La Marechale de Luxembourg—The Temple—Comtesse de Boufflers— Mme. du Deffand—Her Convent Salon—Rupture with Mlle. de Lespinasse—Her Friendship with Horace Walpole—Her brilliancy and Her Ennui
While the group of iconoclasts who formed the nucleus of the philosophical salons was airing its theories and enjoying its increasing vogue, there was another circle which played with the new ideas more or less as a sort of intellectual pastime, but was aristocratic au fond, and carefully preserved all the traditions of the old noblesse. One met here the philosophers and men of letters, but they did not dominate; they simply flavored these coteries of rank and fashion. In this age of esprit no salon was complete without its sprinkling of literary men. We meet the shy and awkward Rousseau even in the exclusive drawing room of the clever and witty but critical Marechale de Luxembourg, who presides over a world in which the graces rule—a world of elegant manners, of etiquette, and of forms. This model of the amenities, whose gay and faulty youth ripened into a pious and charitable age, was at the head of that tribunal which pronounced judgment upon all matters relating to society. She was learned in genealogy, analyzed and traced to their source the laws of etiquette, possessed a remarkable memory, and without profound education, had learned much from conversation with the savants and illustrious men who frequented her house. Her wit was proverbial, and she was never at a loss for a ready repartee or a spicy anecdote. She gave two grand suppers a week. Mme. de Genlis, who was often there, took notes, according to her custom, and has left an interesting record of conversations that were remarkable not only for brilliancy, but for the thoughtful wisdom of the comments upon men and things. La Harpe read a great part of his works in this salon. Rousseau entertained the princely guests at Montmorency with "La Nouvelle Heloise" and "Emile," and though never quite at ease, his democratic theories did not prevent him from feeling greatly honored by their friendly courtesies; indeed, he loses his usual bitterness when speaking of this noble patroness. He says that her conversation was marked by an exquisite delicacy that always pleased, and her flatteries were intoxicating because they were simple and seemed to escape without intention.
Mme. de Luxembourg was an autocrat, and did not hesitate to punish errors in taste by social ostracism. "Erase the name of Monsieur — — from my list," she said, as a gentleman left after relating a scandalous story reflecting upon some one's honor. It was one of her theories that "society should punish what the law cannot attack." She maintained that good manners are based upon noble and delicate sentiments, that mutual consideration, deference, politeness, gentleness, and respect to age are essential to civilization. The disloyal, the ungrateful bad sons, bad brothers, bad husbands, and bad wives, whose offenses were serious enough to be made public, she banished from that circle which called itself la bonne compagnie. It must be admitted, however, that it was les convenances rather than morality which she guarded.
A rival of this brilliant salon, and among the most celebrated of its day, was the one at the Temple. The animating spirit here was the amiable and vivacious Comtesse de Boufflers, celebrated in youth for her charms, and later for her talent. She was dame d'honneur to the Princesse de Conti, wife of the Duc d'Orleans, who was noted for her caustic wit, as well as for her beauty. It was in the salon of his clever and rather capricious sister that the learned Prince de Conti met her and formed the intimacy that ended only with his life. She was called the idole of the Temple, and her taste for letters gave her also the title of Minerve savante. She wrote a tragedy which was said to be good, though she would never let it go out of her hands, and has been immortalized by Rousseau, with whom she corresponded for sixteen years. Hume also exchanged frequent letters with her, and she tried in vain to reconcile these two friends after their quarrel. President Henault said he had never met a woman of so much esprit, adding that "outside all her charms she had character." For society she had a veritable passion. She said that when she loved England the best she could not think of staying there without "taking twenty-four or twenty-five intimate friends, and sixty or eighty others who were absolutely necessary to her." Her conversation was full of fire and brilliancy, and her gaiety of heart, her gracious manners, and her frank appreciation of the talent of others added greatly to her piquant fascination. She delighted in original turns of expression, which were sometimes far-fetched and artificial. One of her friends said that "she made herself the victim of consideration, and lost it by running after it." Her rule of life may be offered as a model. "In conduct, simplicity and reason; in manners, propriety and decorum; in actions, justice and generosity; in the use of wealth, economy and liberality; in conversation, clearness, truth, precision; in adversity, courage and pride; in prosperity, modesty and moderation." Unfortunately she did not put all this wisdom into practice, if we judge her by present standards. We have a glimpse of the famous circle over which she presided in an interesting picture formerly at Versailles, now at the Louvre. The figures are supposed to be portraits. Among others are Mme. de Luxembourg, the Comtesse de Boufflers, and the lovely but ill-fated young stepdaughter, Amelie, Comtesse de Lauzun, to whom she is so devoted; the beautiful Comtesse d'Egmont, Mme. de Beauvan, President Henault, the witty Pont de Veyle, Mairan, the versatile scientist, and the Prince de Conti. In the midst of this group the little Mozart, whose genius was then delighting Europe, sits at the harpsichord. The chronicles of the time give us pleasant descriptions of the literary diversions of this society, which met by turns at the Temple and Ile-Adam. But the Prince as well as the clever Comtesse had a strong leaning towards philosophy, and the amusements were interspersed with much conversation of a serious character that has a peculiar interest today when read by the light of after events.
Among the numerous salons of the noblesse there was one which calls for more than a passing word, both on account of its world-wide fame and the exceptional brilliancy of its hostess. Though far less democratic and cosmopolitan than that of Mme. Geoffrin, with which it was contemporary, its character was equally distinct and original. Linked by birth with the oldest of the nobility, allied by intellect with the most distinguished in the world of letters, Mme. du Deffand appropriated the best in thought, while retaining the spirit of an elegant and refined social life. She was exclusive by nature and instinct, as well as by tradition, and could not dispense with the arts and amenities which are the fruit of generations of ease; but the energy and force of her intellect could as little tolerate shallowness and pretension, however disguised beneath the graceful tyranny of forms. Her salon offers a sort of compromise between the freedom of the philosophical coteries and the frivolities of the purely fashionable ones. It included the most noted of the men of letters—those who belonged to the old aristocracy and a few to whom nature had given a prescriptive title of nobility—as well as the flower of the great world. Her sarcastic wit, her clear intelligence, and her rare conversational gifts added a tone of individuality that placed her salon at the head of the social centers of the time in brilliancy and in esprit. In this group of wits, LITTERATEURS, philosophers, statesmen, churchmen, diplomats, and men of rank, Mme. du Deffand herself is always the most striking figure. The art of self-suppression she clearly did not possess. But the art of so blending a choice society that her own vivid personality was a pervading note of harmony she had to an eminent degree. She could easily have made a mark upon her time through her intellectual gifts without the factitious aid of the men with whom her name is associated. But society was her passion society animated by intellect, sparkling with wit, and expressing in all its forms the art instincts of her race. She never aspired to authorship, but she has left a voluminous correspondence in which one reads the varying phases of a singularly capricious character. In her old age she found refuge from a devouring ennui in writing her own memoirs. Merciless to herself as to others, she veils nothing, revealing her frailties with a freedom that reminds one of Rousseau.
It is not the portrait of an estimable woman that we can paint from these records; but in her intellectual force, her social gifts, and her moral weakness she is one of the best exponents of an age that trampled upon the finest flowers of the soul in the blind pursuit of pleasure and the cynical worship of a hard and unpitying realism. Living from 1697 to 1780, she saw the train laid for the Revolution, and died in time to escape its horrors. She traversed the whole experience of the women of her world with the independence and abandon of a nature that was moderate in nothing. It is true she felt the emptiness of this arid existence, and had an intellectual perception of its errors, but she saw nothing better. "All conditions appear to me equally unhappy, from the angel to the oyster," is the burden of her hopeless refrain.
She reveals herself to us as two distinct characters. The one best known is hard, bitter, coldly analytic, and mocks at everything bordering upon sentiment or feeling. The other, which underlies this, and of which we have rare glimpses, is frank, tender, loving even to weakness, and forever at war with the barrenness of a period whose worst faults she seems to have embodied, and whose keenest penalties she certainly suffered.
Voltaire, the lifelong friend whom she loved, but critically measured, was three years old when she was born; Mme. de Sevigne had been dead nearly a year. Of a noble family in Burgundy, Marie de Vichy-Chamroud was brought to Paris at six years of age and placed in the convent of St. Madeleine de Traisnel, where she was educated after the superficial fashion which she so much regrets in later years. She speaks of herself as a romantic, imaginative child, but she began very early to shock the pious sisters by her dawning skepticism. One of the nuns had a wax figure of the infant Jesus, which she discovered to have been a doll formerly dressed to represent the Spanish fashions to Anne of Austria. This was the first blow to her illusions, and had a very perceptible influence upon her life. She pronounced it a deception. Eight days of solitude with a diet of bread and water failed to restore her reverence. "It does not depend upon me to believe or disbelieve," she said. The eloquent and insinuating Massillon was called in to talk with her. "She is charming," was his remark, as he left her after two hours of conversation; adding thoughtfully, "Give her a five-cent catechism."
Skeptical by nature and saturated with the free-thinking spirit of the time, she reasoned that all religion was au fond, only paganism disguised. In later years, when her isolated soul longed for some tangible support, she spoke regretfully of the philosophic age which destroyed beliefs by explaining and analyzing everything.
But a beautiful, clever, high-spirited girl of sixteen is apt to feel her youth all suffering. It is certain that she had no inclination towards the life of a religieuse, and the country quickly became insupportable after her return to its provincial society. Ennui took possession of her. She was glad even to go to confessional, for the sake of telling her thoughts to some one. She complained bitterly that the life of women compelled dependence upon the conduct of others, submission to all ills and all consequences. Long afterwards she said that she would have married the devil if he had been clothed as a gentleman and assured her a moderate life. But a husband was at last found for her, and merely to escape the monotony of her secluded existence, she was glad, at twenty-one, to become the wife of the Marquis du Deffand—a good but uninteresting man, much older than herself.
Brilliant, fascinating, restless, eager to see and to learn, she felt herself in her element in the gay world of Paris. She confessed that, for the moment, she almost loved her husband for bringing her there. But the moment was a short one. They did not even settle down to what a witty Frenchman calls the "politeness of two indifferences." It is a curious commentary upon the times, that the beautiful but notorious Mme. de Parabere, who introduced her at once into her own unscrupulous world and the petits soupers of the Regent, condoled with the young bride upon her marriage, regretting that she had not taken the easy vows of a chanoinesse, as Mme. de Tencin had done. "In that case," she said, "you would have been free; well placed everywhere; with the stability of a married woman; a revenue which permits one to live and accept aid from others; the independence of a widow, without the ties which a family imposes; unquestioned rank, which you would owe to no one; indulgence, and impunity. For these advantages there is only the trouble of wearing a cross, which is becoming; black or gray habits, which can be made as magnificent as one likes; a little imperceptible veil, and a knitting sheath."
Under such teaching she was not long in taking her own free and independent course, which was reckless even in that age of laxity. At her first supper at the Palais Royal she met Voltaire and fascinated the Regent, though her reign lasted but a few days. The counsels of her aunt, the dignified Duchesse de Luynes, availed nothing. Her husband was speedily sent off on some mission to the provinces and she plunged into the current. Once afterwards, in a fit of ennui, she recalled him, frankly stating her position. But she quickly wearied of him again, grew dull, silent, lost her vivacity, and fell into a profound melancholy. Her friend Mme. de Parabere took it upon herself to explain to him the facts, and he kindly relieved her forever of his presence, leaving a touching and pathetic letter which gave her a moment of remorse in spite of her lightened heart. This sin against good taste the Parisian world could not forgive, and even her friends turned against her for a time. But the Duchesse due Maine came to her aid with an all-powerful influence, and restored her finally to her old position. For some years she passed the greater part of her time at Sceaux, and was a favorite at this lively little court.
It is needless to trace here the details of a career which gives us little to admire and much to condemn. It was about 1740 when her salon became noted as a center for the fashionable and literary world of Paris. Montesquieu and d'Alembert were then among her intimate friends. Of the latter she says: "The simplicity of his manners, the purity of his morals, the air of youth, the frankness of character, joined to all his talents, astonished at first those who saw him." It is said to have been through her zeal that he was admitted to the Academy so young. Among others who formed her familiar circle were her devoted friend Pont de Veyle; the Chevalier d'Aydie; Formont, the "spirituel idler and amiable egotist," who was one of the three whom she confesses really to have loved; and President Henault, who brought always a fund of lively anecdote and agreeable conversation. This world of fashion and letters, slightly seasoned with philosophy, is also the world of Mme. de Luxembourg, of the brilliant Mme. de Mirepoix, of the Prince and Princesse de Beauvau, and of the lovely Duchesse de Choiseul, a femme d'esprit and "mistress of all the elegances," whose gentle virtues fall like a ray of sunlight across the dark pages of this period. It is the world of elegant forms, the world in which a sin against taste is worse than a sin against morals, the world which hedges itself in by a thousand unwritten laws that save it from boredom.
After the death of the Duchesse du Maine, Mme. du Deffand retired to the little convent of St. Joseph, where, after the manner of many women of rank with small fortunes, she had her menage and received her friends. "I have a very pretty apartment," she writes to Voltaire; "very convenient; I only go out for supper. I do not sleep elsewhere, and I make no visits. My society is not numerous, but I am sure it will please you; and if you were here you would make it yours. I have seen for some time many savants and men of letters; I have not found their society delightful." The good nuns objected a little to Voltaire at first, but seem to have been finally reconciled to the visits of the arch-heretic. At this time Mme. du Deffand had supposably reformed her conduct, if not her belief.
She continued to entertain the flower of the nobility and the stars of the literary and scientific world. But while the most famous of the men of letters were welcome in her salon, the tone was far from pedantic or even earnest. It was a society of conventional people, the elite of fashion and intelligence, who amused themselves in an intellectual but not too serious way. Montesquieu, who liked those houses in which he could pass with his every-day wit, said, "I love this woman with all my heart; she pleases and amuses me; it is impossible to feel a moment's ennui in her company." Mme. de Genlis, who did not love her expressed her surprise at finding her so natural and so kindly. Her conversation was simple and without pretension. When she was pleased, her manners were even affectionate. She never entered into a discussion, confessing that she was not sufficiently attached to any opinion to defend it. She disliked the enthusiasm of the philosophers unless it was hidden behind the arts of the courtier, as in Voltaire, whose delicate satire charmed her. Diderot came once, "eyed her epicurean friends," and came no more. The air was not free enough. When at home she had three or four at supper every day, often a dozen, and, once a week, a grand supper. All the intellectual fashions of the time are found here. La Harpe reads a translation from Sophocles and his own tragedy. Clairon, the actress in vogue, recites the roles of Phedre and Agrippine, Lekain reads Voltaire, and Goldoni a comedy of his own, which the hostess finds tiresome. New books, new plays, the last song, the latest word of the philosophers—all are talked about, eulogized, or dismissed with a sarcasm. The wit of Mme. du Deffand is feared, but it fascinates. She delights in clever repartees and sparkling epigrams. A shaft of wit silences the most complacent of monologues. "What tiresome book are you reading?" she said one day to a friend who talked too earnestly and too long—saving herself from the charge of rudeness by an easy refuge in her blindness.
Her criticisms are always severe. "There are only two pleasures for me in the world—society and reading," she writes. "What society does one find? Imbeciles, who utter only commonplaces, who know nothing, feel nothing, think nothing; a few people of talent, full of themselves, jealous, envious, wicked, whom one must hate or scorn." To some one who was eulogizing a mediocre man, adding that all the world was of the same opinion, she replied, "I make small account of the world, Monsieur, since I perceive that one can divide it into three parts, les trompeurs, les trompes, et les trompettes." Still it is life alone that interests her. Though she is not satisfied with people, she has always the hope that she will be. In literature she likes only letters and memoirs, because they are purely human; but the age has nothing that pleases her. "It is cynical or pedantic," she writes to Voltaire; "there is no grace, no facility, no imagination. Everything is a la glace, hardness without force, license without gaiety; no talent, much presumption."
As age came on, and she felt the approach of blindness, she found a companion in Mlle. de Lespinasse, a young girl of remarkable gifts, who had an obscure and unacknowledged connection with her family. For ten years the young woman was a slave to the caprices of her exacting mistress, reading to her through long nights of wakeful restlessness, and assisting to entertain her guests. The one thing upon which Mme. du Deffand most prided herself was frankness. She hated finesse, and had stipulated that she would not tolerate artifice in any form. It was her habit to lie awake all night and sleep all day, and as she did not receive her guests until six o'clock, Mlle. de Lespinasse, whose amiable character and conversational charm had endeared her at once to the circle of her patroness, arranged to see her personal friends—among whom were d'Alembert, Turgot, Chastellux, and Marmontel—in her own apartments for an hour before the marquise appeared. When this came to the knowledge of the latter, she fell into a violent rage at what she chose to regard as a treachery to herself, and dismissed her companion at once. The result was the opening of a rival salon which carried off many of her favorite guests, notably d'Alembert, to whom she was much attached. "If she had died fifteen years earlier, I should not have lost d'Alembert," was her sympathetic remark when she heard of the death of Mlle. de Lespinasse.
But the most striking point in the career of this worldly woman was her friendship for Horace Walpole. When they first met she was nearly seventy, blind, ill-tempered, bitter, and hopelessly ennuyee. He was not yet fifty, a brilliant, versatile man of the world, and saw her only at long intervals. Their curious correspondence extends over a period of fifteen years, ending only with her death.
In a letter to Grayson, after meeting her, he writes: "Mme. du Deffand is now very old and stone blind, but retains all her vivacity, wit, memory, judgment, passion, and agreeableness. She goes to operas, plays, suppers, Versailles; gives supper twice a week; has everything new read to her; makes new songs and epigrams—aye, admirably—and remembers every one that has been made these fourscore years. She corresponds with Voltaire, dictates charming letters to him, contradicts him, is no bigot to him or anybody, and laughs both at the clergy and the philosophers. In a dispute, into which she easily falls, she is very warm, and yet scarce ever in the wrong; her judgment on every subject is as just as possible; on every point of conduct as wrong as possible; for she is all love and hatred, passionate for her friends to enthusiasm, still anxious to be loved—I don't mean by lovers—and a vehement enemy openly."
The acquaintance thus begun quickly drilled into an intimacy. Friendship she calls this absorbing sentiment, but it has all the caprices and inconsistencies of love. Fed by the imagination, and prevented by separation from wearing itself out, it became the most permanent interest of her life. There is something curiously pathetic in the submissive attitude of this blind, aged, but spirited woman—who scoffs at sentiment and confesses that she could never love anything—towards the man who criticizes her, scolds her, crushes back her too ardent feeling, yet calls her his dear old friend, writes her a weekly letter, and modestly declares that she "loves him better than all France together."
The spirit of this correspondence greatly modifies the impression which her own words, as well as the facts of her career, would naturally give us. We find in the letters of this period little of the freshness and spontaneity that lent such a charm to the letters of Mme. de Sevigne and her contemporaries. Women still write of the incidents of their lives, the people they meet, their jealousies, their rivalries, their loves, and their follies; but they think, where they formerly mirrored the world about them. They analyze, they compare, the criticize, they formulate their own emotions, they add opinions to facts. The gaiety, the sparkle, the wit, the play of feeling, is not there. Occasionally there is the tone of passion, as in the letters of Mlle. Aisse and Mlle. de Lespinasse, but this is rare. Even passion has grown sophisticated and deals with phrases. There is more or less artificiality in the exchange of written thoughts. Mme. du Deffand thinks while she writes, and what she sees takes always the color of her own intelligence. She complains of her inability to catch the elusive quality, the clearness, the flexibility of Mme. de Sevigne, whom she longs to rival because Walpole so admires her. But if she lacks the vivacity, the simplicity, the poetic grace of her model, she has qualities not less striking, though less lovable. Her keen insight is unfailing. With masterly penetration she grasps the essence of things. No one has portrayed so concisely and so vividly the men and women of her time. No one has discriminated between the shades of character with such nicety. No one has so clearly fathomed the underlying motives of action. No one has forecast the outcome of theories and events with such prophetic vision. The note of bitterness and cynicism is always there. The nature of the woman reveals itself in every line: keen, dry, critical, with clear ideals which she can never hope to attain. But we feel that she has stripped off the rags of pretension and brought us face to face with realities. "All that I can do is to love you with all my heart, as I have done for about fifty years," wrote Voltaire. "How could I fail to love you? Your soul seeks always the true; it is a quality as rare as truth itself." So far does she carry her hatred of insincerity that one is often tempted to believe she affects a freedom from affectation. "I am so fatigued with the vanity of others that I avoid the occasion of having any myself," she writes. Is there not here a trace of the quality she so despises?
But beneath all this runs the swift undercurrent of an absorbing passion. A passion of friendship it may be, but it forces itself through the arid shells of conventionalism; it is at once the agony and the consolation of a despairing soul. Heartless, Mme. du Deffand is called, and her life seems to prove the truth of the verdict; but these letters throb and palpitate with feeling which she laughs at, but cannot still. It is the cry of the soul for what it has not; what the world cannot give; what it has somehow missed out of a cold, hard, restless, and superficial existence. With a need of loving, she is satisfied with no one. There is something wanting; even in the affection of her friends. "Ma grand'maman," she says to the gentle Duchesse de Choiseul, "you KNOW that you love me, but you do not FEEL it."
Devouring herself in solitude, she despises the society she cannot do without. "Men and women appear to me puppets who go, come, talk, laugh, without thinking, without reflecting, without feeling," she writes. She confesses that she has a thousand troubles in assembling a choice company of people who bore her to death. "One sees only masks, one hears only lies," is her constant refrain. She does not want to live, but is afraid to die; she says she is not made for this world, but does not know that there is any other. She tries devotion, but has no taste for it. Of the light that shines from within upon so many darkened and weary souls she has no knowledge. Her vision is bounded by the tangible, which offers only a rigid barrier, against which her life flutters itself away. She dies as she has lived, with a deepened conviction of the nothingness of existence. "Spare me three things," she said to her confessor in her last moments; "let me have no questions, no reasons, and no sermons." Seeing Wiart, her faithful servitor, in tears, she remarks pathetically, as if surprised, "You love me then?" "Divert yourself as much as you can," was her final message to Walpole. "You will regret me, because one is very glad to know that one is loved." She commends to his care and affection Tonton, her little dog.
Strong but not gentle, brilliant but not tender, too penetrating for any illusions, with a nature forever at war with itself, its surroundings, and its limitations, no one better points the moral of an age without faith, without ideals, without the inner light that reveals to hope what is denied to sense.
The influence of such a woman with her gifts, her energy, her power, and her social prestige, can hardly be estimated. It was not in the direction of the new drift of thought. "I am not a fanatic as to liberty," she said; "I believe it is an error to pretend that it exists in a democracy. One has a thousand tyrants in place of one." She had no breadth of sympathy, and her interests were largely personal; but in matters of style and form her taste was unerring. Pitiless in her criticisms, she held firmly to her ideals of clear, elegant, and concise expression, both in literature and in conversation. She tolerated no latitudes, no pretension, and left behind her the traditions of a society that blended, more perfectly, perhaps, than any other of her time, the best intellectual life with courtly manners and a strict observance of les convenances.
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
Inseparably connected with the name of Mme. du Deffand is that of her companion and rival, Mlle. de Lespinasse, the gifted, charming, tender and loving woman who presided over one of the most noted of the philosophical salons; who was the chosen friend and confidante of the Encyclopedists; and who died in her prime of a broken heart, leaving the world a legacy of letters that rival those of Heloise or the poems of Sappho, as "immortal pictures of passion." The memory of her social triumphs, remarkable as they were, pales before the singular romances of her life. In the midst of a cold, critical, and heartless society, that adored talent and ridiculed sentiment, she became the victim of a passion so profound, so ardent, so hopeless, that her powerful intellect bent before it like a reed before a storm. She died of that unsuspected passion, and years afterwards these letters found the light and told the tale.
The contrast between the two women so closely linked together is complete. Mme. du Deffand belonged to the age of Voltaire by every fiber of her hard and cynical nature. What she called love was a fire of the intellect which consumed without warming. It was a violent and fierce prejudice in favor of those who reflected something of herself. The tenderness of self-sacrifice was not there. Mlle. de Lespinasse was of the later era of Rousseau; the era of exaggerated feeling, of emotional delirium, of romantic dreams; the era whose heroine was the loving and sentimental "Julie," for whose portrait she might have sat, with a shade or so less of intellect and brilliancy. But it was more than a romantic dream that shadowed and shortened the life of Mlle. de Lespinasse. She had a veritable heart of flame, that consumed not only itself but its frail tenement as well.
Julie-Jeanne-Eleonore de Lespinasse, who was born at Lyons in 1732, had a birthright of sorrow. Her mother, the Comtesse d'Albon, could not acknowledge this fugitive and nameless daughter, but after the death of her husband she received her on an inferior footing, had her carefully educated, and secretly gave her love and care. Left alone and without resources at fifteen, Julie was taken, as governess and companion, into the family of a sister who was the wife of Mme. du Deffand's brother. Here the marquise met her on one of her visits and heard the story of her sorrows. Tearful, sad, and worn out by humiliations, the young girl had decided to enter a convent. "There is no misfortune that I have not experienced," she wrote to Guibert many years afterwards. "Some day, my friend, I will relate to you things not to be found in the romances of Prevost nor of Richardson... I ought naturally to devote myself to hating; I have well fulfilled my destiny; I have loved much and hated very little. Mon Dieu, my friend, I am a hundred years old." Mme. du Deffand was struck with her talent and a certain indefinable fascination of manner which afterwards became so potent. "You have gaiety," she wrote to her, "you are capable of sentiment; with these qualities you will be charming so long as you are natural and without pretension." After a negotiation of some months, Mlle. de Lespinasse went to Paris to live with her new friend. The history of this affair has been already related.
Parisian society was divided into two factions on the merits of the quarrel—those who censured the ingratitude of the younger woman, and those who accused the marquise of cruelty and injustice. But many of the oldest friends of the latter aided her rival. The Marechale de Luxembourg furnished her apartments in the Rue de Belle-Chasse. The Duc de Choiseul procured her a pension, and Mme. Geoffrin gave her an annuity. She carried with her a strong following of eminent men from the salon of Mme. du Deffand, among whom was d'Alembert, who remained faithful and devoted to the end. It is said that President Henault even offered to marry her, but how, under these circumstances, he managed to continue in the good graces of his lifelong friend, the unforgiving marquise, does not appear. A letter which he wrote to Mlle. de Lespinasse throws a direct light upon her character, after making due allowance for the exaggeration of French gallantry.
"You are cosmopolitan; you adapt yourself to all situations. The world pleases you; you love solitude. Society amuses you, but it does not seduce you. Your heart does not give itself easily. Strong passions are necessary to you, and it is better so, for they will not return often. Nature, in placing you in an ordinary position, has given you something to relieve it. Your soul is noble and elevated, and you will never remain in a crowd. It is the same with your person. It is distinguished and attracts attention, without being beautiful. There is something piquante about you... You have two things which do not often go together: you are sweet and strong; your gaiety adorns you and relaxes your nerves, which are too tense... You are extremely refined; you have divined the world."
The age of portraits was not quite passed, and the privilege of seeing one's self in the eyes of one's friends was still accorded, a fact to which we owe many striking if sometimes rather highly colored pictures. A few words from d'Alembert are of twofold interest. He writes some years later:
"The regard one has for you does not depend alone upon your external charms; it depends, above all, upon your intellect and your character. That which distinguishes you in society is the art of saying to every one the fitting word and that art is very simple with you; it consists in never speaking of yourself to others, and much of themselves. It is an infallible means of pleasing; thus you please every one, though it happens that all the world pleases you; you know even how to avoid repelling those who are least agreeable."
This epitome of the art of pleasing may be commended for its wisdom, aside from the very delightful picture it gives of an amiable and attractive woman. Again he writes:
"The excellence of your tone would not be a distinction for one reared in a court, and speaking only the language she has learned. In you it is a merit very real and very rare. You have brought it from the seclusion of a province, where you met no one who could teach you. You were, in this regard, as perfect the day after your arrival at Paris as you are today. You found yourself, from the first, as free, as little out of place in the most brilliant and most critical society as if you had passed your life there; you have felt its usages before knowing them, which implies a justness and fineness of tact very unusual, an exquisite knowledge of les convenances."
It was her innate tact and social instinct, combined with rare gifts of intellect and great conversational charm, that gave this woman without name, beauty, or fortune so exceptional a position, and her salon so distinguished a place among the brilliant centers of Paris. As she was not rich and could not give costly dinners, she saw her friends daily from five to nine, in the interval between other engagements. This society was her chief interest, and she rarely went out. "If she made an exception to this rule, all Paris was apprised of it in advance," says Grimm. The most illustrious men of the State, the Church, the Court, and the Army, as well as celebrated foreigners and men of letters, were sure to be found there. "Nowhere was conversation more lively, more brilliant, or better regulated," writes Marmontel.. . "It was not with fashionable nonsense and vanity that every day during four hours, without languor or pause, she knew how to make herself interesting to a circle of sensible people." Caraccioli went from her salon one evening to sup with Mme. du Deffand. "He was intoxicated with all the fine works he had heard read there," writes the latter. "There was a eulogy of one named Fontaine by M. de Condorcet. There were translations of Theocritus; tales, fables by I know not whom. And then some eulogies of Helvetius, an extreme admiration of the esprit and the talents of the age; in fine, enough to make one stop the ears. All these judgments false and in the worst taste." A hint of the rivalry between the former friends is given in a letter from Horace Walpole. "There is at Paris," he writes, "a Mlle. de Lespinasse, a pretended bel esprit, who was formerly a humble companion of Mme. du Deffand, and betrayed her and used her very ill. I beg of you not to let any one carry you thither. I dwell upon this because she has some enemies so spiteful as to try to carry off all the English to Mlle. de Lespinasse."
But this "pretended bel esprit" had socially the touch of genius. Her ardent, impulsive nature lent to her conversation a rare eloquence that inspired her listeners, though she never drifted into monologue, and understood the value of discreet silence. "She rendered the marble sensible, and made matter talk," said Guibert. Versatile and suggestive herself, she knew how to draw out the best thoughts of others. Her swift insight caught the weak points of her friends, and her gracious adaptation had all the fascination of a subtle flattery. Sad as her experience had been, she had nevertheless been drawn into the world most congenial to her tastes. "Ah, how I dislike not to love that which is excellent," she wrote later. "How difficult I have become! But is it my fault? Consider the education I have received with Mme. du Deffand. President Henault, Abbe Bon, the Archbishop of Toulouse, the Archbishop of Aix, Turgot, d'Alembert, Abbe de Boismont—these are the men who have taught me to speak, to think, and who have deigned to count me for something."
It was men like these who thronged her own salon, together with such women as the Duchesse d'Anville, friend of the economists, the Duchesse de Chatillon whom she loved so passionately, and others well-known in the world of fashion and letters. But its tone was more philosophical than that of Mme. du Deffand. Though far from democratic by taste or temperament, she was so from conviction. The griefs and humiliations of her life had left her peculiarly open to the new social and political theories which were agitating France. She liked free discussion, and her own large intelligence, added to her talent for calling out and giving point to the ideas of others, went far towards making the cosmopolitan circle over which she presided one of the most potent forces of the time. Her influence may be traced in the work of the encyclopedists, in which she was associated, and which she did more than any other woman to aid and encourage. As a power in the making of reputations and in the election of members to the Academy she shared with Mme. Geoffrin the honor of being a legitimate successor of Mme. de Lambert. Chastellux owed his admission largely to her, and on her deathbed she secured that of La Harpe.
But the side of her character which strikes us most forcibly at this distance of time is the emotional. The personal charm which is always so large a factor in social success is of too subtle a quality to be caught in words. The most vivid portrait leaves a divine something to be supplied by the imagination, and the fascination of eloquence is gone with the flash of the eye, the modulation of the voice, or some fleeting grace of manner. But passion writes itself out in indelible characters, especially when it is a rare and spontaneous overflow from the heart of a man or woman of genius, whose emotions readily crystallize into form.
Her friendship for d'Alembert, loyal and devoted as it was, seems to have been without illusions. It is true she had cast aside every other consideration to nurse him through a dangerous illness, and as soon as he was able to be removed, he had taken an apartment in the house where she lived, which he retained until her death. But he was not rich, and marriage was not to be thought of. On this point we have his own testimony. "The one to whom they marry me in the gazettes is indeed a person respectable in character, and fitted by the sweetness and charm of her society to render a husband happy," he writes to Voltaire; "but she is worthy of an establishment better than mine, and there is between us neither marriage nor love, but mutual esteem, and all the sweetness of friendship. I live actually in the same house with her, where there are besides ten other tenants; this is what has given rise to the rumor." His devotion through so many years, and his profound grief at her loss, as well as his subsequent words, leave some doubt as to the tranquillity of his heart, but the sentiments of Mlle. de Lespinasse seem never to have passed the calm measure of an exalted and sympathetic friendship. It was remarked that he lost much of his prestige, and that his society which had been so brilliant, became infinitely more miscellaneous and infinitely less agreeable after the death of the friend whose tact and finesse had so well served his ambition.
Not long after leaving Mme. du Deffand she met the Marquis de Mora, a son of the Spanish ambassador, who became a constant habitue of her salon. Of distinguished family and large fortune, brilliant, courtly, popular, and only twenty-four, he captivated at once the fiery heart of this attractive woman of thirty-five. It seems to have been a mutual passion, as during one brief absence of ten days he wrote her twenty-two letters. But his family became alarmed and made his delicate health a pretext for recalling him to Spain. Her grief at the separation enlisted the sympathy of d'Alembert. At her request he procured from his physician a statement that the climate of Madrid would prove fatal to M. de Mora, whose health had steadily failed since his return home, and that if his friends wished to save him they must lose no time in sending him back to Paris. The young man was permitted to leave at once, but he died en route at Bordeaux.
In the meantime Mlle. de Lespinasse, sad and inconsolable, had met M. Guibert, a man of great versatility and many accomplishments, whose genius seems to have borne no adequate fruit. We hear of him later through the passing enthusiasm of Mme. de Stael, who in her youth, made a pen-portrait of him, sufficiently flattering to account in some degree for the singular passion of which he became the object. Mlle. de Lespinasse was forty. He was twenty-nine, had competed for the Academie Francaise, written a work on military science, also a national tragedy which was still unpublished. She was dazzled by his brilliancy, and when she fathomed his shallow nature, as she finally did, it was too late to disentangle her heart. He was a man of gallantry, and was flattered by the preference of a woman much in vogue, who had powerful friends, influence at the Academy, and the ability to advance his interest in many ways. He clearly condescended to be loved, but his own professions have little of the true ring.
Distracted by this new passion on one side, and by remorse for her disloyalty to the old one, on the other, the health of Mlle. de Lespinasse, naturally delicate and already undermined, began to succumb to the hidden struggle. The death of M. de Mora solved one problem; the other remained. Mr. Guibert wished to advance his fortune by a brilliant marriage without losing the friend who might still be of service to him. She sat in judgment upon her own fate, counseled him, aided him in his choice, even praised the woman who became his wife, hoping still, perhaps, for some repose in that exaltation of friendship which is often the last consolation of passionate souls. But she was on a path that led to no haven of peace. There was only a blank wall before her, and the lightning impulses of her own heart were forced back to shatter her frail life. The world was ignorant of this fresh experience; and, believing her crushed by the death of M. de Mora, sympathized with her sorrow and praised her fidelity. She tried to sustain a double role—smiles and gaiety for her friends, tears and agony for the long hours of solitude. The tension was too much for her. She died shortly afterwards at the age of forty-three. "If to think, to love, and to suffer is that which constitutes life, she lived in these few years many ages," said one who knew her well.
It was not until many years later, when those most interested were gone, that the letters to Guibert, which form her chief title to fame, were collected, and, curiously enough, by his widow. Then for the first time the true drama of her life was unveiled. It is impossible in a few extracts to convey an adequate idea of the passion and devotion that runs through these letters. They touch the entire gamut of emotion, from the tender melancholy of a lonely soul, the inexpressible sweetness of self-forgetful love, to the tragic notes or agony and despair. There are many brilliant passages in them, many flashes of profound thought, many vivid traits of the people about her; but they are, before all, the record of a soul that is rapidly burning out its casket.
"I prefer my misery to all that the world calls happiness or pleasure," she writes. "I shall die of it, perhaps, but that is better than never to have lived."
"I have no more the strength to love," she says again; "my soul fatigues me, torments me; I am no more sustained by anything. I have every day a fever; and my physician, who is not the most skillful of men, repeats to me without ceasing that I am consumed by chagrin, that my pulse, my respiration, announce an active grief, and he always goes out saying, 'We have no cure for the soul.'"
"Adieu, my friend," were her last words to him. "If I ever return to life I shall still love to employ it in loving you; but there is no more time."
One could almost wish that these letters had never come to light. A single grand passion has always a strong hold upon the imagination and the sympathies, but two passions contending for the mastery verge upon something quite the reverse of heroic. The note of heart-breaking despair is tragic enough, but there is a touch of comedy behind it. Though her words have the fire, the devotion, the abandon of Heloise, they leave a certain sense of disproportion. One is inclined to wonder if they do not overtop the feeling.
D'Alembert was her truest mourner, and fell into a profound melancholy after her death. "Yes," he said to Marmontel, "she was changed, but I was not; she no longer lived for me, but I ever lived for her. Since she is no more, I know not why I exist. Ah! Why have I not still to suffer those moments of bitterness that she knew so well how to sweeten and make me forget? Do you remember the happy evenings we passed together? Now what have I left? I return home, and instead of herself I find only her shade. This lodging at the Louvre is itself a tomb, which I never enter but with horror." To this "shade" he wrote two expressive and well-considered eulogies, which paint in pathetic words the perfections of his friend and his own desolation. "Adieu, adieu, my dear Julie," says the heartbroken philosopher; "for these eyes which I should like to close forever fill with tears in tracing these last lines, and I see no more the paper on which I write." His grief called out a sympathetic letter from Frederick the Great which shows the philosophic warrior and king in a new light. There is a touch of bitter irony in the inflated eulogy of Guibert, who gave the too-loving woman a death blow in furthering his ambition, then exhausted his vocabulary in laments and praises. Perhaps he hoped to borrow from this friendship a fresh ray of immortality.
Whatever we may think of the strange inconsistencies of Mlle. de Lespinasse, she is doubly interesting to us as a type that contrasts strongly with that of her age. Her exquisite tact, her brilliant intellect, her conversational gifts, her personal charm made her the idol of the world in which she lived. Her influence was courted, her salon was the resort of the most distinguished men of the century, and while she loved to discuss the great social problems which her friends were trying to solve, she forgot none of the graces. With the intellectual strength and grasp of a man, she preserved always the taste, the delicacy, the tenderness of a woman. Her faults were those of a strong nature. Her thoughts were clear and penetrating, her expression was lively and impassioned. But in her emotional power she reached the proportion of genius. With "the most ardent soul, the liveliest fancy, the most inflammable imagination that has existed since Sappho," she represents the embodied spirit of tragedy outlined against the cold, hard background of a skeptical, mocking, realistic age. "I love in order to live," she said, "and I live to love." This is the key-note of her life.