LITMIR.BIZ

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have in the present day destroyed the capacity for enthusiasm for heroes of romance. One's imagination can hardly be kindled by a Coupeau or a Nana, nor even by a Madame Bovary, whatever may be the literary value of the works in which they figure. For the little court of Saint-Fargeau it was hardly possible to speak calmly of the favourite heroes. One day, followed by a numerous assemblage, Mademoiselle drove in the fresh valley of the Loing and descended from her chariot under the tall willows which bordered the little river. It was spring and the sun was radiant. The new grass and the growing leaves offered a picture so "laughing" that nothing else could at first be spoken of. While walking, the conversation finally turned upon romance, and each fought for the favourite hero. The discussion was waxing warm when the Princess, who had hardly spoken, intervened to moderate its ardour. After avowing that she had read but little, she gave an eulogium upon Roman history, or rather what it might become, better comprehended in the hands of a learned writer, and criticised the custom of giving French manners to Greeks, Persians, or Indians.

      Mademoiselle desired greater "historic truth" and what might be designated as more local colour. Why not frankly take characters from French contemporaries? "I am astonished," she said in ending, "that so many people of intelligence who have created for us such worthy Scythians and such generous Parthians have not taken the same pleasure in imagining as accomplished French cavaliers or princes: whose adventures would not have been less pleasing." After a moment's silence, objections were advanced. The idea of writing a romance upon the "war of Paris" seemed very daring. One young lady very naïvely urged that the author would not know how to name his characters. "The French," said she, "naturally love foreign names. Arabaze, Iphidamante, Crosmane, are beautiful names; Rohan, Lorraine, Montmorency, are nothing of the kind."

      The old Mme. de Choissy, with the authority given by her noted intelligence, tried to prove that in an imaginative recital both time and space must be distant. One Marquise appeared wearied of the kings and emperors of romance, and desired heroes taken from the middle class. Another, Mme. de Mauny, who was supposed10 to have invented the expression "s'encanailler" asserted that it was forbidden to heroes of romance to do or say anything derogatory to pure sentiment, which was possible to those of "high birth only." Mademoiselle maintained the necessity of observation and truth for the tale, but she admitted that the author of a great romance, writing as a "poet," had the right to imagine events, instead of servilely copying them. "The tale," said she, "relates things as they are, the romance as they should be."

      This distinction neither lacks acuteness nor a certain justice, and we should like to know how much Segrais had contributed to it. No one having replied to this last remark, the Princess remounted her carriage, and gave the order to follow the pack of hounds, which had just started a hare a few steps off. She was obeyed, in spite of the obstacles which the country presented, and she returned to the château, very well satisfied with her afternoon.

      At Saint-Fargeau they talked more frequently of love than of either literature or the beauties of nature. Love is a subject of which women never weary, and about which they always have something to say. Mademoiselle lent herself completely to such conversation; it was she who one day posed a question the subtlety of which the Hôtel Rambouillet might have enjoyed. "Whose absence causes the greater anguish, a lover who should be loved or one who should not be?"

      She consented to admit the ideas of l'Astrée upon the fatality of passion, on the condition that the effects should be limited to personages of romance, or in real life to those of humble birth. Segrais makes her say without protest in a tale11 ascribed to her "Man is not free to love or not to love as he pleases." In the depths of her soul, in her most intimate thoughts, Mademoiselle had never been further from comprehending love, never had she more energetically refused for it any beauty, any grandeur. One of her ladies, the gracious Frontenac, with her eyes "filled with light," had made a marriage of inclination, an act absurd, base, and shameful in the judgment of Mademoiselle, her mistress. The marriage turned out badly. M. de Frontenac was eccentric. His young wife at first feared, then hated him, and at Saint-Fargeau there passed between the couple tragi-comic scenes, of which no one could be ignorant.

      Mademoiselle had just commenced her Mémoires.12 She eagerly relates the conjugal quarrels of M. and Mme. de Frontenac with more details than it would be suitable to repeat, and this was the opportunity for an outburst against the folly of trying to found marriage upon the most fickle of human feelings. She writes:

      I have always had a strong aversion for even legitimate love. This passion appears to me unworthy of a noble soul; but I am now confirmed in this opinion, and I comprehend well that reason has but little to do with affairs of passion. Passion passes quickly, is never, in fact, of long duration. One may be unhappy for life in entering upon marriage for so transient a feeling, but on the other hand, happy if one marries for reason and other imaginable considerations, even if physical aversion exists; for I believe that one often loves more with this aversion conquered.

      The principle may be sage, but the Grande Mademoiselle is too sure of her fact. This "even if aversion exists" is difficult to digest. The Princess was nearing her thirtieth year, when she treated love with contempt, and nothing had yet warned her of the imprudence of defying nature; so she believed herself well protected.

      In the spring of 1683, the rumour had spread that she and M. le Prince de Condé had promised to marry, in the expectation and hope of being soon relieved of the Princess de Condé, now a hopeless invalid, and that the imagination of Mademoiselle, for lack of heart, pressed her "furiously" in this affair. The Parisian salons had discovered no other explanation for the hostile attitude which she persisted in maintaining towards the Court of France, which she had so much interest in conciliating. It was inconceivable that without some reason of this kind she should compromise herself as she did, for a Prince who had become an alien and whom she might never again see. Why betray news through letters which always fell into the hands of Mazarin? Why leave to Condé, now a Spanish General, the companies raised under the Fronde with the funds of Mademoiselle and bearing her name? Either she had lost her senses or one might expect some romantic prank, which could only be unravelled by marriage.

      "Have you told everything?" demanded Mademoiselle of the old Countess de Fiesque, her former governess, one morning, when this last poured out the comments of the world. "No," said the good woman. Her mistress let her proceed, then expressed herself as indignant that she should have been believed capable of marrying on account of a sudden passion; the other reproaches had not touched her.

      She declared that M. le Prince had never spoken of marriage, that it would be time to think of this if Madame la Princesse should die, when M. le Prince should be pardoned, when he should formally demand her hand, and the King should approve the affair.

      I believe [continued she] that I should marry him finding in his personality only what is grand, heroic, and worthy of the name I bear. But that I should marry like a young lady of romance, that he should come to seek me upon a palfrey destroying all barriers in the road; and on the other hand that I should mount another palfrey like Mme. Oriane13; I assure you this would not suit my temper, and I am very indignant against those people who have thought it possible.

      At this point the Princess was silent. It would have been the moment to confess the true key to her conduct; but one must avow that, in spite of her fine words and her expressed contempt for lovers, she was after all a true Princess of romance, led by her imagination.

      The idea of making war upon the King from the bottom of a cellar had amused her, and still more the thinking of herself as the price of peace between her cousin and Condé, and she had not wished to look further.

      While the tempest gathered over her head, the great preoccupation of Mademoiselle was the installation of a theatre in her dilapidated château, in which the country workmen had not yet succeeded in arranging a suitable bedroom for her. She could no longer live without the comedy; the theatre must come first. It was ready in February, 1653, and inaugurated immediately by a wandering troop, engaged for the season. The hall was commodious, but very cold. The court of Saint-Fargeau descended from its garrets entirely muffled, the ladies in fur hoods. The country people, only too delighted

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