This thesis addresses the concept of "silence" in Vercors' 1943 novel on resistance in occupied France, The Silence of the Sea, contesting the arguments of scholars who designate silent resistance as expressly "female" and applicable only to women. Although women in France were supposed to be apolitical and removed from activities such as public debates and direct warfare, an examination of allegorical and historical female figures, together with male and female interpretations of those figures, suggests that men and women in France understood patriotism, and especially female patriotism, through a conceptual framework that was informed by and manifested itself in female images of the French Republic. My study on the gendered applications of female images focuses upon the French use of female allegorical figures, and resistance symbols such as the Lorraine Cross, to denote opposition to the Prussian/German acquisition of lands that the French people perceived as French, exploring commonalities between images from the Franco-Prussian War and World War II. Utilizing images relating to the republican values of liberty, equality, and fraternity, including Marianne, the female allegory of the people's Republic, and Joan of Arc, a historical character who became a female allegorical figure, this thesis argues that female allegories of republican resistance to tyranny were combined with resistance to Prussia (Germany) during the "Terrible Year" of 1870-1871. Furthermore, these images combined masculine militant elements, with perceived feminine qualities such as purity and saintly endurance, giving rise to divergent interpretations of female imagery among men and women, and a perceived association between women and silent, indirect resistance. Bourgeois men applied the militant aspects of female images to real women in abstract form. However, with the German annexation of Alsace-Lorraine, resistance techniques and symbols that had been gendered feminine gained precedence and became associated with men as well as women. Recent scholars have utilized the masculine/feminine dichotomy in French female allegories to classify World War II-era resistance as either "active" or "passive," failing to consider the conflation of the masculine/temporal and feminine/spiritual spheres in Vercors' novel and in documents such as "Advice to the Occupied."