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years she soldiered on without her companion. Although Céleste took great pride in the twelve novels, thirty plays and operettas, and dozen poems and patriotic lyrics she authored, they never provided her with a stable income and, sadly, she struggled financially at several points in her life. Rich in ideas, however, Céleste boasts: "If my numerous works are not outstanding through their literary brilliance, they are so at least by their quantity. I have never imitated anyone and never borrowed from other writers. Maybe I was wrong, but what I wrote is truly mine." Likely cognizant of the critics who doubted whether a courtesan could really write, and certainly angered by the tendency of male writers to "kill off" courtesans at the end of their novels and plays, Céleste proudly recounted her life beyond prostitution and was ultimately recognized as a writer by her peers. As she notes in the last line of her memoirs, her greatest joy was the memory of "my illustrious protectors from the
Association of Stage Authors, who accepted me as one of their own and granted me a pension until the end of my life."
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facility on charges of being under age and for being in company of a prostitute. At the correction facility she made friends with another young prostitute who later took her in when upon getting out of the correction facility, Celeste dejected by her mother's inability to leave her lover, decided to register herself as a prostitute. Celeste contracted smallpox and was hospitalized for many days after which she decided to try her hand at singing and acting. In doing so, she wanted to have her name removed from the register of prostitutes At first, she faced many rejections and continued with her life of a courtesan with the help of her friends and one Dr. Adolph whom she loved. Adolph disappointed her in love which led her to ambition to outshine her rival.
247:(1858), is her only fictional work to address the injustices from which demi-mondaines suffered. In the novel, Marie Laurent is seduced and then abandoned. After a suicide attempt, she resurfaces as La Sapho in the London demi-monde and pursues revenge. Carol Mossman calls the novel a "vengeance fantasy" that allows de Chabrillan to work through the indignities she suffered as a prostitute: "If the justice sought by Céleste de Chabrillan in the course of her lifetime with respect to the social conditions leading her to her own prostitution remains elusive, she can at least mete it out in fiction."
121:, France, on 27 December 1824. She states in her autobiography that her father died when she was six, though her book's translator Monique Fleury Nagem states that Celeste's father left her mother while she was pregnant and went off to join the army. According to her autobiography, she was a lovable child whose mother doted on her and protected her from an abusive stepfather in her early childhood and teen years. Her earliest memories are about how her mother ran away from her stepfather in order to protect her daughter. But according to some accounts she was neglected by her mother.
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pension even though her husband had worked as an important government employee. They also recount how the
Chabrillan family tried to prevent her from publishing books, staging plays, and running her own theater. She usually managed to overcome such obstacles, but on several occasions, she toiled so hard that she ended up in the hospital.
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309:. She explains how she earned the moniker in her first set of memoirs when a suitor declared that winning over her was more difficult than conquering Mogador of Morocco. At one point in her life before marriage to Lionel, Celeste wanted to adopt a baby girl but was unable to do so because of her profession as a courtesan.
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While she emphasizes the personal hurdles she faced trying to prove herself to others, she also bears witness to the struggles of a female autodidact to achieve literacy and to improve her social standing in nineteenth-century France. Writing would buoy her through her darkest hours during the fifty
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According to a review of her third set of memoirs, the widowed de
Chabrillan confronted numerous difficulties: "There were powerful men who tried to crush Céleste's spirit with no concern for the dire financial consequences of their actions." Her memoirs painfully document her being denied a widow's
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This memoir caused scandal in both Europe and
Australia, where the courtesan-turned-countess had just relocated with her new husband. Although ostracized by her new community, she used the two years to work on her writing and to pen notes about her new life in a journal. In 1877, she published it
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Before she turned 16, Celeste had to run away from home when her mother's lover made inappropriate advances on her in her mother's absence. She waited many days on the roads for her mother to return before she was rescued by a prostitute but was later caught by the police and sent to a correction
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Indeed, Mossman notes the respect her writing earned de
Chabrillan: "If the publication of her memoirs in 1854-1858 shocked a reading public, the male half of which, in any case, participated with impunity in the very life she describes, other memoirs of notorious women would follow: The
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She learnt to dance by practicing at the
Mabille dance hall with a man named Brididi who gave her the title Mogadore, saying that it would be easier to defend Mogadore against rivals as compared to Celeste. At the age of sixteen, she began performing at the
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also maintains that de
Chabrillan's writings inspired other courtesans to protest their alienation in their own autobiographical fictions. For example, "Louise de la Bigne took up her pen to write courtesan fiction some 20 years later. She renamed herself
291:, she established Les Sœurs de France to look after wounded soldiers and she opened her home to children orphaned during the war. She earned a public tribute from the women who volunteered with her in the
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her third set of memoirs. Although lost for many years, Jana
Verhoeven found them in France—and with the help of Alan Willey and Jeanne Allen, translated and annotated them.
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and it describes her experiences in
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Champagne, Uncorked: The House of Krug and the
Timeless Allure of the World's Most Celebrated Drink
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In 1854, she married Lionel de Moreton, count of Chabrillan. He was named consul for France in
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The French Consul's Wife: Memoirs of Celeste de Chabrillan in Gold-Rush Australia
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Courtesan and Countess: The Lost and Found Memoirs of the French Consul's Wife
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Courtesan and Countess: The Lost and Found Memoirs of the French Consul's Wife
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Writing with a Vengeance: The Countess de Chabrillan's Rise from Prostitution
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Writing with a Vengeance: The Countess de Chabrillan's Rise from Prostitution
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575:. Translated by Verhoeven, Jana. Melbourne University Press. pp. 9–10.
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The Evolution of the French Courtesan Novel: From de Chabrillan to Colette
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was written with considerable retrospective distance in 1907."
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https://www.mup.com.au/books/courtesan-and-countess-hardback
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helped her revise a stage version of her best-selling novel
187:, and died there in 1858. In 1854, she published a memoir
163:. One source has suggested that the character Carmen in
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to write four courtesan novels in fin-de-siècle Paris.
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Institute for the Study of French-Australian Relations
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The daughter of Anne-Victoire Vénard, she was born in
600:. Canada: University of Toronto Press. p. 113.
155:. She is credited with being the first to dance the
435:Memoirs of a courtesan in nineteenth-century Paris
215:. Mogador also wrote a number of plays, including
159:. She also sang in cabarets, performing songs by
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321:, France, at the age of 84 on 18 February 1909.
557:L'Intermédiaire des chercheurs et des curieux
269:The Evolution of the French Courtesan Novel
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633:(1–2). Archived from
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274:Valtesse de la Bigne
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243:(1857). Her novel,
235:. Her friend Dumas
175:Writer and director
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358:Un miracle à Vichy
261:grande horizontale
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702:978-0-522-85066-6
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552:"Céleste Mogador"
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