point is having become the arch enemy 145 00:09:07,840 --> 00:09:11,760 Speaker 1: of the way more famous French writer Voltaire. So the 146 00:09:11,880 --> 00:09:15,400 Speaker 1: idea that she was his unacknowledged daughter may have opened 147 00:09:15,440 --> 00:09:18,480 Speaker 1: some doors for her, and it definitely seems to have 148 00:09:18,600 --> 00:09:21,800 Speaker 1: led to some of her later advocacy on social issues 149 00:09:22,240 --> 00:09:25,360 Speaker 1: related to children born out of wedlock and their mothers. 150 00:09:26,200 --> 00:09:29,360 Speaker 1: O lamp A. Gouge wrote one other novel during her lifetime, 151 00:09:29,400 --> 00:09:31,360 Speaker 1: but she was a lot more prolific when it came 152 00:09:31,400 --> 00:09:33,760 Speaker 1: to writing plays, and we will get some more of 153 00:09:33,800 --> 00:09:44,720 Speaker 1: that after a sponsor break. We know that Olampta Gouge 154 00:09:44,760 --> 00:09:48,440 Speaker 1: had at least one wealthy benefactor who supported her life 155 00:09:48,480 --> 00:09:51,800 Speaker 1: in Paris. That was Jacques phri de Rosier, who he 156 00:09:51,840 --> 00:09:55,880 Speaker 1: mentioned earlier. It's likely that she had other benefactors as well. 157 00:09:56,240 --> 00:09:58,880 Speaker 1: She may have had romantic relationships with some of them, 158 00:09:58,920 --> 00:10:01,920 Speaker 1: but like so many any other details about her life, 159 00:10:02,240 --> 00:10:05,360 Speaker 1: it's all pretty vague. De Gouge was also friends with 160 00:10:05,400 --> 00:10:10,199 Speaker 1: Madame de Montesson, wife of Louis Philippe the First, that's 161 00:10:10,240 --> 00:10:12,880 Speaker 1: the Duke of and at one point she was rumored 162 00:10:12,920 --> 00:10:15,240 Speaker 1: to be having an affair with the Duke's son, who 163 00:10:15,280 --> 00:10:18,920 Speaker 1: was later known as Philippe Egalite, and this may have 164 00:10:19,000 --> 00:10:22,480 Speaker 1: been a rumor spread to try to tarnish Degouge's reputation, 165 00:10:23,120 --> 00:10:25,920 Speaker 1: but her son Pierre did wind up getting an appointment 166 00:10:26,040 --> 00:10:29,520 Speaker 1: as an engineer thanks to the Orleans family. As a 167 00:10:29,600 --> 00:10:31,959 Speaker 1: lamp de Gouge was making connections to some of the 168 00:10:32,040 --> 00:10:35,680 Speaker 1: really wealthy and powerful families of France. She was also 169 00:10:35,800 --> 00:10:39,160 Speaker 1: writing plays that focused in one way or another on 170 00:10:39,240 --> 00:10:43,320 Speaker 1: injustice and social issues. They tackled themes like divorce and 171 00:10:43,400 --> 00:10:46,920 Speaker 1: women's rights during and after a divorce, as well as 172 00:10:46,960 --> 00:10:51,280 Speaker 1: sexual double standards and the existence of debtors prisons, the 173 00:10:51,400 --> 00:10:54,520 Speaker 1: rights of children born out of wedlock, and girls being 174 00:10:54,559 --> 00:10:58,520 Speaker 1: forced to marry or sent a convince against their will. Overall, 175 00:10:58,559 --> 00:11:02,360 Speaker 1: her female characters in these plays had and used their agency, 176 00:11:02,600 --> 00:11:05,200 Speaker 1: and they supported and protected one another rather than being 177 00:11:05,320 --> 00:11:10,480 Speaker 1: rivals or adversaries. And when women in Degouga's plays were victimized, 178 00:11:10,520 --> 00:11:12,720 Speaker 1: it was not something that was played for its own 179 00:11:12,720 --> 00:11:15,920 Speaker 1: sake or for shock value. It was connected back to 180 00:11:15,960 --> 00:11:20,000 Speaker 1: a greater theme of social injustice. At the same time, 181 00:11:20,200 --> 00:11:25,120 Speaker 1: though Degouga's plays didn't necessarily dispel negative stereotypes of women, 182 00:11:25,600 --> 00:11:29,680 Speaker 1: such as the idea that women were weak or deceitful. Instead, 183 00:11:29,760 --> 00:11:33,800 Speaker 1: she framed those traits as the inevitable consequences of women's 184 00:11:33,840 --> 00:11:38,280 Speaker 1: place in French society. While there were individual women who 185 00:11:38,320 --> 00:11:42,960 Speaker 1: held high positions within the monarchy or the aristocracy, women 186 00:11:43,080 --> 00:11:47,600 Speaker 1: as a group had very little overt political power. Educational 187 00:11:47,640 --> 00:11:51,640 Speaker 1: opportunities for girls were really limited, and for most women 188 00:11:51,800 --> 00:11:55,000 Speaker 1: they're only options for their adult lives were to get 189 00:11:55,000 --> 00:11:58,240 Speaker 1: married or to enter a convent, and either way they 190 00:11:58,240 --> 00:12:01,240 Speaker 1: had virtually no property rights their control over their own 191 00:12:01,280 --> 00:12:05,680 Speaker 1: lives and bodies. So, for example, the Goose saw women 192 00:12:05,800 --> 00:12:09,080 Speaker 1: as deceitful because they had to be to survive in 193 00:12:09,120 --> 00:12:12,480 Speaker 1: this environment, and as weak because they were given no 194 00:12:12,640 --> 00:12:16,360 Speaker 1: opportunities to build their own strength. Oh Lamb de Gouge 195 00:12:16,520 --> 00:12:20,040 Speaker 1: established a private amateur theater in Paris, but when it 196 00:12:20,120 --> 00:12:23,160 Speaker 1: came to public theater, there was really just one option, 197 00:12:23,760 --> 00:12:27,199 Speaker 1: the French National Theater, known as the comedyfan Says, which 198 00:12:27,400 --> 00:12:32,120 Speaker 1: essentially had a monopoly on professional theater. The Comedy Says 199 00:12:32,160 --> 00:12:35,480 Speaker 1: accepted new plays and then performed them in the order 200 00:12:35,520 --> 00:12:38,480 Speaker 1: that they were received, so if there was a backlog, 201 00:12:38,640 --> 00:12:41,439 Speaker 1: which there usually was, there could be a really long 202 00:12:41,480 --> 00:12:46,080 Speaker 1: delay between a place acceptance and its actual performance. Accepted 203 00:12:46,120 --> 00:12:49,480 Speaker 1: plays were not published until they had been performed, or 204 00:12:49,720 --> 00:12:52,800 Speaker 1: until three years after they had been accepted, whichever might 205 00:12:52,840 --> 00:12:55,320 Speaker 1: come first. That gives you an indication of how big 206 00:12:55,360 --> 00:12:59,679 Speaker 1: the backlog was. Um Playwrights whose plays were accepted were 207 00:12:59,679 --> 00:13:03,000 Speaker 1: given entry privileges at the theater, but when it came 208 00:13:03,040 --> 00:13:05,880 Speaker 1: to the performance of the play itself, that was completely 209 00:13:05,920 --> 00:13:09,600 Speaker 1: out of their control. So, especially for new playwrights who 210 00:13:09,640 --> 00:13:12,240 Speaker 1: were first trying to make a name for themselves, their 211 00:13:12,320 --> 00:13:15,920 Speaker 1: careers really rested on the whims and political shifts of 212 00:13:15,920 --> 00:13:19,920 Speaker 1: the comedy. Fan says this was true for olmpt A Gouge. 213 00:13:20,400 --> 00:13:23,840 Speaker 1: In Sight four, she wrote Zamore and Mirza, or the 214 00:13:23,880 --> 00:13:28,520 Speaker 1: Happy Shipwreck sometimes that's translated as the Fortunate Shipwreck. This 215 00:13:28,640 --> 00:13:31,880 Speaker 1: was a melodrama that takes place in the East Indies, 216 00:13:32,360 --> 00:13:37,240 Speaker 1: involving the shipwrecked aristocratic San Fremont family as well as 217 00:13:37,280 --> 00:13:41,520 Speaker 1: an enslaved Asian couple. The shipwreck is described as happy 218 00:13:41,559 --> 00:13:44,839 Speaker 1: because it leads to the enslaved couple being freed. De 219 00:13:45,000 --> 00:13:49,080 Speaker 1: Googe submitted this play to the Comedy Francais anonymously when 220 00:13:49,080 --> 00:13:53,120 Speaker 1: it was accepted in seventeen five. As time passed after 221 00:13:53,200 --> 00:13:55,959 Speaker 1: her play was accepted, de Googe started writing to the 222 00:13:55,960 --> 00:13:58,760 Speaker 1: theater and its actors about when it would be performed. 223 00:13:59,480 --> 00:14:03,720 Speaker 1: She became so insistent that in September, the troop leader 224 00:14:03,760 --> 00:14:05,880 Speaker 1: wrote back to her and told her that they were 225 00:14:05,920 --> 00:14:08,600 Speaker 1: pulling that play from the repertoire and striking her name 226 00:14:08,640 --> 00:14:11,440 Speaker 1: from the list of people who had entry privileges at 227 00:14:11,480 --> 00:14:15,960 Speaker 1: the theater. The theater also petitioned to have her arrested. 228 00:14:16,600 --> 00:14:20,120 Speaker 1: That might sound a little extreme, this was not really 229 00:14:20,160 --> 00:14:23,880 Speaker 1: a unique situation at all. It was common for playwrights 230 00:14:23,920 --> 00:14:26,840 Speaker 1: to become really frustrated with the Comedy Francais to the 231 00:14:26,840 --> 00:14:31,360 Speaker 1: point of being combative with their correspondence. Was also pretty 232 00:14:31,360 --> 00:14:34,160 Speaker 1: common for the company to then reverse their acceptance of 233 00:14:34,200 --> 00:14:37,880 Speaker 1: the play. But what was really unusual was for a 234 00:14:37,960 --> 00:14:40,680 Speaker 1: playwright who was treated this way to be a woman. 235 00:14:41,320 --> 00:14:44,640 Speaker 1: Between seventeen sixty one and seventeen eighty nine, the Comedy 236 00:14:44,680 --> 00:14:49,160 Speaker 1: Front Says accepted only nine plays written by women. Put 237 00:14:49,200 --> 00:14:53,320 Speaker 1: that in context, the Royal regulations required the company to 238 00:14:53,360 --> 00:14:56,520 Speaker 1: produce between twenty five and forty new plays a year. 239 00:14:57,360 --> 00:15:00,320 Speaker 1: I was not doing that was really performing were like 240 00:15:00,320 --> 00:15:04,440 Speaker 1: ten or twelve, which honestly still sounds like large number 241 00:15:04,480 --> 00:15:07,720 Speaker 1: of plays. Uh, it was accepting more work that it 242 00:15:07,760 --> 00:15:11,480 Speaker 1: was performing though, so plays by women just made up 243 00:15:11,480 --> 00:15:16,440 Speaker 1: a really tiny portion of the theater's repertoire. I feel 244 00:15:16,480 --> 00:15:19,200 Speaker 1: like this is the story of so many companies who 245 00:15:19,240 --> 00:15:22,240 Speaker 1: set really big goals at the beginning of every year. Yeah, 246 00:15:22,320 --> 00:15:26,200 Speaker 1: there's no way you're kind of meet them. Aside from 247 00:15:26,240 --> 00:15:29,240 Speaker 1: de Gouge. Only two of those women corresponded with the 248 00:15:29,240 --> 00:15:32,360 Speaker 1: company about their work. That was the del Arms sisters, 249 00:15:32,480 --> 00:15:35,880 Speaker 1: who had written a one act comedy together. The Comedy 250 00:15:35,920 --> 00:15:39,200 Speaker 1: from says performed that comedy only once, and the del 251 00:15:39,320 --> 00:15:41,640 Speaker 1: Arms sisters felt that it had been dropped in favor 252 00:15:41,680 --> 00:15:45,080 Speaker 1: of work by better known playwrights. They revised the play 253 00:15:45,160 --> 00:15:48,360 Speaker 1: and resubmitted it, and the company rejected that revision six 254 00:15:48,400 --> 00:15:52,800 Speaker 1: months later. So while the company had taken this step 255 00:15:52,880 --> 00:15:57,960 Speaker 1: was penalizing other playwrights who pushed too hard with their correspondence, 256 00:15:58,360 --> 00:16:01,440 Speaker 1: olymp de Gouge was really thely woman to face such 257 00:16:01,440 --> 00:16:04,200 Speaker 1: a treatment. That the Deloram sisters had not had their 258 00:16:04,240 --> 00:16:08,320 Speaker 1: revision accepted, but like they had also not been stripped 259 00:16:08,360 --> 00:16:11,280 Speaker 1: from the roles, there was no warrant out for their arrest. 260 00:16:11,640 --> 00:16:15,680 Speaker 1: Threatened with arrest, so she wrote to the Duc de Richelieu, 261 00:16:15,880 --> 00:16:18,080 Speaker 1: who was one of the first gentlemen of the King's 262 00:16:18,120 --> 00:16:22,200 Speaker 1: bed chamber, noting that while the Comedy Francais had treated 263 00:16:22,240 --> 00:16:27,240 Speaker 1: other playwrights this way, the theater's conduct was quote extraordinary 264 00:16:27,320 --> 00:16:31,000 Speaker 1: toward a woman. The Duke got her status with the 265 00:16:31,080 --> 00:16:35,000 Speaker 1: company restored, and although the comedy friend says still did 266 00:16:35,040 --> 00:16:39,200 Speaker 1: not perform that play. Her correspondence on the subject became 267 00:16:39,240 --> 00:16:43,440 Speaker 1: a little more conciliatory after this. Four years passed between 268 00:16:43,480 --> 00:16:46,280 Speaker 1: the time when The Happy Shipwreck was accepted and when 269 00:16:46,320 --> 00:16:49,640 Speaker 1: it was finally performed, and in that time de Gouche 270 00:16:49,680 --> 00:16:54,280 Speaker 1: had revised it repeatedly, and in August she had printed 271 00:16:54,320 --> 00:16:57,800 Speaker 1: an unbound version of the play, which was technically allowed 272 00:16:57,880 --> 00:17:01,160 Speaker 1: under the policies of the Comedy fonse Is, but it 273 00:17:01,200 --> 00:17:05,040 Speaker 1: was also considered kind of a rude move on her part. Yeah, 274 00:17:05,119 --> 00:17:07,639 Speaker 1: she had not quite gotten to that three year market. 275 00:17:08,040 --> 00:17:11,200 Speaker 1: She kind of did an end run around the letter 276 00:17:11,480 --> 00:17:15,200 Speaker 1: of the law. By the time the company did perform 277 00:17:15,280 --> 00:17:19,080 Speaker 1: the play in seventy nine, it was shorter, the story 278 00:17:19,160 --> 00:17:22,120 Speaker 1: took place in the Caribbean, and the characters of Zamora 279 00:17:22,160 --> 00:17:25,520 Speaker 1: and Mirza had become African rather than Asian. The play 280 00:17:25,560 --> 00:17:28,639 Speaker 1: had been re titled The Slavery of Negroes or The 281 00:17:28,680 --> 00:17:32,919 Speaker 1: Happy Shipwreck. It's often been described as the first explicitly 282 00:17:33,040 --> 00:17:37,280 Speaker 1: abolitionist play in French and the first French play told 283 00:17:37,280 --> 00:17:40,280 Speaker 1: from the point of view of enslaved people. Even though 284 00:17:40,280 --> 00:17:44,200 Speaker 1: the comedian Says did finally perform this work, the performances 285 00:17:44,240 --> 00:17:48,960 Speaker 1: themselves did not go smoothly because of its abolitionist focus. 286 00:17:49,119 --> 00:17:52,720 Speaker 1: It drew heavy criticism from wealthy people who had connections 287 00:17:52,760 --> 00:17:56,560 Speaker 1: to French colonies in the Caribbean that relied on enslaved labor. 288 00:17:57,320 --> 00:18:01,600 Speaker 1: Abolitionists praised the play, while and owners hired hecklers to 289 00:18:01,720 --> 00:18:05,679 Speaker 1: disrupt the performances. Some of the people paying people to 290 00:18:05,720 --> 00:18:07,959 Speaker 1: disrupt the performances would have been just like people who 291 00:18:08,040 --> 00:18:11,440 Speaker 1: had investments, as well as like people who directly owned 292 00:18:11,560 --> 00:18:16,640 Speaker 1: these plantations and the enslaved workers who were there. Um 293 00:18:16,760 --> 00:18:20,000 Speaker 1: de Gouge also claimed that there was sabotage on the 294 00:18:20,040 --> 00:18:23,399 Speaker 1: part of the actors. The ones who had been cast 295 00:18:23,440 --> 00:18:26,560 Speaker 1: in the roles of Africans did refuse to darken their 296 00:18:26,600 --> 00:18:30,200 Speaker 1: skin for the roles. So the idea of white actors 297 00:18:30,200 --> 00:18:34,320 Speaker 1: and black face was still absolutely rooted in racism, but 298 00:18:34,440 --> 00:18:37,159 Speaker 1: it it didn't have quite the same connotations in the 299 00:18:37,240 --> 00:18:40,800 Speaker 1: late seventeen hundreds as it would develop during and after 300 00:18:40,880 --> 00:18:44,119 Speaker 1: the era of menstrual shows that started to develop in 301 00:18:44,119 --> 00:18:48,040 Speaker 1: the early eighteen hundreds. France's movement for the abolition of 302 00:18:48,080 --> 00:18:50,639 Speaker 1: slavery was still in its infancy when a Lampe de 303 00:18:50,720 --> 00:18:54,600 Speaker 1: gouge first wrote Zamor and Mirza. The Society of the 304 00:18:54,680 --> 00:18:57,879 Speaker 1: Friends of Blacks was established in seventeen eighty eight and 305 00:18:57,920 --> 00:19:02,040 Speaker 1: de Gouge became a member. Slavery was abolished in France 306 00:19:02,080 --> 00:19:05,760 Speaker 1: in seventeen nine four, although Napoleon restored it in eighteen 307 00:19:05,760 --> 00:19:09,040 Speaker 1: o two by her Count O Lampti. Gouge wrote more 308 00:19:09,040 --> 00:19:12,600 Speaker 1: than forty plays, although only twelve of them survive and 309 00:19:12,640 --> 00:19:15,520 Speaker 1: only four of them are actually staged during her lifetime, 310 00:19:16,119 --> 00:19:18,879 Speaker 1: and aside from her novels and plays, she also wrote 311 00:19:18,880 --> 00:19:23,000 Speaker 1: more than sixty political pamphlets during the French Revolution, and 312 00:19:23,040 --> 00:19:28,720 Speaker 1: we will get to that after another quick sponsor break. 313 00:19:33,800 --> 00:19:38,080 Speaker 1: The calf them or the woman question, was a literary 314 00:19:38,160 --> 00:19:41,480 Speaker 1: and philosophical debate that had been going on in France 315 00:19:41,520 --> 00:19:44,560 Speaker 1: and other parts of Europe for hundreds of years prior 316 00:19:44,640 --> 00:19:48,520 Speaker 1: to the French Revolution, starting in the Renaissance. It involved 317 00:19:48,600 --> 00:19:52,440 Speaker 1: questions about the nature of women and about women's rights 318 00:19:52,520 --> 00:19:55,960 Speaker 1: and status within the society, and a lot of these 319 00:19:56,000 --> 00:20:00,520 Speaker 1: same questions were argued again during the French Revolution, all 320 00:20:00,600 --> 00:20:03,320 Speaker 1: though men were doing a lot of this arguing. Women 321 00:20:03,359 --> 00:20:07,479 Speaker 1: were also politically active during the French Revolution, particularly when 322 00:20:07,520 --> 00:20:10,760 Speaker 1: it came to subjects that were considered part of women's sphere. 323 00:20:11,520 --> 00:20:15,560 Speaker 1: A big one was food and access to food. In ten, 324 00:20:15,600 --> 00:20:18,160 Speaker 1: we did an episode on the Women's March on Versailles, 325 00:20:18,200 --> 00:20:21,639 Speaker 1: which started on March five, s nine, and this was 326 00:20:21,640 --> 00:20:24,320 Speaker 1: a march from Paris to Versailles with the goal of 327 00:20:24,359 --> 00:20:27,680 Speaker 1: getting the monarchy to address a serious food shortage and 328 00:20:27,880 --> 00:20:32,240 Speaker 1: returned to Paris. Women, many of whom were anonymous, published 329 00:20:32,240 --> 00:20:35,919 Speaker 1: work on subjects like education and poverty, as well as 330 00:20:35,960 --> 00:20:40,760 Speaker 1: criticizing divorce and inheritance laws that favored men. The various 331 00:20:40,840 --> 00:20:44,560 Speaker 1: factions that arose during the revolution varied a little bit 332 00:20:44,600 --> 00:20:48,000 Speaker 1: and how welcoming they were of women, I say a 333 00:20:48,040 --> 00:20:50,440 Speaker 1: little bit. It was broader than that. There were some 334 00:20:50,560 --> 00:20:53,040 Speaker 1: factions that were like, nah, we only have men in 335 00:20:53,040 --> 00:20:56,000 Speaker 1: our leadership, and others who did allow women at least 336 00:20:56,040 --> 00:21:01,199 Speaker 1: some participation. So women also formed their own political clubs 337 00:21:01,240 --> 00:21:04,440 Speaker 1: during the French Revolution. Many of those clubs were still 338 00:21:04,480 --> 00:21:08,439 Speaker 1: focused on the subjects that were considered appropriate for women, 339 00:21:08,720 --> 00:21:12,399 Speaker 1: like food and education. O lamp de Gouge had some 340 00:21:12,520 --> 00:21:16,359 Speaker 1: overlap with these other often anonymous women. She wrote on 341 00:21:16,440 --> 00:21:20,080 Speaker 1: some of the same subjects, including divorce, inheritance, and education, 342 00:21:20,480 --> 00:21:24,399 Speaker 1: particularly education for girls. She called for women to be 343 00:21:24,440 --> 00:21:27,400 Speaker 1: able to publicly name the fathers of their children born 344 00:21:27,400 --> 00:21:30,679 Speaker 1: out of wedlock, and for those children to be legitimized. 345 00:21:31,359 --> 00:21:34,159 Speaker 1: She also advocated an end to the dowry system and 346 00:21:34,200 --> 00:21:38,119 Speaker 1: the creation of services for widows, mothers, and children living 347 00:21:38,119 --> 00:21:41,879 Speaker 1: in poverty. But unlike many other women writers who were 348 00:21:42,000 --> 00:21:45,560 Speaker 1: often anonymous, she also wrote under her own name, and 349 00:21:45,640 --> 00:21:49,320 Speaker 1: she wrote more broadly on other political issues and on 350 00:21:49,400 --> 00:21:53,840 Speaker 1: women's political and social rights in general. She advocated for 351 00:21:53,960 --> 00:21:57,439 Speaker 1: professions to be open to anyone, regardless of their sex, 352 00:21:57,480 --> 00:22:01,320 Speaker 1: their color, or their social status. She believed that celibacy 353 00:22:01,400 --> 00:22:04,480 Speaker 1: requirements for monks and nuns set the stage for abuse, 354 00:22:04,600 --> 00:22:07,920 Speaker 1: and called for them to have marriage rights. She proposed 355 00:22:07,960 --> 00:22:11,760 Speaker 1: a voluntary tax to try to address wealth inequality and 356 00:22:11,800 --> 00:22:15,679 Speaker 1: to save the French Republic from bankruptcy. She also advocated 357 00:22:15,680 --> 00:22:18,520 Speaker 1: a luxury tax that would pay for services for the poor. 358 00:22:19,320 --> 00:22:22,960 Speaker 1: She called for an end to the death penalty, and 359 00:22:23,040 --> 00:22:26,359 Speaker 1: she advocated the establishment of a national theater that would 360 00:22:26,359 --> 00:22:29,840 Speaker 1: focus on publishing and staging the work of women play rights. 361 00:22:30,480 --> 00:22:33,960 Speaker 1: Some of the reforms that she advocated were ultimately adopted, 362 00:22:34,080 --> 00:22:36,960 Speaker 1: including protections for children who were born out of wedlock, 363 00:22:37,200 --> 00:22:40,400 Speaker 1: and divorce rights for women. These were passed into law 364 00:22:40,440 --> 00:22:44,720 Speaker 1: by the National Assembly in seventeen nine two. On August 365 00:22:45,080 --> 00:22:49,199 Speaker 1: seventeen eighty nine, the French National Constituent Assembly issued the 366 00:22:49,240 --> 00:22:52,760 Speaker 1: Declaration of the Rights of Man and the Citizen, written 367 00:22:52,800 --> 00:22:56,040 Speaker 1: by the Marquis de Lafayette and the Abbe Sis along 368 00:22:56,080 --> 00:23:00,439 Speaker 1: with Thomas Jefferson, that includes seventeen articles out lining the 369 00:23:00,600 --> 00:23:05,760 Speaker 1: fundamental rights of male citizens, and in seventeen the National 370 00:23:05,800 --> 00:23:09,639 Speaker 1: Assembly adopted a new constitution, one that gave the right 371 00:23:09,720 --> 00:23:14,720 Speaker 1: to vote only to male taxpaying citizens, h to a 372 00:23:14,760 --> 00:23:18,879 Speaker 1: lot of people. This was a little at odds with 373 00:23:18,960 --> 00:23:25,359 Speaker 1: the French revolutions professed values including liberty and equality. The 374 00:23:25,440 --> 00:23:28,119 Speaker 1: Gouge's response to all of this was the Declaration of 375 00:23:28,160 --> 00:23:32,440 Speaker 1: the Rights of Woman and the Citizen, sometimes translated as 376 00:23:32,440 --> 00:23:34,920 Speaker 1: the Declaration of the Rights of Women and the Female 377 00:23:35,040 --> 00:23:37,679 Speaker 1: Citizen thanks to her use of the word sito again. 378 00:23:38,680 --> 00:23:42,000 Speaker 1: It followed the same basic format as the Declaration of 379 00:23:42,000 --> 00:23:45,399 Speaker 1: the Rights of Man, including a preamble, seventeen articles, and 380 00:23:45,400 --> 00:23:49,720 Speaker 1: an epilogue. It was also dedicated to Marie Antoinette, encouraging 381 00:23:49,760 --> 00:23:52,280 Speaker 1: her to take up the cause of the revolution and 382 00:23:52,320 --> 00:23:55,679 Speaker 1: to use her position to advance the cause of women's rights. 383 00:23:56,440 --> 00:24:00,800 Speaker 1: De Gouge published this on September fourteen, seventeen ninety one, 384 00:24:00,880 --> 00:24:04,680 Speaker 1: to coincide with Louis the sixteenth ratification of the New 385 00:24:04,760 --> 00:24:08,959 Speaker 1: Constitution that excluded women from full citizenship rights, and the 386 00:24:09,000 --> 00:24:13,040 Speaker 1: prologue to this piece began quote, man, are you capable 387 00:24:13,080 --> 00:24:16,680 Speaker 1: of being fair? A woman is asking at least you 388 00:24:16,720 --> 00:24:20,159 Speaker 1: will allow her that right. Tell me what gave you 389 00:24:20,200 --> 00:24:24,959 Speaker 1: the sovereign right to oppress my sex. The seventeen articles 390 00:24:24,960 --> 00:24:28,000 Speaker 1: follow the Declaration of the Rights of Man point by point, 391 00:24:28,520 --> 00:24:30,879 Speaker 1: and in some cases they simply use the word woman 392 00:24:31,040 --> 00:24:34,440 Speaker 1: or women in place of man or men, or they 393 00:24:34,560 --> 00:24:38,840 Speaker 1: specifically include women in addition to men where they're referenced. 394 00:24:39,440 --> 00:24:42,119 Speaker 1: So Article one of the Declaration of the Rights of Women, 395 00:24:42,160 --> 00:24:46,240 Speaker 1: for example, is quote woman is born free and remains 396 00:24:46,280 --> 00:24:49,880 Speaker 1: equal to man in rights. Social distinctions may be founded 397 00:24:50,000 --> 00:24:54,280 Speaker 1: only on the common good. Other articles add additional nuance. 398 00:24:54,520 --> 00:24:57,360 Speaker 1: For example, Article ten in the Declaration of the Rights 399 00:24:57,359 --> 00:25:00,520 Speaker 1: of Man is quote no one shall be disc quieted 400 00:25:00,560 --> 00:25:04,480 Speaker 1: on account of his opinions, including his religious views, provided 401 00:25:04,520 --> 00:25:08,359 Speaker 1: their manifestation does not disturb the public order established by law. 402 00:25:09,280 --> 00:25:12,240 Speaker 1: In the Rights of Women, that is written as quote, 403 00:25:12,359 --> 00:25:16,840 Speaker 1: none must be disquieted for their opinions. However, fundamental woman 404 00:25:17,040 --> 00:25:20,240 Speaker 1: is entitled to mount the scaffold, she must be equally 405 00:25:20,359 --> 00:25:23,320 Speaker 1: entitled to mount the rostrum, so long as her manifestos 406 00:25:23,400 --> 00:25:26,119 Speaker 1: do not disturb the public order. According to the law, 407 00:25:26,840 --> 00:25:31,679 Speaker 1: Article eleven is about free expression, and in Degouge's writing, 408 00:25:31,800 --> 00:25:35,280 Speaker 1: she specifically cites the rights of mothers to name their 409 00:25:35,359 --> 00:25:39,800 Speaker 1: children's fathers. Quote. The free expression of thoughts and opinions 410 00:25:39,880 --> 00:25:42,560 Speaker 1: is one of the most precious rights of woman, given 411 00:25:42,880 --> 00:25:47,600 Speaker 1: that this liberty ensures the legitimacy of fathers and their children. 412 00:25:48,040 --> 00:25:52,040 Speaker 1: Any female citizens can therefore freely declare I am the 413 00:25:52,080 --> 00:25:55,840 Speaker 1: mother of your child without a barbarous prejudice forcing them 414 00:25:55,840 --> 00:25:58,639 Speaker 1: to hide the truth, unless in response to the abuse 415 00:25:58,680 --> 00:26:02,119 Speaker 1: of this freedom in cases determined by the law. In 416 00:26:02,160 --> 00:26:05,160 Speaker 1: a PostScript that's longer than the rest of the document, 417 00:26:05,760 --> 00:26:08,520 Speaker 1: de Gouge calls for women to wake up and acknowledge 418 00:26:08,560 --> 00:26:12,359 Speaker 1: their rights. She contends, quote, women have done more harm 419 00:26:12,440 --> 00:26:16,879 Speaker 1: than good. Constraint and dissimulation have been their lot. What 420 00:26:17,119 --> 00:26:21,240 Speaker 1: force stole from them rus returned. They had to resort 421 00:26:21,280 --> 00:26:24,240 Speaker 1: to the power of their charms and the most irreproachable 422 00:26:24,240 --> 00:26:28,440 Speaker 1: man could not resist. She then draws parallels between marriage 423 00:26:28,480 --> 00:26:31,960 Speaker 1: and slavery, ending on the idea that quote marriage is 424 00:26:32,000 --> 00:26:35,679 Speaker 1: the tomb of trust and love. She also prints a 425 00:26:35,760 --> 00:26:39,040 Speaker 1: template for what she describes as a social contract between 426 00:26:39,080 --> 00:26:42,359 Speaker 1: a man and a woman, a union that, unlike marriage, 427 00:26:42,400 --> 00:26:45,480 Speaker 1: involves a man and a woman coming together in equality 428 00:26:45,840 --> 00:26:49,080 Speaker 1: and of their own volition. And the PostScript, she also 429 00:26:49,200 --> 00:26:53,000 Speaker 1: recounts an argument with a coachman who tried to overcharge her, 430 00:26:53,080 --> 00:26:55,720 Speaker 1: and this is something that she includes as an example 431 00:26:55,840 --> 00:27:00,320 Speaker 1: of the everyday injustices and indignities that women face, But 432 00:27:00,400 --> 00:27:02,680 Speaker 1: it also seems enough like a digression that a lot 433 00:27:02,720 --> 00:27:06,120 Speaker 1: of time it is left out of English translations. Olamp 434 00:27:06,160 --> 00:27:09,640 Speaker 1: de Gouge had always faced criticism and derision for her 435 00:27:09,640 --> 00:27:14,120 Speaker 1: writing and her political activism. There were allegations of affairs 436 00:27:14,200 --> 00:27:16,679 Speaker 1: that were meant to discredit her, along with claims that 437 00:27:16,720 --> 00:27:20,120 Speaker 1: she was illiterate or a fraud. But when it came 438 00:27:20,160 --> 00:27:22,879 Speaker 1: to the Declaration of the Rights of women, what really 439 00:27:22,960 --> 00:27:27,680 Speaker 1: drew suspicion was her dedication to Marie Antoinette, which reinforced 440 00:27:27,680 --> 00:27:32,440 Speaker 1: suspicions that she was in fact a monarchist and unlike 441 00:27:32,440 --> 00:27:35,440 Speaker 1: a lot of the other suspicions that swirled around her, 442 00:27:36,119 --> 00:27:39,280 Speaker 1: this one was actually pretty accurate. In spite of her 443 00:27:39,320 --> 00:27:42,960 Speaker 1: revolutionary writings and her general support of the French Revolution, 444 00:27:43,080 --> 00:27:47,040 Speaker 1: Olampa Gouge thought a constitutional monarchy was the system of 445 00:27:47,119 --> 00:27:50,720 Speaker 1: government that was most suited to the national character of France. 446 00:27:51,400 --> 00:27:53,560 Speaker 1: But she also thought that the monarch should be a 447 00:27:53,640 --> 00:27:57,280 Speaker 1: symbolic emblem for France as a nation and should work 448 00:27:57,320 --> 00:28:00,760 Speaker 1: for the good of its most vulnerable people, not a 449 00:28:00,880 --> 00:28:03,320 Speaker 1: symbol of power and a tool to carry out the 450 00:28:03,320 --> 00:28:07,240 Speaker 1: wishes of the aristocracy. When King Louis the sixteenth was 451 00:28:07,280 --> 00:28:10,800 Speaker 1: tried for treason in seventeen two, a lamp de Gouge 452 00:28:11,080 --> 00:28:15,280 Speaker 1: offered to defend him. Her argument was that he unquestionably 453 00:28:15,359 --> 00:28:18,040 Speaker 1: had done wrong, but that he had done wrong when 454 00:28:18,080 --> 00:28:22,440 Speaker 1: he was king. By her arguments, since France had abolished 455 00:28:22,440 --> 00:28:26,080 Speaker 1: the monarchy and become a republic in September of sevento 456 00:28:26,640 --> 00:28:29,359 Speaker 1: the former king was no longer guilty in the eyes 457 00:28:29,400 --> 00:28:33,160 Speaker 1: of the republic. The republic could not prosecute someone who 458 00:28:33,240 --> 00:28:36,200 Speaker 1: was no longer the monarch for something the monarch had done. 459 00:28:36,960 --> 00:28:38,960 Speaker 1: Her offer to defend the king, by the way was 460 00:28:39,000 --> 00:28:42,800 Speaker 1: not accepted and he was, of course executed on January one, 461 00:28:42,920 --> 00:28:47,080 Speaker 1: sevente Yeah, we're not suggesting that defense would have worked, 462 00:28:47,120 --> 00:28:51,800 Speaker 1: but it's kind of a weird pretzel logic. It's a 463 00:28:51,880 --> 00:28:55,480 Speaker 1: little it's like, no, he stopped being the person that 464 00:28:55,600 --> 00:28:59,840 Speaker 1: you hate when he stopped being king, Like, that's not 465 00:29:00,040 --> 00:29:05,760 Speaker 1: quite right. So by the time we the sixteenth was executed, 466 00:29:05,880 --> 00:29:10,920 Speaker 1: tensions had been growing between revolutionaries and counter revolutionaries, and 467 00:29:11,120 --> 00:29:16,280 Speaker 1: also among different factions within the revolution for years. The 468 00:29:16,320 --> 00:29:19,880 Speaker 1: French Revolutionary Wars had also started in seventeen ninety two, 469 00:29:19,920 --> 00:29:23,080 Speaker 1: and that had put even more strain on this young republic. 470 00:29:23,760 --> 00:29:28,640 Speaker 1: The revolution had become increasingly radical and increasingly intolerant of 471 00:29:28,720 --> 00:29:33,240 Speaker 1: suspected monarchists and counter revolutionaries. Olampe de Gouge had been 472 00:29:33,320 --> 00:29:37,400 Speaker 1: mostly aligned with the revolutionary faction known as the Girondins. 473 00:29:37,800 --> 00:29:40,440 Speaker 1: Twenty nine of them had been expelled from the National 474 00:29:40,480 --> 00:29:43,960 Speaker 1: Convention and arrested, and then would be executed a few 475 00:29:44,040 --> 00:29:47,320 Speaker 1: months later. In the face of all of this tension, 476 00:29:47,680 --> 00:29:51,320 Speaker 1: in July of seventeen ninety three, de Gouche proposed that 477 00:29:51,440 --> 00:29:55,040 Speaker 1: each department of France be allowed to govern itself rather 478 00:29:55,120 --> 00:29:58,080 Speaker 1: than the one unified nation of France. That was required 479 00:29:58,120 --> 00:30:01,360 Speaker 1: by law, and the This idea seems to be what 480 00:30:01,600 --> 00:30:06,680 Speaker 1: finally led to her arrest on July, not long after 481 00:30:06,680 --> 00:30:10,200 Speaker 1: the mass arrest of the Girondame. She seems to have 482 00:30:10,320 --> 00:30:13,800 Speaker 1: genuinely believed that if she cooperated that her writings would 483 00:30:13,840 --> 00:30:16,760 Speaker 1: demonstrate that she was loyal to France and the Revolution, 484 00:30:17,160 --> 00:30:20,120 Speaker 1: and that she would be cleared of all suspicion. She 485 00:30:20,240 --> 00:30:23,520 Speaker 1: even took investigators to her office and storage space when 486 00:30:23,560 --> 00:30:27,440 Speaker 1: they couldn't find any incriminating writing in her home. The 487 00:30:27,520 --> 00:30:32,000 Speaker 1: materials that they wound up confiscating included an unfinished five 488 00:30:32,040 --> 00:30:37,800 Speaker 1: act play called France Saved or the Tyrant Dethroned. As 489 00:30:37,800 --> 00:30:41,680 Speaker 1: its title suggests, the monarch is dethroned in this play, 490 00:30:41,720 --> 00:30:45,200 Speaker 1: but it's sympathetic portrayal of Marie Antoinette was used as 491 00:30:45,280 --> 00:30:49,040 Speaker 1: evidence in Marie de Goug's trial. So was a pamphlet 492 00:30:49,120 --> 00:30:52,040 Speaker 1: she had written called Three Governments Battled to the Death, 493 00:30:52,360 --> 00:30:54,360 Speaker 1: which called for the Nation of France to make an 494 00:30:54,440 --> 00:31:00,000 Speaker 1: ultimate choice among monarchy, federalism, or republicanism. She had also 495 00:31:00,000 --> 00:31:03,920 Speaker 1: have been highly critical of Maximilian Robespierre and of the 496 00:31:04,040 --> 00:31:08,320 Speaker 1: increasing violence associated with the Revolution and the War on 497 00:31:08,400 --> 00:31:13,400 Speaker 1: July three, De Gouge was charged with quote, having composed 498 00:31:13,440 --> 00:31:17,800 Speaker 1: a work contrary to the expressed desire of the entire nation, 499 00:31:18,280 --> 00:31:21,600 Speaker 1: and directed against whoever might propose a form of government 500 00:31:21,960 --> 00:31:25,960 Speaker 1: other than that of a republic one and indivisible. She 501 00:31:26,080 --> 00:31:30,440 Speaker 1: was incarcerated, and she continued writing smuggling pamphlets detailing the 502 00:31:30,440 --> 00:31:34,720 Speaker 1: conditions they're out of her prison. At trial, the judge 503 00:31:34,800 --> 00:31:39,320 Speaker 1: denied de Gouge legal representation, so she had to represent herself, 504 00:31:39,880 --> 00:31:44,440 Speaker 1: and different accounts interpret her behavior at court vary differently. 505 00:31:45,160 --> 00:31:47,320 Speaker 1: She claimed to be thirty eight, but she was really 506 00:31:47,400 --> 00:31:52,760 Speaker 1: forty five. She's also described as sighing, smirking, or rolling 507 00:31:52,800 --> 00:31:56,560 Speaker 1: her eyes as the charges were read, either depending on 508 00:31:56,560 --> 00:32:00,240 Speaker 1: who you're reading, clearly not taking the preceding serious slee 509 00:32:00,800 --> 00:32:05,400 Speaker 1: or trying to kind of performatively embody the idea of innocence, 510 00:32:05,800 --> 00:32:08,720 Speaker 1: almost like a character from one of her plays. She 511 00:32:08,920 --> 00:32:11,719 Speaker 1: was ultimately found in violation of a law that banned 512 00:32:11,760 --> 00:32:14,960 Speaker 1: the composition or printing of works that advocated the re 513 00:32:15,160 --> 00:32:19,280 Speaker 1: establishment of royalty or the dissolution of the republic, which 514 00:32:19,480 --> 00:32:23,360 Speaker 1: was punishable by death. She tried to avoid execution by 515 00:32:23,360 --> 00:32:26,120 Speaker 1: claiming to be pregnant but a doctor examined her and 516 00:32:26,160 --> 00:32:29,400 Speaker 1: said that she was not. As is the case with 517 00:32:29,440 --> 00:32:32,160 Speaker 1: any historical examination of this kind that we talked about 518 00:32:32,160 --> 00:32:35,520 Speaker 1: on the show, we really don't know what was done, 519 00:32:35,680 --> 00:32:38,280 Speaker 1: what this doctor did as a test, or whether it 520 00:32:38,320 --> 00:32:41,880 Speaker 1: would have been able to even detect a pregnancy. Yeah, 521 00:32:41,920 --> 00:32:46,120 Speaker 1: I mean it eventually it becomes relatively obvious, but in 522 00:32:46,200 --> 00:32:50,240 Speaker 1: the early stages, who knows, In the early stages in 523 00:32:50,280 --> 00:32:55,480 Speaker 1: the seventeen nineties, yes, Anyway, A Lampe de Gouge was 524 00:32:55,640 --> 00:33:00,800 Speaker 1: executed in Paris on November three see and last words 525 00:33:00,800 --> 00:33:03,600 Speaker 1: were children of the homeland, you will avenge my death. 526 00:33:04,360 --> 00:33:08,200 Speaker 1: The word homeland, as she said it in French, is 527 00:33:08,480 --> 00:33:12,520 Speaker 1: la patry, and that's also translated as both motherland and 528 00:33:12,720 --> 00:33:18,240 Speaker 1: fatherland depending on who you're looking at, because the petree 529 00:33:18,320 --> 00:33:21,320 Speaker 1: part comes from the word for father, but alat is 530 00:33:21,360 --> 00:33:24,840 Speaker 1: also a feminine article, so it kind of mishes both 531 00:33:24,840 --> 00:33:28,600 Speaker 1: of that. Oh. Lampt Deguge's son Pierre denounced her during 532 00:33:28,640 --> 00:33:31,240 Speaker 1: all of this, and while she did write several letters 533 00:33:31,240 --> 00:33:34,240 Speaker 1: to him during her imprisonment and her trial, those were 534 00:33:34,240 --> 00:33:38,440 Speaker 1: all confiscated. She was buried at Madeline Cemetery in Paris, 535 00:33:38,480 --> 00:33:42,160 Speaker 1: which was later closed and cleared, with the skeletal remains 536 00:33:42,200 --> 00:33:47,200 Speaker 1: being moved to the Paris Catacombs, although in unearthed. In July, 537 00:33:48,120 --> 00:33:52,160 Speaker 1: we talked about the discovery of skeletal remains in the 538 00:33:52,280 --> 00:33:55,720 Speaker 1: Chapelle Expatoire, which is a memorial chapel that was built 539 00:33:55,720 --> 00:33:59,600 Speaker 1: on the site of the former cemetery. So it's possible 540 00:34:00,280 --> 00:34:02,840 Speaker 1: that the remains of O lamp de Gouge are in 541 00:34:02,920 --> 00:34:06,000 Speaker 1: the Paris Catacombs. Also possible that they could be in 542 00:34:06,040 --> 00:34:10,719 Speaker 1: these relatively newly unearthed skeletal remains in this chapel. De 543 00:34:10,840 --> 00:34:14,160 Speaker 1: Gouche continued to be criticized and vilified after her death 544 00:34:14,600 --> 00:34:18,520 Speaker 1: in ways that questioned her politics, her character, and her womanhood. 545 00:34:19,360 --> 00:34:23,840 Speaker 1: In seventeen ninety three, French politician Pierre Gaspal Chomet wrote, quote, 546 00:34:24,080 --> 00:34:27,840 Speaker 1: never forget that Virago, the woman man, the impudent olymp 547 00:34:27,880 --> 00:34:30,880 Speaker 1: de Gouge, who abandoned the cares of her household to 548 00:34:30,920 --> 00:34:34,799 Speaker 1: get involved in politics and commit crimes. She died on 549 00:34:34,800 --> 00:34:38,360 Speaker 1: the guillotine for having forgotten the virtues that suit her sex. 550 00:34:39,280 --> 00:34:41,799 Speaker 1: It really took decades, I mean even into like the 551 00:34:41,880 --> 00:34:46,160 Speaker 1: nineteen nineties before people started really viewing O lamp de 552 00:34:46,200 --> 00:34:49,239 Speaker 1: Gouge as a forerunner of the feminist movement and to 553 00:34:49,320 --> 00:34:52,759 Speaker 1: really seriously study her work. There were calls to have 554 00:34:52,840 --> 00:34:56,840 Speaker 1: her commemorated at the Pantheon in Paris in nine and 555 00:34:56,880 --> 00:35:01,000 Speaker 1: then again in the First woman to be interred at 556 00:35:01,000 --> 00:35:06,760 Speaker 1: the Pantheon was Sophie Bertelo, whose husband, chemiston politician Marcela Bertel, 557 00:35:07,040 --> 00:35:11,080 Speaker 1: had died within hours of her passing. The first woman 558 00:35:11,200 --> 00:35:13,680 Speaker 1: to be interred at the Pantheon based on her own 559 00:35:13,719 --> 00:35:18,800 Speaker 1: accomplishments was Murray Currey, when that didn't happen until Although 560 00:35:18,840 --> 00:35:22,840 Speaker 1: a Lampa Googe has not been pantheonized, a bust of 561 00:35:22,880 --> 00:35:27,080 Speaker 1: her was installed at the National Assembly in that as 562 00:35:27,120 --> 00:35:30,279 Speaker 1: a Lampta Gouge. As I said just a second ago, 563 00:35:30,840 --> 00:35:32,640 Speaker 1: there was not a lot of serious look at her 564 00:35:32,640 --> 00:35:36,359 Speaker 1: work in her life until roughly the nineties. Really, and 565 00:35:36,560 --> 00:35:39,640 Speaker 1: I would like to say I still find the available 566 00:35:39,680 --> 00:35:44,279 Speaker 1: research lacking. There was just not as much of it 567 00:35:44,360 --> 00:35:47,440 Speaker 1: as I would have liked, and not as robust as 568 00:35:47,440 --> 00:35:49,440 Speaker 1: I would have liked it to be. Do you have 569 00:35:49,600 --> 00:35:52,920 Speaker 1: robust listener mail? Yeah? I have two listener mails that 570 00:35:52,920 --> 00:35:55,680 Speaker 1: are both on the same subject um, and so I 571 00:35:56,040 --> 00:35:57,799 Speaker 1: wanted to touch on both of them. This first one 572 00:35:57,880 --> 00:36:02,280 Speaker 1: is from Nicole uh and Nicole sonth Is On January tenth, 573 00:36:02,760 --> 00:36:06,120 Speaker 1: Nicole said, Hello, I just listened to the Lost Cause episode. 574 00:36:06,640 --> 00:36:09,600 Speaker 1: You're warning at the beginning about when you recorded the 575 00:36:09,680 --> 00:36:12,400 Speaker 1: episode and who would know what the world would be 576 00:36:12,480 --> 00:36:15,160 Speaker 1: like could not have been more apprecient, because I of 577 00:36:15,200 --> 00:36:17,879 Speaker 1: course listened to it in the aftermath of the attempted coup. 578 00:36:19,000 --> 00:36:21,440 Speaker 1: Your message could not have been more important or needed 579 00:36:21,480 --> 00:36:23,839 Speaker 1: this week, and I am so grateful for your podcast. 580 00:36:24,400 --> 00:36:27,000 Speaker 1: You laid out history and a cultural cornerstone in such 581 00:36:27,040 --> 00:36:30,160 Speaker 1: a clear but also kind way. I have many friends 582 00:36:30,160 --> 00:36:33,080 Speaker 1: who work at the Capitol and we're evacuated or barricaded. 583 00:36:33,280 --> 00:36:35,720 Speaker 1: I can't help thinking that if more people learned history 584 00:36:35,719 --> 00:36:37,600 Speaker 1: and the way you taught it, then maybe there wouldn't 585 00:36:37,640 --> 00:36:41,120 Speaker 1: have been a Confederate flag marched through the Capitol. I 586 00:36:41,160 --> 00:36:43,239 Speaker 1: work in politics and have been in Atlanta for the 587 00:36:43,280 --> 00:36:45,879 Speaker 1: Senate race since July. Moving to a new city during 588 00:36:45,880 --> 00:36:48,680 Speaker 1: a pandemic when you work eight hour weeks, it's very difficult. 589 00:36:49,000 --> 00:36:50,920 Speaker 1: I cannot be more grateful to have had both of 590 00:36:50,960 --> 00:36:53,600 Speaker 1: your company as I walked the belt line alone. It 591 00:36:53,719 --> 00:36:56,480 Speaker 1: was also good to know even that there are cool 592 00:36:56,520 --> 00:36:58,960 Speaker 1: people like you that live or have lived in Atlanta. 593 00:36:59,320 --> 00:37:02,880 Speaker 1: Thank you for all do Nicole Uh. Nicole has a 594 00:37:02,920 --> 00:37:05,319 Speaker 1: ps about growing up in Seattle and being taught that 595 00:37:05,400 --> 00:37:08,840 Speaker 1: States rights caused the Civil War in middle school, and 596 00:37:08,840 --> 00:37:12,319 Speaker 1: then I have another email from Julia. Julia starts off 597 00:37:12,360 --> 00:37:15,560 Speaker 1: saying long time listener, first time writer up, and then 598 00:37:15,600 --> 00:37:18,640 Speaker 1: sort of talks about having listened to the whole archive 599 00:37:19,280 --> 00:37:22,239 Speaker 1: and then winding up with a playlist that's forty nine 600 00:37:22,320 --> 00:37:26,080 Speaker 1: hours and thirty five minutes long of un listened to podcasts. 601 00:37:26,200 --> 00:37:29,160 Speaker 1: Uh and goes on to say, that's the long way 602 00:37:29,200 --> 00:37:31,680 Speaker 1: to say I'm behind in my podcast listening, which is 603 00:37:31,719 --> 00:37:34,960 Speaker 1: how I listened to the Lost Cause episode last week. 604 00:37:35,600 --> 00:37:38,279 Speaker 1: You prefaced the episode with an explanation that you had 605 00:37:38,320 --> 00:37:41,600 Speaker 1: no idea how it might land giving current events when 606 00:37:41,600 --> 00:37:45,000 Speaker 1: the episode was released. While it was released a month ago, 607 00:37:45,239 --> 00:37:48,600 Speaker 1: it had particular points last week. As I listened, I 608 00:37:48,680 --> 00:37:52,160 Speaker 1: kept picturing the images from the Capitol last week. Thank 609 00:37:52,160 --> 00:37:54,560 Speaker 1: you for the reminder of how we got to this point. 610 00:37:55,040 --> 00:37:57,000 Speaker 1: I know that the podcast tries not to take a 611 00:37:57,040 --> 00:38:00,160 Speaker 1: political stance, but this episode helped me recenter on some 612 00:38:00,239 --> 00:38:02,200 Speaker 1: of the lessons that need to be learned from the 613 00:38:02,239 --> 00:38:05,520 Speaker 1: events last week. The stories we tell ourselves about our country, 614 00:38:05,520 --> 00:38:08,920 Speaker 1: our democracy, and our history have a real impact. It 615 00:38:09,000 --> 00:38:11,360 Speaker 1: can be helpful both to look at the history to 616 00:38:11,400 --> 00:38:13,759 Speaker 1: show us how current events came to pass. It's also 617 00:38:13,880 --> 00:38:17,040 Speaker 1: helpful to think about current events in the frame of 618 00:38:17,080 --> 00:38:21,120 Speaker 1: how it will become history. Julia goes on a little 619 00:38:21,160 --> 00:38:23,040 Speaker 1: bit from there and talks about the past year being 620 00:38:23,160 --> 00:38:26,680 Speaker 1: history making and appreciating knowing that the two of us 621 00:38:26,680 --> 00:38:31,000 Speaker 1: are in Julia's podcast feed, so um. Julia also sent 622 00:38:31,080 --> 00:38:35,319 Speaker 1: dog pictures. Thank you, Julia. I'm kind of abridging the 623 00:38:35,320 --> 00:38:37,000 Speaker 1: email just a little bit just because I'm reading two 624 00:38:37,040 --> 00:38:39,879 Speaker 1: of them. Thank you both Julia and Nicole. They were 625 00:38:40,320 --> 00:38:42,759 Speaker 1: similar enough in their themes that I wanted to read 626 00:38:42,840 --> 00:38:45,200 Speaker 1: both emails and also note that, man, we are in 627 00:38:45,239 --> 00:38:49,479 Speaker 1: the same situation now of like we don't know what's 628 00:38:49,480 --> 00:38:52,520 Speaker 1: going to happen between when we record this episode on 629 00:38:52,600 --> 00:38:57,359 Speaker 1: the twelfth of January and when it comes out, Like 630 00:38:58,840 --> 00:39:01,760 Speaker 1: we had just come out of the uh the studio 631 00:39:01,800 --> 00:39:05,719 Speaker 1: after recording our unearthed episodes, and I had decided what 632 00:39:05,760 --> 00:39:07,520 Speaker 1: I was going to do next, and I started working 633 00:39:07,520 --> 00:39:09,440 Speaker 1: on a Lampe de gouge. In less than twenty four 634 00:39:09,480 --> 00:39:11,920 Speaker 1: hours later, I was glued to the news like, Okay, 635 00:39:11,960 --> 00:39:16,080 Speaker 1: this is bizarre. It feels like this episode about you know, 636 00:39:16,120 --> 00:39:18,719 Speaker 1: a woman who was an abolitionist and a campaigner for 637 00:39:18,800 --> 00:39:22,200 Speaker 1: women's rights, it feels irrelevant somehow because of all this 638 00:39:22,239 --> 00:39:25,239 Speaker 1: other stuff that's going on. It has been a very 639 00:39:26,680 --> 00:39:30,080 Speaker 1: confounding and surreal time to be working on this podcast, 640 00:39:30,239 --> 00:39:33,360 Speaker 1: as we have talked about at other points before in 641 00:39:33,400 --> 00:39:38,040 Speaker 1: the last year or so. Yeah, yeah, it makes us, 642 00:39:38,120 --> 00:39:40,160 Speaker 1: you know, re look at everything we talked about and like, 643 00:39:40,320 --> 00:39:44,200 Speaker 1: should we publish this now or should we wait? Is 644 00:39:44,440 --> 00:39:46,960 Speaker 1: related to what's going on. But it's unpleasant and we 645 00:39:47,000 --> 00:39:48,640 Speaker 1: all had a lot of have been through a lot 646 00:39:48,680 --> 00:39:51,600 Speaker 1: of unpleasant Maybe we move it. I don't know, maybe 647 00:39:51,600 --> 00:39:56,560 Speaker 1: it'll be more unpleasant later. We never know what's gonna happen, 648 00:39:57,480 --> 00:40:00,840 Speaker 1: especially since we try to always keep at least a 649 00:40:00,880 --> 00:40:05,719 Speaker 1: week of episodes already done, which really just gives us 650 00:40:05,760 --> 00:40:08,719 Speaker 1: coverage like if somebody is ill or the power is 651 00:40:08,760 --> 00:40:12,640 Speaker 1: out or whatever like that then means that this time 652 00:40:12,680 --> 00:40:15,799 Speaker 1: passes between when we record and when the episode comes out, 653 00:40:15,840 --> 00:40:18,960 Speaker 1: and in the interim it's like, man, the million things 654 00:40:18,960 --> 00:40:23,600 Speaker 1: have happened that made everything seem strange. So thank you 655 00:40:23,719 --> 00:40:28,080 Speaker 1: both Julia and Nicole for your emails on this subject 656 00:40:29,280 --> 00:40:30,920 Speaker 1: and if you would like to write to us about 657 00:40:30,920 --> 00:40:33,560 Speaker 1: this or any other podcast, or at History podcast at 658 00:40:33,600 --> 00:40:36,239 Speaker 1: i heart radio dot com. And we're also all over 659 00:40:36,400 --> 00:40:39,360 Speaker 1: social media admiss in History. That's where you'll find our Facebook, 660 00:40:40,160 --> 00:40:43,640 Speaker 1: our Twitter, our Pinterest, in our Instagram. I'm gonna be candid. 661 00:40:43,680 --> 00:40:46,000 Speaker 1: I haven't done anything with the pinterest in a while 662 00:40:46,280 --> 00:40:50,480 Speaker 1: me either, but it exists. You can also subscribe to 663 00:40:50,520 --> 00:40:53,160 Speaker 1: our show on the I heart Radio app and Apple 664 00:40:53,200 --> 00:41:00,120 Speaker 1: Podcasts and anywhere else that you get your podcasts. M 665 00:41:01,400 --> 00:41:03,560 Speaker 1: Stuff you Missed in History Class is a production of 666 00:41:03,640 --> 00:41:06,840 Speaker 1: I heart Radio. For more podcasts from I heart Radio, 667 00:41:07,040 --> 00:41:10,040 Speaker 1: visit the i heart Radio app, Apple Podcasts, or wherever 668 00:41:10,120 --> 00:41:11,600 Speaker 1: you listen to your favorite shows.