The Women of the French Salons [26]
with curious candor: "I am but little given to pity, and do not wish to be so at all. Nevertheless there is nothing I would not do for an afflicted person; and I sincerely believe one should do all one can to show sympathy for misfortune, as miserable people are so foolish that this does them the greatest good in the world; but I also hold that we should be content with expressing sympathy, and carefully avoid having any. It is a passion that is wholly worthless in a well-regulated mind, that only serves to weaken the heart, and should be left to people, who, never doing anything from reason, have need of passion to stimulate their actions. I love my friends; and I love them to such an extent that I would not for a moment weigh my interest against theirs. I condescend to them, I patiently endure their bad temper. But I do not make much of their caresses, and I do not feel great uneasiness at their absence."
It would be interesting to quote in full this sample of the close and not always flattering self-analysis so much in fashion, but its length forbids. Its revelation of the hidden springs of character is at least unique.
The poet Segrais, who was attached to Mademoiselle's household, collected these graphic pictures for private circulation, but they were so much in demand that they were soon printed for the public under the title of "Divers Portraits." They served the double purpose of furnishing to the world faithful delineations of many more or less distinguished people and of setting a literary fashion. The taste for pen-portraits, which originated in the romances of Mlle. de Scudery, and received a fresh impulse from this novel and personal application, spread rapidly among all classes. It was taken up by men of letters and men of the world, the nobility, and the bourgeoisie. There were portraits of every grade of excellence and every variety of people, until they culminated, some years later in "Les Caracteres" of La Bruyere, who dropped personalities and gave them the form of permanent types. It is a literature peculiarly adapted to the flexibility and fine perception of the French mind, and one in which it has been preeminent, from the analytic but diffuse Mlle. de Scudery, and the clear, terse, spirited Cardinal de Retz, to the fine, penetrating, and exquisitely finished Sainte-Beuve, the prince of modern critics and literary artists. It was this skill in vivid delineation that gave such point and piquancy to the memoirs of the period, which are little more than a series of brilliant and vigorous sketches of people outlined upon a shifting background of events. In this rapid characterization the French have no rivals. It is the charm of their fiction as well as of their memoirs. Balzac, Victor Hugo, and Daudet, are the natural successors of La Bruyere and Saint-Simon.
The marriage of Louis XIV shattered one of the most brilliant illusions of the Grande Mademoiselle, and it was about this time that she wrote a characteristic letter to Mme. de Motteville, picturing an Arcadia in some beautiful forest, where people are free to do as they like. The most ardent apostle of socialism could hardly dream of an existence more democratic or more Utopian. These favored men and women lead a simple, pastoral life. They take care of the house and the garden, milk the cows, make cheese and cakes, and tend sheep on pleasant days. But this rustic community must have its civilized amusements. They visit, drive, ride on horseback, paint, design, play on the lute or clavecin, and have all the new books sent to them. After reading the lives of heroes and philosophers, the princess is convinced that no one is perfectly happy, and that Christianity is desirable, as it gives hope for the future. Her platonic and Christian republic is composed of "amiable and perfect people," but it is quite free from the entanglements of love and the "vulgar institution of marriage." Mme. de Motteville replies very gracefully, accepting many of these ideas, but as it is difficult to repress love altogether, she thinks "one
It would be interesting to quote in full this sample of the close and not always flattering self-analysis so much in fashion, but its length forbids. Its revelation of the hidden springs of character is at least unique.
The poet Segrais, who was attached to Mademoiselle's household, collected these graphic pictures for private circulation, but they were so much in demand that they were soon printed for the public under the title of "Divers Portraits." They served the double purpose of furnishing to the world faithful delineations of many more or less distinguished people and of setting a literary fashion. The taste for pen-portraits, which originated in the romances of Mlle. de Scudery, and received a fresh impulse from this novel and personal application, spread rapidly among all classes. It was taken up by men of letters and men of the world, the nobility, and the bourgeoisie. There were portraits of every grade of excellence and every variety of people, until they culminated, some years later in "Les Caracteres" of La Bruyere, who dropped personalities and gave them the form of permanent types. It is a literature peculiarly adapted to the flexibility and fine perception of the French mind, and one in which it has been preeminent, from the analytic but diffuse Mlle. de Scudery, and the clear, terse, spirited Cardinal de Retz, to the fine, penetrating, and exquisitely finished Sainte-Beuve, the prince of modern critics and literary artists. It was this skill in vivid delineation that gave such point and piquancy to the memoirs of the period, which are little more than a series of brilliant and vigorous sketches of people outlined upon a shifting background of events. In this rapid characterization the French have no rivals. It is the charm of their fiction as well as of their memoirs. Balzac, Victor Hugo, and Daudet, are the natural successors of La Bruyere and Saint-Simon.
The marriage of Louis XIV shattered one of the most brilliant illusions of the Grande Mademoiselle, and it was about this time that she wrote a characteristic letter to Mme. de Motteville, picturing an Arcadia in some beautiful forest, where people are free to do as they like. The most ardent apostle of socialism could hardly dream of an existence more democratic or more Utopian. These favored men and women lead a simple, pastoral life. They take care of the house and the garden, milk the cows, make cheese and cakes, and tend sheep on pleasant days. But this rustic community must have its civilized amusements. They visit, drive, ride on horseback, paint, design, play on the lute or clavecin, and have all the new books sent to them. After reading the lives of heroes and philosophers, the princess is convinced that no one is perfectly happy, and that Christianity is desirable, as it gives hope for the future. Her platonic and Christian republic is composed of "amiable and perfect people," but it is quite free from the entanglements of love and the "vulgar institution of marriage." Mme. de Motteville replies very gracefully, accepting many of these ideas, but as it is difficult to repress love altogether, she thinks "one