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Madame de Staël—Her Infancy and Education—Her Marriage—Her Personal Appearance—The Revolution—Her First Meeting and Conversation with Bonaparte—Interview with Josephine—Her Portrait and Character—Her Repartees—Exile—Delphine—Auguste de Staël and Napoleon—Private Theatricals—Corinne—Police Interference—Travels in Foreign Countries—Her Illness and Death—Effect of Napoleon's Persecution upon the Literary Position of Madame de Staël.

Jacques Necker, the father of Madame de Staël, a Genevese and a Protestant, was at the birth of his daughter Annie-Louise-Germaine Necker, in 1766, a clerk in a banking-house at Paris. He had married M'lle Curchod, a Swiss like himself, and who had, some years before, been the object of the first and last love of Gibbon the historian. Madame Necker undertook the education of Louise, plied her with books and tasks, and introduced her, even in infancy, to her own circle of brilliant and accomplished men. "At the age of eleven," writes a lady who was at the time her companion, "she spoke with a warmth and facility which were already eloquent. In society she talked but little, but so animated was her face that she appeared to converse with all. Every guest at her mother's house addressed her with some compliment or polite speech; she replied with ease and grace." She was encouraged to write, and her youthful productions were read in public, and some of them were even printed. This process of education, while it rendered the subject of it rather brilliant than profound, and encouraged vanity and a love of display, broke down her health, and the physicians ordered her to retire to the country, and to renounce all mental application. Her mother, disappointed and discouraged, ceased to take the same interest in her talents and progress; this indifference led Louise to attach herself more closely to her father, and developed in her what became through life her ruling passion—filial affection.

In 1776, Necker, who had in the meantime become the partner of his late employer, and had attracted attention by an essay on the corn laws, was considered by the masses as the only person capable of saving the country from bankruptcy. He was, therefore, appointed to control the finances, being the first Protestant who had held office since the revocation of the Edict of Nantes. One of his acts, five years afterward, having excited clamor among the royalists, an anonymous pamphlet appeared, in which his defence was warmly espoused and the propriety of his conduct successfully asserted. Necker detected his daughter's style in this production, and she acknowledged its authorship, being then fifteen years old. Necker resigned office, and retreated with his family to Coppet, on the borders of the Lake of Geneva.

Madame de Genlis saw M'lle Necker for the first time, when the latter was sixteen. She thus speaks of her in her memoirs: "This young lady was not pretty; her manner was very animated, and she talked a great deal, too much indeed, though always with wit and discernment. I remember that I read one of my juvenile plays to Madame Necker, her daughter being present. I cannot describe the enthusiasm and the demonstrations of M'lle Louise, while I was reading. She wept, she uttered exclamations at every page, and constantly kissed my hands. Her mother had done wrong in allowing her to pass three-quarters of her time with the throng of wits who continually surrounded her, and who held dissertations with her upon love and the passions."[1]

At the age of twenty, Louise married Baron de Staël-Holstein, the Swedish ambassador at the court of France. She sought neither a lover nor a friend in her husband; she treated marriage as a convenience, and became a wife in order to obtain that liberty and independence which were denied her as a young lady. She required that her husband should be noble and a Protestant, and as in addition to these essentials Baron de Staël was an agreeable and an honorable man, and engaged never to compel her to follow him to Sweden, she consented to marry him. In the same year, 1786, a failure of the crops, and the consequent distress of the poorer classes, compelled the king to recall Necker to the administration of the finances.

Madame de Staël is thus described, at the age of twenty-five, by a writer who, to justify the peculiar and oriental extravagance of his style, assumed the character of a Greek poet: "Zulmé advances; her large dark eyes sparkle with genius; her hair, black as ebony, falls on her shoulders in wavy ringlets; her features are more striking than delicate, and express superiority to her sex. 'There she is,' all exclaim when she appears, and at once become breathless. When she sings, she extemporizes the words of her song, the ecstasy of improvisation animates her face, and holds the audience in rapt attention. When the song ceases, she talks of the great truths of nature, the immortality of the soul, the love of liberty, of the fascination and danger of the passions. Her features meanwhile wear an expression superior to beauty; her physiognomy is full of play and variety. When she ceases, a murmur of approbation thrills through the room; she looks down modestly; her long lashes sink over her flashing eyes, and the sun is clouded over."

The Revolution now advanced with rapid steps. Necker, whose capabilities as a financier have been generally acknowledged, was totally deficient in the higher qualities of the statesman. He sought to assume a middle position between the court and the people, but failing of success, was in consequence dismissed on the 11th of July, 1789. Paris rose in insurrection when this event became known, and on the 14th, the Bastille was in the hands of the people. The king was forced to send an order to recall Necker, who had left the country; this overtook him at Frankfort. "What a period of happiness," writes Madame de Staël, "was our journey back to Paris! I do not believe that a similar ovation was ever extended to a man not the sovereign of the country. Women, afar off in the fields, threw themselves on their knees, as the carriage passed: the most prominent citizens acted as postilions, and in many towns people detached the horses and dragged the carriage themselves. Oh, nothing can equal the emotions of a woman who hears the name of a beloved parent repeated with eulogy by a whole people!" This triumph was of short duration. In a little more than a year, Necker, who had opposed some of the more radical measures of reform in the National Assembly, lost the confidence of the people, resigned, and again withdrew to Switzerland. He was now accompanied by the revilings and maledictions of the populace, and even narrowly escaped with his life.

Madame de Staël remained at Paris, and speedily became involved in the intrigues of the day. Her salon was the rendezvous of the royalists and Girondins, and the scene of ardent political discussions. In the midst of the sanguinary excesses of '92, she fearlessly used her influence to shelter and save her friends. She took them to her own house, which, being the residence of an ambassador, she presumed would be inviolable. But one night the police appeared at the gate, and required that the doors be opened for a rigid search. Madame de Staël met them at the threshold, spoke to them of the rights of ambassadors and of the vengeance of Sweden, and by dint of wit, argument and intrepidity, persuaded them to abandon their designs. She was soon compelled to flee, however, and take refuge with her father at Coppet. Here she wrote and published an appeal in behalf of Marie Antoinette, and "Reflections on the Peace of 1783." The fall of Robespierre, in July, 1794, enabled her to return to Paris, whither she hastened, upon the news of his execution.

Her residence in the capital formed an event in the annals of society at that period. The most distinguished foreigners and the best men in France flocked around her. She gave her influence to the government of the Directory, being desirous of the establishment of some guaranty for the preservation of order and of individual security.

"Madame de Staël," says de Goncourt, "was a man of genius as early as the year 1795. It was by her hand, that France signed a treaty of alliance with existing institutions, and for a period accepted the Directory. Who obtained her the victory? Herself, with the aid of a friend who was the scribe of her dictation, the aid-de-camp and the notary-public of her thought, Benjamin Constant. The daughter of Necker forbade France to recall its line of kings: she retained the republic: she condemned the throne. She agitated victoriously in behalf of the maintenance of the representative system. The human right of victory was equivalent, with her, to the divine right of birth."[2]

The appearance of Bonaparte upon the stage of action produced a violent change in her life, pursuits and pleasures. She disliked and distrusted him from the first, and her drawing-room became an opposition club, or, as Napoleon himself described it, an arsenal of hostility. He, in turn, was vexed at her intellectual supremacy, and dreaded her influence. They first met at a ball given to Josephine, toward the close of the year 1797. She had long hunted him from place to place, for she was desirous of subjecting him, if possible, to the fascinations of her conversation, and he, avoiding the interview with consummate address, had always escaped her importunities. At the ball in question, he saw retreat to be impossible, and boldly seated himself in a vacant chair by her side. The following conversation, attributed to them, contains, in a concise form, the best of the authenticated sallies and repartees perpetrated by the illustrious interlocutors. After the usual preliminaries, the dialogue proceeded thus:

MADAME DE STAËL. Madame Bonaparte is a charming lady.

BONAPARTE. Any compliment passing through your lips, madame, acquires additional value.

ST. Ah! then you appreciate my opinion and my approbation? But you have doubted my capacity, you have thought me frivolous; nevertheless, my studies in diplomacy, in the history of courts——

BON. I implore Madame de Staël not to drag the Graces to the pillory of politics.

ST. I assure you, General, that your mythological compliment is totally lost upon me: I should prefer that you judge me worthy to talk reason with you.

BON. The right of your sex is to make us lose our reason: do not despise so excellent a privilege.

ST. General, I beg of you not to play with me as with a doll: I desire to be treated as a man.

BON. Then you would like to have me put on petticoats.

ST.—TO A GENTLEMAN INTERRUPTING HER.—Sir, be good enough to understand that I desire no assistance, though certainly my adversary is sufficiently powerful to render assistance necessary.

BON. Madame, it was to my aid that he was coming; my danger appalls him, and he was seeking to relieve me.

ST. In any case, I owe him small thanks for his tardy aid, since you confess that my victory seemed certain. He is a true friend, however; he stands by those he likes, even in their absence, when, usually, friendship slumbers.

BON. In that, friendship imitates its cousin—love.

ST.—NERVING HERSELF FOR AN EFFORT.—By what means, General, can an ordinary woman, without literary reputation, without superior genius, be sustained in the affection of a man she loves when separated from him by distance or a period of years? Memory, reduced to recalling her charms only, becomes gradually dim, and at last forgets, especially when the lover is a great man. But when the latter has had the good fortune to meet with a strong-minded woman, one worthy of sharing his laurels, and herself enjoying a high reputation, then the distance of time and space disappears, for it is the renown of both which serves as messenger between them, and it is through the hundred mouths of fame that each receives intelligence of the other.

BON. Madame, in what chapter of the work you are about to publish shall we read this brilliant passage?

ST. It has been the constant illusion of my soul.

BON. Ah, I understand; it is your hobby, after the manner of Sterne. So you are seeking the philosopher's stone?

ST. One would think, to hear you talk, that it is impossible to find it.

BON. There are two illusions in this world, though both flow from the same error; that of physical and that of moral alchemy. This idealistic philosophy leads to an abyss.

ST. One, nevertheless, which wit and sagacity may illumine with the rays of genius to its inmost recesses. Do you never build castles in the air, General? Do you never go and dwell in them? Do you never dream, to charm away the monotony of life?

BON. I leave dreams to sleep, and retain reason for my waking hours.

ST. Then you can never be either amused or surprised! You have a scouting party stationed to watch that outpost, the imagination?

BON. Wisdom counsels me to do so, and makes it my duty.

ST.—AFTER A MOMENT'S REFLECTION.—General, who, in your opinion, is the greatest of women?

BON. She who bears the most children.[3]

Madame de Staël turned slightly pale at this reply, and said no more. The General rose, bowed, and quitted the room. Both carried away from the interview the elements of mutual dislike and food for a life-long hostility. "Doubtless," says Lacretelle, "this last question was suggested by the vanity of the inquirer." And Bonaparte, eager to deprive the lady of the tribute she expected in his reply, made answer as we have described. "Certainly," adds Lacretelle, "it was impossible to rebuff a courtesy with greater rudeness and less discernment, for Madame de Staël was one of the powers of the day."[4]

One evening, early in the Consulate, Josephine met Madame de Staël at the house of Madame de Montesson. Bonaparte was to come somewhat later. Josephine, knowing his aversion for her, or fearing her seductions if she were successful in obtaining his attention, received her, as she advanced, in a manner so markedly cold, if not rude, that Madame de Staël recoiled without speaking, and retreated to the extremity of the room, where she dropped into a chair.

She remained for some time apart and alone. The pretty women took a malicious pleasure in the mortification of one of their own sex, while the gentlemen indulged in impertinent and unmanly remarks. At this moment, a young girl of extreme beauty and light airy step, with blond hair and blue eyes, and dressed entirely in white, left the group that had collected in the vicinity of Josephine, crossed the salon, and sat down by Madame de Staël. The latter, whose heart was as quick as her wit was ready, said to her, "You are as good as you are beautiful, my child."

"In what, pray, madame?" asked the young lady.

"In what?" returned Madame de Staël. "You ask me why I think you as kind as you are fair? Because you crossed this immense and deserted salon to come and sit by me. Upon my word, you are more courageous than I should have been."

"And yet, madame, I am naturally so timid that I should not dare to tell you my fears and trepidation: you would laugh at me, I am sure."

"Laugh at you!" exclaimed Madame de Staël, with moistened eyes and trembling voice; "laugh at you! never! never! I am your sister, henceforth, my dear, dear young friend! Will you tell me your Christian name?"

"Delphine, madame."

"Delphine! What a pretty name! I am very glad of it, for it will suit my purpose exactly. You must know, love, that I am writing a novel; and I mean it to bear your name. You shall be its god-mother; and you will find something in it which will remind you of to-day and of our acquaintance."

Madame de Staël kept her promise, and the passage in the novel of Delphine, in which the heroine, abandoned, is under similar circumstances relieved and sustained by Madame de R., was written in commemoration of this little domestic scene.[5]

Bonaparte soon entered the room, and ignorant of the treatment Madame de Staël had undergone from Josephine, accosted her graciously, and indeed took evident pains to restrain, during their conversation, his intuitive dislike of the petticoat politician.

Madame de Staël was now at the apogee of her talent and influence. Her conversation was not what is usually understood by the term. She did not require so much an interlocutor as a listener. Her improvisations were long and sustained pleas, if her object was to convince, or discursive though brilliant harangues, if she sought to display her wealth of thought and of words. Those that were accustomed to her ways rarely answered her, even if, in the heat of argument, she addressed them a question; well aware that it was rather to operate a diversion than to elicit a reply. She required the excitement of an audience, and her eloquence became richer and more rapid as the circle of her listeners widened. She preferred contradiction and dissent to a blind acceptance of her opinions, and the surest method of pleasing her was to adduce arguments that she might refute them, and which might suggest in her mind new trains of ideas. Controversy was her peculiar element, and she sometimes resorted to the charlatanical process of advocating two opposite opinions on the same occasion, in order to show the flexibility of her mind and the pliancy of her logic. In the season of foliage, she invariably carried in her hand a twig of poplar, which, when talking, she would turn and twist between her fingers; the crackling of this, she said, stimulated her brain. During the season when the poplar produces no leaves, she substituted for the twig a piece of rolled paper with which she was forced to be content, till the return of verdure. In winter, her flatterers and admirers always had a supply of these papers prepared, and presented her a quantity, on her arrival at a fête or a conversazione, that she might select her sceptre for the evening.[6] The famous twig of poplar is introduced in Gérard's portrait of Madame de Staël.[7]

She was never handsome, and without the extraordinary depth and brilliancy of her eyes, would have been a plain, if not an ugly woman. Her nose and mouth were homely, and only redeemed by her ever-varying expression. Her complexion was rough, her form massive rather than graceful, and indicated indolence rather than vivacity. Her hands were beautiful, and ill-natured people asserted that the poplar twig was a mere pretext for keeping them constantly in view. She dressed at all times without taste, and this defect became more conspicuous as she advanced in years, for at the age of forty-five she wore the colors and ornaments which would befit a young lady of twenty. Her coiffure was usually a turban, though this was not the prevailing fashion. Her partisans denied that there was any exaggeration in her toilet, though they allowed that she sought to be picturesque rather than fashionable.

Biography has preserved examples almost innumerable of the readiness of her wit and the profundity of her observation. The love of truth was one of her prominent characteristics. "I saw," she said "that Bonaparte was declining, when he no longer sought for the truth." She held long arguments on equality, and said on one occasion, "I would not refuse the opinion of the lowest of my domestics, if the slightest of my own impressions tended to justify his." Her respect for justice and moderation was evinced in her reply to the remark of a Bourbon after Napoleon's fall, to the effect that Bonaparte had neither talent nor courage: "It is degrading France and Europe too much, sir, to pretend that for fifteen years they have been subject to a simpleton and a poltroon!" She despised affectation, and said that she could not converse with an affected man or woman on account of the constant interruptions of a tedious third person—their unnatural and affected character. Of individuals accustomed to exaggerate, she said: "To put 100 for 10, why, there's no imagination in that." Her faith was sincere and unostentatious, and she would remark, after listening to lofty metaphysical discourses, "Well, I like the Lord's Prayer better than that." One of her best replies was made to Canning, in the Tuileries, after the exile of Napoleon: "Well, Madame de Staël, we have conquered you French, you see!" "If you have, sir, it was because you had the Russians and the whole continent on your side. Give us a tête-à-tête, and you will see!"

Madame de Staël's conduct as a wife was not irreproachable. Talleyrand was one of the first, though by no means the last, of her lovers. It was after his rupture with Madame de Staël that he entered upon his liaison with Madame Grandt, and it was this circumstance that led Madame de Staël to ask him the most unfortunate question of her life, for it gave him the opportunity of making the most comprehensive reply of his: "If Madame Grandt and I were to fall into the water, Talleyrand," she inquired, "which of us would you save first?" "Oh, madame," returned the minister, "YOU SWIM SO WELL!" She was revenged on him by drawing—though not very delicately—his character as a diplomatist: "He is so double-faced," she said, "that if you kick him behind, he will smile in front."

Bonaparte, early in the Consulate, sought through his brother Joseph, to attach Madame de Staël to his government; he might have done so, had he cared to conciliate her by expressing, or even feigning, deference to her talents and opinions. But he did not pursue the negotiation, and she continued her political discussions at her house, devoting her days to intrigues, and her evenings to epigrams; until Bonaparte, whose patience was exhausted, and who did not consider his power as yet fully established, directed his minister of police to banish her from Paris. She was ordered not to return within forty leagues of the city. He is said to have remarked, "I leave the whole world open to Madame de Staël, except Paris; that I reserve to myself." It was urged, too, that she had small claims to consideration; she was, though born in France, hardly a Frenchwoman, being the daughter of a Swiss and the wife of a Swede.

During a period of years, Madame de Staël remained under the ban of Bonaparte's displeasure, though, during a short interval, the intercessions of her father obtained permission for her to inhabit the capital. In 1803, she published her "Delphine," a work so immoral in its tendency that it incurred the censure of the critics and the public, and compelled the authoress to put forth a species of apology, which in its turn was considered lame and inconclusive. The character of Madame de Vernon, in "Delphine," was said to have been intended for Talleyrand, clothed in female garb.

Unable to endure the deprivation of her Parisian friends, Madame de Staël soon established herself at the distance of thirty miles from Paris. Bonaparte was told that her residence was crowded with visitors from the capital. "She affects," he said, "to speak neither of public affairs nor of me; yet it invariably happens that every one comes out of her house less attached to me than when he went in." An order for her departure was soon served upon her, and she set forth upon a pilgrimage through Germany.

In the last week of December, 1807, Napoleon, returning from Italy, stopped at the post-house of Chambéry, in Sardinia, for a fresh relay of horses. He was told that a young man of seventeen years, named Auguste de Staël, desired to speak with him. "What have I to do with these refugees of Geneva?" said Napoleon, tartly. He ordered him to be admitted, however. "Where is your mother?" said Napoleon, opening the conversation. "She is at Vienna, sire." "Ah, she must be satisfied now; she will have fine opportunities for learning German." "Sire, your majesty cannot suppose that my mother can be satisfied anywhere, separated from her friends and driven from her country. If your majesty would condescend to glance at these private letters, written by my mother, you would see, sire, what unhappiness her exile causes her." "Oh, pooh! that's the way with your mother. I do not say she is a bad woman; but her mind is insubordinate and rebellious. She was brought up in the chaos of a falling monarchy, and of a revolution running riot, and it has turned her head. If I were to allow her to return, six months would not pass before I should be obliged to shut her up in Bedlam, or put her under lock and key at the Temple. I should be sorry to do it, for it would make scandal, and injure me in public opinion. Tell your mother my mind is made up. As long as I live, she shall not again set foot in Paris."

"Sire, I am so sure that my mother would conduct herself with propriety that I pray you to grant her a trial, if it be only for six weeks." "It cannot be. She would make herself the standard-bearer of the faubourg St. Germain. She would receive visits, would return them, would make witticisms, and do a thousand follies. No, young man, no." "Will your majesty allow a son to inquire the cause of this hostility to his mother? I have been told it was the last work of my grandfather; I can assure your majesty that my mother had no hand in it." "Certainly, that book had its effect. Your grandfather was an idealist, an old maniac; at sixty years of age, to attempt to overturn my constitution and to replace it by one of his! An economist, indeed! A man who dreams financial schemes and could hardly perform the duties of a village tax-gatherer decently! Robespierre and Danton have done less harm to France than M. Necker. Your grandfather is the cause of the saturnalia which have desolated France. Upon his head be all the blood of the Revolution!" "Sire, I trust that posterity will speak more favorably of him. During his administration, he was compared with Sully and Colbert, and I trust to the justice of posterity." "Posterity will perhaps not speak of him at all," returned Napoleon.

"You are young, M. de Staël," he added, changing his tone, and taking the petitioner familiarly by the ear. "Your frankness pleases me: I like to see a son plead the cause of his mother. She confided to you a difficult mission, and you have discharged it with intelligence. I cannot give you false hopes, so I do not conceal from you that you will obtain nothing whatever. I'll have none of your mother in the city where I dwell. Women should knit stockings, and not talk politics." As Napoleon rode away from Chambéry, he said to Duroc, "Was I not rather hard with that young man? After all, I am glad of it. The thing is settled once for all. France is no place for the family of Necker."[8]

During the absence of Madame de Staël in Germany, her father died, and she hastened to return to Coppet. She collected and published his writings, and appended to them a biographical memoir. She cherished his memory with a passion bordering on monomania, which led her, whenever she saw an old man in affliction, to seek to alleviate his sorrows. She often said, upon hearing good news, "I owe this to the intercessions of my father."

She found it difficult satisfactorily to occupy her leisure. She used to say that she would prefer living on two thousand francs a year in the Rue Jean Pain Mollet at Paris, to spending one hundred thousand at Geneva. But she made no effort to obtain a recall, at least by imposing restraint upon her tongue. Knowing that she was surrounded by spies, and that her bitter allusions to Napoleon were reported at the Tuileries, she continued to exhaust her wit upon the acts of his government, and upon the tyranny of him whom she called "Robespierre on horseback."

Amateur theatricals, upon a diminutive stage built for the purpose, afforded some amusement to the exile of Coppet. The audiences were principally French residents at Geneva, whose ambition to be able to boast of their admission into Madame de Staël's intimacy, induced them to travel the wearisome road which separated the two places. While waiting for the lamps to be lighted, they ate bread and chocolate in the dark—this being the traditional lunch that a Frenchman carries in his pocket. On one occasion, the performance was Racine's tragedy of Andromaque. Madame de Staël played Hermione effectively, it would seem, but with a redundancy of gesture that somewhat marred the illusion. Madame Récamier acted Andromaque, the interesting widow; but the critics were so absorbed in the contemplation of her wondrous beauty that they have left little record of her histrionic ability. The characters of Oreste, Pylade and Pyrrhus were performed by M. de Labéboyère, Benjamin Constant and Sismondi, the historian. The two latter were very amusing, it appears, though the play being a tragedy, mirth could hardly have been the effect they desired to produce. Benjamin Constant, whose gestures were very broad and sweeping, once carried away a Grecian temple with the palm of his hand; Sismondi gave infinite zest to the representation by the purity of his Genevese accent. The prompter was M. Schlegel, the poet, critic and historian. His strong German pronunciation rendered him at best an inefficient assistant, for the actor, whose memory was treacherous, often failed to recognize the missing line, in the husky and guttural suggestions of the author of "Lucinde."

The health of Madame de Staël was now declining, and in order to recruit it she undertook a journey through Italy. On her return, she published "Corinne," a poetic description of the peninsula, in the form of a novel. Though deficient in construction and dramatic power, it possesses the highest merit as a work delineating character and descriptive of scenery, and inculcates a pure morality. Incident and plot form its least attractive features; its eloquent rhapsodies upon love, religion, virtue, nature, history and poetry, have given it an enduring place in literature. She now took up her abode at the required distance from Paris, at Chaumont-sur-Loire, where she inhabited the chateau already famous as the residence of Diane de Poitiers, Catherine de Medicis, and Nostradamus the soothsayer, and at this time in the possession of one of her most attached friends. She here wrote and prepared for the press a work on the habits, character and literature of the Germans. The manuscript was laid before the censors at Paris, who expunged certain passages, and then authorized its publication. This was in 1810.

Ten thousand copies had been already printed, when the whole edition was seized at the publishers', by gendarmes sent by Savary, the minister of police. Madame de Staël was ordered to quit France in eight days. She withdrew again to Coppet, from whence she opened a correspondence with Savary upon this arbitrary, and indeed illegal, proceeding. She had been given to understand that the motive for the suppression was her omission to mention the name of Napoleon in connection with Germany, where his armies had lately made him conspicuous. She wrote to Savary that she did not see how she could have introduced the Emperor and his "soldiery" into a purely literary work. To this Savary replied that she was misinformed upon the motive which had actuated him, and that her exile was the natural consequence of her conduct for years past. "We are not so reduced in France," he added, "as to seek for models among the nations which you admire. Your book is not French, and the air of France does not suit you." This impertinent letter was prefixed to the first edition of "Germany" published in London, in 1813.

During her residence at Coppet, Madame de Staël, now a widow and forty-two years of age, became acquainted with M. de Rocca, a French officer. She felt an interest in him even before she saw him, for he was said to be young, noble and brave; what was a still more attractive feature, he was wounded and an invalid. They first met in a public ball-room. She was dressed, it appears, in a gaudy and unbecoming style, and was followed from point to point by a train of admirers and flatterers. "Is that the famous woman?" said de Rocca. "She is very plain, and I abhor such continual aiming at effect." She spoke to him, expressed sympathy for his condition, and speedily effected a complete revolution in his opinions. From a caviller he became an admirer, and from an admirer a suitor. They were privately married, and the secret was carefully kept until the reading of her will, after her death, for she felt that the match was an ill-assorted one, and could hardly fail to excite ridicule. Besides, she was unwilling to change her name, "as it belonged to Europe," to quote her own words to De Rocca.

The tyranny to which she was subjected at the period of this marriage, by Napoleon, became annoying and perplexing. She was not only exiled from France, but warned not to go further than six miles from Coppet. Mathieu de Montmorency was exiled for visiting her, as was also Madame Récamier, as has already been narrated. M. Schlegel, who aided her in the education of her three children, was compelled to leave her. She was seized with the gloomiest apprehensions, and resolved to escape from the sphere of Napoleon's power. The prefect of Geneva was instructed, from Paris, to suggest to Madame de Staël a means of recovering the sovereign's good graces—the publication of some loyal stanzas upon the birth of Napoleon's heir. "Tell those that sent you," she replied, "that I have no wishes in connection with the King of Rome, except the desire that his mother get him a healthy wet-nurse."

She now passed her time in studying the map of Europe, in choosing an asylum, and in devising a route by which to get to it. She at last departed for England, which she approached through Russia and Sweden. Once beyond French influence, she was treated with the highest consideration and the warmest cordiality. Among the distinguished men admitted to her intimacy, Lord Byron held the first place, and she often gave him advice both upon his conduct and his verse. It was now that she published her "Germany," She had the deep satisfaction of seeing her reputation as a critic and delineator of national manners elevated by it to the highest point.

She welcomed with delight the overthrow and abdication of Napoleon, and at once returned to Paris, where she attached herself to the party advocating a representative government under Louis XVIII. The restored sovereign caused the royal treasury to pay to her family the two million francs due M. Necker at his retirement from office—a measure of justice to which Napoleon would never consent. During the Hundred Days she retired to Switzerland, totally weaned from all interest in public life. Her health began to fail, and she still further weakened it by the use of opium. She devoted herself closely to the composition of her last work, the "French Revolution," which now ranks as one of the most philosophical, though perhaps not the most impartial, histories of that period. Her sleepless nights she spent in prayer; she became gentle, patient and devout. "I think I know," she said, in her last moments, "what the passage from life to death is. I am convinced the goodness of God makes it easy; our thoughts become indistinct, and the pain is not great." She died with perfect composure, in 1817, in the fifty-first year of her age. Her husband, who was devotedly attached to her, survived her but a few months.

Madame de Staël was the most distinguished authoress of her time. As a woman, she was always independent and sincere, and her faults—vanity and an uncontrollable thirst for applause—may easily be pardoned in view of her many talents. Napoleon could have won her to his government at any moment, had he chosen to do so. It is perhaps fortunate for literature that she was compelled to live in isolation, as neither "Corinne" nor "Germany" would have been written had she been able to reside in Paris, instead of travelling to occupy her exile. It is a singular and not unfair commentary upon Napoleon's reign, that its most remarkable literary celebrity—in point of mere chronology—owed her supremacy to his persecution; and it is a permissible inference, that had his government preferred to foster and cherish her genius, Madame de Staël would have been known to posterity as little more than a precocious child, a brilliant conversationalist, an unsexed woman, and a factious politician.

[1] Mém. de Madame de Genlis, 92.

[2] Soc. Franç. sous le Directoire, 298.

[3] Napoléon et ses Contemporains, i. 229.

[4] Lac. Rév. Française, ii. 140.

[5] Vide "Delphine," vol. ii. 386.

[6] Ducrest, Mém. de Joséphine, 23.

[7] It is from a copy of this portrait, by Gérard, in the Historical Gallery of Versailles, that the most accurate likenesses of Madame de Staël are taken.

[8] Bour. viii. 101.