Note (return) — LITERARY COTERIES IN PARIS IN THE LAST CENTURY.

As to the enlightened mistresses who had much more power and influence than the queen, Pompadour seemed, as we learn from Marmontel, desirous of participating in the literature of the age and of doing something for its promotion, when she saw how important writers and the influence of the press had become; but partly because both she and the king were altogether destitute of any sense for the beautiful in literature or art, and partly because the better portion of the learned men at the time neither could nor would be pleased with what a Bernis, Düclos and Marmontel were disposed to be, who undoubtedly received some marks of favor from her. Voltaire is therefore quite right when he lays upon the court the blame of allowing the influence which literature then exercised upon the people, to be withdrawn altogether from king and his ministers, and to be transferred to the hands of the Parisian ladies and farmers-general, &c. Voltaire, in his well-known verses,1 admits, with great openness and simplicity, that he attached much importance to the applause of a court, although it neither possessed judgment nor feeling for the merits of a writer, nor for poetical beauties; and he complains at the same time that this court had neither duly estimated his tragedies nor his epic poems. It is characteristic both of the court and of Voltaire that he eagerly pressed himself forward for admission to its favor, and sought to attract attention by a work which be himself called a piece of trash, and that the court extended its approbation and applause to this miserable and altogether inappropriate piece, ('La Princesse de Navarre,') which he composed on the occasion of the Dauphin's marriage with the Infanta of Spain, whilst it entirely neglected his masterpieces.