Books and Characters, French & English

An innate scepticism, a profound levity, an antipathy to enthusiasm that wavered between laughter and disgust, combined with an unswerving devotion to the exacting and arduous ideals of social intercourse—such were the characteristics of the brilliant group of men and women who had spent their youth at the Court of the Regent, and dallied out their middle age down the long avenues of Sceaux. About the middle of the century the Duchesse du Maine died, and Madame du Deffand established herself in Paris at the Convent of Saint Joseph in a set of rooms which still showed traces—in the emblazoned arms over the great mantelpiece—of the occupation of Madame de Montespan. A few years later a physical affliction overtook her: at the age of fifty-seven she became totally blind; and this misfortune placed her, almost without a transition, among the ranks of the old. For the rest of her life she hardly moved from her drawing-room, which speedily became the most celebrated in Europe. The thirty years of her reign there fall into two distinct and almost equal parts. The first, during which d'Alembert was pre-eminent, came to an end with the violent expulsion of Mademoiselle de Lespinasse. During the second, which lasted for the rest of her life, her salon, purged of the Encyclopaedists, took on a more decidedly worldly tone; and the influence of Horace Walpole was supreme.

It is this final period of Madame du Deffand's life that is reflected so minutely in the famous correspondence which the labours of Mrs. Toynbee have now presented to us for the first time in its entirety. Her letters to Walpole form in effect a continuous journal covering the space of fifteen years (1766-1780). They allow us, on the one hand, to trace through all its developments the progress of an extraordinary passion, and on the other to examine, as it were under the microscope of perhaps the bitterest perspicacity on record, the last phase of a doomed society. For the circle which came together in her drawing-room during those years had the hand of death upon it. The future lay elsewhere; it was simply the past that survived there—in the rich trappings of fashion and wit and elaborate gaiety—but still irrevocably the past. The radiant creatures of Sceaux had fallen into the yellow leaf. We see them in these letters, a collection of elderly persons trying hard to amuse themselves, and not succeeding very well. Pont-de-Veyle, the youthful septuagenarian, did perhaps succeed; for he never noticed what a bore he was becoming with his perpetual cough, and continued to go the rounds with indefatigable animation, until one day his cough was heard no more. Hénault—once notorious for his dinner-parties, and for having written an historical treatise—which, it is true, was worthless, but he had written it—Hénault was beginning to dodder, and Voltaire, grinning in Ferney, had already dubbed him 'notre délabré Président.' Various dowagers were engaged upon various vanities. The Marquise de Boufflers was gambling herself to ruin; the Comtesse de Boufflers was wringing out the last drops of her reputation as the mistress of a Royal Prince; the Maréchale de Mirepoix was involved in shady politics; the Maréchale de Luxembourg was obliterating a highly dubious past by a scrupulous attention to 'bon ton,' of which, at last, she became the arbitress: 'Quel ton! Quel effroyable ton!' she is said to have exclaimed after a shuddering glance at the Bible; 'ah, Madame, quel dommage que le Saint Esprit eût aussi peu de goût!' Then there was the floating company of foreign diplomats, some of whom were invariably to be found at Madame du Deffand's: Caraccioli, for instance, the Neapolitan Ambassador—'je perds les trois quarts de ce qu'il dit,' she wrote, 'mais comme il en dit beaucoup, on peut supporter cette perte'; and Bernstorff, the Danish envoy, who became the fashion, was lauded to the skies for his wit and fine manners, until, says the malicious lady, 'à travers tous ces éloges, je m'avisai de l'appeler Puffendorf,' and Puffendorf the poor man remained for evermore. Besides the diplomats, nearly every foreign traveller of distinction found his way to the renowned salon; Englishmen were particularly frequent visitors; and among the familiar figures of whom we catch more than one glimpse in the letters to Walpole are Burke, Fox, and Gibbon. Sometimes influential parents in England obtained leave for their young sons to be admitted into the centre of Parisian refinement. The English cub, fresh from Eton, was introduced by his tutor into the red and yellow drawing-room, where the great circle of a dozen or more elderly important persons, glittering in jewels and orders, pompous in powder and rouge, ranged in rigid order round the fireplace, followed with the precision of a perfect orchestra the leading word or smile or nod of an ancient Sibyl, who seemed to survey the company with her eyes shut, from a vast chair by the wall. It is easy to imagine the scene, in all its terrifying politeness. Madame du Deffand could not tolerate young people; she declared that she did not know what to say to them; and they, no doubt, were in precisely the same difficulty. To an English youth, unfamiliar with the language and shy as only English youths can be, a conversation with that redoubtable old lady must have been a grim ordeal indeed. One can almost hear the stumbling, pointless observations, almost see the imploring looks cast, from among the infinitely attentive company, towards the tutor, and the pink ears growing still more pink. But such awkward moments were rare. As a rule the days flowed on in easy monotony—or rather, not the days, but the nights. For Madame du Deffand rarely rose till five o'clock in the evening; at six she began her reception; and at nine or half-past the central moment of the twenty-four hours arrived—the moment of supper. Upon this event the whole of her existence hinged. Supper, she used to say, was one of the four ends of man, and what the other three were she could never remember. She lived up to her dictum. She had an income of £1400 a year, and of this she spent more than half—£720—on food. These figures should be largely increased to give them their modern values; but, economise as she might, she found that she could only just manage to rub along. Her parties varied considerably in size; sometimes only four or five persons sat down to supper—sometimes twenty or thirty. No doubt they were elaborate meals. In a moment of economy we find the hospitable lady making pious resolutions: she would no longer give 'des repas'—only ordinary suppers for six people at the most, at which there should be served nothing more than two entrées, one roast, two sweets, and—mysterious addition—'la pièce du milieu.' This was certainly moderate for those days (Monsieur de Jonsac rarely provided fewer than fourteen entrées), but such resolutions did not last long. A week later she would suddenly begin to issue invitations wildly, and, day after day, her tables would be loaded with provisions for thirty guests. But she did not always have supper at home. From time to time she sallied forth in her vast coach and rattled through the streets of Paris to one of her still extant dowagers—a Maréchale, or a Duchesse—or the more and more 'délabré Président.' There the same company awaited her as that which met in her own house; it was simply a change of decorations; often enough for weeks together she had supper every night with the same half-dozen persons. The entertainment, apart from the supper itself, hardly varied. Occasionally there was a little music, more often there were cards and gambling. Madame du Deffand disliked gambling, but she loathed going to bed, and, if it came to a choice between the two, she did not hesitate: once, at the age of seventy-three, she sat up till seven o'clock in the morning playing vingt-et-un with Charles Fox. But distractions of that kind were merely incidental to the grand business of the night—the conversation. In the circle that, after an eight hours' sitting, broke up reluctantly at two or three every morning to meet again that same evening at six, talk continually flowed. For those strange creatures it seemed to form the very substance of life itself. It was the underlying essence, the circumambient ether, in which alone the pulsations of existence had their being; it was the one eternal reality; men might come and men might go, but talk went on for ever. It is difficult, especially for those born under the Saturnine influence of an English sky, quite to realise the nature of such conversation. Brilliant, charming, easy-flowing, gay and rapid it must have been; never profound, never intimate, never thrilling; but also never emphatic, never affected, never languishing, and never dull. Madame du Deffand herself had a most vigorous flow of language. 'Écoutez! Écoutez!' Walpole used constantly to exclaim, trying to get in his points; but in vain; the sparkling cataract swept on unheeding. And indeed to listen was the wiser part—to drink in deliciously the animation of those quick, illimitable, exquisitely articulated syllables, to surrender one's whole soul to the pure and penetrating precision of those phrases, to follow without a breath the happy swiftness of that fine-spun thread of thought. Then at moments her wit crystallised; the cataract threw off a shower of radiant jewels, which one caught as one might. Some of these have come down to us. Her remark on Montesquieu's great book—'C'est de l'esprit sur les lois'—is an almost final criticism. Her famous 'mot de Saint Denis,' so dear to the heart of Voltaire, deserves to be once more recorded. A garrulous and credulous Cardinal was describing the martyrdom of Saint Denis the Areopagite: when his head was cut off, he took it up and carried it in his hands. That, said the Cardinal, was well known; what was not well known was the extraordinary fact that he walked with his head under his arm all the way from Montmartre to the Church of Saint Denis—a distance of six miles. 'Ah, Monseigneur!' said Madame du Deffand, 'dans une telle situation, il n'y a que le premier pas qui coûte.' At two o'clock the brilliance began to flag; the guests began to go; the dreadful moment was approaching. If Madame de Gramont happened to be there, there was still some hope, for Madame de Gramont abhorred going to bed almost as much as Madame du Deffand. Or there was just a chance that the Duc de Choiseul might come in at the last moment, and stay on for a couple of hours. But at length it was impossible to hesitate any longer; the chariot was at the door. She swept off, but it was still early; it was only half-past three; and the coachman was ordered to drive about the Boulevards for an hour before going home.

It was, after all, only natural that she should put off going to bed, for she rarely slept for more than two or three hours. The greater part of that empty time, during which conversation was impossible, she devoted to her books. But she hardly ever found anything to read that she really enjoyed. Of the two thousand volumes she possessed—all bound alike, and stamped on the back with her device of a cat—she had only read four or five hundred; the rest were impossible. She perpetually complained to Walpole of the extreme dearth of reading matter. In nothing, indeed, is the contrast more marked between that age and ours than in the quantity of books available for the ordinary reader. How the eighteenth century would envy us our innumerable novels, our biographies, our books of travel, all our easy approaches to knowledge and entertainment, our translations, our cheap reprints! In those days, even for a reader of catholic tastes, there was really very little to read. And, of course, Madame du Deffand's tastes were far from catholic—they were fastidious to the last degree. She considered that Racine alone of writers had reached perfection, and that only once—in Athalie. Corneille carried her away for moments, but on the whole he was barbarous. She highly admired 'quelques centaines de vers de M. de Voltaire.' She thought Richardson and Fielding excellent, and she was enraptured by the style—but only by the style—of Gil Blas. And that was all. Everything else appeared to her either affected or pedantic or insipid. Walpole recommended to her a History of Malta; she tried it, but she soon gave it up—it mentioned the Crusades. She began Gibbon, but she found him superficial. She tried Buffon, but he was 'd'une monotonie insupportable; il sait bien ce qu'il sait, mais il ne s'occupe que des bêtes; il faut l'être un peu soi-même pour se dévouer à une telle occupation.' She got hold of the memoirs of Saint-Simon in manuscript, and these amused her enormously; but she was so disgusted by the style that she was very nearly sick. At last, in despair, she embarked on a prose translation of Shakespeare. The result was unexpected; she was positively pleased. Coriolanus, it is true, 'me semble, sauf votre respect, épouvantable, et n'a pas le sens commun'; and 'pour La Tempête, je ne suis pas touchée de ce genre.' But she was impressed by Othello; she was interested by Macbeth; and she admired Julius Caesar, in spite of its bad taste. At King Lear, indeed, she had to draw the line. 'Ah, mon Dieu! Quelle pièce! Réellement la trouvez-vous belle? Elle me noircit l'âme à un point que je ne puis exprimer; c'est un amas de toutes les horreurs infernales.' Her reader was an old soldier from the Invalides, who came round every morning early, and took up his position by her bedside. She lay back among the cushions, listening, for long hours. Was there ever a more incongruous company, a queerer trysting-place, for Goneril and Desdemona, Ariel and Lady Macbeth?

Often, even before the arrival of the old pensioner, she was at work dictating a letter, usually to Horace Walpole, occasionally to Madame de Choiseul or Voltaire. Her letters to Voltaire are enchanting; his replies are no less so; and it is much to be regretted that the whole correspondence has never been collected together in chronological order, and published as a separate book. The slim volume would be, of its kind, quite perfect. There was no love lost between the two old friends; they could not understand each other; Voltaire, alone of his generation, had thrown himself into the very vanguard of thought; to Madame du Deffand progress had no meaning, and thought itself was hardly more than an unpleasant necessity. She distrusted him profoundly, and he returned the compliment. Yet neither could do without the other: through her, he kept in touch with one of the most influential circles in Paris; and even she could not be insensible to the glory of corresponding with such a man. Besides, in spite of all their differences, they admired each other genuinely, and they were held together by the habit of a long familiarity. The result was a marvellous display of epistolary art. If they had liked each other any better, they never would have troubled to write so well. They were on their best behaviour—exquisitely courteous and yet punctiliously at ease, like dancers in a minuet. His cajoleries are infinite; his deft sentences, mingling flattery with reflection, have almost the quality of a caress. She replies in the tone of a worshipper, glancing lightly at a hundred subjects, purring out her 'Monsieur de Voltaire,' and seeking his advice on literature and life. He rejoins in that wonderful strain of epicurean stoicism of which he alone possessed the secret: and so the letters go on. Sometimes one just catches the glimpse of a claw beneath the soft pad, a grimace under the smile of elegance; and one remembers with a shock that, after all, one is reading the correspondence of a monkey and a cat.

Madame du Deffand's style reflects, perhaps even more completely than that of Voltaire himself, the common-sense of the eighteenth century. Its precision is absolute. It is like a line drawn in one stroke by a master, with the prompt exactitude of an unerring subtlety. There is no breadth in it—no sense of colour and the concrete mass of things. One cannot wonder, as one reads her, that she hardly regretted her blindness. What did she lose by it? Certainly not

The sweet approach of even or morn,Or sight of vernal bloom, or Summer's rose;

for what did she care for such particulars when her eyes were at their clearest? Her perception was intellectual; and to the penetrating glances of her mental vision the objects of the sensual world were mere irrelevance. The kind of writing produced by such a quality of mind may seem thin and barren to those accustomed to the wealth and variety of the Romantic school. Yet it will repay attention. The vocabulary is very small; but every word is the right one; this old lady of high society, who had never given a thought to her style, who wrote—and spelt—by the light of nature, was a past mistress of that most difficult of literary accomplishments—'l'art de dire en un mot tout ce qu'un mot peut dire.' The object of all art is to make suggestions. The romantic artist attains that end by using a multitude of different stimuli, by calling up image after image, recollection after recollection, until the reader's mind is filled and held by a vivid and palpable evocation; the classic works by the contrary method of a fine economy, and, ignoring everything but what is essential, trusts, by means of the exact propriety of his presentation, to produce the required effect. Madame du Deffand carries the classical ideal to its furthest point. She never strikes more than once, and she always hits the nail on the head. Such is her skill that she sometimes seems to beat the Romantics even on their own ground: her reticences make a deeper impression than all the dottings of their i's. The following passage from a letter to Walpole is characteristic:

Nous eûmes une musique charmante, une dame qui joue de la harpe à merveille; elle me fit tant de plaisir que j'eus du regret que vous ne l'entendissiez pas; c'est un instrument admirable. Nous eûmes aussi un clavecin, mais quoiqu'il fût touché avec une grande perfection, ce n'est rien en comparaison de la harpe. Je fus fort triste toute la soirée; j'avais appris en partant que Mme. de Luxembourg, qui était allée samedi à Montmorency pour y passer quinze jours, s'était trouvée si mal qu'on avait fait venir Tronchin, et qu'on l'avait ramenée le dimanche à huit heures du soir, qu'on lui croyait de l'eau dans la poitrine. L'ancienneté de la connaissance; une habitude qui a l'air de l'amitié; voir disparaître ceux avec qui l'on vit; un retour sur soi-même; sentir que l'on ne tient à rien, que tout fuit, que tout échappe, qu'on reste seule dans l'univers, et que malgré cela on craint de le quitter; voilà ce qui m'occupa pendant la musique.

Here are no coloured words, no fine phrases—only the most flat and ordinary expressions—'un instrument admirable'—'une grande perfection'—'fort triste.' Nothing is described; and yet how much is suggested! The whole scene is conjured up—one does not know how; one's imagination is switched on to the right rails, as it were, by a look, by a gesture, and then left to run of itself. In the simple, faultless rhythm of that closing sentence, the trembling melancholy of the old harp seems to be lingering still.

While the letters to Voltaire show us nothing but the brilliant exterior of Madame du Deffand's mind, those to Walpole reveal the whole state of her soul. The revelation is not a pretty one. Bitterness, discontent, pessimism, cynicism, boredom, regret, despair—these are the feelings that dominate every page. To a superficial observer Madame du Deffand's lot must have seemed peculiarly enviable; she was well off, she enjoyed the highest consideration, she possessed intellectual talents of the rarest kind which she had every opportunity of displaying, and she was surrounded by a multitude of friends. What more could anyone desire? The harsh old woman would have smiled grimly at such a question. 'A little appetite,' she might have answered. She was like a dyspeptic at a feast; the finer the dishes that were set before her, the greater her distaste; that spiritual gusto which lends a savour to the meanest act of living, and without which all life seems profitless, had gone from her for ever. Yet—and this intensified her wretchedness—though the banquet was loathsome to her, she had not the strength to tear herself away from the table. Once, in a moment of desperation, she had thoughts of retiring to a convent, but she soon realised that such an action was out of the question. Fate had put her into the midst of the world, and there she must remain. 'Je ne suis point assez heureuse,' she said, 'de me passer des choses dont je ne me soucie pas.' She was extremely lonely. As fastidious in friendship as in literature, she passed her life among a crowd of persons whom she disliked and despised, 'Je ne vois que des sots et des fripons,' she said; and she did not know which were the most disgusting. She took a kind of deadly pleasure in analysing 'les nuances des sottises' among the people with whom she lived. The varieties were many, from the foolishness of her companion, Mademoiselle Sanadon, who would do nothing but imitate her—'elle fait des définitions,' she wails—to that of the lady who hoped to prove her friendship by unending presents of grapes and pears—'comme je n'y tâte pas, cela diminue mes scrupules du peu de goût que j'ai pour elle.' Then there were those who were not quite fools but something very near it. 'Tous les Matignon sont des sots,' said somebody one day to the Regent, 'excepté le Marquis de Matignon.' 'Cela est vrai,' the Regent replied, 'il n'est pas sot, mais on voit bien qu'il est le fils d'un sot.' Madame du Deffand was an expert at tracing such affinities. For instance, there was Necker. It was clear that Necker was not a fool, and yet—what was it? Something was the matter—yes, she had it: he made you feel a fool yourself—'l'on est plus bête avec lui que l'on ne l'est tout seul.' As she said of herself: 'elle est toujours tentée d'arracher les masques qu'elle rencontre.' Those blind, piercing eyes of hers spied out unerringly the weakness or the ill-nature or the absurdity that lurked behind the gravest or the most fascinating exterior; then her fingers began to itch, and she could resist no longer—she gave way to her besetting temptation. It is impossible not to sympathise with Rousseau's remark about her—'J'aimai mieux encore m'exposer au fléau de sa haine qu'à celui de son amitié.' There, sitting in her great Diogenes-tub of an armchair—her 'tonneau' as she called it—talking, smiling, scattering her bons mots, she went on through the night, in the remorseless secrecy of her heart, tearing off the masks from the faces that surrounded her. Sometimes the world in which she lived displayed itself before her horrified inward vision like some intolerable and meaningless piece of clock-work mechanism:

J'admirais hier au soir la nombreuse compagnie qui était chez moi; hommes et femmes me paraissaient des machines à ressorts, qui allaient, venaient, parlaient, riaient, sans penser, sans réfléchir, sans sentir; chacun jouait son rôle par habitude: Madame la Duchesse d'Aiguillon crevait de rire, Mme. de Forcalquier dédaignait tout, Mme. de la Vallière jabotait sur tout. Les hommes ne jouaient pas de meilleurs rôles, et moi j'étais abîmée dans les réflexions les plus noires; je pensai que j'avais passé ma vie dans les illusions; que je m'étais creusée tous les abîmes dans lesquels j'étais tombée.

At other times she could see around her nothing but a mass of mutual hatreds, into which she was plunged herself no less than her neighbours:

Je ramenai la Maréchale de Mirepoix chez elle; j'y descendis, je causai une heure avec elle; je n'en fus pas mécontente. Elle hait la petite Idole, elle hait la Maréchale de Luxembourg; enfin, sa haine pour tous les gens qui me déplaisent me fit lui pardonner l'indifférence et peut-être la haine qu'elle a pour moi. Convenez que voilà une jolie société, un charmant commerce.

Once or twice for several months together she thought that she had found in the Duchesse de Choiseul a true friend and a perfect companion. But there was one fatal flaw even in Madame de Choiseul: she was perfect!—'Elle est parfaite; et c'est un plus grand défaut qu'on ne pense et qu'on ne saurait imaginer.' At last one day the inevitable happened—she went to see Madame de Choiseul, and she was bored. 'Je rentrai chez moi à une heure, pénétrée, persuadée qu'on ne peut être content de personne.'

One person, however, there was who pleased her; and it was the final irony of her fate that this very fact should have been the last drop that caused the cup of her unhappiness to overflow. Horace Walpole had come upon her at a psychological moment. Her quarrel with Mademoiselle de Lespinasse and the Encyclopaedists had just occurred; she was within a few years of seventy; and it must have seemed to her that, after such a break, at such an age, there was little left for her to do but to die quietly. Then the gay, talented, fascinating Englishman appeared, and she suddenly found that, so far from her life being over, she was embarked for good and all upon her greatest adventure. What she experienced at that moment was something like a religious conversion. Her past fell away from her a dead thing; she was overwhelmed by an ineffable vision; she, who had wandered for so many years in the ways of worldly indifference, was uplifted all at once on to a strange summit, and pierced with the intensest pangs of an unknown devotion. Henceforward her life was dedicated; but, unlike the happier saints of a holier persuasion, she was to find no peace on earth. It was, indeed, hardly to be expected that Walpole, a blasé bachelor of fifty, should have reciprocated so singular a passion; yet he might at least have treated it with gentleness and respect. The total impression of him which these letters produce is very damaging. It is true that he was in a difficult position; and it is also true that, since only the merest fragments of his side of the correspondence have been preserved, our knowledge of the precise details of his conduct is incomplete; nevertheless, it is clear that, on the whole, throughout the long and painful episode, the principal motive which actuated him was an inexcusable egoism. He was obsessed by a fear of ridicule. He knew that letters were regularly opened at the French Post Office, and he lived in terror lest some spiteful story of his absurd relationship with a blind old woman of seventy should be concocted and set afloat among his friends, or his enemies, in England, which would make him the laughing-stock of society for the rest of his days. He was no less terrified by the intensity of the sentiment of which he had become the object. Thoroughly superficial and thoroughly selfish, immersed in his London life of dilettantism and gossip, the weekly letters from France with their burden of a desperate affection appalled him and bored him by turns. He did not know what to do; and his perplexity was increased by the fact that he really liked Madame du Deffand—so far as he could like anyone—and also by the fact that his vanity was highly flattered by her letters. Many courses were open to him, but the one he took was probably the most cruel that he could have taken: he insisted with an absolute rigidity on their correspondence being conducted in the tone of the most ordinary friendship—on those terms alone, he said, would he consent to continue it. And of course such terms were impossible to Madame du Deffand. She accepted them—what else could she do?—but every line she wrote was a denial of them. Then, periodically, there was an explosion. Walpole stormed, threatened, declared he would write no more; and on her side there were abject apologies, and solemn promises of amendment. Naturally, it was all in vain. A few months later he would be attacked by a fit of the gout, her solicitude would be too exaggerated, and the same fury was repeated, and the same submission. One wonders what the charm could have been that held that proud old spirit in such a miserable captivity. Was it his very coldness that subdued her? If he had cared for her a little more, perhaps she would have cared for him a good deal less. But it is clear that what really bound her to him was the fact that they so rarely met. If he had lived in Paris, if he had been a member of her little clique, subject to the unceasing searchlight of her nightly scrutiny, who can doubt that, sooner or later, Walpole too would have felt 'le fléau de son amitié'? His mask, too, would have been torn to tatters like the rest. But, as it was, his absence saved him; her imagination clothed him with an almost mythic excellence; his brilliant letters added to the impression; and then, at intervals of about two years, he appeared in Paris for six weeks—just long enough to rivet her chains, and not long enough to loosen them. And so it was that she fell before him with that absolute and unquestioning devotion of which only the most dominating and fastidious natures are capable. Once or twice, indeed, she did attempt a revolt, but only succeeded in plunging herself into a deeper subjection. After one of his most violent and cruel outbursts, she refused to communicate with him further, and for three or four weeks she kept her word; then she crept back and pleaded for forgiveness. Walpole graciously granted it. It is with some satisfaction that one finds him, a few weeks later, laid up with a peculiarly painful attack of the gout.