Part 25

[Footnote 76: "Je fis ma cour l'autre jour à St. Cyr, plus agréablement que je n'eusse jamais pensé. Nous y allâmes samedi; madame de Coulanges, madame de Bagnols, l'abbé Têtu, et moi: nous trouvâmes nos places gardées; un officier dit à madame de Coulanges que madame de Maintenon lui faisait garder un siège auprès d'elle: vous voyez quel honneur! 'Pour vous, madame,' me dit-il, 'vous pouvez choisir.' Je me mis avec madame de Bagnols, au second banc derrière les duchesses. Le maréchal de Bellefond vint se mettre par choix à mon côté droit. Nous écoutâmes, le maréchal et moi, cette tragédie avec une attention qui fut remarqué; et de certaines louanges sourdes et bien placées. Je ne puis vous dire l'excès de l'agrément de cette pièce. C'est une chose qui n'est pas aisée à représenter, et qui ne sera jamais imitée. C'est un rapport de la musique, des vers, des chants, et des personnes si parfait, qu'on n'y souhaite rien. On est attentif, et l'on n'a point d'autre peine que celle de voir finir une si aimable tragédie. Tout y est simple, tout y est innocent, tout y est sublime et touchant. Cette fidélité à l'histoire sainte donne du respect: tous les chants convenables aux paroles sont d'une beauté singulière. La mesure de l'approbation qu'on donne à cette pièce, c'est celle du goût et de l'attention. J'en fus charmée et le maréchal aussi, qui sortit de sa place pour aller dire au roi combien il étoit content, et qu'il étoit auprès d'une dame qui étoit bien digne d'avoir vu Esther. Le roi vint vers nos places; et après avoir tourné, il s'adressa à moi, et me dit, 'Madame, je suis assuré que vous avez été contente.' Moi, sans m'étonner, je répondis, 'Sire, je suis charmée, ce que je sens est au dessus des paroles.' Le roi me dit, 'Racine a bien de l'esprit.' Je lui dit, 'Sire, il en a beaucoup, mais en vérité ces jeunes personnes en ont beaucoup aussi; elles entrent dans le sujet, comme si elles n'avoient jamais fait autre chose.' 'Ah, pour cela,' reprit-il, 'il est vrai;' et puis sa majesté s'en alla, et me laissa l'objet d'envie: comme il n'y avoit quasi que moi de nouvelle venue, il eut quelque plaisir de voir mes sincères admirations, sans bruit et sans éclat. M. le prince, madame la princesse, me vinrent dire un mot, madame de Maintenon, elle s'en alloit avec le roi. Je répondit à tout, car j'étois en fortune. Nous revînmes le soir aux flambeaux; je soupai chez madame de Coulanges, à qui le roi avoit parlé aussi, avec un air d'être chez lui, qui lui donnoit une douceur trop aimable. Je vis le soir M. le chevalier de Grignan. Je lui contait tout naïvement un éclair mes petites prospérités, ne voulant point les cachoter sans savoir pourquoi, comme certaines personnes. Il en fut content, et voilà qui est fait. Je suis assurée qu'il ne m'a point trouvé dans la suite, ni une sotte vanité, ni un transport de bourgeoise."]

[Footnote 77: "Le père Bourdaloue s'en va, par ordre du roi, prêcher à Montpelier, et dans ces provinces où tant de gens se sont convertis sans savoir pourquoi. Le père Bourdaloue le leur apprendra, et en fera de bons catholiques. Les dragons ont été de très-bons missionnaires jusqu'ici: les médiateurs qu'on envoient présentement rendront l'ouvrage parfait. Vous aurez vu, sans doute, l'édit par lequel le roi révoque celui de Nantes. Rien n'est si beau que tout ce qu'il contient, et jamais aucun roi n'a fait et ne fera rien de plus mémorable."--Lettre au comte de Bussy, 14 Nov. 1685, The count replies, "J'admire la conduite du roi pour ruiner les huguenots: les guerres qu'on leur a faites autrefois, elles Saints Barthélémis, ont multiplié et donné vigueur à cette secte. Sa majesté l'a sapée petit à petit, et l'édit qu'il vient de donner, soutenu des dragons et des Bourdaloues, a été le coup de grace."]

BOILEAU

1636-1711

One of the authors most characteristic of the better part of the age of Louis XIV. was Boileau. The activity and directness of his mind, his fastidious taste, his wit, the strict propriety of his writings, and their useful aim, were worthy of a period which, for many years, legislated for the republic of letters. Sunk in ignorance as France had been, it required spirits as resolute and enlightened as his to refine it, and spread knowledge widely abroad--while his disposition and habits were honourable to himself, and to the society of which he formed a distinguished part.

The father of the poet, Giles Boileau, was for sixty years _greffier_ to the great chamber of the parliament of Paris. The simplicity of his character, his abilities, and probity, caused him to be universally esteemed. He had a large family. Three of his sons distinguished themselves in literature. One, who took the name of Pui-Morin, was a lawyer; but his publications were rather classic than legal. Another entered the church; he became a doctor of Sorbonne, and enjoyed several ecclesiastical preferments.

Nicholas Boileau (who, to distinguish him from his brothers, was called by his contemporaries Despréaux, from some meadows which his father possessed at the end of his garden,) was born in Paris, on the 5th of December, 1636.[78] He lost his mother when he was only eleven months old--she dying at the early age of twenty-three. His childhood was one of suffering; so that he said of himself, in after times, that he would not accept a new life on the condition of passing through a similar childhood. We are not told what the evils were of which he complained, but they were certainly, to a great degree, physical; for he was cut for the stone at an early age, and the operation being badly performed he never entirely regained his health. His earliest years were spent at the village of Crone, in which his father had a country house, where he spent his law vacations, and where, indeed, Louis Racine declares that Nicholas was born. The house must have been small and humble, for the boy was lodged in a loft above a barn, till a little room was constructed for him in the barn itself, which made him say that he commenced life by descending into a barn. His disposition as a child was marked by a simplicity and kindliness, that caused his father to say, "that Colin was a good fellow, who would never speak ill of any one." His turn for satire made this seem ridiculous in after times: yet it was founded on truth. Delicacy, and a sort of irritability of taste, joined to wit, caused him to satirise writers: but he carefully abstained from impugning the private character of any one; and, with his friends, and in his conduct during life, he was remarkable for probity, kindness of heart, and a cordial forgiving disposition. When we view him as a courtier, also, we recognize at once that independence of feeling, joined to a certain absence of mind, of which his father perceived the germ.

He went to school at Beauvais; and M. Sevin, master of one of the classes, discovered his taste for poetry, and asserted that he would acquire great reputation in his future life; being persuaded that, when a man is born a poet, nothing can prevent him from fulfilling his destiny. Boileau was at this time passionately fond of romances and poetry; but his critical taste was awakened by these very pursuits. "Even at fifteen," he says, in his ninth satire, "I detested a stupid book. Satire opened for me the right path, and supported my steps towards the Parnassus where I ventured to seek her." At the age of eighteen he wrote an ode on the war which it was expected that Cromwell would declare against France. In later days he corrected this ode, and added to the force of its expressions; but even in its original state it is remarkable for the purity of its language, its conciseness, and energy.

At the age of sixteen he lost his father, and thus acquired early that independent position which is the portion of orphans. His relations wished him to follow the profession of the law: he consented, and, applying himself with diligence, was named advocate at an early age. [Sidenote: 1656. Ætat. 20.] But the chicanery, the tortuousness, and absurdity of the practice speedily disgusted him, formed as he was by nature to detect and expose error; so that, in the very first cause entrusted to him, he showed so much disgust, that the attorney (who probably was aware that such existed), fancying that he had discovered some irregularity in his proceedings, said, on withdrawing his brief, "Ce jeune avocat ira loin." Boileau, on the contrary, was only eager to throw off the burden of a profession so little suited to him; and he quitted the bar for the study of ecclesiastical polity, fancying that religion would purify and elevate the practice of the church. He was soon undeceived; and was shocked and astonished by the barbarous language, the narrow scholastic speculations, and polemical spirit, of the sorbonne. He found that chicanery had but changed its garb; and, unwilling to debase his mind by such studies, he gave them up, and dedicated himself entirely to literature. Led by his inborn genius, he boldly entered on the career of letters and poetry, in spite of the warnings of his family[79], for his patrimony, consisting only of a few thousand crowns, seemed to render it imperative that he should follow a gainful profession. His desires, however, were moderate; and he contrived to limit his expenses to his slender income.

Literature and knowledge were at a low ebb in France when Louis XIV. began to reign. The genius of the people had, previously to Corneille, displayed itself in no great national poem. Its instincts for poetry, owing, perhaps, to the faulty nature of the language, had confined itself to songs and ballads, inimitable for a certain charming elegant simplicity, but with no pretension to the praise due to a high order of imagination. Corneille, in his majesty and power, stood alone. Then had come Molière, who detected and held up to ridicule the false taste of the age. Yet, in spite of his attacks, this false taste in part subsisted; and there were several of the favourite authors of the day whose works excited Boileau's spleen, and roused him to the task of satire. Chapelain may be mentioned as the chief among them. Jean Chapelain was a Parisian, and a member of the French academy. He was much patronised by the minister Colbert; and, under his auspices, the king not only granted him a pension, but entrusted to his care the making out a list of the chief literary men of Europe, towards whom Louis, in a spirit of just munificence, inspired by Colbert, allowed pensions, in token that their labours deserved assistance or reward. Jean Chapelain, an upright, a clever, and a generous man, was thus exalted to the head of the republic of letters; and was seduced by the voice of praise to write a poem on the subject of the Maid of Orleans. The topic was popular: while in progress. Chapelain enjoyed an anticipated reputation on the strength of it; and the duke de Longueville allowed him a pension; but as soon as the "Pucelle" was published, which rash act he did not venture on for a number of years, his fame as a poet fell to the ground; epigrams rained on the unfortunate epic, and Boileau brought up the rear with pointed well-turned sarcasms. As the friend of Colbert, as an amiable man of acknowledged talents. Chapelain had many partisans. The duke de Montauzier[80], a satirist himself in his youth, was furious, and declared that Boileau ought to be tossed into the river, that he might rhyme there. Other friends of Chapelain remonstrated; but their representations turned to the amusement of the satirist. "Chapelain is my friend," said the abbé de la Victoire, "and I grieve that you have named him in your satires. It is true, if he followed my advice, he would not write poetry; prose suits him much better."--"And what more do I say?" cried Boileau: "I repeat in verse what every one else says in prose: I am, in truth, the secretary of the public."[81]

As such the public joyfully accepted him. He became the favourite guest of the best society in Paris, where genius and wit were honoured. Joined to his faculty of writing satires, whose every word was as a gem set in gold, Boileau read his verses well, and possessed the talent of mimicry, which added greatly to the zest of his recitations. Chapelain, Cotin, and the poetasters whom he lashed, passed thus, as it were, in living array before his audience; and the enjoyment he created naturally led to a popularity, which, as it was bestowed by the well-born, the beautiful, and the rich, spread a halo of prosperity round the poet's steps.

Boileau, however, has not escaped censure for his personal attacks. It was considered a defilement of the elevated spirit of poetical satire to attack persons; and, though Boileau only lashed these men as authors, their blameless private characters made many recoil from seeing their names held up to ridicule. Not only his contemporaries, but later writers, have blamed him.[82] He has even been accused of acting from base motives. That Chapelain, when he made a list for Colbert of literary men deserving of pensions, did not include Boileau's name is supposed to be the occasion of his enmity. But the dislike seems to have had foundation earlier; for we are told that the first satire was composed when the poet was only four-and-twenty, and had no pretensions to be pensioned for unwritten works, and, indeed, before the pensions in question were granted.[83] Some ill blood might have arisen through a quarrel between Boileau and his elder brother Giles, who was a friend of Chapelain. This circumstance rendered him, perhaps, more willing to attack the latter; but, doubtless, his ruling motive was his hatred of a bad book, and his natural genius, which directed the scope of his labours.

Boileau himself carefully distinguishes between attacks made on authors and on individuals; and, _à propos_, of his ridicule of Chapelain, he says,

"En blamant ses écrits, ai-je d'un style affreux Distilé sur sa vie un venin dangereux? Ma muse en l'attaquant, charitable et discrete, Scait de l'homme d'honneur distinguer le poète."[84]

Still he whimsically gives, as it were, the lie to this very defence by his subsequent conduct; for, when any one of the unhappy authors whom he had held up to ridicule showed him personal kindness, he was not proof against the impulse that led him to expunge his name in the next edition of his works, and substitute that of some new-sprung enemy. Thus in the seventh satire we find the following persons strung together:--

"Faut-il d'un froid Rimeur dépeindre la manie? Mes vers, comme un torrent, coulent sur le papier, Je rencontre à la fois Perrin et Pelletier, Bardou, Mauroy, Boursault, Colletet, Titreville."

He afterwards altered the last verse to

"Bonnecorse, Pradon, Colletet, Titreville."

Perrin had translated the Æneid into French; and was the first person who obtained leave to introduce the Italian opera into France. Pelletier was a sort of itinerant rhymester, who, when he addressed a sonnet to a man, carried it to him, and contrived to get paid for his pains. Bardou and Mauroy were minor poets, whose nonsense appeared in ephemeral collections of verses. Boursault was more distinguished. He quarrelled with Molière, and endeavoured to satirise him in a slight drama, entitled "Portrait du Peintre, ou, contre Critique de l'École des Femmes." Molière showed himself very indifferent to this sort of attack; but Boileau took up the cudgels for him. Boursault revenged himself by another drama, levelled against Boileau himself, called "Satire des Satires;" and the latter, with a sensitiveness in which he had no right to indulge, got a decree of parliament to prevent its representation. Many years after, when Boileau was at the baths of Bourbon for his health, and Boursault was _receveur des termes_ at Mont Luçon, a town not far distant, Boileau writes to Racine, "M. Boursault, whom I thought dead, came to see me five or six days ago, and made his appearance again unexpectedly this evening. He told me he had come three long leagues out of his way to Mont Luçon, whither he was bound, and where he lives, to have the pleasure of calling on me. He offered me all sorts of things--money, horses, &c. I replied by similar civilities, and wished to keep him till to-morrow to dinner; but he said he was obliged to go away early in the morning, and we separated the best possible friends." Racine says, in reply, "I am pleased by the civilities you have received from Boursault; you are advancing towards perfection at a prodigious pace; how many people you have pardoned." Boileau replies, "I laughed heartily at the joke you make of the people I have pardoned; but do you know that I have more merit than you imagine, if the Italian proverb be true, _chi offende non perdona._" About this time Pradon and Bonnecorse attacked him; and he took occasion, in a new edition of his works, to substitute their names for those of the persons with whom he was now reconciled.

To return to his younger days: wit, high and convivial spirits, and his acknowledged and popular talents, gained him the favour of the great. The great Condé was his especial protector; and he changed many expressions in his poems, and even altered them materially, at his suggestion. The great Coudé often assembled literary men at Chantilly; and he liked this society far better than that of people of rank. One day, when Racine and Boileau were with him, the arrival of some bishop was announced, as having come to view his palace and grounds. "Show him every thing," said the prince impatiently, "except myself." This prince often discussed literary topics with his guests. When he was in the right, he argued with moderation and gentleness; when in the wrong, he grew angry if contradicted: his eyes sparkled with a fire that even intimidated Boileau, who yielded at once, remarking, at the same time, to his neighbour, "Henceforth I shall always agree with the prince when he is in the wrong."

The First President Lamoignon also honoured him with his intimate friendship; and Arnaud and Nicole, churchmen distinguished for their virtues and talents, were among his dearest and most revered friends. But, besides these, he had intimates of his own station, of not less genius than himself; authors, yet without rivalship, who enjoyed the zest given by each other's wit in society; to whom he was strongly attached, and with whom, in the heyday of life, he played many a prank, and spent long hours of social enjoyment. Racine, La Fontaine, Molière, and Chapelle[85] were among these. Many anecdotes are told concerning them, which makes us the more regret that no faithful Boswell was near to glean more amply. The "Boileana," which pretended to record their wit, is by no means authentic. Louis Racine, in his valuable life of his father, has given us one or two; from these--the shadow rather than the light of wit--marking its place rather than displaying its form--we select a few.

This knot of friends frequently dined at a celebrated _traiteur's_, or at one another's houses; in particular, at Molière's and Boileau's country houses at Auteuil. The conversation on these occasions was brilliant; and, did a silly remark escape from any among them, a fine was immediately levied. Chapelain's poem of the "Pucelle" was on the table, and, according to the quality of the fault, the accused was adjudged to read a certain number of lines from this poem: twenty lines was a heavy punishment; a whole page was considered equivalent to a sentence of death.

The famous supper, when the whole company resolved to drown themselves, has been related in the life of Molière. Buoyant spirits, unchecked by age or sorrow, inspired a thousand freaks, which were put in execution on the spur of the minute. At one time the university of Paris was going to present a petition to parliament to desire that the philosophy of Descartes should not be taught in the schools. This was mentioned before the First President Lamoignon, who said that, if the petition were presented, the decree could not be refused. Boileau, amused by the idea, wrote a burlesque decree, which he got up in common with Racine, and his nephew added the legal terms, and carried it, together with several other papers, to be signed by the president. Lamoignon was on the point of putting his name, when, casting his eyes over it, he exclaimed, "This is a trick of Despréaux!" The burlesque petition became known, and the university gave up the notion of presenting a serious one.

Meanwhile, flattered and courted by the great, and beloved by his friends, Boileau long abstained from publishing those satires which had gained him so much popularity. Many of his verses had passed into proverbs from their appositeness and felicity of expression[86]; and those who heard him recite were eager to learn them by heart, and repeat them to others. Becoming thus the universal subject of conversation,--listened to with delight, repeated with enthusiasm,--the booksellers laid hold of mutilated copies, and printed them. The sensitive ear of the author was shocked by the mistakes that crept in, the result of this loose mode of publication, and he at last resolved to bring them out himself. [Sidenote: 1666. Ætat. 30.] He published seven satires, preceded by an address to the king, which, however full of praise, could hardly be called flattery, since it echoed the voice of the whole French nation, and had been fairly earned by the sovereign. Louis then appeared in the brilliant position of a young monarch labouring for the prosperity and glory of his people. Cardinal Richelieu and cardinal Mazarin had disgusted the French with favourites and prime ministers. Louis was his own minister; unwearied in his application to business, and never suffering his pleasures to seduce him to idleness. These very pleasures, conducted with magnificence and good taste, dazzled and fascinated his subjects. He established his influence in foreign countries, forcing them to acknowledge his superiority. He aided Austria against the Turks; succoured Portugal; protected Holland: and while, with some arrogance, but more real greatness, he thus rose the sun of the world, he studied to make his court the centre of civilisation and knowledge. Such a course might well deserve the praises Boileau bestowed, who was also influenced by Colbert to give such a turn to his address as would lead the mind of the active and ardent sovereign to take delight in the blessings of peace, instead of the false glories of war. The first edition was also preceded by a preface, in which he apologises for the publication, to which he was solely urged by the disfigurement of his poems as they were then printed. He bids the authors whom he criticises remember that Parnassus was at all times a free country; and that, if he attacked their works, they might revenge themselves by criticising his; and to reflect that, if their productions were bad, they deserved censure; if good, nothing said in their dispraise would injure them.