French Revolution

Alexis de Tocqueville was born in 1805 into an eminent Norman aristocratic family, with ancestors who had participated in the Battle of Hastings and the conquest of England in 1066. This was a family and social milieu that was to be deeply scarred by the French Revolution of 1789–99. His parents were Hervé, Comte de Tocqueville, formerly an officer of the personal guard of Louis XVI, and Louise Madeleine Le Peletier de Rosanbo, a relative of the powerful political figures Vauban and Lamoignon. The couple married in 1793; the following year they barely escaped the guillotine. Louise’s grandfather Malesherbes (Louis XVI’s minister and defence lawyer at his final trial) and both of Louise’s parents were condemned to death, as were her elder sister and her husband.

The French Revolution never ceases to fascinate. Marie-Antoinette and Robespierre, the storming of the Bastille and the 'Marseillaise', the Terror and its guillotine ...

In 1798, during the revolutionary wars on the European mainland, the Irish rebelled. Though they were supported militarily by the French Republic, it was the ideas heralded by the Revolution that gave real strength to their cause. A decade later, in Dublin, William Hallaran argued in his An Enquiry Into the Causes Producing the Extraordinary Addition to the Number of Insane that much of the increase should be attributed to the rebellion. Fifteen per cent of cases where causes could be identified were linked directly with the rebellion, but its effects were writ large in the rest of the catalogue: loss of property, drunkenness, religious zeal, disappointment, and grief.

The ‘good’ biographer always opts for a nuanced portrait, and this is what Peter McPhee has given us in his well-written, reflective, sympathetic account of one of the most enigmatic, complex leaders of the French Revolution, Maximilien Robespierre (1758–94). McPhee had his work cut out for him. Those familiar with the period may come to this book, as I did, with somewhat preconceived ideas. Robespierre conjures up a rather distasteful character, a revolutionary with all the negative connotations that word can conjure: a zealot, cold, calculating, idealistic, paranoid, the prototype of the totalitarian bureaucrat capable of sending friends and colleagues to the guillotine for the ‘cause’. So I was curious as to what McPhee, a leading historian of the French Revolution, made of the man, and how he accounted for Robespierre’s condemnation to death of so many people.

The Australian Stage represents an interesting intersection between the academic world and the creative arts, between the long perspective of the historian, and the ephemerality of theatre performances. Its methodology is academic; it proceeds from an examination of documents, of written records of an art form only one aspect of which we think of as being written, the actual texts of plays. However, these are not the documents in question (although some bibliographical information about the plays is also included); rather it is the responses to performances, particularly reviews, written reminiscences, playbills, newspaper reports, which provide, collectively, the material for a historical survey of theatre in Australia.