These memoirs begin at the earliest possible period, including the lives of her parents and grandparents. The latter were illustrious on one side, obscure on the other. She tells us that by her paternal grandmother she was allied to the kings of France, and by her maternal grandfather to the lowest of the people. The grandmother in question was the natural daughter of the famous Maréchal de Saxe, recognized and educated, but finally left with slender resources, and married to M. Dupin de Francueil, an accomplished person of good family and fortune, greatly her senior. To him she bore one child, a son named Maurice, after the great soldier. As might have been expected, her widowhood was early and long, for her aged partner soon dropped from her side, beloved and regretted. George tells us that her grandmother was wont to insist that an old man can be more agreeable in the marital relation than a young one, and that M. Dupin de Francueil, elegant, accomplished, and devoted to her happiness, had in his life left nothing for her imagination to desire or her heart to regret.
As this lady is one of the heroines of the "Histoire de ma Vie," we cannot do it justice without lingering a little over her portraiture. She is described as tall, fair, and of a Saxon type of beauty. Her manners would seem to have been de haute école, and her culture was on a large and noble scale. Austere in her morals, her faith was the deistic philosophy of the ante-revolutionary period; but, like other people of noble mind, instead of making doubt a pretext for license, she brought up virtue to justify the latitude of her creed, that the solid results of conscience should entitle her to the free interpretation of doctrine. She was chaste, benevolent, and sincere. Her mother had been a singer of merit and celebrity, and she, the daughter, had both inherited her musical talent, and had received one of those thorough musical educations which alone make the possession of the art a pleasure and resource. It must often occur to those who hear our young ladies sing and play, that the accomplishment is little valued by them, save as an outward social adornment.
Hence those ambitious and perfectly uninteresting performances with which we are constantly bored in the fashionable musical world. It is self-love which gives us those flat, empty adagios, those cold, keen runs and embellishments. Love of the art has more modesty in the undertaking, and more warmth in the execution. George says that she has heard all the greatest singers of modern times, but that her grandmother, in her old age, singing fragments of the operas of her own time in a cracked and trembling voice, and accompanying herself on an old harpsichord with three fingers of a palsied hand, always remained to her a type of art above all others.
The first volume of these memoirs gives interesting notice of the friendships which surrounded Madame Dupin during her married life. These embraced various celebrities, historical and literary. Her husband was the congenial friend of the best minds of the day, and was able, among other things, to procure her the difficult pleasure of an interview with Jean Jacques Rousseau, then living near her in great spleen and retirement. We cannot do better than to give the relation of this in her own words, as preserved by her grand-daughter. It is highly characteristic of the parties and of the times.
"Before I had seen Rousseau, I had read the 'Nouvelle Héloïse' in one breath, and at the last pages I found myself so overcome that I wept and sobbed. My husband gently rallied me for this; but that day I could only cry from morning till evening. During this, M. de Francueil, with the address and the grace which he knew how to put into everything, ran to find Jean Jacques. I do not know how he managed it, but he carried him off, he brought him, without having communicated to me his intention.
"I, unconscious of all this, was not hastening my toilet. I was with Madame d'Esparbès de Lussan, my friend, the most amiable woman in the world, and the prettiest, though she squinted a little, and was slightly deformed. M. de Francueil had come several times to see if I was ready. I did not observe any marks of haste in my husband, and did not hurry myself, never suspecting that he was there, the sublime Bear, in my parlor. He had entered, looking partly foolish and partly cross, and had seated himself in a corner, showing no other impatience than that about dinner, in order to get away very soon.
"Finally, my toilet finished, and my eyes still red and swollen, I go to the parlor. I see a little man, ill-dressed and scowling, who rose clumsily, who chewed out some confused words. I look, and I guess who it is,—I try to speak,—I burst into tears. Francueil tries to put us in tune by a pleasantry, and bursts into tears. We could not say anything to each other. Rousseau pressed my hand without addressing me a single word. We tried to dine, to cut short all these sobs. But I could eat nothing. M. de Francueil could not be witty that day, and Rousseau escaped directly on leaving the table, without having said a word,—displeased, perhaps, with having found a new contradiction to his claim of being the most persecuted, the most hated, and the most calumniated of men."
The simplicity of this narration justifies its quotation here, as illustrative of the taste and manners that prevailed a hundred years ago. The lively emotion provoked by the "Nouvelle Héloïse" is scarcely more foreign to our ideas and experience than the triangular fit of weeping in the parlor, and the dinner, silent through excess of feeling, that followed it.
M. Dupin de Francueil lived with great, but generous extravagance, and, as his widow averred, "ruined himself in the most amiable manner in the world." He died, leaving large estates in great confusion, from which his widow and young son were compelled to "accept the poverty" of seventy-five thousand livres of annual income,—a sum which the Revolution, at a later day, greatly reduced. Till its outbreak, Madame Dupin lived in peace and affluence, though not on the grand scale of earlier days,—devoting herself chiefly to the care and education of her son, Maurice, in which latter task she secured the services of a young abbé, who afterwards prudently became the Citizen Deschartres, and who continued in the service of the family during the rest of a tolerably long life. This personage plays too important a part in the memoirs to be passed over without special notice. He continued to be the faithful teacher and companion of Maurice, until the exigencies of military life removed the latter from his control. He was also the man of business of Madame Dupin, and, at a later day, the preceptor of George herself, who, with childish petulance, bestowed on him the sobriquet of grand homme, in consequence, she tells us, of his omnicompétence and his air of importance. "My grandmother," she says, "had no presentiment, that, in confiding to him the education of her son, she was securing the tyrant, the saviour, and the friend of her whole remaining life." We would gladly give here in full George's portrait of her tutor; but if we should stop to sketch all the admirable photography of this work, our review would become a volume. We can only borrow a trait or two, and pass on to the consideration of other matters.
"He had been good-looking; but I am sure that no one, even in his best days, could have looked at him without laughing, so clearly was the word pedant written in all the lines of his face and in every movement of his person. To be complete, he should have been ignorant, gourmand, and cowardly. But, far from this, he was very learned, temperate, and madly courageous. He had all the great qualities of the soul, joined to an insufferable disposition, and a self-satisfaction which amounted almost to delirium. But what devotion, what zeal, what a tender and generous soul!"