Dans ce tombeau gît Crébillon.
Qui? le fameux tragique?—Non!
Celui qui le mieux peignit l’âme
Du petit-maître et de la femme.
The praise is faint. It is meant, perhaps, to damn. But it does not succeed in damning. To have been the best painter of anybody’s soul, even the fop’s, even the eighteenth-century lady’s, is a fine achievement. ‘Je fus étonnée,’ says one of Crébillon’s characters, describing the charms of her lover’s conversation, ‘je fus étonnée de la sorte de consistance que les objets les plus frivoles semblaient prendre entre ses mains.’ The whole merit of that French eighteenth century, of which Crébillon was the representative man, consisted precisely in giving ‘a sort of consistency to the most frivolous objects.’ To lead a life of leisure gracefully is an art, and though we can all do nothing, few of us contrive to do it well. It is scarcely possible to imagine a life more hopelessly futile than that which was led by the men and women of the old French aristocracy.
Intrinsically, such a life seems ghastly in its emptiness and sterility. And yet, somehow, by sheer force of style, these frivolous creatures of the dix-huitième contrived to fill the emptiness, to coax the most charming and elegant flowers from the sterility of their existence. To the most futile of lives they gave ‘a sort of consistency’; they endowed nothingness with solidity and form. Crébillon shared this power with his contemporaries. The conquests of the petit-maître, the prompt surrenders of Célie and Cidalise and Julie—these are his theme. It seems unpromising in its smallness and its triviality. But by dint of treating it seriously—with the double seriousness of the scientific observer and the literary artist—he has made out of it something which we in our turn are compelled to take seriously. Like Célie, we are astonished.
The end
