International Weekly Miscellany of Literature, Art, and Science — Volume 1, No. 4, July 22, 1850. Various
his tragedies nor his epic poems. It is characteristic both of the court and of Voltaire that he eagerly pressed himself forward for admission to its favor, and sought to attract attention by a work which be himself called a piece of trash, and that the court extended its approbation and applause to this miserable and altogether inappropriate piece, ('La Princesse de Navarre,') which he composed on the occasion of the Dauphin's marriage with the Infanta of Spain, whilst it entirely neglected his masterpieces.
The Paris societies had got full possession of the field of literature, and erected their tribunals before the middle of the century, whilst at Versailles nothing was spoken or thought of except amusements and hunting, Jesuits and processions, and the grossest sensuality prevailed. The members of the Parisian societies were not a whit more moral or decent in their behavior than those about the court at Versailles, but they carried on open war against hypocrisy, and all that was praised and approved of by the court.
We shall now proceed to mention three or four of the most distinguished of those societies, which have obtained an historical importance, not merely for the French literature and mental and moral culture of the eighteenth century, but for Europe in general, without however restraining ourselves precisely within the limits of the half century. The minute accounts which Grimm has given, for the most part affect only the later periods; we turn our attention therefore the rather to what the weak, vain, talkative Marmontel has related to us on the subject in his 'Autobiography,' because Rousseau was by far too one-sided in his notices, and drew public attention to the most demoralized and degraded members of the circle only.
The first lady who must be mentioned, is Madame de Tencin. She belonged to the period within which we must confine ourselves, and she gained for herself such a name, not only in Paris, but in all Europe, that she was almost regarded as the creator of that new literature which stood in direct and bold opposition to the prevailing taste, inasmuch as she received at her house, entertained and cherished, those who were really its originators and supporters. This lady could not boast of the morality of her early years, nor of her respect even for common propriety. She is not only notorious for having exposed, when a child, the celebrated D'Alembert, who was her natural son, and for regarding with indifference his being brought up by the wife of a common glazier as her own son; but stories still worse than even these are told of her. She enriched herself, as many others did, in the time of Law's scheme, by no very creditable means; and fell under such a serious suspicion of having been privy to the death of one of those who had carried on an intrigue with her, that she was imprisoned and involved in a criminal prosecution, from which she escaped, not through her own innocence, but by means of the powerful influence of her distinguished relations and friends.
All this did not prevent Pope Benedict XIV., who, as Cardinal Lambertini, had been often at her house, as a member of the society of men of talents who met there, from carrying on a continual intercourse with her by letter; he also sent her his picture as a testimony of kind remembrance. This lady succeeded in procuring for her brother the dignity of a cardinal, and through him had great weight with Fleury, with the court, and with the city in general; she is also known as an authoress. As we are not writing a history of literature properly speaking, we pass by her novels in silence, with this remark only, that people are accustomed to place the 'Comte de Comminges,' written by Madame de Tencin, on the same footing with the 'Princess de Clêve,' by Madame de Lafayette.
The society in the house of Madame de Tencin consisted of well-known men of learning, and some younger men of distinguished name and family; she united, in later years, a certain amiability with her care for the entertainment and recreation of those whom she had once received into her house. This society, after the death of De Tencin, assembled in the house of Geoffrin. It appears, however, that Madame de Tencin, as well as the whole fashionable world to which she belonged, could never altogether disavow their contempt for science, if indeed it be true, that she was accustomed to call her society by the indecent by-name of her ménagerie. Fontenelle, Montesquieu, Mairan, Helvetius who was then quite young and present rather as a hearer than a speaker, Marivaux and Astruc, formed the nucleus of this clever society and led the conversation. Marmontel, who was not well suited to this society, in which more real knowledge and a deeper train of thought was called for than he possessed, informs us what the tone of this society was, and speaks of their hunting after lively conceits and brilliant flashes of wit, in a somewhat contemptuous manner. Marmontel, however, himself admits, that he was only once in the society, and that in order to read his 'Aristomenes,' and that greater simplicity and good humor prevailed there than in the house of Madame Geoffrin, in which he was properly at home.
Madame de Tencin's influence upon the new literature of the opposition party, or rather upon the spirit of the age, may be best judged of from the fact, that she largely contributed to the first preparation and favorable reception of Montesquieu's "Spirit of Laws." It is certain, at least, that she bought a large number of copies and distributed them amongst her friends. Madame Geoffrin went further; the society which had previously met at Madame de Tencin's, no sooner held their reunions in her house, than she drew together the whole literary and the fashionable world, foreign ministers, noblemen and princes who were on their travels, etc. Marmontel also says, that the aged Madame de Tencin had guessed quite correctly the intentions of Madame Geoffrin, when she said, that she merely came to her house so often in order to see what part of her inventory she could afterward make useful.
Madame Geoffrin became celebrated all over Europe, merely by devoting a portion of her income and of her time to the reception of clever society. She had neither the knowledge, the mind, nor the humility of Madame de Tencin, which the latter at least affected toward the close of her life; she was cold, egotistical, calculating, and brought into her circle nothing more than order, tact and female delicacy. Geoffrin also assumed the tone of high life, which always treats men of learning, poets and artists, as if they were mantua-makers or hair-dressers; and which must ever value social tact and the tone which is only to be acquired in good society, higher than all studies and arts upon which any one possessed of these properties is in a condition to pass judgment without having spent any time in their investigation. Marmontel is therefore honest enough to admit that he and his friends, as well as Madame Geoffrin herself, were accustomed to make a full parade when foreign princes, ministers, and celebrated men or women dined at the house. On such occasions especially, Madame Geoffrin displayed all the charms of her mind, and called to us, "now let us be agreeable."
Geoffrin's house was the first school of bon ton in Europe: Stanislaus Poniatowsky, even after he became King of Poland, addressed her by the tender name of mother, invited her to Warsaw, and received her as a personage of high distinction. All the German courts which followed the fashion, paid correspondents in order to be made acquainted with the trifles which occupied that circle. Catherine II. had no sooner mounted the throne than she began to pay a commissioner at this literary court, and even Maria Theresa distinguished Madame Geoffrin in a remarkable manner, on her return from Poland. Besides, we are made acquainted by Marmontel, who ranked his hostess among the gods of this earth, with the anxiety and cautiousness of this lady of the world, who afterward broke altogether with the chiefs of the new literature, and most humbly did homage to the old faith, because she had never wholly forsaken her old prejudices.
The able writers of the time were used by Geoffrin only as means to promote her objects, to gain a reputation for splendor, and to glorify France. The King of Prussia sought her society, in order to refresh and cheer his mind when he was worn out with the cares and toils of government.
Madame Geoffrin opened her house regularly on Mondays for artists, and on Wednesdays for men of learning; but as she neither understood the arts nor sciences, she took part in the conversation only so far as she could do so without exposing her weak side. She understood admirably how to attract the great men to her house, to whose houses she herself very seldom went; and as long as the appearance of fashionable infidelity and of scoffing, which was then the mode in the higher circles, was necessary to this object, she carefully concealed her real religious opinions.
The weak Marmontel, who, according to his own description, was only fitted for superficial conversation and writing, boasts of the prudence, foresight and skill of his protectress, and shows how she understood the way to gain the confidence of others without ever yielding her own. This distinguished art made the house of Madame