18th-century French women writers

Anne Louise Germaine de Staël-Holstein (French: [an lwiz ʒɛʁmɛn də stal ɔlstajn]; née Necker; 22 April 1766 – 14 July 1817), commonly known as Madame de Staël (French: [madam də stal]), was a prominent woman of letters and political theorist in both Parisian and Genevan intellectual circles. She was the daughter of banker and French finance minister Jacques Necker and Suzanne Curchod, a respected salonhostess. Throughout her life, she held a moderate stance during the tumultuous periods of the French Revolution and the Napoleonic era, persisting until the time of the French Restoration.Her presence at critical events such as the Estates General of 1789 and the 1789 Declaration of the Rights of Man and of the Citizen underscored her engagement in the political discourse of her time. However, Madame de Staël faced exile for extended periods: initially during the Reign of Terror and subsequently due to personal persecution by Napoleon. She claimed to have discerned the tyrannical nature and ambitions of his rule ahead of many others.During her exile, she fostered the Coppet group, a network that spanned across Europe, positioning herself at its heart. Her literary works, emphasizing individuality and passion, left an enduring imprint on European intellectual thought. De Staël's repeated championing of Romanticism contributed significantly to its widespread recognition.While her literary legacy has somewhat faded with time, her critical and historical contributions hold undeniable significance. Though her novels and plays may now be less remembered, the value of her analytical and historical writings remains steadfast. Within her work, de Staël not only advocates for the necessity of public expression but also sounds cautionary notes about its potential hazards.

Clair Josèphe Hippolyte Leris (25 January 1723 – 29 January 1803), known as Mademoiselle Clairon or La Clairon was a French actress, born at Condé-sur-l'Escaut, Hainaut, the daughter of an army sergeant. She is primarily known for developing a new style of acting in which she encouraged focus on the emotional connection between the actor and the character they played instead of what she saw as the stiff portrayals of characters traditionally performed in one manner.In 1736 she made her first stage appearance, at age 12, at the Comédie Italienne, a small part in Pierre de Marivaux's L'Île des esclaves. After several years in the provinces she returned to Paris. Her memoirs, Mémoires d'Hippolyte Clairon (1798) are filled with her own thoughts about the acting styles and theatrical elements such as makeup and costume. In her memoirs, she establishes her opinions on a new style of acting in which the actor use inspiration from their own emotions and experiences in order to create a greater lasting impact on the audience. She was particularly against actors performing characters the exact same way as those who came before them because she thought it produced stiff, uninteresting patterns that an audience would become too familiar with. Her memoirs also include anecdotes about what she perceived as a regular supernatural occurrence in her life (the haunting of a ghost from a past suitor), providing insight into the mind and social life of Mademoiselle Clairon off the stage.She had great difficulty in obtaining an order to make her debut at the Comédie-Française. Succeeding, however, at last, she had the courage to select the title-role of Phèdre, and she obtained a veritable triumph. During her twenty-two years at this theatre, dividing the honors with her rival Marie Françoise Dumesnil, she filled many of the classical roles of tragedy, and created a great number of parts in the plays of Voltaire, Marmontel, Bernard-Joseph Saurin, de Belloy and others.
She retired in 1766, and trained pupils for the stage, among them Mlle Raucourt. Oliver Gunusualth called Mlle Clairon "the most perfect female figure I have ever seen on any stage" (The Bee, 2nd No.); and David Garrick, recognizing her unwillingness or inability to make use of the inspiration of the instant, admitted that she has everything that art and a good understanding with great natural spirit can give her.
She was a mistress of Charles Alexander, Margrave of Brandenburg-Ansbach, who renovated his "White Castle" at his country seat and hunting estate in Triesdorf for her.