CHAPTER II.
THE DUCHESS DE MONTBAZON.—THE AFFAIR OF THE DROPPED LETTERS.—THE QUARREL OF THE TWO DUCHESSES.
On declaring itself of the party of Mazarin, the house of Condé had drawn down the hatred of the Importants, though their hostility scarcely fell upon Madame de Longueville. Her gentleness in everything in which her heart was not seriously engaged, her entire indifference to politics at this period of her life, with the graces of her mind and person, rendered her pleasing to every one, and shielded her from party spite. But apart from affairs of State, she had an enemy, and a formidable enemy, in the Duchess de Montbazon. We have said that Madame de Montbazon had been the mistress of the Duke de Longueville, and as one of the principal personages of the drama we are about to relate, she requires to be somewhat better known.
We shall pass over in silence many of her foibles, without attempting to excuse any. Before sketching her life, or at least a portion of it, it will be necessary, in order to protect her memory against an excess of severity, to recall certain traditions and examples for which unhappily her family was notorious.
Daughter of Claude de Bretagne, Baron d’Avangour, she was on her mother’s side granddaughter of that very complaisant Marquis de La Varenne Fouquet, who, successively scullion, cook, and maître d’hôtel of Henry the Fourth, “gained more by carrying the amorous King’s poulets than basting those in his kitchen.” Catherine Fouquet, Countess de Vertus, his daughter, Madame de Montbazon’s mother, was beautiful, witty, somewhat giddy, and very gallant. Impatient of all hindrance, she had authorised one of her lovers to assassinate her husband; but it was the husband who assassinated the lover. The tragical termination of this rencontre does not seem to have cast a gloom over the life of the Countess de Vertus, for at seventy she began to learn to dance, and when seventy-three, married a young man over head and ears in debt.
In 1628, Marie d’Avangour quitted her convent to espouse Hercule de Rohan, Duke de Montbazon, who was the father, by his first marriage, of Madame de Chevreuse and of the Prince de Guéméné. She was sixteen, and he sixty-one. Thorough fool as he was, the Duke did not conceal from himself, it is said, the conviction that such an union was fraught with some danger to him; but we may venture to affirm that he could not have foreseen all its dangers. Full of respect for the virtues of Marie de’ Medicis, he recommended her example to his wife; then, with every confidence in the future, he conducted her to Court.
In beauty the daughter was worthy of the mother, but in vices she left her far behind. Tallemant says she was one of the loveliest women imaginable. Her mind was not her most brilliant side, and the little that she had was turned to intrigue and perfidy. “Her mind,” says the indulgent Madame de Motteville, “was not so fine as her person; her brilliancy was limited to her eyes, which commanded love. She claimed universal admiration.” In regard to her character, all are unanimous. De Retz, who knew her well, speaks of her in these terms: “Madame de Montbazon was a very great beauty. Modesty was wanting in her air. Her jargon might, during a dull hour, have supplied the defects of her mind. She showed but little faith in gallantry, none in business. She loved her own pleasure alone, and above her pleasure her interest. I never saw a person who, in vice, preserved so little respect for virtue.” Supremely vain and passionately fond of money, it was by the aid of her beauty that she sought influence and fortune. She, therefore, took infinite care of it, as of her idol, as of her resources, her treasure. She kept it in repair, heightened it by all sorts of artifices, and preserved it almost uninjured till her death. Madame de Motteville asserts that, during the latter part of her life, she was as full of vanity as if she were but twenty-five years of age; that she had the same desire to please, and that she wore her mourning garb in so charming a manner, that “the order of nature seemed changed, since age and beauty could be found united.” Ten years before, in 1647, at the age of thirty-five, when Mazarin gave a comedy in the Italian style, that is, an opera, there was in the evening a grand ball, and the Duchess de Montbazon was present, adorned with pearls, with a red feather on her head, and so dazzling in her appearance that the whole company was completely charmed. We can imagine what she was in 1643, at the age of thirty-one.
Of the two conditions of perfect beauty—strength and grace, Madame de Montbazon possessed the first in the highest degree. She was tall and majestic, and she had all the charms of embonpoint. Her throat reminded one of the fulness, in this particular, of the antique statues—exceeding them, perhaps, somewhat. What struck the beholder most were her eyes and hair of intense blackness, upon a skin of the most dazzling white. Her defect was a nose somewhat too prominent, with a mouth so large as to give her face an appearance of severity. It will be seen that she was the very opposite of Madame de Longueville. The latter was tall, but not to excess. The richness of her form did not diminish its delicacy. A moderate embonpoint exhibited, in full and exquisite measure, the beauty of the female form. Her eyes were of the softest blue; her hair of the most beautiful blonde. She had the most majestic air, and yet her peculiar characteristic was grace. To these were added the great difference of manners and tone. Madame de Longueville was, in her deportment, dignity, politeness, modesty, sweetness itself, with a languor and nonchalance which formed not her least charm. Her words were few, as well as her gestures; the inflexions of her voice were a perfect music.[25] The excess, into which she never fell, might have been a sort of fastidiousness. Everything in her was wit, sentiment, charm. Madame de Montbazon, on the contrary, was free of speech, bold and easy in her tone, full of stateliness and pride.