Feminine National Personifications: Part 2 - Marianne (France)

Feminine personifications of nations are common around the world. Some popular examples include Britannia, Bharat Mata, and Marianne. Usually represented as goddesses, mothers, or queens, these entities embody their countries’ unity, liberty, strength, reason, and spiritual essences. As national icons, they impart to their people a strong sense of identity and belonging associated with their lands. In this two-part mini-series, Apeksha Srivastava highlights some changes in their portrayal with time, along with some similarities and differences among them.

In the first part of this mini-series, she looked at changes in the portrayal of Britannia and Bharat Mata with time. In this second part, she discusses the Marianne of France and some similarities and differences among these national personifications.

A World War II poster, translated as ‘Freedom for France.... freedom for the French.’

Marianne

The Liberal

The 1789 French Revolution saw personifications of “Liberty” and “Reason” combined into one figure, accompanied by the cockade of France and the Phrygian cap (worn by freed slaves in Greece and Rome). She symbolized the nation and replaced the monarch’s image on the new seal of the Republic in 1792. She personified the newly created state, representing the liberation of France [1]. 

Eugène Delacroix’s painting La Liberté Guidant Le Peuple was the first work that put Marianne within a revolutionary tradition (combative “Athena-type”), giving her a socio-political dimension. For many people, her naked upper body signified the liberty she took to defend her lands and children, overstepping the conventional standards [2]. Contrastingly, Daumier’s La Republiquedepicted Marianne suckling two children on her breasts. It represented her as a nourisher of her citizens (“maternal-type”). Agulhon’s book, Marianne into Battle[3], explains how she has been a bold personification of the popular ideals in 19th-century French politics and republic.

The Popular

Marianne continued to evolve in response to the needs of her nation. French political figures have manipulated her image to their specific purposes over different times. She is present on coins, stamps, statues, official buildings, and the official government logo. Other than unifying government-public relations, Marianne gave a more accessible image to France. Her portraits were modeled after French celebrities like Brigitte Bardot (1968), Michèle Morgan (1972), Catherine Deneuve (1985), Laetitia Casta (2000), and Sophie Marceau (2012)[4,5,6]. However, the origin of Marianne’s name still remains unclear. Some believe that it was the combination of Marie (Virgin Mary) and Anne. Others think that it came from Spanish Jesuit Juan de Mariana’s name or the image of politician Jean Reubell’s wife.

The Strong & Secular

Ni Putes Ni Soumises (2002) was formed against the violence targeting women in working-class suburbs largely populated by North African minorities, and Marianne here was represented as a sense of unity by women of different ethnic backgrounds. Overall, Marianne is a secular image but she is sometimes associated with shades of grey. The new emblem design for theOlympic and Paralympic Games Paris 2024 was recently revealed by the Organizing Committee and Marianne is a part of it[7].

In the Media

Marianne-jokes/cartoons/caricatures have been circulated in recent decades. After the signing of the Entente Cordialebetween England and France in April 1904, Marianne was seen in a number of sketches[8]. In another cartoon from 1898, China is being divided up by Victoria (the UK), Nicholas-II (Russia), Wilhelm-II (Germany), and a samurai (Japan). Marianne, a Russian ally, looks on[9]. In the German posters, Marianne very rarely defeated Germania[10]. Marianne’s continued association with entertainment, fashion, and media assured her rise as the “glamorous” personification of the French Republic.

Some Similarities

Although Britannia, Bharat Mata, and Marianne have their own biographies and share of controversies, they share some common characteristics. They embody love, patriotism, sacrifice, and righteousness, playing a significant role in uniting their countries. The mere lines of the nation-maps need such visual representations, to gain and uphold this collective consciousness and identity. Their ultimate purpose is to facilitate the emotional attachment of the people to their national territory. However, the roles of these ideal symbols of equality and justice are often modified due to changing political/social/economic conditions. Sometimes, they are the protectors, and other times, they need protection.

Britannia, Bharat Mata, and Marianne have some resemblance in terms of leading their countries into hope and success, recycling history/religion, and evolving with time. Such national identities never disappear and are always needed to build and rebuild the nations in one form or another. They also convey a diluted message of “woman-power”.

Some Differences

While Britannia (as a symbol) originated from the Romans and Bharat Mata was inspired by mother goddesses, Marianne translated some of the Virgin Mary’s duties to a national context. Even when Marianne is employed by right-wing politics, she can still continue to represent democratic France. However, some people believe that after 1947, Bharat Mata is not strong enough to depict democratic Indian politics because of her associations with a specific religion. Furthermore, Marianne seems to be more accepted and promoted by her nation’s government than Britannia and Bharat Mata. Another difference is the Bharat Mata temples as an attempt to create a composite religious and national identity. Such places of worship do not seem to be reported in the case of Britannia or Marianne.

Britannia, eventually, started being used to depict the untrue-and-forceful “civilization” of the barbaric colonial “others” in an attempt at self-glorification. In contrast, Bharat Mata was never utilized for this purpose since India never oppressed other regions/countries. Some people think that the Bharat Mata is heavily inspired by Britannia, a byproduct of the century-old direct British rule over the Indian subcontinent. But, others believe that she was derived from goddesses Durga/Kali/Mother-Earth, all of which were worshipped many years before the beginning of the British Raj.

Reflections

The first question that comes to mind is why do some nations choose female personifications? Perhaps, because it is a woman who gives birth and protects her children from danger. She teaches them the principles of life and can be identified with the image of Mother Earth. When turned into a mother/goddess/queen, this “woman” image seems to have an amplified emotional impact on people.

These symbols are tough yet gentle, magnificent yet ordinary, attractive yet simple, combative yet caring, and powerful yet submissive. However, even though the female is idealized, it seems that the male citizens are the major subjects who make most decisions. The woman is above man symbolically but is below them in reality. Nevertheless, there is also the fact that the loving maternal presence is eternal whereas the decision-makers change with time. 

Amidst all these circumstances, it is up to us to utilize these national icons for the betterment of the country and the world as a whole. Of course, the ideal situation is never realized, but constant efforts to get close to it will always help. For example, instead of looking at Britannia, Bharat Mata, and Marianne as goddess/mother/queen, if we try to associate their positive features and power with all girls and women of the respective countries, it would make them more accessible and beneficial to us. Understanding these symbols gives an idea of the past and present foundations of the country they belong to, and their further utilization can predict the path on which that country is headed. The final question that arises is, have we learned enough from the past that could, possibly, aid us to improve our future?

What do you think of these feminine national personifications? Let us know below.

Apeksha Srivastava completed her Master’s degree from the Indian Institute of Technology Gandhinagar, Gujarat, India. She is currently an aspiring writer and a second-year Ph.D. candidate at this institute. This article is based on an assignment she submitted for the course, Perspectives on Indian Civilization. 

References

1. Marianne goes Multicultural: Ni putes ni soumises and the Republicanisation of Ethnic Minority Women in France. Bronwyn Winter. 2009. French history and civilization: Papers from the George Rudé Seminar Vol 2.

2. Spectres of the Original and the Liberties of Repetition. Leora Maltz-Leca. African Arts. Vol. 46, No. 4 (Winter 2013), pp. 32-45 (14 pages). Published by: UCLA James S. Coleman African Studies Center.

3. Marianne into Battle: Republican Imagery and Symbolism in France, 1789–1880. Maurice Agulhon. Translated by Janet Lloyd. New York: Cambridge University Press or Éditions de la Maison des Sciences de l’Homme, Paris. 1981.

4. Icon-ising national identity: France and India in comparative perspective. Subrata K. Mitra and Lion König. National Identities, 15(4), 357–377.

5. https://frenchmoments.eu/marianne-and-the-french-republic/

6. https://kids.kiddle.co/Marianne

7. https://www.olympic.org/news/paris-2024-unveils-new-olympic-and-paralympic-games-emblem

8. https://en.wikipedia.org/wiki/Marianne#/media/File:Germany_GB_France.gif

9. https://www.facinghistory.org/resource-library/image/imperialism-cartoon-1898

10. Symbiosis between Caricature and Caption at the Outbreak of War: Representations of the Allegorical Figure Marianne in "Kladderadatsch". Douglas M. Klahr. Zeitschrift für Kunstgeschichte 74. Bd., H. 4 (2011), pp. 537-558 (22 pages). Published by: Deutscher Kunstverlag GmbH Munchen Berlin.

Feminine National Personifications: Part 1 - Britannia (the UK) and Bharat Mata (India)

Feminine personifications of nations are common around the world. Some popular examples include Britannia, Bharat Mata, and Marianne. Usually represented as goddesses, mothers, or queens, these entities embody their countries’ unity, liberty, strength, reason, and spiritual essences. As national icons, they impart to their people a strong sense of identity and belonging associated with their lands. In this two-part mini-series, Apeksha Srivastava highlights some changes in their portrayal with time, along with some similarities and differences among them.

In the first part of this mini-series, she looks at changes in the portrayal of Britannia and Bharat Mata with time.

The East offering its riches to Britannia, Roma Spiridone, 1778. Source: British Library, available here.

Britannia

The Submissive

In his article Britannia and John Bull[1], RT Matthews mentioned how the Greeks and Romans associated anthropomorphic deities with their newly conquered lands. Several coins depicting this were made during Roman Emperor Hadrian’s journey through imperial provinces[2]. As the female personification of the recently subjugated island, Britannia can be seen on one of them. She is depicted sitting with her head slightly bowed. Her pose is submissive, with her shield at rest, and her armor cast off.

The Rising Queen

This submissive Britannia disappeared when Rome’s power declined around 400 CE. She reappeared to personify Britain during the reign of Elizabeth I, making her place in maps and emblem books. In 1603, writer Henry Peacham featured Britannia on one of the first English emblem books (Minerva Britannia). She is seen striding confidently towards a ship, which symbolizes Britain’s newly acquired maritime power. The word “Minerva” is a Roman reference to the Greek goddess of war and reason, Athena. English chronicler Michael Drayton, in 1612, portrayed Britannia on his Poly-Olbion. She is seated under a Roman arch decorated with male figures (Aeneas - the founder of Rome, Julius Caesar - the first Roman conqueror of Britain, a medieval king representing the Tudor line, and a 17th-century explorer). She is the image of Britain’s sovereign powers and flourishing economy and has the horn of plenty in her left arm and a scepter in her right hand. A wreath on her head is being placed by two cherubs. Ships in the sea visible in the background are a reference to Britain’s maritime prosperity. In 1660, King Charles II issued a medal and halfpenny-coin with Britannia on the reverse.

The Colonizer

Eventually, Britannia started marking her presence on statues, paintings, monuments, stamps, and printed works, often commissioned by the government authorities. One such painting, The East Offering Its Riches To Britannia, was made by Roma Spiridione in 1778 on the British East India Company headquarters ceiling in London. Britannia is shown sitting on a rock with a lion near her as a guardian. She is humbly receiving a tribute of pearls/jewels from a dark figure (India). A kneeling woman (China) is offering her a porcelain vase, and a tea chest is lying close by. The camel and elephant on the right side of the painting symbolize the East, especially India. This work presents Britannia at a much higher stature. An interesting point to note here is that the East actually never offered anything to Britain; the latter plundered it. This painting is an interesting example of whitewashing and turning history to one’s advantage[3]. Another example of self-glorification is the painting Retribution by Edward Armitage. It depicted the soldier-massacre in Cawnpore during the Indian Rebellion in 1857. After the rebellion, a British woman and her child are shown on the ground as casualties. Britannia is furious to see her children in this condition. As revenge, she is about to kill the Bengal Tiger, the symbol of the Sepoys, with her sword[4]. It, again, portrays only one side of the story.

Made by Walter Crane, the Imperial Federation Map, published in 1886 for a London weekly newspaper, showed Britannia as the “rising world-power”. She is seated on a globe upheld by Atlas and is gazing down at the people of her empire (denoting parts of the world under British control marked in pink). Another map published in the same year shows her in the middle, with different scenes from the Empire being illustrated[5].

The Celebrity

Britannia also survived the changes in society with time. By the mid-18th-century, people started enjoying written parodies about her. Apart from entertainment, these satires emerged as ways to influence public opinion. Furthermore, caricature-illustrators elevated her to higher moral planes.

In humor magazines (like Punch), Britannia was depicted as the defender of the British Empire, who crusaded for noble causes. She also personified the virtues of the English middle-class like women should be at home for happiness in marriage. Some other cartoons emphasized her vulnerability. In another work, she is seen making preparations for the Great Party[6], holding a candle in her hand, her shield and trident put aside. We can also observe the dishes/spoons on the floor. 

The patriotic song Rule Britannia demonstrated Britannia’s true establishment as a national icon[7]. She became the symbol of Great Britain’s political presence, evolving with time. During the 1990s, the term Cool Britannia (a humorous version), was used to describe contemporary Britain, showing approval of pop groups, artists, and fashion[8].

Bharat Mata

The Goddess

India has worshipped the earth in a female form (Dharti-Mata/Bhu-Devi) since ancient times. According to some scholars, the origins of Bharat Mata (Mother India) can be traced back to this idea. She, as the national personification, was created out of the desire to be free from the British dominion[9]. After gaining popularity from KC Bandyopadhyay's play Bharat Mata (1873), she emerged as a goddess in Bankimchandra Chattopadhyay’s poem Vande Mataram in 1875. She was visually evoked in 1905 through Abanindranath Tagore’s painting[10].

The Symbol of Independence & Nationalism

Sumathi Ramaswamy’s book, The Goddess and The Nation[11], traced Bharat Mata’s origins to Bengal in 1904 (Mother-Bengal/Bangamata). Over the next few decades, artists added new features to her depiction such as the tricolor flag, lions (guardians/vahana), the territory-map she represented, and her weapons (like trident or spinning wheel signifying the Swadeshi Movement to boycott British-made products). In one of her articles, Ramaswamy also mentioned how Aurobindo Ghosh advised his student to become patriotic, “... It is not a map, but the portrait of Bharat Mata ... worship her with the nine-fold bhakti [devotion].” Some works depict Bharat Mata blessing freedom fighters for their sacrifice. In an election hoarding, she is seen as the nation-map, crying, and carrying Indira Gandhi’s lifeless body[12].

Associated with fury and rage, Kali is said to have emerged from goddess Durga. She apparently struck fear in some British people. Ramaswamy argued that Bharat Mata emerged as an intermediate: having fury for the oppressors and maternal love for her children. She rose as the glorious mother/goddess associated with the map of India to effectively elicit strong feelings of nationalism in people.

Shobha Singh’s painting (1947) showed Bharat Mata clad in the Indian tricolor. She has a trident in her hand and a halo around her head. The roaring lion by her side is kicking the British crown into the abyss. K.K. Rajaram’s painting (1962) depicted the Indo-China War setting. Bharat Mata is near the Ashoka Pillar. Carrying the Indian flag and a sword, she is leading four roaring lions and soldiers against the Chinese-dragon on the Himalayan borders[13].

The Unifier of Diversity

After independence, Bharat Mata was sometimes utilized for political ends. In 2011, Anna Hazare highlighted her in his campaign India Against Corruption, emphasizing that she belongs to all India and not just a particular religion. Sri Aurobindo, in 1920, had already written that “if we hope to have a vision of the mother by ... establishing Hindu nationalism ... we would be deprived of the full expression of our nationhood”[14]. In this context, Ramaswamy described an image of Bharat Mata riding through the street with houses of religious worship in the background (church, mosque, and perhaps, Gurdwara), promoting the idea of religious harmony (inclusive-Hinduism).

The Progressive

Bharat Mata survived the evolutions in popular taste. She has been represented in posters, calendars, and films. In one of his sketches, cartoonist Shankar showed Nehru as a cherub, drawing a cover (“Planning”) over the nude female form of the nation. A second cartoon depicted a “new version of Bharat Mata” who is protecting the poor from the corrupt politicians and resembles Lady Justice[15]. Another sketch portrayed her horrified at the incident of the tricolor flag being carried to support a rape accused. Such works underline the social changes in India with time in the form of different physical and emotional states of Bharat Mata.

The first Bharat Mata temple in Varanasi (1936) houses a giant marble relief map of India with its rivers, mountains, and sacred places. Another temple in Haridwar (1983) dedicated its ground floor to Mother India, represented as a map and a marble image. The map contains a network of lights indicating pilgrim places that link the entire nation[16]. Such examples beautifully depict the associations of Bharat Mata with the sacred geography of India.

Read on: In the second part here, Apeksha discusses Marianne of France and some similarities and differences among these national personifications.

Apeksha Srivastava completed her Master’s degree from the Indian Institute of Technology Gandhinagar, Gujarat, India. She is currently an aspiring writer and a second-year Ph.D. candidate at this institute. This article is based on an assignment she submitted for the course, Perspectives on Indian Civilization. 

References

1. Britannia and John Bull: From Birth to Maturity. Roy T. Matthews. The Historian. Vol. 62, No. 4 (SUMMER 2000), pp. 799-820 (22 pages). Published By: Taylor & Francis, Ltd.

2. Britannia and Melita: Pseudomorphic Sisters. Derk Kinnane-Roelofsma. Journal of the Warburg and Courtauld Institutes. Vol. 59 (1996), pp. 130-147 (18 pages). Published by: The Warburg Institute.

3. The Hidden Wound. Nick Robins. The Corporation That Changed the World: How the East India Company Shaped the Modern Multinational, 1-18. London: Pluto Press, 2012.

4. Britannia as the embodiment of Great Britain. Aline Gay, Fanny Guilbaud, and Damien Lenoir, Université Bordeaux-Montaigne, France. Essay written for Professor Béatrice Laurent’s seminar, 'Myths and Icons'.

5. Walter Crane and the Imperial Federation Map Showing the Extent of the British Empire (1886). Pippa Biltcliffe. Imago Mundi. Vol. 57, No. 1 (2005), pp. 63-69 (9 pages). Published by: Imago Mundi, Ltd.

6. Britannia's Great Party. 1851. Wood engraving. Punch (7 June 1856): 81. [http://www.victorianweb.org/periodicals/punch/95.html]

7. Britons will never be slaves! Britannia and liberty as a construct of British national identity in James Thomson and Thomas Arne’s song Rule Britannia and Thomas Rowlandson’s engraving, The Contrast, 1792, British Liberty, French Liberty, Which is best? Peter Johnston. The University of Oxford, Department for Continuing Education. Date created: Tuesday, April 18, 2017.

8. https://www.oxfordlearnersdictionaries.com/definition/english/cool-britannia

9. Mother India: The Role of the Maternal Figure in Establishing Legal Subjectivity. Kanika Sharma. 2017. Law and Critique, 29(1), 1–29.

10. https://scroll.in/article/805990/far-from-being-eternal-bharat-mata-is-only-a-little-more-than-100-years-old

11. The Goddess and the Nation: Mapping Mother India. By Sumathi Ramaswamy. Duke University Press, 2010. 379pp.

12. Maps, Mother/Goddesses, and Martyrdom in Modern India. Sumathi Ramaswamy. 2008. The Journal of Asian Studies, 67(03).

13. Icon-ising national identity: France and India in comparative perspective. Subrata K. Mitra and Lion König. National Identities, 15(4), 357–377.

14. The Life and Times of Bharat Mata: Nationalism as Invented Religion. Sadan Jha. 2006. Manushi.

15. https://timescontent.com/syndication-photos/reprint/just-like-that/454566/buy.jsp

16. India: A Sacred Geography. Diana L. Eck. 2011. Harmony Books.