The Women of the French Salons [124]
of her guests gave grand dinners and brilliant fetes. But the accustomed links were wanting. Her salon simply illustrates a social life in a state of transition.
Mme. de Genlis had lived much in the world before the Revolution, and her position in the family of the Duc d'Orleans, together with her great versatility of talent, had given her a certain vogue. Author, musician, teacher, moralist, critic, poser, egotist, femme d'esprit, and friend of princes, her romantic life would fill a volume and cannot be even touched upon in a few lines. After ten years of exile she returned to Paris, and her salon at the Arsenal was a center for a few celebrities. Many of these names have small significance today. A few men like Talleyrand, LaHarpe, Fontanes, and Cardinal Maury were among her friends,, and she was neutral enough, or diplomatic enough, not to give offense to the new government. But she was a woman of many affectations, and in spite of her numerous accomplishments, her cleverness, and her literary fame, the circle she gathered about her was never noted for its brilliancy or its influence. As a historic figure, she is more remarkable for the variety of her voluminous work, her educational theories, and her observations upon the world in which she lived, than for talents of a purely social order.
One is little inclined to dwell upon the ruling society of this period. It had neither the dignity of past traditions nor freedom of intellectual expression. Its finer shades were drowned in loud and glaring colors. The luxury that could be commanded counted for more than the wit and intelligence that could not.
As the social elements readjusted themselves on a more natural basis, there were a few salons out of the main drift of the time in which the literary spirit flourished once more, blended with the refined tastes, the elegant manners, and the amiable courtesy that had distinguished the old regime. But the interval in which history was made so rapidly, and the startling events of a century were condensed into a decade, had wrought many vital changes. It was no longer the spirit of the eighteenth century that reappeared under its revived and attractive forms. We note a tone of seriousness that had no permanent place in that world of esprit and skepticism, of fine manners and lax morals, which divided its allegiance between fashion and philosophy. The survivors of so many heart-breaking tragedies, with their weary weight of dead hopes and sad memories, found no healing balm in the cold speculation and scathing wit of Diderot or Voltaire. Even the devotees of philosophy gave it but a half-hearted reverence. It was at this moment that Chateaubriand, saturated with the sorrows of his age, and penetrated with the hopelessness of its philosophy, offered anew the truths that had sustained the suffering and broken-hearted for eighteen centuries, in a form so sympathetic, so fascinating, that it thrilled the sensitive spirits of his time, and passed like an inspiration into the literature of the next fifty years. The melancholy of "Rene" found its divine consolation in the "Genius of Christianity." It was this spirit that lent a new and softer coloring to the intimate social life that blended in some degree the tastes and manners of the old noblesse with a refined and tempered form of modern thought. It recalls, in many points, the best spirit of the seventeenth century. There is a flavor of the same seriousness, the same sentiment. It is the sentiment that sent so many beautiful women to the solitude of the cloister, when youth had faded and the air of approaching age began to grow chilly. But it is not to the cloister that these women turn. They weave romantic tales out of the texture of their own lives, they repeat their experiences, their illusions, their triumphs, and their disenchantments. As the day grows more somber and the evening shadows begin to fall, they meditate, they moralize, they substitute prayers for dreams. But they think also. The drama of the late years had left no thoughtful soul
Mme. de Genlis had lived much in the world before the Revolution, and her position in the family of the Duc d'Orleans, together with her great versatility of talent, had given her a certain vogue. Author, musician, teacher, moralist, critic, poser, egotist, femme d'esprit, and friend of princes, her romantic life would fill a volume and cannot be even touched upon in a few lines. After ten years of exile she returned to Paris, and her salon at the Arsenal was a center for a few celebrities. Many of these names have small significance today. A few men like Talleyrand, LaHarpe, Fontanes, and Cardinal Maury were among her friends,, and she was neutral enough, or diplomatic enough, not to give offense to the new government. But she was a woman of many affectations, and in spite of her numerous accomplishments, her cleverness, and her literary fame, the circle she gathered about her was never noted for its brilliancy or its influence. As a historic figure, she is more remarkable for the variety of her voluminous work, her educational theories, and her observations upon the world in which she lived, than for talents of a purely social order.
One is little inclined to dwell upon the ruling society of this period. It had neither the dignity of past traditions nor freedom of intellectual expression. Its finer shades were drowned in loud and glaring colors. The luxury that could be commanded counted for more than the wit and intelligence that could not.
As the social elements readjusted themselves on a more natural basis, there were a few salons out of the main drift of the time in which the literary spirit flourished once more, blended with the refined tastes, the elegant manners, and the amiable courtesy that had distinguished the old regime. But the interval in which history was made so rapidly, and the startling events of a century were condensed into a decade, had wrought many vital changes. It was no longer the spirit of the eighteenth century that reappeared under its revived and attractive forms. We note a tone of seriousness that had no permanent place in that world of esprit and skepticism, of fine manners and lax morals, which divided its allegiance between fashion and philosophy. The survivors of so many heart-breaking tragedies, with their weary weight of dead hopes and sad memories, found no healing balm in the cold speculation and scathing wit of Diderot or Voltaire. Even the devotees of philosophy gave it but a half-hearted reverence. It was at this moment that Chateaubriand, saturated with the sorrows of his age, and penetrated with the hopelessness of its philosophy, offered anew the truths that had sustained the suffering and broken-hearted for eighteen centuries, in a form so sympathetic, so fascinating, that it thrilled the sensitive spirits of his time, and passed like an inspiration into the literature of the next fifty years. The melancholy of "Rene" found its divine consolation in the "Genius of Christianity." It was this spirit that lent a new and softer coloring to the intimate social life that blended in some degree the tastes and manners of the old noblesse with a refined and tempered form of modern thought. It recalls, in many points, the best spirit of the seventeenth century. There is a flavor of the same seriousness, the same sentiment. It is the sentiment that sent so many beautiful women to the solitude of the cloister, when youth had faded and the air of approaching age began to grow chilly. But it is not to the cloister that these women turn. They weave romantic tales out of the texture of their own lives, they repeat their experiences, their illusions, their triumphs, and their disenchantments. As the day grows more somber and the evening shadows begin to fall, they meditate, they moralize, they substitute prayers for dreams. But they think also. The drama of the late years had left no thoughtful soul