In a quiet and entirely unpretentious way Crébillon was an expounder of the scientific truth about love—that its basis is physiological; that the intense and beautiful emotions which it arouses cannot be philosophically justified or explained, but should be gratefully accepted for what they are: feelings significant in themselves and of the highest practical importance for those who experience them. He is no vulgar and stupid cynic who denies the existence, because he cannot accept the current metaphysical explanation, of any feelings higher than the merely physical. ‘Les plaisirs gagnent toujours à être ennoblis,’ says Crébillon, through the mouth of the Duke in Le Hasard au Coin du Feu. It is the man of science who speaks, the unprejudiced observer, the accepter of facts. Pleasure is a fact; so is nobility. He admits the existence of both.
Pleasure gains by being ennobled: that is the practical, experimental justification of all the high, aspiring, seemingly infinite emotions evoked by love. True, it may be objected that Crébillon gives too little space in his analysis of love to that which ennobles pleasure and too much to pleasure pure and simple. He would have been more truly scientific if he had reversed the balance; for that which ennobles is of more practical significance, both to individuals and to societies, than that which is ennobled. We may excuse him, perhaps, by supposing that, in the society in which he lived (the Pompadour was his patroness), his opportunities for observing the ennobling passions were scarce in comparison with his opportunities for observing the raw physiological material on which such passions work.
But it is foolish as well as ungrateful to criticize an author for what he has failed to achieve. The reader’s business is with what the writer has done, not with what he has left undone. And Crébillon, after all, did do something which, whatever its limitations, was worth doing. What writer, for example, has spoken more acutely on the somewhat scabrous, but none the less important subject of feminine ‘temperament’? I cannot do better than quote a specimen of his analysis, with the generalization he draws from it. He is speaking here of a woman whose imagination is more ardent than her senses, and who, living in a society where this imagination is perpetually being fired, is for ever desperately trying to experience the pleasures of which she dreams.
‘Elle a l’imagination fort vive et fort déréglée, et quoique l’inutilité des épreuves qu’elle a faites en certain genre eût dû la corriger d’en faire, elle ne veut pas se persuader qu’elle soit née plus malheureuse qu’elle croit que d’autres ne le sont, et elle se flatte toujours qu’il est réservé au dernier qu’elle prend de la rendre aussi sensible qu’elle désire de l’être. Je ne doute même pas que cette idée ne soit la source de ses déréglements et de la peine qu’elle prend de jouer ce qu’elle ne sent pas. . . . Je dirai plus, c’est qu’aujourd’hui il est prouvé que ce sont les femmes à qui les plaisirs de l’amour sont les moins nécessaires qui les recherchent avec la plus de fureur, et que les trois quarts de celles qui se sont perdues avaient reçu de la nature tout ce qu’il leur fallait pour ne l’être pas.’ Admirable description of a type not at all uncommon in all societies where love-making is regarded as the proper study of womankind! The type, I repeat, is not uncommon; but Crébillon’s succinct and accurate description of it something almost unique.
Here is another passage in which he analyses the motives of a different type of cold woman—a much more dangerous type, it may be remarked: the type to which all successful adventuresses belong. ‘Soit caprice, soit vanité, la chose du monde qui lui plaît le plus est d’inspirer de désirs; elle jouit du moins des transports de son amant. D’ailleurs, la froideur de ses sens n’empêche pas sa tête de s’animer, et si la nature lui a refusé ce que l’on appelle le plaisir, elle lui a en échange donné une sorte de volupté qui n’existe, à la vérité, que dans ses idées; mais qui lui fait peut-être éprouver quelque chose de plus délicat que ce qui ne part que des sens. Pour vous,’ adds Clitandre, addressing his companion, ‘pour vous, plus heureuse qu’elle, vous avez, si je ne me trompe, rassemblé les deux.’
It would be possible to compile out of the works of Crébillon a whole collection of such character-sketches and aphorisms. ‘What every Young Don Juan ought to Know’ might serve as title to this florilegium. It should be placed in the hands of all those, women as well as men, who propose to lead, professionally, the arduous and difficult life of leisure. Here are a few of the aphorisms which will deserve to find a place in this anthology of psychological wisdom.
‘Une jolie femme dépend bien moins d’elle-même que des circonstances; et par malheur il s’en trouve tant, de si peu prévues, de si pressantes, qu’il n’y a point à s’étonner si, après plusieurs aventures, elle n’a connu ni l’amour, ni son cœur. Il s’ensuit que ce qu’on croit la dernière fantaisie d’une femme est bien souvent sa première passion.’
‘Les sens ont aussi leur délicatesse; à un certain point on les émeut; qu’on le passe, on les révolte.’
‘L’on n’occupe pas longtemps l’imagination d’une femme sans aller jusqu’à son cœur, ou du moins sans que par les effets cela ne revienne au même.’
Of Crébillon’s life there is but little to say. It was quite uneventful. The record of it, singularly scanty, contains almost no unusual or surprising element. It was precisely the life which you would expect the author of Le Sopha to have led: a cheerful, social, literary life in the Paris of Louis XV. Crébillon was born on St. Valentine’s Day, 1707, thus achieving legitimacy by fifteen days; for his parents were only married on the thirty-first of January. His father was Prosper Jolyot de Crébillon, the tragic poet who provoked the envy and the competitive rivalry of Voltaire. I am not ashamed to say that I have never read a line of the elder Crébillon’s works. Life is not so long that one can afford to spend even the briefest time in the perusal of eighteenth-century French tragedians.
The literary career of the younger Crébillon began in the theatre. In association with the actors Romagnesi, Biancolelli and Riccoboni he composed a number of satirical pieces and parodies for the Italian comedians. It was at this period that he confided to Sébastien Mercier, ‘qu’il n’avait encore achevé la lecture des tragédies de son père, mais que cela viendrait. Il regardait la tragédie française comme la farce la plus complète qu’ait pu inventer l’esprit humain.’
His first successful novel, Tanzai et Néardarné, Histoire Japonaise, was published in 1734. It was so successful, indeed, and so Japanese, that Crébillon, accused of satirizing the Cardinal de Rohan and other important persons, was arrested and thrown into prison, from which, however, the good graces of a royal reader soon released him.
Tanzai was followed in 1736 by Les Égarements du Cœur et de l’Esprit, and in 1740 by Le Sopha. It was the epoch of Crébillon’s social triumphs. He was for some time perpetual chairman of the famous dinners of the Caveau, and there were many other societies of which he was, officially or unofficially, the leading light.
In 1748 he married—somewhat tardily, for he had had a child by her two years before—an English wife, Lady Mary Howard. It is said that the poor lady squinted, was very ugly, awkward in society, shy and deeply religious. Crébillon seems, none the less, to have been a model husband, while the marriage lasted; which was not very long, however, for Lady Mary died about 1756. Their only child died in infancy a short time after being legitimated.
It was in 1759 that the favour of Madame de Pompadour procured for Crébillon the post of Royal Censor of Literature. He performed his duties conscientiously and to the satisfaction of all parties concerned. On the death of his father, in 1762, he received a pension. In 1774 he became Police Censor as well as Royal Censor. In 1777 he died. For all practical purposes, however, he had been dead fifteen years or more. ‘Il y a longtemps,’ said his obituarist, ‘très longtemps même, qu’il avait eu le chagrin de se voir survivre à lui-même.’ Melancholy fate! It caused his contemporaries to do him, towards the end, something less than justice. The most enthusiastic of his epitaphs is cool enough:
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,
