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Sophie Bawr was awarded a pension by Louis XVIII for the "loyalty of her sentiments" (38), and Caroline Wuiet, an adopted child of Marie-Antoinette, who oversaw her education in the arts, was arrested and exiled during the Revolution.
Apart from Rousseau, there were only seven other composers in France known to have written their own libretti, four of them women: Caroline Wuiet (1766-1835), Julie Candeille, Isabelle de Charri[grave{e}]re, and Sophie Bawr (1773-1860).
Study on the run, secretly, at all hours...." [86] Even Sophie Bawr, who had conformed to this repressive gender ideology much more than Candeille (she had not aggressively promoted herself, had preferred anonymity, and had sought the protection of influential managers and actors), expressed similar reservations about the profession: "I consider myself especially qualified to warn women against writing for the theater; for there, more than anywhere, one must be poised, courageous, and persistent to stand for one's interests.
(39.) Sophie Bawr, Mes souvenirs (Paris: Passard, 1853), 23-24.
Les Deux Jaloux, an 1813 opera-comique by Sophie Gail (1775-1819) was still receiving regular performances at the Opera-Comique, and Sophie Bawr's (1773-1860) 1813 comedie La Suite d'un bal masque was continuing to draw crowds at the Comedie-Francaise.