Staging Abolition: Gouge's Letters to the Press

Olympe de Gouges wrote her first abolitionist play, Zamore et Mirza, ou l'Heureux Naufrage  in 1784 (she started working on it some years earlier), before the creation of either the English or the French abolitionist societies. In 1785, the Comedie Francaise accepted it. But the actors did not perform it, perhaps for political reasons, or simply because of ongoing disputes between Gouges and some of the actors. As the actors retained the right to the performance, Gouges decided to publish the text of the play, which she reworked and renamed L'Esclavage de Nègres, ou l'Heureux naufrage. This captured the attention of Jacques-Pierre Brissot, who had just created the Societe des Amis des Noirs, the French abolitionist society. Brissot persuaded Bailly, then mayor of Paris, to put pressure on the actors to perform the play. They agreed but placed it at the end of the year, knowing that the Parisian people would be too busy with their celebrations to go to the theatre. If a play did not sell enough seats in the first three days, it was cancelled.

Gouges's play was in fact cancelled after the third night. But even three good nights would have had the impact she wished for, to capture the imagination and the sympathy of her audience towards the enslaved, so that they decide to take action and relieve the sufferings of these 'victims of ambition'. Unfortunately, she did not get three good nights. The performance was plagued by hired 'claques' as much as it was by its supporters. No-one heard a thing, and critiques had to turn to the printed text. 

What follows are two letters Gouges wrote to the newspapers, one to announce her play, and one to reassure spectators that she was not encouraging insurrection. The third text below is a review of the play, describing the mayhem at the theatre. 
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I include my early efforts at translating them. 

Letter dated 19 December 1789, signed 'De Gouge', and published in the Chronique de Paris, 20 December 1788. 

TRANSLATION:

It is now nine years since I first began to paint, in a play, the slavery of the black in all its severity. No one was thinking then of alleviating their condition or preparing their freedom. Only I was raising my voice in support of these men, so unhappy and maligned. In print, the significance of the topic meant that the mediocrity of the author was forgotten. 
This drama, presented to the Comédie Française a few years ago, and inappropriately titled The Fortunate Shipwreck, weathered a few storms. Escaped from the reefs and the opposing winds of power, it now sails freely towards the stage under this title: Black Slavery. 
If all I had to fear was the weakness of my talent and the power of my enemies, the current era of the re-establishment of liberty should promise some indulgence towards a piece that defends it. But am not exposed still to all the protectors and apologists of American despotism, not counting etc., etc., etc.…?
Would that my sex receive, at least from the public on the first day of it performance, the same notice that was granted the author of Charles IX . 
I must add still that I did not draw the dialogue of this drama from current events, and that I dedicated my authorial rights to augment the patriotic fund which I first conceived of in a pamphlet printed fifteen months ago. 
If this play could benefit from the same fortune as Figaro or Charles IX, in truth, sirs, I would not be displeased, both for my fame and for the patriotic fund. 
De Gouge.
Paris, this 19 December 1789. 

Letter, signed 'De Gouges' dated 27 December 1789, published in Le Journal de Paris, on 28 December 1789. 

TRANSLATION

Journal de Paris
27 December 1789
 
Allow me sirs, to turn to you on the subject of Black Slavery. We find ourselves in such circumstances that the greatest precautions may still be too weak: the public can only applaud my promptitude and the way I seek to reassure it. Just as it is about to performed, I learn that a formidable group is rising up against my play. French colonial correspondents, alarmed by my title, Black Slavery, are spreading unease, fearing that my play will preach insurrection and foster revolt. I have not developed in my play the kind of incendiary principles likely to arm Europe against the colonies. Please impress upon the people in question, by publishing this letter, that if they come tomorrow to the theatre they will feel that one must not always judge a play by the title given it. 
Your very humble servant, 
Signed De Gouges.
 

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Anonymous review of Gouge's play, published in La Chronique de Paris after the first representation on 29 December 1789.

TRANSLATION


Chronique de Paris 29 December 1789.

The French Comedians performed yesterday Black Slavery, or the Fortunate Shipwreck, a comedy in three acts, by Madame de Gouges. We will not attempt to give an exact description of a play so full of accidents, reunitings, etc. One easily sees that the play is about showing the right of the blacks to liberty, this good common to all men, but which a wise politic prevents us yet from granting our slaves, until we can ensure they will enjoy it. All that humanity requires of us, is that we should treat them gently. 
Zamore, Mirza’s lover, has killed the intendant of the governor, his master, because this leader of slaves had outraged and mistreated him, and wanted to steal his mistress. Zamore and Mirza are captured, condemned to die. But the governor, moved by the prayers of his wife, and of the lost daughter he has found [6] and the entire colony, decides to grace them. 
The performance was very turbulent. Les friends of the blacks and of the planters alike wasted efforts that the play did not deserve. It was not a success and can be neither dangerous nor useful. Because the performance was constantly interrupted, a spectator proposed that people should only boo between the acts. 
We will draw no conclusion. We will only repeat, with Piron, that to write a good drama what one  requires is a bearded chin.