Women of Modern France

by Hugo P. Thieme

As the outcome of their desire to think, feel, and act with greater delicacy, women introduced propriety in expression, finesse in analysis, keenness of esprit, psychological subtleness: qualities that surely tended to higher standards of morality, purer social relations, finer and more subtle diplomacy, more elegance and precision in literature. Therefore, préciosité in France had a wholesome influence, which was possible because woman had won for herself her rightful position, and her aspirations were toward social and moral elevation.

In general, the women of France have always been conscious of their duty, their importance, and their limitations, appreciating their power and cultivating the characteristics that attract man and retain his respect and attention: sociability, morality, esprit, artistic appreciation, sensitiveness, tact. These qualities became manifest to a remarkable degree in French women of the seventeenth century, and created in every writer, great or unimportant, the desire to win their favor. Thus, Corneille strove to write dramas with which he might establish the reign of decency on a stage the liberties of which had previously made the theatre inaccessible to woman; hence, his characters of humanity (Cid) and politeness (Menteur).

The purpose of the French Academy itself was not different from that of the précieuses. Richelieu, realizing that every great talent accepted the discipline of these women, sought to use this power for his own ends by interesting the world of letters in the accomplishment of his plans for a general political unity. Thus, when the first period of préciosité had reached its highest point and was beginning to decline, and other smaller and envious social groups were forming about Paris and causing a conflict of ideas, Richelieu conceived the scheme of joining all in a union, with strong ideals and with a language as dignified as the Latin and the Greek. The result was the formation of the French Academy. From this time begins the decline of the authority of woman; for while she still exerted a powerful influence, it was no longer absolute. After the decline of the Hôtel de Rambouillet, feminine influence became more general, expending itself in petty rivalries, gossip, intrigues, and partaking of the nature of that court life which was filled by the young king with parties, feasts, collations, walks, carousals, boating, concerts, ballets, and masquerades—a mode of living that gave rise to a new standard of politeness, which was freer and looser than that of préciosité.

As the power of the young king became stronger, his favor became the goal of all men of letters. Although woman still to some extent controlled the destinies of those who were struggling for recognition and reputation, her influence was of a secondary nature, that of the king being supreme. Woman seemed to be overcoming the influence of woman—Mme. de Montespan replaced Mlle. de La Vallière, and she was in turn replaced by Mme. de Maintenon.

The degeneration of the king was accompanied by that of literature, society, and morals. The characteristic inclination of the day was eagerly to seek and grasp that which was new, and the noble, forceful, and dignified style of language of the previous period was replaced by one of much lighter description; many female writers directed their efforts entirely toward amusing, pleasing, and gaining applause.

In the beginning of the eighteenth century, with Mme. de Lambert as its leader, there was a renascence of the préciosité of the Hôtel de Rambouillet, women protesting against the prevalent grossness and indecency of manners. The salon of Mme. de Lambert was the great antechamber to the Academy, election to which was generally gained through her. A new aristocracy was forming, a new society arose; from about 1720 to 1750, libertinism and atheism, licentiousness and intrigue, crept into the salons.

The new aristocracy was of doubtful and impure source, cynical in manner, unbridled in habits, over-fastidious in taste, and politically powerful. In this society woman began to be felt as a political force. M. Brunetière said: "Mme. de Lambert made Academicians; the Marquise de Prie made a queen of France; Mme. de Tencin made cardinals and ambassadors." Montesquieu wrote: "There is not a person who has any employment at the court in Paris or in the provinces, who has not the influence (and sometimes the injustices which she can cause) of a woman through whom all favors pass;" and M. Brunetière added: "This woman is not his wife." The popular spirit in literature was one of subtleness, irony, superficial observations on manners and customs. From the beginning of the eighteenth century up to the eve of the Revolution, woman's influence continued to increase, but that influence was mainly in the direction of politics. Thus, in every period in French history, a group of women effectively moulds French thought and language, and directs intellectual activity in general.

After the death of Louis XIV., society passed under the rule of the regent, the Duke of Orléans—the personification of gallantry and affability, of depravity which was a mania, and of licentiousness which was a disease. From this atmosphere the salon of Mme. de Lambert became a refuge to those who still cherished the ideals of the good old times of Mme. de Rambouillet; it was distinguished by its refined sentiment and polished manners, which were like those of the seventeenth century at its best.