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Updated: May 4, 2025
Maxims, Characters, and Sentiments, after the manner of Bruyere, collected out of ancient authors, particularly the Greek, with Apophthegms. Classical Miscellanies, select translations from ancient Greek and Latin authors. Lives of Illustrious Persons, as well of the active as the learned, in imitation of Plutarch. Judgment of the learned upon English Authors.
At Paris, I am sure you must observe 'que chacun se fait valoir autant qu'il est possible'; and La Bruyere observes, very justly, qu'on ne vaut dans ce monde que ce qu'on veut valoir': wherever applause is in question, you will never see a French man, nor woman, remiss or negligent. Observe the eternal attentions and politeness that all people have there for one another.
Besides these positive merits, he had, as we have said, the negative distinction of never being emphatic. His sayings are nearly always moderate and persuasive, alike in sentiment and in phrase. Sometimes they are almost tentative in the diffidence of their turn. Compared with him La Rochefoucauld's manner is hard, and that of La Bruyère sententious.
The fashion thus set, portraits multiplied throughout France, until in 1688 La Bruyère adopted the form in his “Characters,” and ennobled it by divesting it of personality. We shall presently see that a still greater work than La Bruyère’s also owed its suggestion to a woman, whose salon was hardly a less fascinating resort than the Hôtel de Rambouillet itself.
At Paris, I am sure you must observe 'que chacun se fait valoir autant qu'il est possible'; and La Bruyere observes, very justly, qu'on ne vaut dans ce monde que ce qu'on veut valoir': wherever applause is in question, you will never see a French man, nor woman, remiss or negligent. Observe the eternal attentions and politeness that all people have there for one another.
A very strong reason and of potent logic, naturally imprinted upon an upright spirit and a sensible mind, irresistibly convinced, both of them, that justice alone can govern the world. La Bruyere had just been admitted into the French Academy, in 1693. In his admission speech he spoke in praise of the living, Bossuet, Fenelon, Racine, La Fontaine; it was not as yet the practice.
Avoiding, by richness in turns and expression, the uniformity native to the subject, La Bruyere riveted attention by a succession of touches making a masterly picture, a terrible one sometimes, as in his description of the peasants' misery: To be seen are certain ferocious animals, male and female, scattered over the country, dark, livid, and all scorched by the sun, affixed to the soil which they rummage and throw up with indomitable pertinacity; they have a sort of articulate voice, and, when they rise to their feet, they show a human face; they are, in fact, men.
They could hear the two soldiers shivering with fear, as they lay bound in the chamber. Scarcely had the two Frenchmen touched the ground when a door opened and the voice of the valet-de-chambre called out: "Make ready!" At the same moment the guardhouse was opened and a voice called out: "La Bruyere and Du Barthois! March!" "It seems that I am named La Bruyere," remarked D'Artagnan.
It seemed as if the times of Louis XIV. had returned, of which La Bruyere said: "Nothing so disfigures certain courtiers as the presence of their Prince; I can sometimes scarcely recognize them, so altered are their features, so degraded their faces.
His conscience and his memory were prepared, and the truth is that a great deal of La Rochefoucauld's teaching passed into his veins without his knowing it. This does not in the least undermine the reputation which justly belongs to La Bruyère as one of the most original writers of France, or even of Europe, but it links him for our intelligence with the other great moralist of his century.
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