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Updated: May 28, 2025
Silvia was delighted to see the pleasure enjoyed by Crebillon in hearing, at the age of eighty, his own lines in a language which he knew thoroughly and loved as much as his own. He himself recited the same passage in French, and politely pointed out the parts in which he thought that I had improved on the original. I thanked him, but I was not deceived by his compliment.
"And Crebillon," said he. "And la Chaussee, and the younger Crebillon," said some one. "He ought to be more agreeable than his father." "And there are also the Abbes Prevot and d'Olivet." Madame de Pompadour repeated to me this conversation, which I wrote down the same evening. M. de Marigny, also, talked to me about it.
Finally, the president of the agricultural society put an end to the sedition by remarking judicially that "before the Revolution the greatest nobles admitted men like Dulcos and Grimm and Crebillon to their society men who were nobodies, like this little poet of L'Houmeau; but one thing they never did, they never received tax-collectors, and, after all, Chatelet is only a tax-collector."
"You offer us a splendid alliance!" said the duchess with anger. "I offer nothing, madame: I only inquire. For my part, I see no legitimate motive for this proscription of madame du Barry." "A woman without character!" "Character! Why, madame, who has any in these days? M. de Crebillon the younger would be at a loss to tell us where to find it."
In the line of Tragedy, it is composed of the greater part of the pieces of the four principal pillars of the temple of the French Melpomene: namely CORNEILLE , RACINE, CREBILLON, and VOLTAIRE, to whom may be added DU BELLOY, as well as of some detached pieces, such as Iphigenie en Tauride by GUIMOND DE LA TOUCHE, Le Comte de Warwick and Philoctete by LA HARPE. The modern repertoire, or list of stock-pieces, is formed of the tragedies of M. M. DUCIS, CHENIER, ARNAULT, LEGOUVE, and LE MERCIER.
What philosopher was ever hurt by reading the novels of Crebillon, or seeing the comedies of Moliere? "I deny," said M. D'A , "that this is so easy a task you cannot make all men wise." "No," replied Vincent; "but you can all children, at least to a certain extent.
All the authors who can compose blank verses very easily, as I can, employ them when they intend to make a fair copy of their prose. Ask Crebillon, the Abby de Voisenon, La Harpe, anyone you like, and they will all tell you the same thing. Voltaire was the first to have recourse to that art in the small pieces in which his prose is truly charming.
One had been a long sofa, with back and arms, just such a sofa as the poet Gray might have loved to throw himself upon, his Crebillon in hand. "Though they sometimes tarried here for months at a time, and used the spot for a storing-place for spare spars, sails, and casks; yet it is highly improbable that the Buccaneers ever erected dwelling-houses upon the isle.
Moreover, the desert rocks of Naxos are here smoothed down to modern drawing-rooms; and the princes who people them, with all the observances of politeness seek to out-wit each other, or to beguile the unfortunate princess, who alone has anything like pretensions to nature. Crebillon, in point of time, comes between Racine and Voltaire, though he was also the rival of the latter.
I composed a stanza of eight verses on some subject which I do not recollect, and I gave it to Crebillon, asking him to correct it. He read it attentively, and said to me, "These eight verses are good and regular, the thought is fine and truly poetical, the style is perfect, and yet the stanza is bad." "How so?" "I do not know. I cannot tell you what is wanting.
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