II. Return To Nature And Sentiment.

     Final trait of the century, an increased sensitivity in the
     best circles.—Date of its advent.—Its symptoms in art and
     in literature.—Its dominion in private.—Its affectations.—
     Its sincerity.—Its delicacy.

It is not that the groundwork of habits becomes different, for these remain equally worldly and dissipated up the last. But fashion authorizes a new affectation, consisting of effusions, reveries, and sensibilities as yet unknown. The point is to return to nature, to admire the country, to delight in the simplicity of rustic manners, to be interested in village people, to be human, to have a heart, to find pleasure in the sweetness and tenderness of natural affections, to be a husband and a father, and still more, to possess a soul, virtues, and religious emotions, to believe in Providence and immortality, to be capable of enthusiasm. One wants to be all this, or at least show an inclination that way. In any event, if the desire does exist it is one the implied condition, that one shall not be too much disturbed in his ordinary pursuits, and that the sensations belonging to the new order of life shall in no respect interfere with the enjoyments of the old one. Accordingly the exaltation which arises is little more than cerebral fermentation, and the idyll is to be almost entirely performed in the drawing-rooms. Behold, then, literature, the drama, painting and all the arts pursuing the same sentimental road to supply heated imaginations with factitious nourishment.2307 Rousseau, in labored periods, preaches the charms of an uncivilized existence, while other masters, between two madrigals, fancy the delight of sleeping naked in the primeval forest. The lovers in "La Nouvelle Héloise" interchange passages of fine style through four volumes, whereupon a person "not merely methodical but prudent," the Comtesse de Blot, exclaims, at a social gathering at the Duchesse de Chartres', "a woman truly sensitive, unless of extraordinary virtue, could refuse nothing to the passion of Rousseau."2308 People collect in a dense crowd in the Exhibition around "L'Accordée de Village," "La Cruche Cassée," and the "Retour de nourrice," with other rural and domestic idylls by Greuze; the voluptuous element, the tempting undercurrent of sensuality made perceptible in the fragile simplicity of his artless maidens, is a dainty bit for the libertine tastes which are kept alive beneath moral aspirations.2309 After these, Ducis, Thomas, Parny, Colardeau, Boucher, Delille, Bernardin de St. Pierre, Marmontel, Florian, the mass of orators, authors and politicians, the misanthrope Champfort, the logician La Harpe, the minister Necker, the versifiers and the imitators of Gessner and Young, the Berquins, the Bitaubés, nicely combed and bedizened, holding embroidered handkerchiefs to wipe away tears, are to marshal forth the universal eclogue down to the acme of the Revolution. Marmontel's "Moral Tales" appear in the columns of the "Mercure" for 1791 and 1792,2310 while the number following the massacres of September opens with verses "to the manes of my canary-bird."

Consequently, in all the details of private life, sensibility displays its magniloquence. A small temple to Friendship is erected in a park. A little altar to Benevolence is set up in a private closet. Dresses à la Jean-Jacques-Rousseau are worn "analogous to the principles of that author." Head-dresses are selected with "puffs au sentiment" in which one may place the portrait of one's daughter, mother, canary or dog, the whole "garnished with the hair of one's father or intimate friend."2311 People keep intimate friends for whom "they experience something so warm and so tender that it nearly amounts to a passion" and whom they cannot go three hours a day without seeing. "Every time female companions interchange tender ideas the voice suddenly changes into a pure and languishing tone, each fondly regarding the other with approaching heads and frequently embracing," and suppressing a yawn a quarter of an hour after, with a nap in concert, because they have no more to say. Enthusiasm becomes an obligation. On the revival of "Le père de famille" there are as many handkerchiefs counted as spectators, and ladies faint away. "It is customary, especially for young women, to be excited, to turn pale, to melt into tears and, generally, to be seriously affected on encountering M. de Voltaire; they rush into his arms, stammer and weep, their agitation resembling that of the most passionate love."2312—When a society-author reads his work in a drawing-room, fashion requires that the company should utter exclamations and sob, and that some pretty fainting subject should be unlaced. Mme. de Genlis, who laughs at these affectations, is no less affected than the rest. Suddenly some one in the company is heard to say to the young orphan whom she is exhibiting: "Pamela, show us Héloise," whereupon Pamela, loosening her hair, falls on her knees and turns her eyes up to heaven with an air of inspiration, to the great applause of the assembly.2313 Sensibility becomes an institution. The same Madame de Genlis founds an order of Perseverance which soon includes "as many as ninety chevaliers in the very best society." To become a member it is necessary to solve some riddle, to answer a moral question and pronounce a discourse on virtue. Every lady or chevalier who discovers and publishes "three well-verified virtuous actions" obtains a gold medal. Each chevalier has his "brother in arms," each lady has her bosom friend and each member has a device, and each device, framed in a little picture, figures in the "Temple of Honor," a sort of tent gallantly decorated, and which M. de Lauzun causes to be erected in the middle of a garden.2314—The sentimental parade is complete, a drawing room masquerade being visible even in this revival of chivalry.

The froth of enthusiasm and of fine words nevertheless leaves in the heart a residuum of active benevolence, trustfulness, and even happiness, or, at least, expansiveness and freedom. Wives, for the first time, are seen accompanying their husbands into garrison; mothers desire to nurse their infants, and fathers begin to interest themselves in the education of their children. Simplicity again forms an element of manners. Hair-powder is no longer put on little boys' heads; many of the seigniors abandon laces, embroideries, red heels and the sword, except when in full dress. People appear in the streets "dressed à la Franklin, in coarse cloth, with a knotty cane and thick shoes."2315 The taste no longer runs on cascades, statues and stiff and pompous decorations; the preference is for the English garden.2316 The queen arranges a village for herself at the Trianon, where, "dressed in a frock of white cambric muslin and a gauze neck-handkerchief, and with a straw hat," she fishes in the lake and sees her cows milked. Etiquette falls away like the paint scaling off from the skin, disclosing the bright hue of natural emotions. Madame Adelaide takes up a violin and replaces an absent musician to let the peasant girls dance. The Duchesse de Bourbon goes out early in the morning incognito to bestow alms, and "to see the poor in their garrets." The Dauphine jumps out of her carriage to assist a wounded post-boy, a peasant knocked down by a stag. The king and the Comte d'Artois help a carter to extract his cart from the mud. People no longer think about self-constraint, and self-adjustment, and of keeping up their dignity under all circumstances, and of subjecting the weaknesses of human nature to the exigencies of rank. On the death of the first Dauphin,2317 whilst the people in the room place themselves before the king to prevent him from entering it, the queen falls at his knees, and he says to her, weeping, "Ah, my wife, our dear child is dead, since they do not wish me to see him." And the narrator adds with admiration; "I always seem to see a good farmer and his excellent wife a prey to the deepest despair at the loss of their beloved child." Tears are no longer concealed, as it is a point of honor to be a human being. One becomes human and familiar with one's inferiors. A prince, on a review, says to the soldiers on presenting the princess to them, "My boys, here is my wife." There is a disposition to make people happy and to take great delight in their gratitude. To be kind, to be loved is the object of the head of a government, of a man in place. This goes so far that God is prefigured according to this model. The "harmonies of nature" are construed into the delicate attentions of Providence; on instituting filial affection the Creator "deigned to choose for our best virtue our sweetest pleasure."2318—The idyll which is imagined to take place in heaven corresponds with the idyll practiced on earth. From the public up to the princes, and from the princes down to the public, in prose, in verse, in compliments at festivities, in official replies, in the style of royal edicts down to the songs of the market-women, there is a constant interchange of graces and of sympathies. Applause bursts out in the theater at any verse containing an allusion to princes, and, a moment after, at the speech which exalts the merits of the people, the princes return the compliment by applauding in their turn.2319—On all sides, just as this society is vanishing, a mutual deference, a spirit of kindliness arises, like a soft and balmy autumnal breeze, to dissipate whatever harshness remains of its aridity and to mingle with the radiance of its last hours the perfume of dying roses. We now encounter acts and words of infinite grace, unique of their kind, like a lovely, exquisite little figure on old Sèvres porcelain. One day, on the Comtesse Amélie de Boufflers speaking somewhat flippantly of her husband, her mother-in-law interposes, "You forget that you are speaking of my son."—"True, mamma, I thought I was only speaking of your son-in-law." It is she again who, on playing "the boat," and obliged to decide between this beloved mother-in-law and her own mother, whom she scarcely knew, replies, "I would save my mother and drown with my mother-in-law."2320 The Duchesse de Choiseul, the Duchesse de Lauzun, and others besides, are equally charming miniatures. When the heart and the mind combine their considerations they produce masterpieces, and these, like the art, the refinements and the society which surrounds them, possess a charm unsurpassed by anything except their own fragility.