MADAME DE MONTESPAN
From the engraving by Flameng after the painting by Mignard
One effect of the death of the Queen Mother was that rivals to Mlle. de La Vallière were free to appear; also there was a great increase in the number of charlatans and alchemists, who found more easily an aristocratic clientèle. Diviners and sorcerers also played an important rôle in the love life of this society—the most polished in the world.
The practice of the magic arts was at that date considered one of the most flourishing Parisian industries. The inhabitants of the streets little frequented, or of the suburbs, were accustomed to the movement which took place in the early morning, or in the evening at dusk, around certain isolated houses.[180] People of all ranks, on foot, in carriages or in chairs, women masked or muffled, succeeded each other before a closed door, which only opened at a particular sign.
The state of mind which led this crowd to the clairvoyant was to be found in all classes of society, from the highest to the lowest. Public credulity was passing through a period of expansion, apparently very much at odds with the splendid intellect of France at that date, at which, however, those who believe the simple formulas of history will not be astonished. Two of our grand classic writers have left pages which bear witness to the extent of the evil, existing at the very moment in which France became the actual head of Europe.
Molière mocks at occult science and its adepts, through a long play, or rather a libretto for a ballet,[181] which he wrote for the King in 1670, named as we already know, Les Amants Magnifiques. The dramatis personæ are divided into two camps according to a rule of his own, in a fashion very unpleasant for the grandees of this world, Molière allowing them the precedence in folly. It was sufficient for his heroes to be illustrious through rank, to endow them with a blind faith in all conjurers. "The truth of astrology," says the Prince Iphicrate, "is an incontestable fact, and no one can dispute against the certitude of its predictions." This is also the opinion of the Prince Timoclès: "I am sufficiently incredulous in regard to many things, but as for astrology, there is nothing more certain and more constant than the success with which horoscopes may be drawn." The Princess Aristione also agrees, and is anxious in finding that her daughter is less convinced.
This is a commencement of a freedom of thought, and one cannot know to what it may lead: "My daughter," says the mother, "you have a little incredulity which never leaves you."
Disbelief in astrology and sorcery is represented in the play of Molière, figuring in the name of "Clitidas, court jester," and of another person of obscure birth, "Sostrate, general of the army," who takes the part of Clitidas against the calmer prophets and other exploiters of human folly.
There is nothing more agreeable [says he] than all the great promises of this sublime knowledge. To transform everything into gold; to find immortal life; to heal by words; to make oneself beloved by the person of one's desires; to know all the secrets of the future; to call down from the sky at will impressions upon metals which bear happiness to mortals[182]; to command demons; to render armies invisible and soldiers invulnerable—all this is doubtless charming, and there are people who have no trouble in believing in the possibility; it is the easiest thing in the world for some men to be convinced, but for me, I avow that my grosser mind has some difficulty in comprehending and in believing.