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climax in the Précieuses Ridicules and Les Femmes Savantes, the former of which appeared in 1660, and the latter in 1673. But Madelon and Caltros are the lineal descendants of Mademoiselle Scudery and her satellites, quite as much as of the Hôtel de Rambouillet. The society which assembled every Saturday in her salon was exclusively literary, and although occasionally visited by a few persons of high birth, bourgeois in its tone, and enamored of madrigals, sonnets, stanzas, and bouts rimés. The affectation that decks trivial things in fine language belongs essentially to a class which sees another above it, and is uneasy in the sense of its inferiority; and this affectation is precisely the opposite of the original genre précieux.
Another centre from which feminine influence radiated into the national literature was the Palais du Luxembourg, where Mademoiselle d’Orleans, in disgrace at court on account of her share in the Fronde, held a little court of her own, and for want of anything else to employ her active spirit busied herself with literature. One fine morning it occurred to this princess to ask all the persons who frequented her court, among whom were Madame de Sévigné, Madame de la Fayette, and La Rochefoucauld, to write their own portraits, and she at once set the example. It was understood that defects and virtues were to be spoken of with like candor. The idea was carried out; those who were not clever or bold enough to write for themselves employing the pen of a friend.
“Such,” says M. Cousin, “was the pastime of Mademoiselle and her friends during the years 1657 and 1658: from this pastime proceeded a complete literature. In 1659 Ségrais revised these portraits, added a considerable number in prose and even in verse, and published the whole in a handsome quarto volume, admirably printed, and now become very rare, under the title, ‘Divers Portraits.’ Only thirty copies were printed, not for sale, but to be given as presents by Mademoiselle. The work had a prodigious success. That which had made the fortune of Mademoiselle de Scudéry’s romances—the pleasure of seeing one’s portrait a little flattered, curiosity to see that of others, the passion which the middle class always have had and will have for knowing what goes on in the aristocratic world (at that time not very easy of access), the names of the illustrious persons who were here for the first time described physically and morally with the utmost detail, great ladies transformed all at once into writers, and unconsciously inventing a new manner of writing, of which no book gave the slightest idea, and which was the ordinary manner of speaking of the aristocracy; this undefinable mixture of the natural, the easy, and at the same time of the agreeable, and supremely distinguished—all this charmed the court and the town, and very early in the year 1659 permission was asked of Mademoiselle to give a new edition of the privileged book for the use of the public in general.”
The fashion thus set, portraits multiplied throughout France, until in 1688 La Bruyère adopted the form in his “Characters,” and ennobled it by divesting it of personality. We shall presently see that a still greater work than La Bruyère’s also owed its suggestion to a woman, whose salon was hardly a less fascinating resort than the Hôtel de Rambouillet itself.
In proportion as the literature of a country is enriched and culture becomes more generally diffused, personal influence is less effective in the formation of taste and in the furtherance of social advancement. It is no longer the coterie which acts on literature, but literature which acts on the coterie; the circle represented by the word public is ever widening, and ambition, poising itself in order to hit a more distant mark, neglects the successes of the salon. What was once lavished prodigally in conversation is reserved for the volume or the “article,” and the effort is not to betray originality rather than to communicate it. As the old coach-roads have sunk into disuse through the creation of railways, so journalism tends more and more to divert information from the channel of conversation into the channel of the Press; no one is satisfied with a more circumscribed audience than that very indeterminate abstraction “the public,” and men find a vent for their opinions not in talk, but in “copy.” We read the Athenæum askance at the tea-table, and take notes from the Philosophical Journal at a soirée; we invite our friends that we may thrust a book into their hands, and presuppose an exclusive desire in the “ladies” to discuss their own matters, “that we may crackle the Times” at our ease. In fact, the evident tendency of things to contract personal communication within the narrowest limits makes us tremble lest some further development of the electric telegraph should reduce us to a society of mutes, or to a sort of insects communicating by ingenious antenna of our own invention. Things were far from having reached this pass in the last century; but even then literature and society had outgrown the nursing of coteries, and although many salons of that period were worthy successors of the Hôtel de Rambouillet, they were simply a recreation, not an influence. Enviable evenings, no doubt, were passed in them; and if we could be carried back to any of them at will, we should hardly know whether to choose the Wednesday dinner at Madame Geoffrin’s, with d’Alembert, Mademoiselle de l’Espinasse, Grimm, and the rest, or the graver society which, thirty years later, gathered round Condorcet and his lovely young wife. The salon retained its attractions, but its power was gone: the stream of life had become too broad and deep for such small rills to affect it.
A fair comparison between the French women of the seventeenth century and those of the eighteenth would, perhaps, have a balanced result, though it is common to be a partisan on this subject. The former have more exaltation, perhaps more nobility of sentiment, and less consciousness in their intellectual activity—less of the femme auteur, which was Rousseau’s horror in Madame d’Epinay; but the latter have a richer fund of ideas—not more ingenuity, but the materials of an additional century for their ingenuity to work upon. The women of the seventeenth century, when love was on the wane, took to devotion, at first mildly and by halves, as English women take to caps, and finally without compromise; with the women of the eighteenth century, Bossuet and Massillon had given way to Voltaire and Rousseau; and when youth and beauty failed, then they were thrown on their own moral strength.
M. Cousin is especially enamored of the women of the seventeenth century, and relieves himself from his labors in philosophy by making researches into the original documents which throw light upon their lives. Last year he gave us some results of these researches in a volume on the youth of the Duchess de Longueville; and he has just followed it up with a second volume, in which he further illustrates her career by tracing it in connection with that of her friend, Madame de Sablé. The materials to which he has had recourse for this purpose are chiefly two celebrated collections of manuscript: that of Conrart, the first secretary to the French Academy, one of those universally curious people who seem made for the annoyance of contemporaries and the benefit of posterity; and that of Valant, who was at once the physician, the secretary, and general steward of Madame de Sablé, and who, with or without her permission, possessed himself of the letters addressed to her by her numerous correspondents during the latter part of her life, and of various papers having some personal or literary interest attached to them. From these stores M. Cousin has selected many documents previously unedited; and though he often leaves us something to desire in the arrangement of his materials, this volume of his on Madame de Sablé is very acceptable to us, for she interests us quite enough to carry us through more than three hundred pages of rather scattered narrative, and through an appendix of correspondence in small type. M. Cousin justly appreciates her character as “un heureux mélange de raison, d’esprit, d’agrément, et de bonté;” and perhaps there are few better specimens of the woman who is extreme in nothing but sympathetic in all things; who affects us by no special quality, but by her entire being; whose nature has no tons criards, but is like those textures which, from their harmonious blending of all colors, give repose to the eye, and do not weary us though we see them every day. Madame de Sablé is also a striking example of the one order of influence which woman has exercised over literature in France; and on this ground, as well as intrinsically, she is worth studying. If the reader agrees with us he will perhaps be inclined, as we are, to dwell a little on the chief points in her life and character.
Madeline de Souvré, daughter of the Marquis of Courtenvaux, a nobleman distinguished enough to be chosen as governor of Louis XIII., was born in 1599, on the threshold of that seventeenth century, the brilliant genius of which is mildly reflected in her mind and history. Thus, when in 1635 her more celebrated friend, Mademoiselle de Bourbon, afterward the Duchess de Longueville, made her