PREFACE

It has been a labor of love with many distinguished Frenchmen to recall the memories of the women who have made their society so illustrious, and to retouch with sympathetic insight the features which time was beginning to dim. One naturally hesitates to enter a field that has been gleaned so carefully, and with such brilliant results, by men like Cousin, Sainte-Beuve, Goncourt, and others of lesser note. But the social life of the two centuries in which women played so important a role in France is always full of human interest from whatever point of view one may regard it. If there is not a great deal to be said that is new, old facts may be grouped afresh, and old modes of life and thought measured by modern standards.

In searching through the numerous memoirs, chronicles, letters, and original manuscripts in which the records of these centuries are hidden away, nothing has struck me so forcibly as the remarkable mental vigor and the far-reaching influence of women whose theater was mainly a social one. Though society has its frivolities, it has also its serious side, and it is through the phase of social evolution that was begun in the salons that women have attained the position they hold today. However beautiful, or valuable, or poetic may have been the feminine types of other nationalities, it is in France that we find the forerunners of the intelligent, self-poised, clear-sighted, independent modern woman. It is possible that in the search for larger fields the smaller but not less important ones have been in a measure forgotten. The great stream of civilization flows from a thousand unnoted rills that make sweet music in their course, and swell the current as surely as the more noisy torrent. The conditions of the past cannot be revived, nor are they desirable. The

present has its own theories and its own methods. But at a time when the reign of luxury is rapidly establishing false standards, and the best intellectual life makes hopeless struggles against an ever aggressive materialism, it may be profitable as well as interesting to consider the possibilities that lie in a society equally removed from frivolity and pretension, inspired by the talent, the sincerity, and the moral force of American women, and borrowing a new element of fascination from the simple and charming but polite informality of the old salons.

It has been the aim in these studies to gather within a limited compass the women who represented the social life of their time on its most intellectual side, and to trace lightly their influence upon civilization through the avenues of literature and manners. Though the work may lose something in fullness from the effort to put so much into so small a space, perhaps there is some compensation in the opportunity of comparing, in one gallery, the women who exercised the greatest power in France for a period of more than two hundred years. The impossibility of entering into the details of so many lives in a single volume is clearly apparent. Only the most salient points can be considered. Many who would amply repay a careful study have simply been glanced at, and others have been omitted altogether. As it would be out of the question in a few pages to make an adequate portrait of women who occupy so conspicuous a place in history as Mme. De Maintenon and Mme. De Stael, the former has been reluctantly passed with a simple allusion, and the latter outlined in a brief resume

not at all proportional to the relative interest or importance of the subject.

I do not claim to present a complete picture of French society, and without wishing to give too rose-colored a view, it has not seemed to me necessary to dwell upon its corrupt phases. If truth compels one sometimes to state unpleasant facts in portraying historic characters, it is as needless and unjust as in private life to repeat idle and unproved tales, or to draw imaginary conclusions from questionable data. The conflict of contemporary opinion on the simplest matters leads one often to the suspicion that all personal history is more or less disguised fiction. The best one can do in default of direct records is to accept authorities that are generally regarded as the most trustworthy.

This volume is affectionately dedicated to the memory of my mother, who followed the work with appreciative interest in its early stages, but did not live to see its conclusion.

Amelia Gere Mason Paris, July 6, 1891

CONTENTS PREFACE DETAILED CONTENTS CHAPTER I. SALONS OF THE SEVENTEENTH CENTURY CHAPTER II. THE HOTEL DE RAMBOUILLET CHAPTER III. MADEMOISELLE DE SCUDERY AND THE SAMEDIS CHAPTER IV. LA GRANDE MADEMOISELLE CHAPTER V. A LITERARY SALON AT PORT ROYAL CHAPTER VI. MADAME DE SEVIGNE CHAPTER VII. MADAME DE LA FAYETTE CHAPTER VIII. SALONS OF THE EIGHTEENTH CENTURY CHAPTER IX. AN ANTECHAMBER OF THE ACADEMIE FRANCAISE CHAPTER X. THE DUCHESSE DU MAINE CHAPTER XI. MADAME DE TENCIN AND MADAME DU CHATELET CHAPTER XII. MADAME GEOFFRIN AND THE PHILOSOPHERS CHAPTER XIII. ULTRA-PHILOSOPHICAL SALONS—MADAME D'EPINAY CHAPTER XIV. SALONS OF THE NOBLESSE—MADAME DU DEFFAND CHAPTER XV. MADEMOISELLE DE LESPINASSE CHAPTER XVI. THE SALON HELVETIQUE CHAPTER XVII. SALONS OF THE REVOLUTION—MADAME ROLAND CHAPTER XVIII. MADAME DE STAEL CHAPTER XIX. THE SALONS OF THE EMPIRE AND RESTORATION—MADAME RECAMIER

DETAILED CONTENTS

CHAPTER I. SALONS OF THE SEVENTEENTH CENTURY Characteristics of French Woman—Gallic Genius for Conversation—Social Conditions—Origin of the Salons—Their Power—Their Composition—Their Records CHAPTER II. THE HOTEL DE RAMBOUILLET Mme. De Rambouillet—The Salon Bleu—Its Habitues—Its Diversions—Corneille—Balzac—Richelieu—Romance of the Grand Conde—the Young Bossuet—Voiture—The Duchesse de Longueville—Angelique Paulet—Julie d'Angennes—Les Precieuses Ridicules—Decline of the Salon—Influence upon Literature and Manners CHAPTER III. MADEMOISELLE DE SCUDERY AND THE SAMEDIS Salons of the Noblesse—"The Illustrious Sappho"—Her Romances—The Samedis—Bons Mots of Mme. Cornuel—Estimate of Mlle. De Scudery CHAPTER IV. LA GRANDE MADEMOISELLE Her Character—Her Heroic Part in the Fronde—Her Exile—Literary Diversions of her Salon—A Romantic Episode CHAPTER V. A LITERARY SALON AT PORT ROYAL Mme. De Sable—Her Worldly Life—Her Retreat—Her Friends—Pascal—The Maxims of La Rochefoucauld—Last Days of the Marquise

CHAPTER VI. MADAME DE SEVIGNE Her Genius—Her Youth—Her Unworthy Husband—Her Impertinent Cousin—Her love for her Daughter—Her Letters—Hotel de Carnavalet—Mme. Duplessis Guengaud—Mme. De Coulanges—The Curtain Falls CHAPTER VII. MADAME DE LA FAYETTE Her Friendship with Mme. De Sevigne—Her Education—Her Devotion to the Princess Henrietta—Her Salon—La Rochefoucauld— Talent as a Diplomatist—Comparison with Mme. De Maintenon—Her Literary Work—Sadness of her Last Days—Woman in Literature CHAPTER VIII. SALONS OF THE EIGHTEENTH CENTURY Characteristics of the Eighteenth Century—Its Epicurean Philosophy—Anecdote of Mme. Du Deffand—The Salon an Engine of Political Power—Great Influence of Woman—Salons Defined—Literary Dinners—Etiquette of the Salons—An Exotic on American Soil CHAPTER IX. AN ANTECHAMBER OF THE ACADEMIE FRANCAISE The Marquise de Lambert—Her "Bureau d'Esprit"—Fontenelle—Advice to her Son—Wise Thoughts on the Education of Women—Her Love of Consideration—Her Generosity—Influence of Women upon the Academy CHAPTER

X. THE DUCHESSE DU MAINE Her Capricious Character—Her Esprit—Mlle. De Launay—Clever Portrait of her Mistress—Perpetual Fetes at Sceaux—Voltaire and the "Divine Emilie"—Dilettante Character of this Salon CHAPTER XI. MADAME DE TENCIN AND MADAM DU CHATELET An Intriguing Chanoinesse—Her Singular Fascination—Her Salon—Its Philosophical Character—Mlle. Aisse—Romances of Mme. De Tencin—D'Alembert—La Belle Emilie—Voltaire—the Two Women Compared CHAPTER XII. MADAME GEOFFRIN AND THE PHILOSOPHERS Cradles of the New Philosophy—Noted Salons of this Period—Character of Mme. Geoffrin—Her Practical Education—Anecdotes of her Husband—Composition of her Salon—Its Insidious Influence—Her Journey to Warsaw—Her Death CHAPTER XIII. ULTRA PHILOSOPHICAL SALONS—MADAME D'EPINAY Mme. De Graffigny—Baron D'Holbach—Mme. D'Epinay's Portrait of Herself—Mlle. Quinault—Rousseau—La Chevrette—Grimm—Diderot—The Abbe Galiani—Estimate of Mme. D'Epinay CHAPTER XIV. SALONS OF THE NOBLESSE—MADAME DU DEFFAND La Marechale de

Luxenbourg—The Temple—Comtesse de Boufflers—Mme. Du Dufand—Her Convent Salon—Rupture with Mlle. De Lespinasse—Her Friendship with Horace Walpole—Her Brilliancy and her Ennui CHAPTER XV. MADEMOISELLE DE LESPINASSE A Romantic Career—Companion of Mme. Du Deffand—Rival Salons—Association with the Encyclopedists—D'Alembert—A Heart Tragedy—Impassioned Letters—A Type Unique in her Age CHAPTER XVI. THE SALON HELVETIQUE The Swiss Pastor's Daughter—Her Social Ambition—Her Friends Mme. De Marchais—Mme. D'Houdetot—Duchesse de Lauzun—Character of Mme. Necker—Death at Coppet—Close of the Most Brilliant Period of the Salons CHAPTER XVII. SALONS OF THE REVOLUTION—MADAME ROLAND Change in the Character of the Salons—Mme. De Condorcet—Mme. Roland's Story of her Own Life—A Marriage of Reason—Enthusiasm for the Revolution—Her Modest Salon—Her Tragical Fate CHAPTER XVIII. MADAM DE STAEL Supremacy of Her Genius—Her Early Training—Her Sensibility—A Mariage de Convenance—Her Salon—Anecdote of Benjamin Constant—Her Exile—Life

at Coppet—Secret Marriage—Close of a Stormy Life CHAPTER XIX. SALONS OF THE EMPIRE AND RESTORATION—MADAME RECAMIER A Transition period—Mme. De Montesson—Mme. De Genus—Revival of the Literary Spirit—Mme. De Beaumont—Mme. De Remusat—Mme. De Souza—Mme. De Duras—Mme. De Krudener—Fascination of Mme. Recamier—Her Friends—Her Convent Salon—Chateaubriand Decline of the Salon

CHAPTER I. SALONS OF THE SEVENTEENTH CENTURY

Characteristics of French Woman—Gallic Genius for Conversation—Social Conditions—Origin of the Salons—Their Power—Their Composition—Their Records.

"Inspire, but do not write," said LeBrun to women. Whatever we may think today of this rather superfluous advice, we can readily pardon a man living in the atmosphere of the old French salons, for falling somewhat under the special charm of their leaders. It was a charm full of subtle flattery. These women were usually clever and brilliant, but their cleverness and brilliancy were exercised to bring into stronger relief the talents of their friends. It is true that many of them wrote, as they talked, out of the fullness of their own hearts or their own intelligence, and with no thought of a public; but it was only an incident in their lives, another form of diversion, which left them quite free from the dreaded taint of feminine authorship. Their peculiar gift was to inspire others, and much of the fascination that gave them such power in their day still clings to their memories. Even at this distance, they have a perpetual interest for us. It may be that the long perspective lends them a certain illusion which a closer view might partly dispel. Something also

may be due to the dark background against which they were outlined. But, in spite of time and change, they stand out upon the pages of history, glowing with an ever-fresh vitality, and personifying the genius of a civilization of which they were the fairest flower.

The Gallic genius is eminently a social one, but it is, of all others, the most difficult to reproduce. The subtle grace of manner, the magic of spoken words, are gone with the moment. The conversations of two centuries ago are today like champagne which has lost its sparkle. We may recall their tangible forms—the facts, the accessories, the thoughts, even the words, but the flavor is not there. It is the volatile essence of gaiety and wit that especially characterizes French society. It glitters from a thousand facets, it surprises us in a thousand delicate turns of thought, it appears in countless movements and shades of expression. But it refuses to be imprisoned. Hence the impossibility of catching the essential spirit of the salons. We know something of the men and women who frequented them, as they have left many records of themselves. We have numerous pictures of their social life from which we may partially reconstruct it and trace its influence. But the nameless attraction that held for so long a period the most serious men of letters as well as the

gay world still eludes us.

We find the same elusive quality in the women who presided over these reunions. They were true daughters of a race of which Mme. De Graffigny wittily said that it "escaped from the hands of Nature when there had entered into its composition only air and fire." They certainly were not faultless; indeed, some of them were very faulty. Nor were they, as a rule, remarkable for learning. Even the leaders of noted literary salons often lacked the common essentials of a modern education. But if they wrote badly and spelled badly, they had an abundance of that delicate combination of intellect and wit which the French call ESPRIT. They had also, in superlative measure, the social gifts which women of genius reared in the library or apart from the world, are apt to lack. The close study of books leads to a knowledge of man rather than of men. It tends toward habits of introspection which are fatal to the clear and swift vision required for successful leadership of any sort. Social talent is distinct, and implies a happy poise of character and intellect; the

delicate blending of many gifts, not the supremacy of one. It implies taste and versatility, with fine discrimination, and the tact to sink one's personality as well as to call out the best in others. It was this flexibility of mind, this active intelligence tempered with sensibility and the native instinct of pleasing, that distinguished the French women who have left such enduring traces upon their time. "It is not sufficient to be wise, it is necessary also to please," said the witty and penetrating Ninon, who thus very aptly condensed the feminine philosophy of her race. Perhaps she has revealed the secret of their fascination, the indefinable something which is as difficult to analyze as the perfume of a rose.

A history of the French salons would include the history of the entire period of which they were so prominent a factor. It would make known to us its statesmen and its warriors; it would trace the great currents of thought; it would give us glimpses of every phase of society, from the diversions of the old noblesse, with their sprinkling of literature and philosophy, to the familiar life of the men of letters, who cast about their intimate coteries the halo of their own genius. These salons were closely interwoven with the best intellectual life of more than two hundred years. Differing in tone according to the rank, taste, or character of their leaders, they were rallying points for the most famous men and women of their time. In these brilliant centers, a new literature had its birth. Here was found the fine critical sense that put its stamp on a new poem or a new play. Here ministers were created and deposed, authors and artists were brought into vogue, and vacant chairs in the Academie Francaise were filled. Here the great philosophy of the

eighteenth century was cradled. Here sat the arbiters of manners, the makers of social success. To these high tribunals came, at last, every aspirant for fame.

It was to the refinement, critical taste, and oral force of a rare woman, half French and half Italian, that the first literary salons owed their origin and their distinctive character. In judging of the work of Mme. De Rambouillet, we have to consider that in the early days of the seventeenth century knowledge was not diffused as it is today. A new light was just dawning upon the world, but learning was still locked in the brains of savants, or in the dusty tomes of languages that were practically obsolete. Men of letters were dependent upon the favors of noble but often ignorant patrons, whom they never met on a footing of equality. The position of women was as inferior as their education, and the incredible depravity of morals was a sufficient answer to the oft-repeated fallacy that the purity of the family is best maintained by feminine seclusion. It is true there were exceptions to this reign of illiteracy. With the natural disposition to glorify the past, the writers of the next generation liked to refer to the golden era of the Valois and the

brilliancy of its voluptuous court. Very likely they exaggerated a little the learning of Marguerite de Navarre, who was said to understand Latin, Italian, Spanish, even Greek and Hebrew. But she had rare gifts, wrote religious poems, besides the very secular "Heptameron" which was not eminently creditable to her refinement, held independent opinions, and surrounded herself with men of letters. This little oasis of intellectual light, shadowed as it was with vices, had its influence, and there were many women in the solitude of remote chateaux who began to cultivate a love for literature. "The very women and maidens aspired to this praise and celestial manna of good learning," said Rabelais. But their reading was mainly limited to his own unsavory satires, to Spanish pastorals, licentious poems, and their books of devotion. It was on such a foundation that Mme. De Rambouillet began to rear the social structure upon which her reputation rests. She was eminently fitted for this role by her pure character and fine intelligence; but she added to these the advantages of

rank and fortune, which gave her ample facilities for creating a social center of sufficient attraction to focus the best intellectual life of the age, and sufficient power to radiate its light. Still it was the tact and discrimination to select from the wealth of material about her, and quietly to reconcile old traditions with the freshness of new ideas, that especially characterized Mme. De Rambouillet.

It was this richness of material, the remarkable variety and originality of the women who clustered round and succeeded their graceful leader, that gave so commanding an influence to the salons of the seventeenth century. No social life has been so carefully studied, no women have been so minutely portrayed. The annals of the time are full of them. They painted one another, and they painted themselves, with realistic fidelity. The lights and shadows are alike defined. We know their joys and their sorrows, their passions and their follies, their tastes and their antipathies. Their inmost life has been revealed. They animate, as living figures, a whole class of literature which they were largely instrumental in creating, and upon which they have left the stamp of their own vivid personality. They appear later in the pages of Cousin and Sainte-Beuve, with their radiant features softened and spiritualized by the touch of time. We rise from a perusal of these chronicles of a society long passed away, with the feeling that we have left a company of old friends. We like

to recall their pleasant talk of themselves, of their companions, of the lighter happenings, as well as the more serious side of the age which they have illuminated. We seem to see their faces, not their manner, watch the play of intellect and feeling, while they speak. The variety is infinite and full of charm.