La Grande Mademoiselle

At that time the duel was not attended by ceremonies; it was a hand-to-hand encounter between barbarians. The contestants fought with any weapons that came to hand, and in the way most convenient to their needs. All means were considered proper for the killing of men, though it was generally conceded that for killing well the different means were, or might be made, more or less courteous. This being the case, the duel was in more or less good or bad taste, according to the means used in its execution, and according to the regularity, or the lack of regularity, employed in their use.

In 1612, Balagny and Puymorin alighted from their horses and drew swords in the rue des Petits Champs. While they were fighting, a valet took a pitchfork and planted it in Balagny from the back. Balagny died of the wound inflicted by the valet, and Puymorin also died; he had been wounded when the valet interfered. Still another lackey killed Villepreau in the duel between Beaupré and Villepreau. That duel also was fought in the street (rue Saint Honoré.) When young Louvigny45 fought with d'Hocquincourt, he said: "Let us take our swords!" As the other bent to comply with the suggestion, Louvigny gave a great sword-thrust, which, running his adversary through and through, put him to death. Tallemant des Reaux qualified the act as "appalling," but it bore no consequences for Louvigny.

Maréchal de Marillac (who was beheaded in 1632) killed his adversary before the latter had time to draw his sword. We should have called it an assassination, but our forefathers saw no harm in such duelling. They reserved their criticisms for the timidly peaceable who objected to a fight.

The salon, with its ultra-refinement and its delicacy, followed close upon the heels of these remnants of barbarity. The salon gave form to the civility which forbade a man to pierce the fleshy part of the back of an adversary with a pitchfork. Polite courtesy also restrained gentlemen from forcing ladies to swallow all uncleanness under the pretence of indulging in a merry jest. As good manners make for morality, let us thank the Précieuses for the reform they accomplished when they moulded men for courteous intercourse with their fellow-men; and to Madame de Rambouillet, among others, let thanks be given, for she made the achievement possible by opening the way and beginning at the beginning. Womanly tact, a decorous keeping of her house, love of order and of beauty inspired her with the thought that the arrangements made in the old hotels of Paris for the people of ancient days were not fitted for the use of the enlightened age of the Précieuses. There were no salons in the old hotels; the salon was unknown; therefore there was no room in which to frame the society then in formation. Tallemant tells us that the only houses known at that time were built with a hall upon one side, a room upon the other side, and a staircase in the middle. The salle was a parade-room, a place to pass through, a corridor where no one lingered. People received visitors in the room in which they happened to be when the visitors arrived; at different times they happened to be in different rooms. Very naturally at eating-time they were in rooms where they could sit at meat. There were no rooms devoted to the daily meals. The table on which viands were served was placed in any room large enough to contain the number of persons who were to be entertained. If there were few guests, the table was placed in a small room; when the guests were numerous, they were seated in a large room, or the table, ready served, was carried into any room large enough to hold the company. It was all a matter of chance. Banquets were given in the corridor, in the salle, in the ante-room, or in the sleeping-room,46 because literary intuition was undeveloped. Madame de Rambouillet was the first to realise that the spirit of conversation is too rare and too delicate a plant to thrive under unfavourable conditions, and that in order to establish conversational groups, a place must be provided in which they who favour conversation may talk at ease. Every one recognises that fact now, and every one ought to recognise it. No one – man or woman – is justified in ignoring the influences of the localities that he or she frequents. It should be generally known that sympathies will not group, that the current of thought will not flow freely when a table is unfavourably placed for the seating of society expected to converse.

Three hundred years ago the creator of the first French salon discovered this fact, and her discovery marked a date in the history of our social life.

Mme. de Rambouillet owned a dilapidated mansion standing between the Tuileries and the courtyard of the Louvre, near the site of the now existing Pavillon de Rohan.47 She had determined to rebuild the house, and no one could draw a plan suited to her ideas. Her mind was incessantly busy with her architectural scheme, and one evening when she had been sitting alone deep in meditation she cried out! "Quick! A pencil! paper! I have found a way to build my house."48 She drew her plan at once, and the arrangement was so superior to all known architectural designs that houses were built according to "the plans of Mme. de Rambouillet all over France." Tallemant says:

They learned from Mme. de Rambouillet how to place stairways at the sides of houses so that they might form great suites of rooms49 and they also learned from her how to raise floors and to make high and broad windows, placed one opposite another so that the air might circulate with freedom; this is all so true that when the Queen-mother ordered the rebuilding of the Luxembourg she sent the architects to glean ideas from the Hôtel de Rambouillet.

Until that time the interiors of houses had been painted red or tan colour. Mme. de Rambouillet was the first to adopt another colour and her innovation gave the "Blue Room" its name. The famous Blue Room in which the seventeenth century acquired the even and correct tone of conversation was disposed with a skilful and scientific tact which has survived the rack of three hundred years of changes, and to-day it stands as the perfect type of a temple fully adequate to the exigencies of intellectual intercourse.

In it all spaces were measured and the seats were systematically counted and distributed to the best advantage; there were eighteen seats; neither more nor less. Screens shut off certain portions of the room and facilitated the formation of intimately confidential groups; flowers perfumed the air; objects of art caressed the vision, and, taken all together, so perceptible a spirit of the sanctuary enshrining thought was present that the habitués of the Salon de Rambouillet always spoke of it as "the Temple." Even La Grande Mademoiselle, the irrepressible, felt the subtle influences of that calm retreat of the mind, and when she entered the Blue Room she repressed her Cossack gestures and choked back her imprecations. She knew that she could not evade the restraining influence of the hushed tranquillity which pervaded "the Temple," and she drooped her sparkling eyes, and accepted her discipline with the universally prevalent docility. In her own words, Mme. de Rambouillet was "adorable."

I think [wrote Mademoiselle in 1659], that I can see her now in that shadowy recess, – which the sun never entered, though the place was never left in darkness, – surrounded by great crystal vases full of beautiful spring flowers which were made to bloom at all seasons in the gardens near her temple, so that she might look upon the things that she loved. Around her were the pictures of her friends, and the looks that she gave them called down blessings on the absent. There were many books on the tables in her grotto and, as one may imagine, they treated of nothing common. Only two, or at most three persons were permitted to enter that place at the same time, because confusion displeased her and noise was adverse to the goddess whose voice was loud only in wrath. Our goddess was never angry. She was gentleness itself.

According to the inscription on a stone preserved in the Musée Cluny the Hôtel de Rambouillet was rebuilt in 1618. The mistress of the house consumed ten industriously filled years constituting, installing, and habituating the intellectual groups of her salon; but when she had perfected her arrangements she maintained them in their splendour until the Fronde put an end to all intellectual effort.

When the Hôtel de Rambouillet was in its apogee La Grande Mademoiselle was in the flush of early youth. She was born in 1627. Mme. de Sévigné was Mademoiselle's elder by one year.

When we consider the social and intellectual condition of the times we must regard many features of the enterprise of "fair Arthénice" as wonderful, but its most characteristic feature was the opportunity and the advancement it accorded to men of letters. Whatever "literary" men were elsewhere, they were received as the equals of the nobility in the Salon de Rambouillet. Such a sight had never been seen! Superior minds had always been regarded leniently. They had had their periods of usefulness, when the quality had been forced to recognise their existence, but the possessors of those minds had been treated – well, to speak clearly, they had been treated as they had expected to be treated; for how could the poor fellows have hoped for anything better when they knew that they passed two thirds of their time with spines humbly curved and with palms outstretched soliciting equivocal complaisancies, or inviting écus, or struggling to secure a seat at the lower end of dinner tables by means of heartrending dedications?

Alack! how many Sarrazins and Costars there were to one Balzac, or to one d'Urfé! how numerous were the natural parasites, piteous leeches! whose wit went begging for a discarded bone! How many were condemned by their vocation to die of hunger; – and there was no help for them! Had their talent been ten times greater than it was it would have been equally impossible for them to introduce dignity into their existence. There were no journals, no reviews where an author could present his stuff or his stories for inspection; no one had ever heard of authors' rights; and however successful a play, the end of the dramatist was the same; he was allowed no literary property. How then could he live if not by crooked ways and doubtful means? If a certain amount of respect, not to say honour, were due to his profession, by what means could he acquire his share of it? Any yeoman – the first country squire – could, when so it pleased him, have a play stricken from the roll; if so it pleased him could have the rod laid over the author's back, amidst the plaudits of the contingent which we should call the claque. Was it any wonder that authors were pedants to the marrow of their bones when pedantry was the only paying thing in their profession? Writers who chanted their own praises did good unto themselves and enjoyed the reputation of the erudite. They were regarded as professors of mentality, they reflected credit upon the men who lodged and nourished them. For that reason, – and very logically, – when a man knew that he was being lodged and nourished for the sake of his bel esprit if there was any manhood in him he entered heart and soul into his pretensions; and sleeping or waking, night or day, from head to foot, and without one hour of respite, played the part of "man of letters"; he mouthed his words, went about with brows knit, talked from his chest, and, in short, did everything to prove to the world that he was wise beyond his generation; his every effort was bent to manifest his ability; and his manners, his costumes, and his looks, all proved him to be a student of books. And when this was proven his master – the man who lodged and nourished him – was able to get his full money's worth and to stand up before the world revealed in the character of benefactor and protector of Belles Lettres. In our day things wear a different aspect. The author has reached his pinnacle, and in some cases it may even be possible that his merits are exaggerated.

Knowing this, it is difficult for us to appreciate the conditions existing when the Salon of the Hôtel de Rambouillet was opened. We know that there is nothing essentially admirable in putting black marks on white paper, and we know that a good shoemaker is a more useful citizen than can be made of an inferior writer, and knowing these facts, and others of the same sort, we can hardly realise that only three hundred years ago there were honest boys who entered upon the career of Letters when they might have earned a living selling tallow.

The Hôtel de Rambouillet regulated the scale of social values and diminished the distance between the position accorded to science, intellect, and genius and the position accorded to birth. For the first time within the memory of Frenchmen Men of Letters tasted the sweets of consideration; their eloquence was not forced back, nor was it drawn out by the imperious demands of hunger; authors were placed on a footing with their fellow-men; they were still expected to discourse, but as their wit was the result of normal conditions, it acquired the quality of order and the flavour of nature. In the Blue Room the weary writers were allowed to rest. They were not called upon to give proofs of their intellect; they were led gently forward, placed at a distance that made them appear genial, persuaded to discard their dogmatism, and by inferences and subtle influences taught to be indulgent and to distribute their wisdom with the philosophical civility which was then called "the spirit of the Court," – and the term was a just one; a great gulf lay between the incisive rushing expression of the thought of Condé, the pupil of Mme. de Rambouillet, and the laboured facitiæ of Voiture and the Academician, Jacques Esprit, although Voiture and Esprit were far in advance of their predecessors. Under the beneficent treatment of the Hôtel de Rambouillet the Men of Letters gradually lost their stilted and pedagogic airs. The fair reformers of "the circle" found many a barrier in their path; the gratitude of the pedants was not exhilarating, the leopards' spots long retained their colour, – Trissotin proved that, – but by force of repeated "dippings" the dye was eventually compelled to take and the stains that it left upon the fingers of "fair Arthénice" were not disfiguring.

A glance at Racine or at Boileau shows us the long road traversed after the Salon de Rambouillet instituted the recognition of merit regardless of rank and fortune. Love of intellectual pleasures, courage, and ambitious determination had ordered a march resumed after forced halts; and at last, when the ardent innovators reached the port from which they were to launch their endeavour, recognition of merit had become a custom, and the first phase of democratic evolution was an accomplished fact. Our own day shows further progress; the same evolution in its untrammelled freedom tends to cast suspicion upon personal merit because it unhinges the idea of equality.

"All Paris" of that day filed through the portals of the Hôtel de Rambouillet and passed in review before the Blue Room. Malherbe was one of the most faithful attendants of the Salon whose Laureate he remained until he died (1628). Yet according to Tallemant and to many others he was boorish and uncivil. He was abrupt in conversation, but he wrote excellent poetry and never said a word that did not reach its mark. When he visited the Salon he was very amiable; and his grey beard made him a creditable dean for the circle of literary companions. He wrote pretty verses in honour of Arthénice, he was diverting and instructive – in a word, he made himself necessary to the Salon. But he was too old to change either his character or his appearance, and his attempts to conform to the fashions of the hour made him ridiculous. He was "a toothless gallant, always spitting."

He had been in the pay of M. de Bellegarde, from whom he had received a salary of one thousand livres, table and lodging, and board and lodging for one lackey and one horse. He drew an income from a pension of five hundred écus granted by Marie de Médicis; he was in possession of numerous gratuities, perquisites, and "other species of gifts" which he had secretly begged by the sweat of his brow. Huet, Archbishop of Avranche, wrote: "Malherbe is trying his best to increase his fortunes, and his poetry, noble though it be, is not always nobly employed." M. d'Yveteaux said that Malherbe "demanded alms sonnet in hand." The greedy poet had one rival at the Hôtel de Rambouillet; a very brilliant Italian addicted to flattery, whom all the ladies loved. Women were infatuated by him, as they are always infatuated by any foreign author – be he good or bad! Marini – in Paris they called him "Marin" – conversed in long sentences joined by antitheses. In his hours of relaxation when his thoughts were supposed to be in literary undress, he called the rose "the eye of the springtide."50 At the time of which I now speak he was labouring upon a poem of forty-five thousand verses, entitled Adonis. Every word written or uttered by him was calculated to produce its effect. "The Circle," to the disgust of Malherbe, lay at the feet of the Italian pedant, swooning with ecstasy. "Marin's" influence over the first Salon of France was deplorable, and a contemporary chronicler recorded his progress with evident dejection51; "In time he relieved the country of his presence; but he had remained in it long enough to deposit in fruitful soil the germs of his factitious preciosity."

Chapelain was of other metal. He began active life as a teacher. M. de Longueville, who was the first to appreciate his merits, granted him his first pension (two thousand livres). Chapelain was fond of his work, a natural writer, industrious, and frugal. He went into retirement, lived upon his little pension, and brought forth La Pucelle. De Longueville was delighted by the zeal and the talent of his protégé and he added one thousand livres to his pension. Richelieu also granted Chapelain a pension (one thousand livres) and when Mazarin came to power he supplemented the gift of his predecessor by a pension of five hundred écus.

It was not a common thing for authors to make favourable arrangements with a publisher, but Chapelain had made excellent terms for that epoch. La Pucelle had sold for three thousand livres. He (Chapelain) was in easy circumstances, but his unique appearance excited unique criticisms. He was described as "one of the shabbiest, dirtiest, most shambling, and rumpled of gallows-birds, and one of the most affectedly literary characters from head to heels who ever set foot in the Blue Room." It was said he was "a complete caricature of his idea." Though Mme. de Rambouillet was accustomed to the aspect of Men of Letters, she was struck dumb when Chapelain first appeared. As his mind was not visible, she saw nothing but an ugly little man in a pigeon-breast satin habit of antique date, covered with different kinds of ill-assorted gimp. His boots were not matched (each being eccentric in its own peculiar way). On his head was an old wig and over the wig hovered a faded hat. Mme. de Rambouillet regained her self-command and decided to close her eyes to his exterior. His conversation pleased her, and before he had left her presence he had impressed her favourably. In truth Chapelain merited respect and friendship. He was full of delicacy of feeling, extremely erudite, and impassioned in his love for things of the mind. His keen, refined, critical instinct had made him an authority on all subjects. His correspondence covered all the literary and learned centres of Europe, and he was consulted as an oracle by the savants of all countries. He was interested in everything. His mind was singularly broad, modest, frank, and open to conviction; and while his nature was essentially French, his mental curiosity, with its innumerable outstretching and receptive channels, made him a representative of cosmopolitan enlightenment.

Chapelain was one of the pillars of the Salon, – or, to speak better, he was the pendentive of the Salon's literary architecture. After a time repeated frequentation of the Salon amended his "exterior" to some extent. He changed his fanciful attire for the plain black costumes worn by Vadius and by Trissotin, but his transformation was accomplished invisibly, and during the transition period he did not cease to be shabby and of a suspiciously neglected aspect, even for one hour. "I believe," said Tallemant, "that Chapelain has never had anything absolutely new."

Ménage, another pillar of the Salon de Rambouillet, was one of the rare literary exceptions to the rule of the solid provincial bourgeoisie. He was the rara avis of his country, and not only a pedant but the pedant par excellence, the finished type of the "litterateur" who "sucks ink and bursts with pride at his achievement." He was always spreading his feathers and bristling like a turkeycock if he was not appreciated according to his estimate of himself. From him descended some of the "literary types" still in existence, who cross-question a man in regard to what he knows of their literary "work." No matter what people were talking about, Ménage would interrupt them with his patronising smile and "Do you remember what I said upon that subject?" he would ask. Naturally no one remembered anything that he had written, and when they confessed that they had forgotten he would cry out all sorts of piquancies and coarseness. Every one knew what he was. Molière used him as a model for Vadius, and the likeness was striking. He was dreaded, and people loved literature to madness and accepted all its excrescences before they consented to endure his presence. "I have seen him," said Tallemant, "in Mme. de Rambouillet's alcove cleaning the insides of his teeth with a very dirty handkerchief, and that was what he was doing during the whole visit." He considered his fine manners irresistible. He pursued Mme. de Rambouillet, bombarding her incessantly with declarations. A pernicious vanity was one of his chief failings. It was his habit to give people to understand that he was on intimate terms with women like Mme. de Lafayette and Mme. de Sévigné; but Mme. de Sévigné did not permit him to carry his boasts to Paradise. One day after she had heard of his reports she invited him to accompany her alone in her carriage. She told him that she was "not afraid that any one would gossip over it." Ménage, whose feelings were outraged by her contempt, burst into a flood of reproaches. "Get into my carriage at once!" she answered. "If you anger me I will visit you in your own house!"52

People tolerated Ménage because he was extraordinarily wise, and because his sense of justice impelled him to admirably generous deeds. The Ministers, Mazarin and Colbert, always sent to him for the names of the people who were worthy of recompence, and Ménage frequently nominated the men who had most offended him. Justice was his passion. Under the vulgar motley of the pedant lay many excellent qualities, among them intense devotion to friends. Throughout his life he rendered innumerable services and was kind and helpful to many people. Ménage had a certain amount of money, nevertheless he gave himself into the hands of Retz, and Retz lodged and nourished him as he lodged and nourished his own lackey. Ménage lived with Retz, berating him as he berated every one; and Retz cared for him, endured his fits of anger, and listened to his scoldings ten years. Ménage "drew handsome pecuniary benefits from some other source," saved money, set out for himself, and founded a branch Blue Room in his own house. His receptions, which were held weekly on Wednesday, were in high esteem. The people who had free access to good society considered it an honour to be named as his guests.

Quite another story was "little Voiture," a delicate pigmy who had "passed forty years of his life at death's door." He was an invalid even in early youth. When very young he wrote to Mme. de Rambouillet from Nancy:

Since I have not had the honour of seeing you, madame, I have endured ills which cannot be described. As I traversed Epernay I visited Marechal Strozzi for your sake, and his tomb appeared so magnificent, and the place so calculated to give repose, that as I was in such condition and so fit for burial, I longed to be laid beside him; but as they found that there was still some warmth in me, they made difficulties about acceding to my wishes. Then I resolved to have my body carried as far as Nancy, where, at last, madame, it has arrived, so meagre and so wasted, that I do assure you that there will be very little for them to lay in the ground.