The International Weekly Miscellany - Volume I, No. 4 | Page 3

from king and his ministers, and to be transferred to the hands of the Parisian ladies and farmers-general, &c. Voltaire, in his well-known verses,[1] admits, with great openness and simplicity, that he attached much importance to the applause of a court, although it neither possessed judgment nor feeling for the merits of a writer, nor for poetical beauties; and he complains at the same time that this court had neither duly estimated 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 Cl��ve,' 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