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The fun of these early races was, we fancy, of the after-dinner kind—loud-throated laughter over the wine-cup, taken too little account of in sober moments to enter as an element into their Art, and differing as much from the laughter of a Chamfort or a Sheridan as the gastronomic enjoyment of an ancient Briton, whose dinner had no other “removes” than from acorns to beech-mast and back again to acorns, differed from the subtle pleasures of the palate experienced by his turtle-eating descendant.
Some one said to the Duchess of Chaulnes, whose life was despaired of: "The Duke of Chaulnes would like to see you once more." "Is he there?" "Yes." "Let him wait; he shall come in with the sacraments." This minotauric anecdote has been published by Chamfort, but we quote it here as typical. *Some women try to persuade their husbands that they have duties to perform towards certain persons.
According to La Harpe, Comedy and Moliere are synonymous terms; he is the first of all moral philosophers, his works are the school of the world. Chamfort terms him the most amiable teacher of humanity since Socrates; and is of opinion that Julius Caesar who called Terence a half Menander, would have called Menander a half Moliere. I doubt this.
Some one said to the Duchess of Chaulnes, whose life was despaired of: "The Duke of Chaulnes would like to see you once more." "Is he there?" "Yes." "Let him wait; he shall come in with the sacraments." This minotauric anecdote has been published by Chamfort, but we quote it here as typical. *Some women try to persuade their husbands that they have duties to perform towards certain persons.
Some one said to the Duchess of Chaulnes, whose life was despaired of: "The Duke of Chaulnes would like to see you once more." "Is he there?" "Yes." "Let him wait; he shall come in with the sacraments." This minotauric anecdote has been published by Chamfort, but we quote it here as typical. *Some women try to persuade their husbands that they have duties to perform towards certain persons.
How wise are the words of the acute Chamfort, that the most completely lost of all days is the one in which we have not laughed! "A crown, for making the king laugh," was one of the items of expense which the historian Hume found in a manuscript of King Edward II.
If Chamfort brings rather less strength and bitterness to his dose, he presents it with a certain grace, a sense of mortal things, and a kind of pity mingled with his contempt that Rochefoucauld would have despised: "Il est malheureux pour les hommes que les pauvres n'aient pas l'instinct ou la fierté de l'éléphant, qui ne se reproduit pas dans la servitude."
Even Chamfort, one of the last men to fear what his contemporaries might think or say of him, once observed: "It seems to me impossible, in the actual state of society, for any man to exhibit his secret heart, the details of his character as known to himself, and, above all, his weaknesses and his vices, to even his best friend."
The Queen, highly disconcerted at having recommended this absurd production, announced that she would never hear another reading; and this time she kept her word. The tragedy of "Mustapha and Mangir," by M. de Chamfort, was highly successful at the Court theatre at Fontainebleau. The Queen procured the author a pension of 1,200 francs, but his play failed on being performed at Paris.
When the French Academy, in 1768, proposed an éloge of Molière for competition, our candidate was vanquished only by Chamfort.
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