Madame Du Deffand.
“Men have died, and worms have eaten them, but not of love,” the poet tells us. And women too have died, and worms have eaten them, but not of ennui, although Mme. du Deffand for nearly fourscore years woke the echoes of Versailles and Paris with the pitiful lament: “I am bored! I am bored! I am dying of ennui!” If she eventually did die of it—which we stoutly deny—a malady that took eighty years to kill its victim can hardly be called a very cruel one. The vivacious, gossipping, wearied old lady contrived to extract a very reasonable amount of amusement, even of excitement, out of the existence whose wearisomeness she was for ever denouncing; and it is only fair to add that she contributed a very goodly share of amusement to other people. This renowned heroine and victim of ennui, Marie de Vichy-Chamroud, was born into this wearisome world in the year of grace 1697, of a noble family of the province of Burgundy. The De Vichy-Chamrouds were richer in parchments than in lands; so it fell out that Marie, young, lovely, accomplished, and teeming with wit, was condemned to marry an old man, and, what was still more terrible, a wearisome old man, who had not a single taste in common with her. Immediately on leaving the convent where she received what in those days was considered a liberal education, the beautiful young lady was presented to her future lord. If she bored herself as a young girl, free and happy, and with life before her, what must she have done as the wife of a querulous, stingy old man? All the revenge that was in her power Marie took. She bored her husband as much as he bored her, until at last, in sheer desperation, he agreed to give her an annuity, and let her go her way without him. As Marquise du Deffand, free and comparatively wealthy, the young wife began a new era. She opened a salon which soon became the centre of the wit and fashion of Paris. All that was eminent in war, arts, sciences, literature, and folly came there, and tried to chase away her eternal ennui. Amongst her many admirers, the President Hénault occupies the most conspicuous place, both from the dignity of his own character and the enduring nature of their mutual attachment. Hénault was one of the most remarkable men of his time. He was educated by the Oratorians, and had early the inestimable advantage of enjoying the advice, and almost the intimacy, of Massillon. He counted the scarcely lesser privilege of early personal acquaintance with the great poet Racine. As soon as he had completed his studies, young Hénault was introduced at court, where he at once made a favorable impression. “This is not to be wondered at,” says a chronicler of the times; “for, in truth, he was a youth of gracious parts, gay, witty, amiable, a good musician, and gifted with the art of making light and graceful verses.” While the Duchesse de Maine held her brilliant court, Hénault was a [pg 694] constant presence there, and one of its principal ornaments. He was so universally beloved that it was popularly said of him: “There is a man who has more friends than he can count, and not a single enemy.” And this lucky man was the devoted admirer of Mme. du Deffand for over fifty years.
He attained considerable fame as an author, and not the least remarkable feature in his works is that their authorship was vehemently contested, not only during Hénault's life, but for many years after his death. Most of his books were first published anonymously—a circumstance which, in their early career, may have explained the doubts concerning their origin. But the Abrégé Chronologique, which Hénault regarded as his best, appeared with the author's name at the outset, and this, strange to say, was the one which the world refused longest to believe was his, and persevered in long attributing to the Abbé Boudot. A copy of the book was found, in the abbé's own writing, amongst his papers when he died, and this is the only piece of evidence on which Hénault's detractors built their obstinate denial that he was the author of the Abrégé. Admitting that this fact looked suspicious, the book itself from first to last bears the stamp of Hénault's composition in the most unmistakable manner; the choice of the subject, its style and treatment, all point emphatically to him as the author, while there is abundant explanation of the accidental presence of the compromising copy amongst Boudot's papers. Hénault was in the habit of employing him to copy out his compositions. Voltaire, in one of his letters to the president, recommends the abbé as a very clever copyist, and also as a useful person to make researches for him at the Royal Library; and Grimm also recommends him for the same purpose, informing Hénault that Boudot had employment at the library, and was in charge of the literary and historical department. A man who held this subaltern post, and was treated as a mere scribe by such authorities, and who never pleaded guilty to writing even a pamphlet in his life, is, to say the least, a very unlikely person to be the author of such a work as Hénault's Abrégé. Mme. du Deffand and Grimm, who both liked to sharpen their wits pretty freely at the president's expense, never for an instant doubted the reality of his authorship, or suspected that any one had had a share in his books.
Unlike so many of his distinguished literary contemporaries, Hénault was a practical Christian. “His piety,” says the Marquis de Agesson, “was as free from fanaticism or bitterness as his books were from pedantry.”
Mme. du Deffand, who spared her friend on no other points, spared him on this. She never laughed at his religion. On that score alone he was safe from her irony and sarcasm. She even openly commended him for challenging Voltaire's impious vituperation of the faith; and in her own correspondence with the infidel philosopher she speaks almost with enthusiasm of the clear intellect, the pointed wit, and irresistible goodness of his antagonist. When he was past eighty, Hénault wrote privately to Voltaire, imploring him, in the most touching terms, to retract some of his diabolical satires on religion; and this letter, which, unhappily, we know remained without effect, was found amongst Voltaire's [pg 695] papers after his death. He, on his side, strove to win over Hénault to the “enlightened school,” and with artful flattery and subtlest sophistry urged him to change certain historical passages in the Abrégé Chronologique which strongly vindicated the influence of Christianity. But the Christian writer withstood these blandishments. In a literary point Voltaire contributed in no small degree to the reputation of Hénault, whose style he praised with creditable candor. It is strange to see the lively and bored old marquise holding steadily the friendship of these widely dissimilar men. Diderot, D'Alembert, and Montesquieu were also habitués of her brilliant salon. But none of them could do more than give her momentary deliverance from her life-long enemy—ennui. She went on boring herself, in spite of the perpetual cross-fire of esprit that the brightest wits of the age kept up around her, and she bored her friends almost to exasperation by the unceasing repetition of the complaint: Que je m'ennuie! Que je m'ennuie!
At the age of fifty-four a terrible misfortune befell the marquise. She grew blind. It was soon after this that she became acquainted with Mlle. de l'Espinasse. The sprightliness and the energy of this young girl were an immense consolation to Mme. du Deffand, and cheered her for a time in that “eternal night,” as she pathetically described it, in which she now dwelt. But they did not agree for long. After living happily together for some few years, they quarrelled and separated. It is impossible to say whose fault it was. Each had violent partisans, who accused the other, but proved nothing. Mme. du Deffand was undoubtedly difficult to live with, as all people are who draw exclusively on those around them for amusement; but she was old and she was blind, and it is beyond doubt she was a kind benefactress to her young companion, and that, at the moment of separation, she wrote a most touching letter to her, asking forgiveness for all she had done inadvertently to pain her, and urging the young girl to remember how cruelly she was afflicted both by blindness and by ennui. To this Mlle. de l'Espinasse returned a curt and ungracious answer. Nor did she imitate the kindliness of speech of her quondam employer, who always spoke of her ever after their quarrel with the utmost good-nature and forbearance.
Just as her home was resounding to these domestic discords, Mme. du Deffand made the acquaintance of Horace Walpole. They were spontaneously pleased with each other. Mme. du Deffand would have probably been still more so, if she could have foreseen how triumphantly this new friendship was destined to rescue her memory from oblivion. We know more of her and her salon through the voluminous correspondence that passed between her and that prince of gossips and most brilliant of scribblers than through any other source; although she comes in, it is true, for more ridicule at his hands than eulogy. He constantly reproaches her for making him the laughing-stock of Paris and London by her absurd affection, and coarsely tells her he does not want to be the hero of a novel where the heroine is a blind octogenarian.
This correspondence was published at the beginning of the century, and was hailed as a valuable addition to the French literature [pg 696] of that period. On reading it, one feels transported into the society of the fascinating women and accomplished men whom it so cleverly depicts. Mme. du Deffand passes in review the authors and actors of her time with a graphic power of delineation rarely equalled. Unsparing in her criticism, she is in some instances no doubt too severe, and occasionally even unjust; it is nevertheless acknowledged that in her literary judgments she is rarely at fault; they are marked throughout by discrimination, taste, and delicacy.