"Was any one old in those days? It is the Revolution which brought old age into the world, Your grandfather, my child,[2244] was handsome, elegant, neat, gracious, perfumed, playful, amiable, affectionate, and good-tempered to the day of his death. People then knew how to live and how to die; there was no such thing as troublesome infirmities. If any one had the gout, 'he walked along all the same and made no faces; people well brought up concealed their sufferings. There was none of that absorption in business which spoils a man inwardly and dulls his brain. People knew how to ruin themselves without letting it appear, like good gamblers who lose their money without showing uneasiness or spite. A man would be carried half dead to a hunt. It was thought better to die at a ball or at the play than in one's bed, between four wax candles and horrid men in black. People were philosophers; they did not assume to be austere, but often were so without making a display of it. If one was discreet, it was through inclination and without pedantry or prudishness. People enjoyed this life, and when the hour of departure came they did not try to disgust others with living. The last request of my old husband was that I would survive him as long as possible and live as happily as I could."
When, especially, women are concerned it is not sufficient to be polite; it is important to be gallant. Each lady invited by the Prince de Conti to Ile-Adam "finds a carriage and horses at her disposal; she is free to give dinners every day in her own rooms to her own friends."[2245] Mme. de Civrac having to go to the springs, her friends undertake to divert her on the journey; they keep ahead of her a few posts, and, at every place where she rests for the night, they give her a little féte champêtre disguised as villagers and in bourgeois attire, with bailiff and scrivener, and other masks all singing and reciting verses. A lady on the eve of Longchamp, knowing that the Vicomte de V—possesses two calèches, makes a request for one of them; it is disposed of; but he is careful not to decline, and immediately has one of the greatest elegance purchased to lend it for three hours; he is only too happy that anybody should wish to borrow from him, his prodigality appearing amiable but not astonishing.[2246] The reason is that women then were queens in the drawing-room; it is their right; this is the reason why, in the eighteenth century, they prescribe the law and the fashion in all things.[2247] Having formed the code of usages, it is quite natural that they should profit by it, and see that all its prescriptions are carried out. In this respect any circle "of the best company" is a superior tribunal, serving as a court of last appeal.[2248] The Maréchale de Luxembourg is an authority; there is no point of manners which she does not justify with an ingenious argument. Any expression, any neglect of the standard, the slightest sign of pretension or of vanity incurs her disapprobation, from which there is no appeal, and the delinquent is for ever banished from refined society. Any subtle observation, any well-timed silence, an "oh" uttered in an appropriate place instead of an "Ah," secures from her, as from M. Talleyrand, a diploma of good breeding which is the commencement of fame and the promise of a fortune. Under such an "instructress" it is evident that deportment, gesture, language, every act or omission in this mundane sphere, becomes, like a picture or poem, a veritable work of art; that is to say, infinite in refinement, at once studied and easy, and so harmonious in its details that its perfection conceals the difficulty of combining them.
A great lady "receives ten persons with one courtesy, bestowing on each, through the head or by a glance, all that he is entitled to;"[2249] meaning by this the shade of regard due to each phase of position, consideration, and birth. "She has always to deal with easily irritated amour-propres; consequently the slightest deficiency in proportion would be promptly detected,"[2250] But she is never mistaken, and never hesitates in these subtle distinctions; with incomparable tact, dexterity, and flexibility of tone, she regulates the degrees of her welcome. She has one "for women of condition, one for women of quality, one for women of the court, one for titled women, one for women of historic names, another for women of high birth personally, but married to men beneath them; another for women who by marriage have changed a common into a distinguished name; another still for women of reputable names in the law; and, finally, another for those whose relief consists chiefly of expensive houses and good suppers." A stranger would be amazed on seeing with what certain and adroit steps she circulates among so many watchful vanities without ever hurting or being hurt. "She knows how to express all through the style of her salutations; a varied style, extending through imperceptible gradations, from the accessory of a single shrug of the shoulder, almost an impertinence, to that noble and deferential reverence which so few women, even of the court, know how to do well; that slow bending forward, with lowered eyes and straightened figure, gradually recovering and modestly glancing at the person while gracefully raising the body up, altogether much more refined and more delicate than words, but very expressive as the means of manifesting respect."—This is but a single action, and very common; there are a hundred others, and of importance. Imagine, if it is possible, the degree of elegance and perfection to which they attained through good breeding. I select one at random, a duel between two princes of the blood, the Comte d'Artois and the Duc de Bourbon; the latter being the offended party, the former, his superior, had to offer him a meeting[2251], "As soon as the Comte d'Artois saw him he leaped to the ground, and walking directly up to him, said to him smiling: 'Monsieur, the public pretends that we are seeking each other.' The Duc de Bourbon, removing his hat, replied, 'Monsieur, I am here to receive your orders.'—'To execute your own,' returned the Comte d'Artois, 'but you must allow me to return to my carriage.' He comes back with a sword, and the duel begins. After a certain time they are separated, the seconds deciding that honor is satisfied, 'It is not for me to express an opinion,' says the Comte d'Artois, 'Monsieur le Duc de Bourbon is to express his wishes; I am here only to receive his orders.'—'Monsieur,' responds the Duc de Bourbon, addressing the Comte d'Artois, meanwhile lowering the point of his sword, 'I am overcome with gratitude for your kindness, and shall never be insensible to the honor you have done me.'"—Could there be a more just and delicate sentiment of rank, position, and circumstance, and could a duel be surrounded with more graces? There is no situation, however thorny, which is not saved by politeness. Through habit, and a suitable expression, even in the face of the king, they conciliate resistance and respect. When Louis XV, having exiled the Parliament, caused it to be proclaimed through Mme. Du Barry that his mind was made up and that it would not be changed, "Ah, Madame," replied the Duc de Nivernais, "when the king said that he was looking at yourself."—"My dear Fontenelle," said one of his lady friends to him, placing her hand on his heart, "the brain is there likewise." Fontenelle smiled and made no reply. We see here, even with an academician, how truths are forced down, a drop of acid in a sugar-plum; the whole so thoroughly intermingled that the piquancy of the flavor only enhances its sweetness. Night after night, in each drawing-room, sugar-plums of this description are served up, two or three along with the drop of acidity, all the rest not less exquisite, but possessing only the sweetness and the perfume. Such is the art of social worldliness, an ingenious and delightful art, which, entering into all the details of speech and of action, transforms them into graces; which imposes on man not servility and falsehood, but civility and concern for others, and which, in exchange, extracts for him out of human society all the pleasure it can afford.
V. Happiness.
What constitutes happiness in the 18th Century.—The
fascination of display.—Indolence, recreation, light
conversation.
One can very well understand this kind of pleasure in a summary way, but how is it to be made apparent? Taken by themselves the pastimes of society are not to be described; they are too ephemeral; their charm arises from their accompaniments. A narrative of them would be but tasteless dregs, does the libretto of an opera give any idea of the opera itself?—If the reader would revive for himself this vanished world let him seek for it in those works that have preserved its externals or its accent, and first in the pictures and engravings of Watteau, Fragonard and the Saint-Aubins, and then in the novels and dramas of Voltaire and Marivaux, and even in Collé and Crébillon fils;[2252] then do we see the breathing figures and hear their voices, What bright, winning, intelligent faces beaming with pleasure and with the desire to please! What ease in bearing and in gesture! What piquant grace in the toilet, in the smile, in vivaciousness of expression, in the control of the fluted voice, in the coquetry of hidden meanings! How involuntarily we stop to look and listen! Attractiveness is everywhere, in the small spirituelle heads, in the slender hands, in the rumpled attire, in the pretty features, in the demeanor. The slightest gesture, a pouting or mutinous turn of the head, a plump little wrist peering from its nest of lace, a yielding waist bent over an embroidery frame, the rapid rustling of an opening fan, is a feast for the eyes and the intellect. It is indeed all daintiness, a delicate caress for delicate senses, extending to the external decoration of life, to the sinuous outlines, the showy drapery, and the refinements of comfort in the furniture and architecture. Fill your imagination with these accessories and with these figures and you will take as much interest in their amusements as they did. In such a place and in such company it suffices to be together to be content. Their indolence is no burden to them for they sport with existence.—At Chanteloup, the Duc de Choiseul, in disgrace, finds the fashionable world flocking to see him; nothing is done and yet no hours of the day are unoccupied.[2253] "The Duchess has only two hours' time to herself and these two hours are devoted to her toilet and her letters; the calculation is a simple one: she gets up at eleven; breakfasts at noon, and this is followed by conversation, which lasts three or four hours; dinner comes at six, after which there is play and the reading of the memoirs of Mme. de Maintenon." Ordinarily "the company remains together until two o'clock in the morning." Intellectual freedom is complete. There is no confusion, no anxiety. They play whist and tric-trac in the afternoon and faro in the evening. "They do to day what they did yesterday and what they will do to-morrow; the dinner-supper is to them the most important affair in life, and their only complaint in the world is of their digestion. Time goes so fast I always fancy that I arrived only the evening before." Sometimes they get up a little race and the ladies are disposed to take part in it, "for they are all very agile and able to run around the drawing room five or six times every day." But they prefer indoors to the open air; in these days true sunshine consists of candle-light and the finest sky is a painted ceiling; is there any other less subject to inclemencies or better adapted to conversation and merriment?—They accordingly chat and jest, in words with present friends, and by letters with absent friends. They lecture old Mme. du Deffant, who is too lively and whom they style the "little girl"; the young Duchesse, tender and sensible, is "her grandmamma." As for "grandpapa," M. de Choiseul, "a slight cold keeping him in bed he has fairy stories read to him all day long, a species of reading to which we are all given; we find them as probable as modern history. Do not imagine that he is unoccupied. He has had a tapestry frame put up in the drawing room at which he works, I cannot say with the greatest skill, but at least with the greatest assiduity. . . . Now, our delight is in flying a kite; grandpapa has never seen this sight and he is enraptured with it." The pastime, in itself, is nothing; it is resorted to according to opportunity or the taste of the hour, now taken up and now let alone, and the abbé soon writes: "I do not speak about our races because we race no more, nor of our readings because we do not read, nor of our promenades because we do not go out. What, then, do we do? Some play billiards, others dominoes, and others backgammon. We weave, we ravel and we unravel. Time pushes us on and we pay him back."
Other circles present the same spectacle. Every occupation being an amusement, a caprice or an impulse of fashion brings one into favor. At present, it is unraveling, every white hand at Paris, and in the chateaux, being busy in undoing trimmings, epaulettes and old stuffs, to pick out the gold and silver threads. They find in this employment the semblance of economy, an appearance of occupation, in any event something to keep them in countenance. On a circle of ladies being formed, a big unraveling bag in green taffeta is placed on the table, which belongs to the lady of the house; immediately all the ladies call for their bags and "voilà les laquais en l'air"[2254] It is all the rage. They unravel every day and several hours in the day; some derive from it a hundred louis d'or per annum. The gentlemen are expected to provide the materials for the work; the Duc de Lauzun, accordingly, gives to Madame de V—a harp of natural size covered with gold thread; an enormous golden fleece, brought as a present from the Comte de Lowenthal, and which cost 2 or 3,000 francs, brings, picked to pieces, 5 or 600 francs. But they do not look into matters so closely. Some employment is essential for idle hands, some manual outlet for nervous activity; a humorous petulance breaks out in the middle of the pretended work. One day, when about going out, Madame de R—observes that the gold fringe on her dress would be capital for unraveling, whereupon, with a dash, she cuts one of the fringes off. Ten women suddenly surround a man wearing fringes, pull off his coat and put his fringes and laces into their bags, just as if a bold flock of tomtits, fluttering and chattering in the air, should suddenly dart on a jay to pluck out its feathers; thenceforth a man who enters a circle of women stands in danger of being stripped alive. All this pretty world has the same pastimes, the men as well as the women. Scarcely a man can be found without some drawing room accomplishment, some trifling way of keeping his mind and hands busy, and of filling up the vacant hour; almost all make rhymes, or act in private theatricals; many of them are musicians and painters of still-life subjects. M. de Choiseul, as we have just seen, works at tapestry; others embroider or make sword-knots. M. de Francueil is a good violinist and makes violins himself; and besides this he is "watchmaker, architect, turner, painter, locksmith, decorator, cook, poet, music-composer and he embroiders remarkably well."[2255] In this general state of inactivity it is essential "to know how to be pleasantly occupied in behalf of others as well as in one's own behalf." Madame de Pompadour is a musician, an actress, a painter and an engraver. Madame Adelaide learns watchmaking and plays on all instruments from a horn to the jew's-harp; not very well, it is true, but as well as a queen can sing, whose fine voice is ever only half in tune. But they make no pretensions. The thing is to amuse oneself and nothing more; high spirits and the amenities of the hour cover all. Rather read this capital fact of Madame de Lauzun at Chanteloup: "Do you know," writes the abbé, "that nobody possesses in a higher degree one quality you would never suspect of her, that of preparing scrambled eggs? This talent has been buried in the ground, she cannot recall the time she acquired it; I believe that she had it at her birth. Accident made it known, and immediately it was put to test. Yesterday morning, an hour for ever memorable in the history of eggs, the implements necessary for this great operation were all brought out, a heater, some gravy, some pepper and eggs. Behold Madame de Lauzun, at first blushing and in a tremor, soon with intrepid courage, breaking the eggs, beating them up in the pan, turning them over, now to the right, now to the left, now up and now down, with unexampled precision and success! Never was a more excellent dish eaten." What laughter and gaiety in the group comprised in this little scene. And, not long after, what madrigals and allusions! Gaiety here resembles a dancing ray of sunlight; it flickers over all things and reflects its grace on every object.