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Updated: May 22, 2025
Carved, as it were, in material of the present century, with the tools of classical art, "Rene" is the immortal cameo of Chateaubriand. We are never more discontented with others than when we are discontented with ourselves. The consciousness of wrong-doing makes us irritable, and our heart in its cunning quarrels with what is outside it, in order that it may deafen the clamor within.
It was all very well for you, my worthy masters, with that total ignorance of the world which does you so much honour, to take this view; but if you knew how little encouragement the world gives to modesty, you would see how difficult it is for literature to act up to your principles. What would modesty have done for M. de Chateaubriand?
"Let Franche-Comte boast of giving the light to Victor Hugo, to Charles Nodier, and Cuvier," ran the article, "Brittany of producing a Chateaubriand and a Lammenais, Normandy of Casimir Delavigne, and Touraine of the author of Eloa; Angoumois that gave birth, in the days of Louis XIII., to our illustrious fellow-countryman Guez, better known under the name of Balzac, our Angoumois need no longer envy Limousin her Dupuytren, nor Auvergne, the country of Montlosier, nor Bordeaux, birthplace of so many great men; for we too have our poet!
At a time when so many were striving to force themselves into notice there still existed a feeling of esteem in the public mind for men of superior talent who remained independent amidst the general corruption; such was M. Lemercier, such was M. de Chateaubriand.
It was next translated by Chateaubriand into French prose; and what was it then? But, once more, why should we add "fictitious"? The reason why is obvious. The reason why not, if something more recondite, does not want for weight. The art of narrative, in fact, is the same, whether it is applied to the selection and illustration of a real series of events or of an imaginary series.
From the age of Voltaire, Diderot, and Rousseau, the French genius produced almost no imaginative work of really European importance until it somewhat revived again with Chateaubriand in the present century. Nor in England can we count anything of a like kind from the death of Goldsmith until we reach Scott, Byron, and Wordsworth after an interval of forty years.
The friendly circle was not large, but, as we have said, embraced the leading men of France. Her limited means made no difference with her guests, since these were friends and admirers. Her attraction to men and women alike did not decrease with age or poverty. The fall of Charles X., in 1830, led of course to the political downfall of Châteaubriand, and of many of Madame Récamier's best friends.
But her relations to Châteaubriand were fast becoming intolerable, and she resolved to break her chains and leave Paris. He regarded this resolution as a mere threat. "No," he wrote, "you have not bid farewell to all earthly joys. If you go, you will return." She did go, however, taking with her Ballanche and her adopted daughter, whose delicate health was the ostensible cause of her departure.
From the attention which His Excellency the Viscount de Chateaubriand has intimated his willingness to give to the consideration of these claims the President indulges the hope that they will be taken into view upon their own merits, and in that hope the representative of the United States at Paris will at an early day be instructed to present them again to the undivided and unconditional sense of the justice of France.
Some have found in them the utterances of a woman whose love of love was greater than her love of God and whose intensity of passion nothing could subdue; and so these have condemned her. But others, like Chateaubriand, have more truly seen in them a pure and noble spirit to whom fate had been very cruel; and who was, after all, writing to the man who had been her lawful husband.
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