France has produced many remarkable women; perhaps no other country can boast such an array of illustrious names; they shine from the pages of French history like fixed stars from the firmament. Among them, down the long vista of a hundred years, brilliant and beautiful, shines the name of Madame Roland, the spirit of the great French Revolution personified.
Striking beauty, great genius, and wonderful courage in the hour of martyrdom, rendered this woman an unusual character in an unusual epoch. Surrounded by deceit, she was honest and fearless. In the midst of immorality and license, she was pure, and brave enough to resist temptation which came from without and from within, and she went to the scaffold with an untarnished name and soul.
Manon Philipon, as Madame Roland was known in her childhood, was born in Paris in the year 1754. Her father was a worker in enamel, who thrived well enough in his art when he was content to toil at it, but a restless spirit of speculation led him into ventures which brought him neither profit nor renown.
Manon's beauty was a direct inheritance from both father and mother. Gratien Philipon was a handsome man, and vain and frivolous as he was handsome; but his beautiful wife was serious-minded, and much the superior of her husband in intellect as well as morals. Of seven children born to this couple, only one lived—Manon, the subject of our sketch—who inherited the combined beauty of both parents, with the rectitude and high ideals of the mother. But there lies no explanation of inheritance from either father or mother to make us understand how the child of these common people became at nine years of age a student of Plutarch, Tasso, and Voltaire, and a philosopher at the age of eleven. It requires a deeper law than that of heredity to explain these things.
At ten, Manon developed a strongly religious tendency, which was fostered, no doubt, by daily studying the "Lives of the Saints." While reading the accounts of martyrs who had died at the stake rather than resign their faith, the child often regretted that she had not lived in those "good old days," so happy a thing it seemed to her to die for one's principles. This privilege was granted her in after-years, strangely enough; and she proved as courageous in reality as she had in childhood imagined herself capable of being under similar circumstances.
Manon's religious feelings were culminated by a request made to her mother, in a paroxysm of tears, that she might be placed in a convent to prepare herself for her first communion; accordingly, she was taken to the Convent of the "Sisters of the Congregation" in May, 1765, when she was eleven years old. Side by side with this nunnery, where the precocious child passed one of the happiest epochs of her life, stood the prison which was to immure her in later years. Should such a circumstance and situation be unfolded in the pages of fiction, we would call it strained and unnatural.
During the year Manon passed in the convent, she made the acquaintance of two sisters, Henrietta and Sophie Cannet, who were allied to the nobility; and she afterward attributed her facility in writing to the correspondence with the younger of these sisters, which continued without interruption over more than a decade of years. In her memoirs, written under the shadow of the guillotine, she says, "In the gloom of a prison, in the midst of political storms, how shall I recall to my mind, and how describe, the rapture, the tranquillity I enjoyed at that period; but when I review the events of my life, I find it difficult to assign to circumstances that variety and that plenitude of affection which have so strongly marked every point of its duration, and left me so clear a remembrance of every place at which I have been."
After she left the convent, she found her passion for reading unabated, and as her father's library was limited, she was obliged to borrow and hire books; from these she made copious extracts and abstracts which formed her valuable habit of reflection upon what she had read.