Who killed Jean Paul Marat?
TagMe Search
Jean-Paul_Marat.txt Charlotte_Corday.txt
Jean-Paul Marat Charlotte Corday
Jean-Paul Marat (; 24 May 1743 – 13 July 1793) was a political theorist and amateur scientist  who became best known for his role as a radical journalist and politician during the French Revolution. His journalism became renowned for its fierce tone, uncompromising stance toward the new leaders and institutions of the revolution, and advocacy of basic human rights for the poorest members of society.

Marat was one of the most radical voices of the French Revolution. He became a vigorous defender of the sans-culottes, publishing his views in pamphlets, placards and newspapers, notably his L'Ami du peuple (Friend of the People), which helped make him their unofficial link with the radical, republican Jacobin group that came to power after June 1793.

Marat was assassinated by Charlotte Corday, a Girondist sympathizer, while taking a medicinal bath for his debilitating skin condition. In his death, Marat became an icon to the Jacobins as a revolutionary martyr, as portrayed in Jacques-Louis David's famous painting, The Death of Marat.  For this assassination, Corday was executed four days later, on 17 July 1793.

Life, education and political involvement

Jean-Paul Marat was born in Boudry in the Prussian Principality of Neuchâtel, now part of Switzerland, on 24 May 1743.  He was the second of nine children born to Jean Mara (Giovanni Mara), a native of Cagliari, Sardinia, and Louise Cabrol, a French Huguenot from Castres. His father was a Mercedarian "commendator" and religious refugee who converted to Calvinism in Geneva. At the age of sixteen, Marat left home in search of new opportunities, aware of the limited opportunities for outsiders. His highly educated father had been turned down for several college (secondary) teaching posts. His first stop was with the wealthy Nairac family in Bordeaux. After two years there he moved on to Paris where he studied medicine without gaining any formal qualifications. Moving to London in 1765, for fear of being "drawn into dissipation", he set himself up informally as a doctor, befriended the Royal Academician artist Angelica Kauffman, and began to mix with Italian artists and architects in the coffee houses around Soho. Highly ambitious, but without patronage or qualifications, he set about inserting himself into the intellectual scene with works on philosophy ("A philosophical Essay on Man", published 1773) and political theory ("Chains of Slavery", published 1774).  Voltaire's sharp critique of "De l'Homme" (an augmented translation, published 1775–76), partly in defence of his protégé Helvétius reinforced Marat's growing sense of a widening gulf between the philosophes, grouped around Voltaire on one hand, and their 'opponents', loosely grouped around Rousseau on the other.

Around 1770, Marat moved to Newcastle upon Tyne. His first political work, Chains of Slavery, inspired by the extra-parliamentary activities of the disenfranchised MP, and later Mayor, John Wilkes, was most probably compiled in the central library here. By Marat's own colourful account, he lived on black coffee for three months, during its composition, sleeping only two hours a night – and then slept soundly for thirteen days in a row.  He gave it the subtitle, "A work in which the clandestine and villainous attempts of Princes to ruin Liberty are pointed out, and the dreadful scenes of Despotism disclosed". It earned him honorary membership of the patriotic societies of Berwick-upon-Tweed, Carlisle and Newcastle. The Newcastle Literary and Philosophical Society Library  possesses a copy, and Tyne and Wear Archives Service holds three presented to the various Newcastle guilds.

A published essay on curing a friend of gleets (gonorrhoea) probably helped to secure his medical referees for an MD from the University of St Andrews in June 1775. On his return to London, he published Enquiry into the Nature, Cause, and Cure of a Singular Disease of the Eyes.

In 1776, Marat moved to Paris following a brief stopover in Geneva to visit his family. Here his growing reputation as a highly effective doctor, along with the patronage of the Marquis de l'Aubespine, the husband of one of his patients, secured his appointment, in June 1777, as physician to the bodyguard of the comte d'Artois, Louis XVI's youngest brother who was to become king Charles X in 1824. The position paid 2,000 livres a year plus allowances.

Marat was soon in great demand as a court doctor among the aristocracy and he used his new-found wealth to set up a laboratory in the marquise de l'Aubespine's house. Soon he was publishing works on fire and heat, electricity and light. In his Mémoires, his later enemy Brissot admitted Marat's growing influence in Parisian scientific circles. When Marat presented his scientific researches to the Académie des Sciences, they were not approved for official publication. In particular, the Academicians were appalled by his temerity in disagreeing with (the hitherto uncriticised) Newton. Benjamin Franklin visited him on several occasions and Goethe described his rejection by the Academy as a glaring example of scientific despotism. In 1782, Marat published his "favourite work", a Plan de législation criminelle. It was a polemic for penal reform, inspired by Rousseau and Cesare Beccaria, which had been entered into a competition announced by the Berne economic society in February 1777 and backed by Frederick the Great and Voltaire. Marat's entry contained many radical ideas, including the argument that society should provide fundamental (natural) needs such as food and shelter if it expected all its citizens to follow its (civil) laws, that the king was no more than the "first magistrate" of his people, that there should be a common death penalty regardless of class, and that each town should have a dedicated "avocat des pauvres" and set up independent criminal tribunals with twelve-man juries to ensure a fair trial.

In April 1786, he resigned his court appointment and devoted his energies full-time to scientific research. He published a well-received translation of Newton's Opticks (1787), which was still in print until recently, and later a collection of essays on his experimental findings, including a study on the effect of light on soap bubbles in his Mémoires académiques, ou nouvelles découvertes sur la lumière ("Academic memoirs, or new discoveries on light", 1788).

As a guest of the Nairac family in the leading slave port of Bordeaux, Marat may have witnessed aspects of the trade, since Monsieur Nairac was a leading slave-merchant, and later an ennobled member of the National Assembly. But the metaphorical use of slavery imagery from political discourses at the time, including Marat's own, derived from a well-trodden English republican tradition. In 1792, soon after the uprisings in the Caribbean island and sugar colony of Saint-Domingue (later Haiti after its revolution), Marat wrote that those in St. Domingue are "a separate people" from France. He cited the new constitution (of 1791), "The basis of all free government is that no people can be legally subject to another people..." (from "The Friend of the People" 1792. See the excerpt in Dubois & Garrigus, editors, "Slave Revolution in the Caribbean, 1789–1804", pp. 111–112).

"Friend of the People"

On the eve of the French Revolution, Marat placed his career as a scientist and doctor behind him and took up his pen on behalf of the Third Estate. In 1788, when the Assembly of Notables advised the assembling of the Estates-General for the first time in 175 years, Marat devoted himself entirely to politics. In January 1789, he published his Offrande à la Patrie ("Offering to the Nation") which touched on some of the same points as the Abbé Sieyès' famous "Qu'est-ce que le Tiers État?" ("What is the Third Estate?"). This was followed by a "Supplément de l'Offrande" in March, followed in July by "La Constitution, ou Projet de déclaration des droits de l'homme et du citoyen", intended to influence the drafting of France's new constitution, then being debated in the National Assembly.

On 12 September 1789, Marat began his own newspaper, entitled Publiciste parisien, before changing its name four days later to L'Ami du peuple ("The People's friend"). From this position, he often attacked the most influential and powerful groups in Paris, including the Commune, the Constituent Assembly, the ministers, and the Châtelet, (the ancien regime legislative body). In January 1790, he moved to the radical Cordeliers section, then under the leadership of the lawyer Danton, was nearly arrested for his aggressive attacks against Jacques Necker, Louis XVI's popular Finance Minister, and was forced to flee to London. In May, he returned to Paris to continue publication of L'Ami du peuple and briefly ran a second newspaper in June 1790 called "Le Junius français" named after the notorious English polemicist Junius. Marat faced the problem of counterfeiters distributing falsified versions of L'Ami du peuple, which led him to call for police intervention, which resulted in the suppression of the fraudulent issues, leaving Marat the continuing sole author of L'Ami de peuple.

During this period, Marat made regular attacks on the more conservative revolutionary leaders. In a pamphlet from 26 July 1790, entitled "C'en est fait de nous" ("We're done for!"), he warned against counter-revolutionaries, advising, "five or six hundred heads cut off would have assured your repose, freedom and happiness." 

Events

Between 1790 and 1792, Marat was often forced into hiding, sometimes in the Paris sewers, where he almost certainly aggravated his debilitating chronic skin disease (possibly dermatitis herpetiformis). 
In January 1792, he married the 26-year-old Simonne Evrard  in a common-law ceremony on his return from exile in London, having previously expressed his love for her. She was the sister-in-law of his typographer, Jean-Antoine Corne, and had lent him money and sheltered him on several occasions.

Marat only emerged publicly on the 10 August Insurrection, when the Tuileries Palace was invaded and the royal family forced to shelter within the Legislative Assembly. The spark for this uprising was Karl Wilhelm Ferdinand, Duke of Brunswick-Luneburg's provocative proclamation, which called for the crushing of the Revolution and helped to inflame popular outrage in Paris.

The National Convention

Marat was elected to the National Convention in September 1792 as one of 26 Paris deputies although he belonged to no party. When France was declared a Republic on 22 September, Marat renamed his L'Ami du peuple as Le Journal de la République française ("Journal of the French Republic").
His stance during the trial of the deposed king Louis XVI was unique. He declared it unfair to accuse Louis of anything before his acceptance of the French Constitution of 1791, and, although implacably he said believing that the monarch's death would be good for the people, defended Guillaume-Chrétien de Lamoignon de Malesherbes, the King's counsel, as a "sage et respectable vieillard" ("wise and respected old man").

On 21 January 1793, Louis XVI was guillotined, which caused political turmoil. From January to May, Marat fought bitterly with the Girondins, whom he believed to be covert enemies of republicanism. Marat’s hatred of the Girondins became increasingly heated which led him to call for the use of violent tactics against them. The Girondins fought back and demanded that Marat be tried before the Revolutionary Tribunal. After attempting to avoid arrest for several days Marat was finally imprisoned. On 24 April, he was brought before the Tribunal on the charges that he had printed in his paper statements calling for widespread murder as well as the suspension of the Convention. Marat decisively defended his actions, stating that he had no evil intentions directed against the Convention. Marat was acquitted of all charges to the riotous celebrations of his supporters.

Death

The fall of the Girondins on 2 June, helped by the actions of François Hanriot, the new leader of the National Guard, was one of Marat's last achievements. Forced to retire from the Convention as a result of his worsening skin disease, he continued to work from home, where he soaked in a medicinal bath. Now that the Montagnards no longer needed his support in the struggle against the Girondins, Robespierre and other leading Montagnards began to separate themselves from him, while the Convention largely ignored his letters.

Marat was in his bathtub on 13 July, when a young woman from Caen, Charlotte Corday, appeared at his flat, claiming to have vital information on the activities of the escaped Girondins who had fled to Normandy. Despite his wife Simonne's protests, Marat asked for her to enter and gave her an audience by his bath, over which a board had been laid to serve as a writing desk. Their interview lasted around fifteen minutes. He asked her what was happening in Caen and she explained, reciting a list of the offending deputies. After he had finished writing out the list, Corday claimed that he told her, "Their heads will fall within a fortnight", a statement she later changed at her trial to, "Soon I shall have them all guillotined in Paris". This was unlikely since Marat did not have the power to have anyone guillotined. At that moment, Corday rose from her chair, drawing out from her corset a five-inch kitchen knife, which she had bought earlier that day, and brought it down hard into Marat’s chest, where it pierced just under his right clavicle, opening the carotid artery, close to the heart. The massive bleeding was fatal within seconds. Slumping backwards, Marat cried out his last words to Simonne, "Aidez-moi, ma chère amie!" ("Help me, my dear friend!") and died.

Corday was a Girondin sympathiser who came from an impoverished royalist family – her brothers were émigrés who had left to join the exiled royal princes. From her own account, and those of witnesses, it is clear that she had been inspired by Girondin speeches to a hatred of the Montagnards and their excesses, symbolised most powerfully in the character of Marat.  The Book of Days claims the motive was to "avenge the death of her friend Barboroux". Marat's assassination contributed to the mounting suspicion which fed the Terror during which thousands of the Jacobins' adversaries – both royalists and Girondins – were executed on supposed charges of treason. Charlotte Corday was guillotined on 17 July 1793 for the murder. During her four-day trial, she had testified that she had carried out the assassination alone, saying "I killed one man to save 100,000".

Memory in the Revolution

Marat's assassination led to his apotheosis. The painter Jacques-Louis David, a member of one of the two "Great Committees" (the Committee of General Security), was asked to organise a grand funeral. David took up the task of immortalising Marat in the painting The Death of Marat, beautifying the skin that was discoloured and scabbed from his chronic skin disease in an attempt to create antique virtue. David, as a result of this work, has since been criticized as glorifying the Jacobin's death. The entire National Convention attended Marat's funeral and he was buried under a weeping willow, in the garden of the former Club des Cordeliers (former Couvent des Cordeliers). After Marat’s death, he was viewed by many as a martyr for the revolution, and was immortalized in various ways in order to preserve the values he stood for. His heart was embalmed separately and placed in an urn in an altar erected to his memory at the Cordeliers in order to inspire speeches that were similar in style to Marat’s eloquent journalistic skills.  On his tomb, the inscription on a plaque read: "Unité, Indivisibilité de la République, Liberté, Égalité, Fraternité ou la mort". His remains were transferred to the Panthéon on 25 November 1793 and his near messianic role in the Revolution was confirmed with the elegy: Like Jesus, Marat loved ardently the people, and only them. Like Jesus, Marat hated kings, nobles, priests, rogues and, like Jesus, he never stopped fighting against these plagues of the people. The eulogy was given by the Marquis de Sade, delegate of the Section Piques and an ally of Marat's faction in the National Convention (there is evidence to suggest that shortly before his death Marat had fallen out with de Sade and was arranging for him to be arrested). By this stage de Sade was becoming appalled with the excesses of the Reign of Terror and was later removed from office and imprisoned for "moderatism" on the fifth of December.

On 19 November, the port city of Le Havre-de-Grâce changed its name to Le Havre-de-Marat and then Le Havre-Marat. When the Jacobins started their dechristianisation campaign to set up the Cult of Reason of Hébert and Chaumette and Cult of the Supreme Being of Robespierre, Marat was made a quasi-saint, and his bust often replaced crucifixes in the former churches of Paris.

By early 1795, Marat's memory had become tarnished. On 13 January 1795, Le Havre-Marat became simply Le Havre, the name it bears today. In February, his coffin was removed from the Panthéon and his busts and sculptures were destroyed. His final resting place is the cemetery of the church of Saint-Étienne-du-Mont.

A bronze sculpture of Marat was removed from Parc des Buttes Chaumont and was melted down, during the nazi occupation of Paris. 

His memory lived on in the Soviet Union. Marat became a common name and the Russian battleship Petropavlovsk () was renamed Marat in 1921. A street in the centre of Sevastopol was named after Marat () on 3 January 1921, shortly after the Bolsheviks took over the city. 

Skin disease

Described during his time as a man "short in stature, deformed in person, and hideous in face,"  Marat has long been noted for physical irregularities. The nature of Marat's debilitating skin disease, in particular, has been an object of ongoing medical interest. Dr. Josef E. Jelinek noted that his skin disease was intensely itchy, blistering, began in the perianal region, and was associated with weight loss leading to emaciation. He was sick with it for the three years prior to his assassination, and spent most of this time in his bathtub. There were various minerals and medicines that were present in his bath while he soaked to help ease the pain caused by the disease. The bandana that is seen wrapped around his head was soaked in vinegar to reduce the severity of his discomfort.  Jelinek's diagnosis is dermatitis herpetiformis.

Tub

After Marat's death, his wife may have sold his bathtub to her journalist neighbour, as it was included in an inventory of his possessions. The royalist de Saint-Hilaire bought the tub, taking it to Sarzeau, Morbihan in Brittany. His daughter, Capriole de Saint-Hilaire inherited it when he died in 1805  and she passed it on to the Sarzeau curé when she died in 1862. A journalist for Le Figaro tracked down the tub in 1885. The curé then discovered that selling the tub could earn money for the parish, yet the Musée Carnavalet turned it down due to its lack of provenance as well as the high price. The curé approached Madame Tussaud's waxworks, who agreed to purchase Marat's bathtub for 100,000 francs, but the curé's acceptance was lost in the mail. After rejecting other offers, including one from Phineas Barnum, the curé sold the tub for 5,000 francs to the Musée Grévin, where it remains today.  The tub was in the shape of an old-fashioned high-buttoned shoe and had a copper lining. 

Works

Besides the works mentioned above, Marat also wrote:
*Recherches physiques sur l'électricité, &c. (1782)
*Recherches sur l'électricité médicale (1783)
* Notions élémentaires d'optique (1784)
* Lettres de l'observateur Bon Sens à M. de M sur la fatale catastrophe des infortunés Pilatre de Rozier et Ronzain, les aéronautes et l'aérostation (1785)
* Observations de M. l'amateur Avec à M. l'abbé Sans . . . &c., (1785)
* Éloge de Montesquieu (1785) (provincial Academy competition entry first published 1883 by M. de Bresetz)
* Les Charlatans modernes, ou lettres sur le charlatanisme académique (L'Ami du Peuple, 1791)
* Les Aventures du comte Potowski (unpublished manuscript first published in 1847 by Paul Lacroix)
* Lettres polonaises (unpublished manuscript first printed in English in 1905; recently translated into French but authenticity disputed)

Notes Marie-Anne Charlotte de Corday d'Armont (27 July 1768 – 17 July 1793), known to history as Charlotte Corday, was a figure of the French Revolution. In 1793, she was executed by guillotine for the assassination of Jacobin leader Jean-Paul Marat, who was in part responsible, through his role as a politician and journalist, for the more radical course the Revolution had taken. More specifically, he played a substantial role in the political purge of the Girondins, with whom Corday sympathized. His murder was memorialized in a celebrated painting by Jacques-Louis David which shows Marat after Corday had stabbed him to death in his bathtub. In 1847, writer Alphonse de Lamartine gave Corday the posthumous nickname l'ange de l'assassinat (the Angel of Assassination).

Biography

Born in Saint-Saturnin-des-Ligneries, a hamlet in the commune of Écorches (Orne), in Normandy, Charlotte Corday was a member of a minor aristocratic family. She was a fifth-generation matrilineal descendant of the dramatist Pierre Corneille. Her parents were cousins. 

While Corday was a young girl, her older sister and their mother, Charlotte Marie Jacqueline Gaultier de Mesnival, died. Her father, Jacques François de Corday, seigneur d'Armont (1737–1798), unable to cope with his grief over their death, sent Corday and her younger sister to the Abbaye-aux-Dames convent in Caen, where she had access to the abbey's library and first encountered the writings of Plutarch, Rousseau and Voltaire. After 1791, she lived in Caen with her cousin, Madame Le Coustellier de Bretteville-Gouville. The two developed a close relationship, and Corday was the sole heir to her cousin's estate.

Political influence

After the revolution radicalized and headed towards terror, Charlotte Corday began to sympathize with the Girondins. She admired their speeches and grew fond of many of the Girondist groups whom she met while living in Caen. She respected the political principles of the Girondins and came to align herself with their thinking. She regarded them as a movement that would ultimately save France.  The Gironde represented a more moderate approach to the revolution and they, like Corday, were skeptical about the direction the revolution was taking. They opposed the Montagnards, who advocated a more radical approach to the revolution, which included the extreme idea that the only way the revolution would survive invasion and civil war was through terrorizing and executing those opposed to it.  The opposition to this radical thinking, coupled with the influence of the Gironde, ultimately led Corday to carry out her plan to murder the most radical of them all, Jean-Paul Marat.

The influence of Girondin ideas on Corday is evident in her words at her trial: "I knew that he Marat was perverting France. I have killed one man to save a hundred thousand." As the revolution progressed, the Girondins had become progressively more opposed to the radical, violent propositions of the Montagnards such as Marat and Robespierre. Corday's notion that she was saving a hundred thousand lives echoes this Girondin sentiment as they attempted to slow the revolution and reverse the violence that had escalated since the September Massacres of 1792.

Marat's assassination

Jean-Paul Marat was a member of the radical Jacobin faction which had a leading role during the Reign of Terror. As a journalist, he exerted power and influence through his newspaper, L'Ami du peuple ("The Friend of the People").

Corday's decision to kill Marat was stimulated not only by her revulsion at the September Massacres, for which she held Marat responsible, but by her fear of an all-out civil war.  She believed that Marat was threatening the Republic, and that his death would end violence throughout the nation. She also believed that King Louis XVI should not have been executed.

On 9 July 1793, Corday left her cousin, carrying a copy of Plutarch's Parallel Lives, and went to Paris, where she took a room at the Hôtel de Providence. She bought a kitchen knife with a six-inch blade. She then wrote her Addresse aux Français amis des lois et de la paix ("Address to the French people, friends of Law and Peace") to explain her motives for assassinating Marat.

Initially, she planned to assassinate Marat in front of the entire National Convention, intending to make an example out of him, but upon arriving in Paris she discovered that Marat no longer attended meetings because his health was deteriorating due to a skin disorder. She was then forced to change her plan. She went to Marat's home before noon on 13 July, claiming to have knowledge of a planned Girondist uprising in Caen; she was turned away by his wife, Simonne Evrard. On her return that evening, Marat admitted her. At the time, he conducted most of his affairs from a bathtub because of a debilitating skin condition. Marat wrote down the names of the Girondists that she gave to him, then she pulled out the knife and plunged it into his chest, piercing his lung, aorta and left ventricle. He called out, Aidez-moi, ma chère amie! ("Help me, my dear friend!") and died.

This is the moment memorialised by Jacques-Louis David's painting (illustration, right). The iconic pose of Marat dead in his bath has been reviewed from a different angle in Baudry's posthumous painting of 1860, both literally and interpretatively: Corday, rather than Marat, has been made the hero of the action. Following immediately on her trial Corday asked the court if her portrait could be painted, selecting as the artist a National Guard officer Jean-Jacques Hauer who had begun sketching her. Hauer's likeness (see above) was completed shortly before Corday was summoned to the tumbril, after she had viewed it and suggested a few changes. 

Trial and execution

Corday underwent three separate cross-examinations by senior revolutionary judicial officials, including the President of the Revolutionary Tribunal and the chief prosecutor. She stressed that she was a republican and had been so even before the Revolution, citing the values of ancient Rome as an ideal model.  

The focus of the questioning was to establish whether she had been part of a wider Girondist conspiracy. Corday remained constant in insisting that "I alone conceived the plan and executed it". She referred to Marat as a "hoarder" and a "monster" who was only respected in Paris. She credited her fatal knifing of Marat with one blow not to practicing in advance but to luck.  

On 17 July 1793, four days after Marat was killed, Corday was executed by guillotine, wearing the red overblouse denoting a condemned traitor who had assassinated a representative of the people. Standing alone in the tumbril amid a large and curious crowd she remained calm, although drenched by a sudden summer rainfall.  Her corpse was disposed of in the Madeleine Cemetery.

Aftermath

After Corday's decapitation, a man named Legros lifted her head from the basket and slapped it on the cheek. Charles-Henri Sanson, the executioner, indignantly rejected published reports that Legros was one of his assistants. Sanson stated in his diary that Legros was in fact a carpenter who had been hired to make repairs to the guillotine.  Witnesses report an expression of "unequivocal indignation" on her face when her cheek was slapped. The oft-repeated anecdote has served to suggest that victims of the guillotine may in fact retain consciousness for a short while, including by Albert Camus in his Reflections on the Guillotine ("Charlotte Corday's severed head blushed, it is said, under the executioner's slap.").  This offense against a woman executed moments before was considered unacceptable and Legros was imprisoned for three months because of his outburst. 

Jacobin leaders had her body autopsied immediately after her death to see if she was a virgin. They believed there was a man sharing her bed and the assassination plans. To their dismay, she was found to be virgo intacta (a virgin). 

The assassination did not stop the Jacobins or the Terror: Marat became a martyr, a bust of him replaced a religious statue on the rue aux Ours and a number of place-names were changed to incorporate his. 

Cultural references

*Percy Bysshe Shelley wrote about her in his Posthumous Fragments of Margaret Nicholson (1810).
*American dramatist Sarah Pogson Smith (1774–1870) also memorialised Corday in her verse drama The Female Enthusiast: A Tragedy in Five Acts (1807).
*Alphonse de Lamartine devoted to her a book of his Histoire des Girondins (1847), in which he gave her this now famous nickname: "l'ange de l'assassinat" (the angel of assassination).
*French dramatist François Ponsard (1814–67) wrote a play, Charlotte Corday, which was premièred at the Théâtre-Français in March, 1850.
*Harper's Weekly mentioned Corday in their April 29, 1865 edition, in a series of articles analyzing the assassination of Abraham Lincoln, as the "one assassin whom history mentions with toleration and even applause," but goes on to conclude that her assassination of Marat was a mistake in which she became Marat's victim rather than saving or helping one of his victims.  Her case is pointed to as a pattern that matches all other assassinations in harming rather than helping the cause for which the act was carried out.
*At the end of Act III, before departing to kill the Czar, the eponymous heroine of Oscar Wilde's play Vera; or, The Nihilists exclaims "the spirit of Charlotte Corday has entered my soul now."
*Charlotte appears briefly but significantly, in Caen, in A Far Better Rest, by Susanne Alleyn, a reimagining of A Tale of Two Cities.
*Drieu La Rochelle wrote a play in three acts called Charlotte Corday in 1939. It was performed in southern France during World War II. Corday is depicted as a fervent republican who hopes eliminating Marat will save the revolution and prevent it from degenerating into tyranny.
*A minor character in P.G. Wodehouse's Jeeves series is named after Charlotte Corday.
*Italian composer Lorenzo Ferrero (1951– ) composed an opera in three acts, Charlotte Corday, for the 200th anniversary of the French Revolution which was commemorated in 1989.
*In Peter Weiss's Marat/Sade, the assassination of Marat is presented as a play, written by the Marquis de Sade, to be performed by inmates of the asylum at Charenton, for the public. The patient performing the role of Corday in the play-within-a-play (Glenda Jackson in the stage production and subsequent film adaptation) is, somewhat ironically, a narcoleptic.
*The historical-fiction "My Bonny Light Horseman", part of the Bloody Jack series by L.A. Meyer, references a Jean-Paul de Valdon, who claims to be the cousin of Charlotte Corday
*British singer-songwriter Al Stewart included a song co-written by Tori Amos about Corday on his album Famous Last Words (1993).
*In Katherine Neville's novel The Eight, Charlotte Corday changes place with the heroine Mireille, who kills Jean-Paul Marat for revenge.
*The graphic novel series "L'Ordre Du Chaos" has a whole book dedicated to Charlotte Corday and Marat.
*Corday makes an appearance in Assassin's Creed Unity. Arno finds Marat's body in a murder mystery mission, and after investigating evidence, clues, and talking to witnesses, the player has the option of accusing Corday of the murder.
*In Les Miserables, Combeferre likens Enjolras's execution of Le Cabuc to Corday's assassination of Marat, calling it a "liberating murder". 

Notes
Corday, Charlotte Charlotte Corday Charlotte la Cordé Marie Anne Charlotte Corday D'Armont Marie Anne Charlotte Corday Darmont Marie-Anne Charlotte de Corday d'Armont
marie anne charlotte corday darmont charlotte corday corday charlotte charlotte la cordé marie anne charlotte de corday d armont marie anne charlotte corday d armont
charlotte corday
WikipediaEntity
Charlotte Corday
 who killed Jean-Paul Marat 

 It seems like you're working on Mar mar where sharing not Mar Mar that said in what kind of March is an an inconvenient value or not started or for any process. It seems like there is no and what makes you enjoyed any information or concern for its tasks or follow that don don or laid ask both other the context and the and ready to be be encountered this the same number number is not now that you are love the scene journey to and what do you to create