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Updated: June 14, 2025
But for that I lack time and money. So I must push on my scratches and grub as hard as possible. I shall go to Paris at the beginning of August. Then I shall spend all the month of October there for the rehearsals of Aisse. My vacation will be confined to a week spent in Dieppe towards the end of August. There are my plans. It was distressing, the funeral of Jules Goncourt. Theo wept buckets full.
One has only to consult the curious historical researches of the brothers De Goncourt in order to appreciate the luxury and extravagance of the past century. Imagine that in the wedding-trousseau of Mademoiselle Lepelletier Saint-Fargeau there figured twelve blonde wigs, varying in shade from flax to gold!
The scene is well described by the De Goncourt brothers, and affords a truthful picture of court manners and customs of the latter part of the reign of Louis XV.: "The great day had arrived—Paris was rushing to Versailles. The presentation was to take place in the evening, after worship. The hour was approaching.
Her connection with Count Henckel v. Donnersmark permitted her to surround herself with regal magnificence, and, to the indignation of Princess Mathilde, men like Gautier and Renan, Sainte-Beuve and Goncourt, Saint-Victor and Taine, sat at her table. The ladies here were younger and prettier, but socially of lower rank.
Goncourt is not an artist, notwithstanding all his affectation and outcries; he is not an artist. Il me fait l'effet of an old woman shrieking after immortality and striving to beat down some fragment of it with a broom. Once it was a duet, now it is a solo. They wrote novels, history, plays, they collected bric-
By the Goncourt brothers, her salon has been given its merited credit: "The most elegant salon was that of the Maréchale de Luxembourg, one of the most original women of the time. She showed an originality in her judgments, she was authority in usage, a genius in taste.
La Femme au 18ième siècle, par MM. de Goncourt, p. 40. Madame d'Epinay's Mém., i. 295. Quoted in Goncourt's Femme au 18ième siècle, p. 378. Ib., p. 337. Mdlle. L'Espinasse's Letters, ii. 89. Madame d'Epinay's Mém., ii. 47, 48. Ib., ii. 55. Mém., Bk. iv. 327. Corr. Lit., iii. 58. Ib., 54. Madame d'Epinay's Mém., i. 378-381.
When they read that, as Goncourt stated, "the most luxurious articles of women's trousseaux, the bridal chemises of girls with dowries of six hundred thousand francs, are made in the prison of Clairvaux," they see the symbol of the intimate dependence of our luxurious virtue on our squalid vice.
Their double death-struggle drew them together for a moment, and death permanently unites their names in our memory. So let us not seek the sentimental secret which Marie did not wish to reveal to us. Goncourt tells us the story of that Hokousaï who signed "An old man crazy to be conspicuous." Let us think that Marie was also the young girl crazy to be conspicuous.
What Hugo did for French verse, Flaubert, Goncourt, Zola, and Huysmans have done for French prose. No more literary school than the realists has ever existed, and I do not except even the Elizabethans.
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