Rank, however was often adorned by accomplishments which, like an exemption from rules of conduct, it almost claimed as a privilege. Good-breeding was a science in France; natural to a peasant, even, it was studied as an epitome of all the social virtues. 'N'étre pas poli' was the sum total of all dispraise: a man could only recover from it by splendid valour or rare gifts; a woman could not hope to rise out of that Slough of Despond to which good-breeding never came. We were behind all the arts of civilization in England, as François de Rochefoucault (we give the orthography of the present day) was in his cradle. This brilliant personage, who combined the wit and the moralist, the courtier and the soldier, the man of literary tastes and the sentimentalist par excellence, was born in 1613. In addition to his hereditary title of duc, he had the empty honour, as Saint-Simon calls it, of being Prince de Marsillac, a designation which was lost in that of De la Rochefoucault—so famous even to the present day. As he presented himself at the court of the regency, over which Anne of Austria nominally presided, no youth there was more distinguished for his elegance or for the fame of his exploits during the wars of the Fronde than this youthful scion of an illustrious house. Endowed by nature with a pleasing countenance, and, what was far more important in that fastidious region, an air of dignity, he displayed wonderful contradictions in his character and bearing. He had, says Madame de Maintenon, 'beaucoup d'esprit, et peu de savoir;' an expressive phrase. 'He was,' she adds, 'pliant in nature, intriguing, and cautious;' nevertheless she never, she declares, possessed a more steady friend, nor one more confiding and better adapted to advise. Brave as he was, he held personal valour, or affected to do so, in light estimation. His ambition was to rule others. Lively in conversation, though naturally pensive, he assembled around him all that Paris or Versailles could present of wit and intellect.
The old Hôtel de Rochefoucault, in the Rue de Seine, in the Faubourg St. Germain, in Paris, still grandly recalls the assemblies in which Racine, Boileau, Madame de Sévigné, the La Fayettes, and the famous Duchesse de Longueville, used to assemble. The time honoured family of De la Rochefoucault still preside there; though one of its fairest ornaments, the young, lovely, and pious Duchesse de la Rochefoucault of our time, died in 1852—one of the first known victims to diphtheria in France, in that unchanged old locality. There, when the De Longuevilles, the Mazarins, and those who had formed the famous council of state of Anne of Austria had disappeared, the poets and wits who gave to the age of Louis XIV. its true brilliancy, collected around the Duc de la Rochefoucault. What a scene it must have been in those days, as Buffon said of the earth in spring 'tout four-mille de vie!' Let us people the salon of the Hôtel de Rochefoucault with visions of the past; see the host there, in his chair, a martyr to the gout, which he bore with all the cheerfulness of a Frenchman, and picture to ourselves the great men who were handing him his cushion, or standing near hisfauteuil.
Racine's joyous face may be imagined as he comes in fresh from the College of Harcourt. Since he was born in 1639, he had not arrived at his zenith till La Rochefoucault was almost past his prime. For a man at thirty-six in France can no longer talk prospectively of the departure of youth; it is gone. A single man of thirty, even in Paris, is 'un vieux garçon:' life begins too soon and ends too soon with those pleasant sinners, the French. And Racine, when he was first routed out of Port Royal, where he was educated, and presented to the whole Faubourg St. Germain, beheld his patron, La Rochefoucault, in the position of a disappointed man. An early adventure of his youth had humbled, perhaps, the host of the Hôtel de Rochefoucault. At the battle of St. Antoine, where he had distinguished himself, 'a musket-ball had nearly deprived him of sight. On this occasion he had quoted these lines, taken from the tragedy of 'Alcyonnée.' It must, however, be premised that the famous Duchess de Longueville had urged him to engage in the wars of the Fronde. To her these lines were addressed:—
'Pour mériter son cœur, pour plaire à ses beaux yeux,
J'ai fait la guerre aux Rois, je l'aurais faite aux dieux.'
But now he had broken off his intimacy with the duchesse, and he therefore parodied these lines:—
'Pour ce cœur inconstant, qu'enfin je connais mieux,
J'ai fait la guerre aux Rois, j'en ai perdue les yeux.'
Nevertheless, La Rochefoucault was still the gay, charming, witty host and courtier. Racine composed, in 1660, his 'Nymphe de Seine,' in honour of the marriage of Louis XIV., and was then brought into notice of those whose notice was no empty compliment, such as, in our day, illustrious dukes pay to more illustrious authors, by asking them to be jumbled in a crowd at a time when the rooks are beginning to caw. We catch, as they may, the shadow of a dissolving water-ice, or see the exit of an unattainable tray of negus. No; in the days of Racine, as in those of Halifax and Swift in England, solid fruits grew out of fulsome praise; and Colbert, then minister, settled a pension of six hundred livres, as francs were called in those days (twenty-four pounds), on the poet. And with this the former pupil of Port Royal was fain to be content. Still he was so poor that he almost went into the church, an uncle offering to resign him a priory of his order if he would become a regular. He was a candidate for orders, and wore a sacerdotal dress when he wrote the tragedy of 'Theagenes,' and that of the 'Frères Ennemis,' the subject of which was given him by Molière.
He continued, in spite of a quarrel with the saints of Port Royal, to produce noble dramas from time to time, but quitted theatrical pursuits after bringing out (in 1677) 'Phèdre,' that chef-d'œuvre not only of its author, but, as a performance, of the unhappy but gifted Rachel. Corneille was old, and Paris looked to Racine to supply his place, yet he left the theatrical world for ever. Racine had been brought up with deep religious convictions; they could not, however, preserve him from a mad, unlawful attachment. He loved the actress Champmesle: but repentance came. He resolved not only to write no more plays, but to do penance for those already given to the world. He was on the eve of becoming, in his penitence, a Carthusian friar, when his religious director advised marriage instead. He humbly did as he was told, and united himself to the daughter of a treasurer for France, of Amiens, by whom he had seven children. It was only at the request of Madame de Maintenon that he wrote 'Esther' for the convent of St. Cyr, where it was first acted.