Jean-Paul Marat

The French Revolution is arguably the bloodiest period in French history, with men such as Maximilien Robespierre leading the country into a situation of state sponsored terror. Originally being quite a liberal thinker inspired by the works of Rousseau, Robespierre quickly gained a reputation for being a radical throughout the course of the Revolution, especially during the Terror. Early on terror was justified as a means to root out foreign and domestic enemies of the Revolution, however; once the

strike an important political blow. A very big supporter of the moderate Girondin Party, Corday blamed Marat for the Terror consuming the French Revolution, as faction warred against faction. While modeling herself after the heroes of antiquity whom she studied in Plutarch, she had planned to murder Jean Marat, like Julius Caesar, publically at the National Convention floor. But, when illness forced Marat to the confines of his bathtub due to his skin condition, Corday tracked him down to his apartment

Those people of the past that are studied as “historical figures” – major and minor – make up a virtually insignificant portion of the people that have inhabited the earth since the beginning of civilization. And yet to die without a memorable legacy is much more desirable a fate than to be remembered with enduring hatred for what one accomplished and stood for during life. Certainly, there are many who deserve to be remembered with spite – people whose beliefs and actions were unacceptable whether

The opening line on Marat/Sade posters read, “We wants our rights and we don’t care how. We want our revolution NOW”. The disturbing picture alongside portrays a blood-soaked arm grasping an equally crimson knife from which blood drips. Ever since its first English-language production, in 1964, Peter Weiss’ play has proved a confronting experience for audiences, and Barry French’s production at the New Theatre does not disappoint. A play-within-a-play written by the infamous Marquis de Sade during

The photo I chose was “The Death of Marat.” This picture has significant meaning and a powerful back story. It speaks two different voices for each side of the fence during the France revolution. For some individuals this picture was a symbol of power because Marat was looked up as a rebel and a leader, but to the others this picture represented victory and a new start because Marat had been killed and it saved hundreds of thousands of civilians from being beheaded. As the movie wasteland show cased

Marat was sitting in his bathtub, he received a visitor by the name of Charlotte Corday, who had been refused admittance earlier in the day. She claimed to have vital information on escaped Girondins and proceeded to list off the names of the missing Girondins. After he had finished writing out the list, Corday claimed that he told her, "It will not be long before they are guillotined", a statement she later changed at her trial to, "I will shortly have them all guillotined in Paris". With that

was murdered as shown by Jacques-Louis David’s painting, The Death of Marat. The two historical events seem wildly different- except for the killers. Charlotte Corday and Marcus Brutus are comparable via their public image, murder weapon, and motive. The essential part to any murder is a motive, which both Corday and Brutus had. Both eliminated their victims for selfless reasons. The only reason Corday killed was because Marat was seen as a threat to the success of the French Revolution for the

France. Then, the Revolution really took off, and continued on for years. Many people influenced the Revolution, such as Marat and Robespierre. The death of Marat was another event that had a large influence on the Revolution, as though he had caused lots of deaths, he was stilled viewed as a hero by most. Looking at the two paintings “The Tennis Court Oath,” and “The Death of Marat,” “The Tennis Court Oath” depicts a more significant and relevant event, as this was the event to really cause the French

Aristide was the person that denounced the Duvaliers. It was previously stated that Francois Duvalier created the private army, the Tonton Macoutes, whose purpose was to get rid of the country’s opposition. This army also cleared the streets usually by robbing and killing the people at random times thus having the people of Haiti living in constant fear. The Duvaliers and the military governments felt threatened by Aristide because at the time he was a priest and was such a charismatic man; his kind

Death of Marat, was a painting done by Jacques-Louis David in 1748 – 1825, depicting the assassination of Marat, a leader of the French Revolution. It was commissioned by the French Convention to glorify Marat and to serve as a propaganda that upholds the momentum of the revolution. By doing so, David aimed to raise people’s sympathies towards Marat by portraying him as the savior of the revolution, “friend of the People”, and the victim. He idealized Marat and chose to bias towards Marat on this