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Updated: June 9, 2025
Notwithstanding Madame Girardin's subsequent remark that Chopin's playing at Madame de Courbonne's was quite an exception, her letter may mislead the reader into the belief that the great pianist was easily induced to sit down at the piano. A small circle of select auditors, whose real desire to hear him was beyond doubt, could alone determine him to approach the piano.
When, upon Duprat's interpellation, the National Assembly went over to the order of the day, this did not happen simply because Girardin's motion to declare itself "satisfied" reminded the party of Order of its own systematic corruption: the bourgeois, above all the bourgeois who has been inflated into a statesman, supplements his practical meanness with theoretical pompousness.
Although Madame Girardin's language and opinions are fair specimens of those prevalent in the beatified regions in which Chopin delighted to move, we will not follow her rhapsodic eulogy of his playing.
Made curious by Madame Girardin's account, and probably also by remarks of Chopin and others, George Sand wished to see the heroine of that much-talked- of letter. Thus it came to pass that one day when Miss O'Meara was having her lesson, George Sand crossed the Square d'Orleans and paid Chopin a visit in his apartments. The master received her with all the grace and amiability he was capable of.
Was I not, as a matter of fact, the young generation, in which a bourgeois and clerical education had warped the intelligence by closing the mind to every generous idea, to every flight towards the new? When I left Victor Hugo that morning I felt myself more worthy of his friendship. I then went to Girardin's, as I wanted to talk to some one who loved the poet, but he was out.
A certain something that was not in harmony with the tone of contemporary writers here and there surprised you in Delphine de Girardin's productions, and, as Jules Janin once said, "One would think the variegated plumes of Murat's fantastic hat were sweeping through her brains!" This was her mother's doing.
Madame Dubois, who is one of the most highly-esteemed teachers of the piano in Paris, used to play till recently in public, although less frequently in later than in earlier years. And here I must extract a passage from Madame Girardin's letter of March 7, 1847, in Vol. IV. of "Le Vicomte de Launay," where, after describing Mdlle.
I often saw Gambetta at Girardin's, and it was a joy to me to listen to this admirable man. What he said was so wise, so well-balanced, and so captivating. This man, with his heavy stomach, his short arms, and huge head, had a halo of beauty round him when he spoke. Gambetta was never common, never ordinary.
As to Emile de Girardin's insinuations about the failure of "La Derniere Incarnation de Vautrin," Balzac remarked that this had been written for L'Epoque, not for La Presse, and that it had not been necessary for Girardin to purchase it from the moribund journal, unless he had approved of it. Girardin had hurt him on his tenderest point when he branded his works as failures.
He turned Le Dégel and Les Ganaches of M. Sardou into A Rapid Thaw and Progress. David Garrick was taken from Dr. Robin, a French play, itself imitated from the German. Home closely follows L'Aventurière of M. Émile Augier. Madame de Girardin's La Joie fait peur, previously translated by Mr. G.H. Lewes as Sunshine through the Clouds, gave Robertson the situation of the last act of War: Mr.
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