The Foundation Of The French Academy

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Title:     The Foundation Of The French Academy
Author: Edmund Gosse [More Titles by Gosse]

For three centuries past there have been frequent discussions as to the possibility of founding an Academy of Letters in England, but it was not until June, 1910, that a modest and partial experiment in this direction was successfully made. After long deliberations between two accredited bodies, the Royal Society of Literature and the Society of Authors, thirty-three persons were nominated to form, within the corporation of the former, an Academic Committee which should attempt to exercise something resembling the functions of the Académie Française. Lord Morley was elected President, and now, without claiming any excessive publicity, this Academic Committee, founded for the protection and encouragement of a pure English style in prose and verse, has occupied a position in letters which gives every evidence of persisting and increasing. It was assailed, as was natural and right, by satire and by caricature, but it has survived the attacks which were directed against it, and there can be little doubt that, with good luck, it may become a prominent feature of our intellectual and social system. Already, although so young, it has received that consecration of death which makes it a part of history. No fewer than eight, that is to say nearly a quarter, of its original members have passed away, and among them those delicate humanists Butcher and Verrall, a poet so philosophical as Alfred Lyall, critics of such fine temper as Andrew Lang and Edward Dowden. Like the Académie Française, the Academic Committee has its parti des ducs, and it mourns the loss of an exquisite amateur, George Wyndham. These men leave to their successors the memory of lives devoted to the purest literature.[1]

[1] Since this was written the Academic Committee has lost Henry James, Lady Ritchie and Austin Dobson.

This, then, seems a not inappropriate moment for considering more closely in detail than has commonly been done, the circumstances attending the most successful experiment that the world has seen to create and sustain a public body whose duty it should be to guard the purity of a national language and to insure the permanence of its best literary forms. It will not be necessary here to do more than remind our readers that the Académie Française was not the earliest corporation in Europe, or even in France, which was formed for the purpose of carrying out these difficult and perilous designs. It was simply the most successful and the most durable. As early as about the year 1490, an Academy was founded in Florence in the deepest piety of the Renaissance. Its motives were pathetically Greek. The gardens of the Medicis were to represent Academe; Arno was to be its Cephisus; in the great Plotinist, Marsiglio Ficino, it was to find its incomparable leader, its visible Plato. By the sixteenth century, Italy was full of imitations; there were the Intronati at Siena, the Della Crusca at Florence, the Otiosi at Bologna, the Humoristi and the Fantastici in Rome. In France itself, in 1570, the poets of the Pléiade instituted, under Charles IX, their Académie de Musique et de Poésie, which became in due course the Académie du Palais, and died inglorious during the Civil Wars. Later there was founded, in Savoy, that Académie Florimontane, which flourished for a little while under St. François de Sales. It was in imitation of those vague and ephemeral institutions that, supported by the powerful patronage of Richelieu, the great corporation which still exercises so lively an influence in France came, in the fulness of the seventeenth century, into permanent existence. It is too seldom realized out of what accidental conjunction of circumstances it arose, and how humble and unfavourable were the auspices which attended its birth.

The French Academy came into the world so silently, and was long so inconspicuous, that it is difficult to point to its exact source. But there is no doubt that its inception was due to the hospitable temper and the intellectual curiosity of a young man whose name deserves well of the world. He was not a great writer, nor even a great scholar, but he possessed to an extraordinary degree the gift of literary solidarity. In the year 1629, Valentin Conrart, who was twenty-six years of age, was living in a convenient and agreeable house at the corner of the Rue Saint Martin and the Rue des Vielles-Etuves. About this time his relative, probably his cousin, Antoine Godeau, two years younger than Conrart, came up to Paris from Dreux to seek his fortune. It is thought that he lodged with his cousin; at all events Conrart looked after him in his universally obliging way. Godeau confessed that he wrote verses, and he showed them to Conrart, who adored poetry, and who burned to spread an appreciation of it. He thought his kinsman's verses good, and he invited a few of his literary friends to come and listen to them. No doubt he asked them to dinner, for he had a famous cook; and after dinner the company settled down to listen. The poet was excessively short and preposterously ugly, but he was subtle and agreeable, and he already possessed to a conspicuous degree the art of pleasing.

When the future bishop of Grasse and Vence had recited his poems, which were love-pieces and doubtless of a light description--for he afterwards begged them back from Conrart and burned them--the conversation became general, and the evening passed so pleasantly that the company was unanimous that these instructive and entertaining meetings must be repeated. There were eight of these friends gathered together, all authors or men intimately occupied with literature. They were agreed in determining to keep up their discussions, and first of all it was proposed that they should meet successively in each other's houses. But no one of them was rich, and Conrart's house was far the most comfortably situated; he was anxious to be the perpetual host, and the rest were glad to give way to him. They decided to meet once every week to discuss literature and language in Conrart's house at the corner of the Rue Saint Martin. The names of the eight friends are not equally celebrated in the history of French literature; most of them, indeed, are not celebrated at all; but I must record them here, before I proceed, because of the leading part they took at the inception of the Académie. They were Chapelain, Conrart, Godeau, Gombauld, Philippe Habert, Habert de Cerisy, Sérisay, and Malleville. We must try to form some impression of each of them, though most are but fugitive and phantasmal figures.

Of Valentin Conrart a tolerably clear image can be formed by collating what the memoir-writers have recorded of him. It was much noted that he was no scholar; like Shakespeare he had little Latin and less Greek; indeed it was roundly asserted that he had none of either. But he studied much Italian and Spanish, and he had a fine library exclusively of modern literature. He wrote a great deal in prose and verse, but mainly for his private pleasure; he kept a prudent silence about his works, which were understood to be mediocre. He was always an invalid; already, in his youth, he began to be a sufferer from the gout, which was to torture him for thirty years. But pain did not affect his temper, nor his extraordinary gregariousness. He lived for the small enjoyments of others. He was the confidant of everybody, the healer of all quarrels and disputes. As time went on, and Conrart became absorbed in the duties of perpetual Secretary to the Académie, his qualities may have become exaggerated. His enemies began to say that he was too indulgent, too easy-going with offenders. The super-subtle declared that he had become infatuated with his own friendliness, and that he went through Paris murmuring "Ah! ma belle amitié!" He was a great depositary of secrets, and liked nothing so much as to run about--or rather, poor man! to hobble about--pouring oil upon troubled waters. Tallemant des Réaux, who hated him, says that Conrart had an unpleasant wife, whose face was like a gingerbread nut, but we need not believe all that Tallemant des Réaux says.

Conrart, however, with all his serviceable friendliness, could not have done much without Chapelain, who was really the founder of the Académie. Jean Chapelain was not merely an active man of letters, he was the man of letters pure and simple. He had, in that age of intellectual curiosity, a passion for literature not surpassed, if equalled, by a single contemporary. M. Lanson has shown, what scarcely needed showing, that Chapelain was no artist, but if he was a bad poet, he was intensely interested in the technique of poetry. He has been called the founder of French criticism; he had pertinacity, courage, and a passionate love for the French language. Perhaps he was the inventor of the law of the Three Unities in drama. His influence in French thought lasted until the days of Boileau. In 1629 Chapelain was thirty-five years of age, old enough and dogmatic enough to impress his will and his opinions on his younger companions. Because he was a detestable epic and a ridiculous lyric poet, because we cannot be drawn by wild horses to read the Pucelle or the Ode à Richelieu, we must not overlook the fact that Chapelain was one of the great intellectual forces of his time, although when the meetings began he had scarcely printed anything except the much-discussed Préface de l'Adone (1623). Ceremonious and yet rough, a courtier and yet a sort of astute Diogenes, hating all luxury and ruining himself to buy rare books, a stormy petrel in every literary tempest, Chapelain presents to us the shrewd and violent figure of a captain who steered the youthful Académie through its vicissitudes into safe anchorage.

Among all these young men, there was one old man, and he too, like Chapelain, was an authentic man of letters. This was Jean Ogier, Sieur de Gombauld, who was not less than sixty years of age already. He had been born youngest son in the fourth marriage of a redoubtable Huguenot of Xaintogne, and he came to Paris towards the end of the reign of Henry IV, with a mass of strange MSS. He was very poor, very proud, extravagant and eccentric to the last degree. He managed to appear at Court, and there must have been something striking about him, since his fortune began by Marie de Médicis noticing him at the coronation of Louis XIII. It was said that she saw in him a striking likeness to a man of whom she had been very fond years before in Florence. After the ceremony, the Queen-Mother sent for Gombauld, and he was attached to her Court, where he was called "le Beau Ténébreux," but he remained very shy and helpless. He nourished a frenzied passion for her Majesty, yet was incapable of speech or movement in her presence; during his brief splendour at Court, he wrote the most famous of his works, the romance of Endymion (1624), in which the Queen-Mother appeared as that leading character, "La Lune." There are delightful stories of the gaucherie and pathetic simplicity of this old poet, who was a very fine country gentleman, always carefully dressed, holding his tall, spare figure well upright, and with quantities of real hair pushing out his wig on all sides. Gombauld, in spite of "La Lune," could never feel at his ease in the presence of fine ladies, and sighed for a farmer's daughter. After the death of Richelieu, all the pensions were struck off, and Gombauld grew very poor and wrinkled. He was touched with the mania of persecution, and became rather a terror to his fellow-Academicians, one of whom called him "the most ceremonious and the most mysterious of men." He grew to be very unhappy, but like Tithonus could not die, and he was "a white-haired shadow roaming like a dream" in the world of Molière and Racine. He died, at the age of ninety-six, in 1666, having been born in the lifetime of Ronsard, and out-living the birth of Massillon.

The other four members of the original group have not left so deep a mark on the history of literature. Jacques de Sérisay was accustomed to literary coteries, for he had been a constant attendant on Montaigne's adopted daughter, that enthusiastic and grotesque old maid, Mlle. Marie de Gournay, who loved to collect the wits around her "shadow" and her cat, Donzelle. Sérisay cannot have been a man of letters of much force, since his works, to the end of time, consisted of half a tragedy, which he could never finish. Later on he contrived to read this fragment aloud to Richelieu, who yielded to fatigue before the end of the exercise. This vague person was known as "le délicat Sérisay." Then, there was Claude de Malleville, who had just come back from attending Bassompierre in England. He was a man of considerable originality of character, and afterwards a power in the Académie. He liked the pleasant informality of the meetings at Conrart's house, and objected to their being turned into official sessions. We shall see that he stood alone, a little later, in stout opposition to the proposals of the Cardinal. Malleville was a little wisp of a man, with black locks and dim dark eyes. He translated vaguely and amorously from the Italian, and had a great deal to do with the composition of the Guirlande de Julie. Except for some Ovidian Epistles, which he is said to have published as early as 1620, Malleville's own poems were posthumous. M. Magne says that Malleville was "un faiseur de bibus" (a term of contempt almost beyond the range of translation) "qui frétillait autour des jupes"; but that is because he opposed Boisrobert. Shadows they were, and shadows they pursued.

Most shadowy of all are to us now the two Haberts. Germain Habert, the youngest of the original Academicians, wrote a very affected poem on the metamorphosis of the eyes of Phillis into stars. As he grew older he neglected Phillis to devote himself to good works. Ménage, who was his friend, says he was "un des plus beaux esprits de son temps." But where are the evidences of his wit? His brother, Philippe Habert, is the last of the original coterie and the faintest phantom of them all. He was a soldier in the artillery, and he was killed, in 1637, at the siege of Emery, crushed under a wall that had been accidentally blown up by gunpowder. Just before this melancholy event, Philippe Habert had prophetically published his poem called Le Temple de la Mort, which was very much admired, but is now not easily accessible. He was a cold and solemn young man, reserved in manner, but held to be both brave and friendly.

Such were the eight companions who met, week by week, all innocent and unconscious, to discuss in familiar intercourse every species of subject--business, the news of the day, the movement of letters. If any one of them had written something, as frequently happened, he would read it aloud, and ask for criticism, which would be frankly given. Often their discussions would end in a stroll through the streets, or in a meal prepared by Conrart's really estimable chef. It was a delightful time, and, in after years, when the Académie was celebrated and powerful, the original members looked back wistfully at this happy period of almost pastoral quietude. Pellisson, interviewing the survivors in a later generation, says that "Ils parlent encore aujourd'hui de ce premier âge de l'Académie, comme d'un âge d'or, durant lequel avec toute l'innocence et toute la liberté des premiers siècles, sans bruit et sans pompe, et sans autres lois que celles de l'amitié, ils goûtaient ensemble tout ce que la société des esprits et la vie raisonnable ont de plus doux et de plus charmant."

It is curious and interesting to find that this "little clan," as Keats would call it, contrived to preserve its unity and its privacy for several years. The friends met, as we have seen, with remarkable frequency, yet they did not quarrel, nor grow bored, nor break up through the action of any outward accident. It is, surely, even in much quieter centuries than ours, unusual that a party of this kind should continue to exist, suspended as in a vacuum, not dwindling nor increasing, and unknown to the world outside. In those Valois times, such a collection of persons would be in danger of being accused of political plotting, and so the visitors to Conrart were pledged to an absolute silence. This pledge was first broken by Malleville, who told Nicolas Faret, apparently in 1632. Faret was a young provincial lawyer, lately arrived in Paris from the town of Bourg-en-Bresse. He was still very poor, but ingenious and active; he was a disciple of the great grammarian, Vaugelas, and later the intimate of Molière. He was a jolly man, with chestnut hair and rubicund face; his figure grew massive as the years went by. Faret was consumed with curiosity, and when he had once wormed the secret of the meetings out of Malleville, he gave the latter no peace until he consented to introduce him. Faret had just published a book of some merit and considerable popularity, L'Honnête Homme, a breviary of how a gentleman should behave, a sort of courtier's vade mecum; and he brought an early copy of this with him as a credential. Faret was an active, boisterous person, boon companion of the more gifted poet Saint-Amant. He had no sooner secured a footing in Conrart's house than he made himself very useful to the body, for he was by far the most businesslike of the group. It was Faret who, in 1634, drew up the original scheme for the foundation of the Académie. He did not add much to the glory of the corporation, when once it was formed, for the other members complained that he did not attend the meetings unless there was some practical business on hand, and that then he was apt to be drunk. Faret, who was attached to Henry of Lorraine, the comte d'Harcourt, and served as his go-between with Richelieu, was not a very shining Académicien, but he had his temporary value.

Faret's chief merit was that he brought to the meetings a man of letters who was destined to take a very prominent place, for the time being, both in the French Academy and in literary life--namely, Jean Desmarets de Saint-Sorlin. He was an indefatigable writer, and a man exactly suited to be useful to a group of literary persons, because he had experience of the world, great enthusiasm for the craft of letters, and a wide and humorous outlook on life. Chapelain, glancing back many years later, defined Desmarets as "un des esprits les plus faciles de ce temps," and that is just what he was, an inexhaustible and rapid producer of prose and verse in the spirit and fashion of the age. He was much valued by Richelieu, who forced him, against his will, to collaborate in the composition of tragedies. Desmarets had no dramatic inspiration, but he was able to satisfy the Cardinal. At the time of which we are speaking, probably in 1633, Desmarets was brought to Conrart's house by Faret and received a courteous welcome. It was characteristic of him that, instantly entering into the spirit of the company, he pulled out of his pocket the proof-sheets of his new prose romance Ariane, and asked leave to submit them to discussion.

Desmarets was rich and influential, and he had the true Academic spirit. He became a prominent public character, and Controller-General of the King's Army, but he never lost his close hold upon the Académie, of which he was elected the first Chancellor. In the moment of transition, the dark hour before the dawn, he was eminently useful, for when, in 1633, Conrart married, and it was no longer convenient to meet in his house, Desmarets transferred the whole cluster of bees to a new hive, the sumptuous Hôtel Pellevé, which he had just rebuilt at the corner of the Rue du Roi de Sicile and of the Rue Tison. Then, and not till then, did they begin seriously to think of founding an Academy. Desmarets's numerous writings have stood the test of time very ill. His epic of Clovis was ridiculed by Boileau, and perhaps the only work of his which can be read to-day without boredom is his comedy of Les Visionnaires (1635), a merry piece of literary criticism, in which the various coteries of that day, and the famous salons, are satirized. Nevertheless, it is not beyond the range of possibility that, in these days of revival, somebody may be found to resuscitate Desmarets de Saint-Sorlin.

In that entertaining volume, Le Plaisant Abbé de Boisrobert, the great rival of Desmarets has already found an eloquent resuscitator, M. Magne. François de Metel de Boisrobert is an unedifying figure of a scapegrace priest, whose giggling face is seen peeping round most doors in the scandalous memoirs of the time. No one was more contemptuously insulted, no one more bitterly ridiculed, than Richelieu's supple jackal, the author of Anaxandre et Orazie and of Pyrandre. These heroic works of faded imagination are read no longer, nor the Recueil de Lettres Nouvelles nor Le Sacrifice des Muses. On the other hand, the sarcasms of the epigrammatists and the scandalous tales of contemporaries continue to invest the memory of Boisrobert with a nasty odour. M. Magne, who brings a marvellous erudition to the task, has bravely endeavoured to redeem a talent and a character so deeply compromised. We cannot join in the whole of his white-washing, but we may admit that he has proved the "plaisant abbé" to be neither the dunce nor the blackguard that legend had painted him. Moreover, it is quite certain that he exercised a most useful energy in the foundation of the French Academy.

When the indiscretion of Faret brought Desmarets to the literary meetings in Conrart's house, it had the inevitable result of exciting the jealous curiosity of Boisrobert. He was the great rival of Desmarets in the affection and confidence of Richelieu, and we may be certain that when "le plaisant abbé" found out that Desmarets was attending secret and mysterious assemblies, he plainly intimated to Faret that he also must be taken into the secret or else he would report the plot to the Cardinal. Accordingly, some time in 1633, Boisrobert too was brought to Conrart's house, and instantly conceived a great scheme for his own honour and the glory of French literature. He clung, through every storm, to the robes of Richelieu, who had originally disliked him, but who proved in the long run powerless to resist the devotion and the entertainment which Boisrobert provided. The poet took no snub; on one occasion when Richelieu had rudely ignored him, he flung himself on his knees, crying "You let the dogs eat the crumbs which fall from your table. Am I not a dog?" The Cardinal admitted that he was, and thenceforth Boisrobert occupied an intimate place in Richelieu's household, sometimes as a retriever, more often as a poodle. It is impossible to deny that Boisrobert was a poltroon, but in his lifelong devotion to the Académie he really behaved extremely well. The secret, no doubt, was that with the minimum of regard for purity of conduct, the "plaisant abbé" combined a genuine solicitude for the purity of language.

It was Boisrobert who first conceived the idea that an Academy of Letters might be useful to Richelieu and Richelieu indispensable to an Academy of Letters. For this scheme he deserves great credit, and we gather that it was first to the Cardinal and not first to Conrart's friends that he spoke. It seems probable that the latter had already begun to suggest among themselves that their relation might be permanent. There is a letter dated as early as December, 1632, in which Godeau, writing to Chapelain, seems to speak of the Académie as already a recognized thing. If we may suppose that Louis Giry, the Hellenist, who was not an original member, but whose name is mentioned as that of one of Conrart's friends, was already a visitor, the body now consisted of twelve persons, with all of whom I have endeavoured to make my readers acquainted. It was after one of the meetings in 1633 that, as Pellisson tells us, having observed what kind of books had been examined, and that the conversation had not been a commerce of compliment and flattery, where each person gave praise that in his turn he might receive it, but that faults of style, and even very small ones, had been seized upon boldly and frankly for discussion, Boisrobert was "fulfilled with joy and admiration." It crossed his mind that this was the very toy to enliven the petulant leisure of his Cardinal. When that scheme occurred to "le plaisant abbé" the Académie Française practically started into being.

No small part of the success of the policy of Richelieu came from the brilliant intuition which he had of the importance of regulating intellectual effort. He did not ignore the Press, as had so stupidly been done before his day, but he had no idea of leaving it to follow its own devices. In 1626 he had used a very remarkable expression; he had said "Les faiseurs de livres serviraient grandement le roi et ceux qui sont auprès de lui, s'ils ne se mêlaient de parler de leurs actions ni en bien ni en mal." Literature was to be encouraged and protected, on the understanding that it would attend to its own affairs, and not disturb the King's government with libelles which were none of its concern. Richelieu's genuine enthusiasm for scholarship and poetry is not to be questioned, but with it all he was pre-eminently an ambitious statesman. Public policy was the business of his life, literature his enchanting relaxation and entertainment. But he wished to be master in the temple of the Muses, no less than in the King's palace, and he would only protect the authorship of the day on the terms of being recognized as its absolute tyrant. He was to be the Miltiades of letters, but once acknowledge his authority, and he became literature's "best and truest friend." His lightning intelligence had perceived, in 1631, the importance of journalism, and he had protected the earliest of French newspapers, the Gazette, on the understanding that it proceeded from his own official cabinet. It was his scheme to break the prestige of the nobility, and in carrying out his plans, he was glad of the support of the intellectual classes. He was aided, of course, by the development of public feeling in this direction.

There can be little doubt that it was by Boisrobert rather than by Desmarets that the Cardinal was originally informed of the literary meetings in the house of Conrart. His curiosity was vividly awakened. Knots of persons meeting privately and with regularity were the objects of his lively suspicion, and there is some reason to suppose that his first impulse was to break up the company and forbid the meetings. But Boisrobert, who held his ear, reassured him.

He did not fail [says our earliest authority] to give a favourable report of the little assembly in whose deliberations he had taken a part, and of the persons who composed it; and the Cardinal, whose temper was naturally attuned to great designs, and who loved the French language to infatuation, being himself an excellent writer, after having praised the scheme, asked M. Boisrobert whether these persons would not like to become a corporation, and to meet regularly, and under public authority.

He desired Boisrobert to put this proposition before the next meeting, as from himself.

It appears that at first the idea was not received with enthusiasm. The friends were simple men of letters, not ambitious of power, and timid in the face of such formidable patronage. But the Cardinal consulted Chapelain, and won him over to his views. There can be no doubt that Desmarets and Faret supported a plan from which they could reap nothing but personal advantage. When the ground was ready and the hour was ripe, Boisrobert came down to a meeting, with a definite proposal from the Cardinal, who offered to these gentlemen his protection for their Society, the public compliment of Letters Patent, and also--this was so like the vehement bonhomie of Richelieu--a promise of personal affection "en toutes rencontres" for each of them individually. The friends were, in fact, to be attached in permanence to his personal household.

The meeting at which Boisrobert made this startling announcement was one of which it would be interesting indeed to have a detailed report. Unfortunately, this is wanting. But we know that the friends were smitten with timidity and dismay. Scarcely any one of them but expressed his vexation, and regretted that the Cardinal had done them this most unwelcome honour, that he had come down from his majestic heights to "troubler la douceur et la familiarité de leurs conférences." We can imagine the agitation and the anxiety, the babble of voices which had never before been raised above the tone of scholarly amenity. Those who were pledged to support the scheme doubtless held their peace until the storm had subsided, and until Sérisay and Malleville, who were the most intractable opponents, had done their worst in denunciation of it. Then the voices of the supporters were heard, and someone, doubtless the honey-tongued Boisrobert, suggested that as Sérisay was master of the household to the Duc de la Rochefoucauld, and Malleville secretary to the Maréchal de Bassompierre, it would, unjustly but most inevitably, be believed that they were incited by the enmity which their respective patrons were supposed (but how unfairly!) to nourish against the Cardinal. This impressed the company, and Sérisay withdrew his opposition, but Malleville continued to be intractable. It was important, however, that the reply of the infant Academy to the Cardinal should be cordial, and that it should be unanimous.

Chapelain, who had held his arguments in reserve, now came forward with that mixture of tact and force which was his great quality. He was certainly the most eminent man of letters in the assembly, and the others supposed him to be more independent than he really was. As a matter of fact, he had succumbed to the fascination of the Cardinal, who, to put it vulgarly, had Chapelain safe in his pocket. With a great show of impartiality, the poet put before his friends the sensible view that, no doubt, it would have been more agreeable to continue in private their confidential gatherings, but that it was no longer a question of what was agreeable. They had--he would not insist on pointing out how--lost all chance of keeping themselves to themselves. The secret was out, and they had attracted the attention of the most formidable of men, one who was in the habit of being implicitly obeyed, and who was not accustomed to meet with resistance; that this all-powerful statesman would not forgive the insult of their refusing his proffer of protection, and that he would find a way to chastise each individual member. But certainly, the first thing he would be sure to do would be to disperse their assembly and destroy a society which all of them had already begun to hope would be immortal. Nothing more was heard of Malleville's "minority report"; the infant Academy surrendered unanimously. Before the company dispersed, M. de Boisrobert was desired to convey to Monsieur le Cardinal the very humble thanks of the assembly for the honour he designed to show them, and to assure him that, though none of them had ever dreamed of such distinction, they were all of them resolved to carry out the wishes of his Eminence.

Richelieu always responded to this sort of attitude. He expressed to "le plaisant abbé" his great satisfaction, and no doubt they laughed together in private over the oddities of Conrart's guests, for such was their habit, and such the influence of Boisrobert over his master. A doctor once facetiously recommended, when the Cardinal was ill, "two drams of Boisrobert after every meal." But in public, and in fact, Richelieu took the most lively interest in the scheme. One is inclined to believe, that, by a flash of prophetic imagination, this great man saw what a place the Académie Française would take in the French order of things during three coming centuries at least. He urged the friends to meet without delay, now no longer at Conrart's, but in Desmarets's palatial hôtel, "et à penser sérieusement à l'établissement de l'Académie." All this was early in 1634, probably in February.

The first direction which the Cardinal deigned to give to the embarrassed and slightly terrified friends was that they should add to their number, or in his own words that "ces Messieurs grossirent leur Compagnie de plusieurs personnes considérables pour leur mérite." This appears to have been begun at the official sitting of March 20, 1634, and that may be considered as the date of the formation of the Académie. Existing members sat round the table, no doubt, and names were suggested and voted for. It would be a somewhat rough-and-ready choice, and the critical attitude would not be precisely that which would meet with approval at the Institut to-day. But the errors of choice have been abundantly exaggerated by those who have written loosely on this subject. Before the end of 1634 they had added, it seems, twenty-three names to their original list of eleven (or twelve), so that the Académie now consisted of about thirty-five men. Among these, it is perfectly true that there existed many obscurities and some obvious nonentities. But, besides those whom we have already described, the names now appeared of Balzac, Maynard, Gomberville, Saint-Amant, Racan, Vaugelas, and Voiture. All these were writers extremely eminent in the literature of their own age, and not one of them but is interesting and distinguished still. Not to have included them in a French Academy would have been a grave and obvious error.

Some of the accusations brought against the infant Academy are absurd. It has been vilified for omitting to make Molière and Pascal original members; the latter was eleven years of age at the time and the former twelve! Descartes was, of course, already one of the intellectual glories of France, but he was a wanderer over the face of Europe, and still only known as a writer in Latin. Arnauld d'Antilly was elected, but refused to take his place. Like Pascal, Brébeuf was still a schoolboy. Pierre Corneille, who was very little known in 1634, and not a resident in Paris, was elected later, and so was Lamothe le Vayer. Charles Sorel, the author of Francion and Le Berger Extravagant, who was historiographer of France and a satirist of merit, was not invited to join, it is true; but his caustic pen had spared no one, and he was essentially "unclubable." Scarron in 1634 was only a wild young buck about town. There remains unexplained--and I confess there seems to me to remain alone--the strange omission of Rotrou, a tragic poet of high distinction who never formed part of the French Academy. Since 1632 he had been the friend of Chapelain, and the Cardinal was devoted to him. That Rotrou's duties as a magistrate forced him to reside at Dreux is the only reason which I can think of to account for his absence from the list of 1634. If there was one other representative man of letters eligible, and yet omitted from that list, my memory is at fault.

Among those who were invited there was one whose support was absolutely essential to the youthful society. It may be said, without exaggeration, that the Académie Française could not have survived contemporary ridicule if it had failed to secure the co-operation of Jean Louis Guez de Balzac. In 1634 Balzac was thirty-seven years of age and by far the most prominent man of letters in France. The first volume of his famous Lettres--which were not letters in our sense, but chatty and yet elaborate essays on things in general--had appeared in 1624, and had created what the Abbé d'Olivet described as "a general revolution among persons of culture." Balzac immediately took his place as the official leader and divinity of what were afterwards known as the Précieuses; but he was a great deal more than that: he was the enchanting artist of a new French prose. "Le grand Epistolier de France" was to French prose all, and more than all, that Malherbe (who died in 1628) was to French verse. Brunetière has dwelt on Balzac's great service to letters, in the studied cultivation of harmony and lucidity, order and movement. His Lettres ushered in a new epoch in the production of prose, far more sudden and obvious than was brought about half a century later, in English, by the Essays of Sir William Temple, but similar to that in character. The most agreeable present any man of fashion could make to his mistress, says Ménage, was a copy of Balzac's book, and yet the gravest of scholars was not too learned to imitate its cadences.

The objects which the infant French Academy set before itself were the encouragement of grace and nobility of style in all persons employing the French language, and, as a corollary to this, the persistent effort to raise that language, in all particulars, until it should become an instrument for expression as delicate, as forcible and as comprehensive as Latin and Greek had been in their palmiest hours. But these were the very objects which Balzac had first, and most imperiously, impressed upon his readers, and there was a sense in which it could be said that the new body was merely emphasizing and extending, giving legislative authority to, ideas which were the property of Balzac. It was therefore obvious that whosoever was made an original member, the "grand Epistolier" should not be missing. This was obvious to the wise Boisrobert, of whom Balzac himself amusingly said that he was "circomspectissime" in the smallest actions of his life. As early as March 13, 1634, and therefore in all probability before anyone else was approached, Boisrobert took care that Balzac was invited to join the new Académie.

But it was one thing to whistle to Balzac, and quite another for him to come at the call. His character was not an agreeable one; he was excessively proud, painfully shy, quivering with self-consciousness, ever ready to take offence. Tallemant des Réaux, putting the universal opinion into an epigram, said that if ever there was an animal gloriæ it was Balzac. He was a finished hypochondriac, with his finger ever on his own pulse; before he was thirty he described himself as more battered than a ship that has sailed three times to the Indies. He was a hermit, hating society, and scarcely ever leaving that garden of amber and musk within the walls of his castle of Balzac which hung above the mingling waters of the Charente and the Touvre. But Balzac, whose character and temperament had many points of likeness to those of Pope, knew the value of friendship, though he was capable of amazing disloyalty under the pressure of vanity. Conrart, Boisrobert, Chapelain, and even perhaps the magnificent Cardinal himself--for there is talk of a pension--brought simultaneous pressure to bear, and Balzac consented to let his name appear in the list of original members of the Académie. This did not induce in him much zeal for the works or deeds of his nominal colleagues, upon whom, from his far-away garden-terraces, he looked down with great contempt. Still, the Académie Française was in existence, for Balzac was of the number.

Among the other original members, Voiture and Gomberville, the author of Polexandre, have never lost their little place in the crowded history of French literature. Saint-Amant and Maynard, who sank out of sight for a long time, are now regarded with more honour than ever before since their death. Honorat de Beuil, Marquis de Racan, is one of the minor classics of his country. A dreamy, blundering man, innocent and vague, his whole outlook upon life was that of a pastoral poet. He had "no common sense," we are told, but walked in a cloud conducting an imaginary flock and murmuring his beautiful Virgilian verses. Racan took the Academy more seriously than any other member; he never missed a sitting. But he could not be depended on. Once, the Academy met to listen to an address by the Marquis de Racan, who entered, holding one torn sheet of paper in his hand. "Gentlemen," he said, "I was bringing you my oration, but my great greyhound has chewed it up. Here it is! Make what you can of it, for I don't know it by heart, and I have no copy." The story of how old Mlle. de Gournay was gulled by successive impostors who pretended to be Racan, and then at length spurned the real poet, as an obvious idiot, is too long to be told here in detail. At the close of his life, Racan had allowed himself to retain no friends except his fellow academicians, so completely had he become absorbed in the Académie.

These illustrious names, however, are not sufficient to prevent the eye which runs down the list of original members from being startled by the obscurity of at least half the names. It must be remembered that in 1635 it was no envied distinction or disputed honour to form part of this new and untried corporation. The labours of the academicians were disinterested, for the Académie was not yet endowed, and there was little or no reward offered, besides the favour of the Cardinal, for the zealous labours of scholarship. Moreover, it was necessary to silence opposition and disarm ridicule. The general feeling of the public, as reflected in the action of parliament, was hostile. Louis XIII himself, although he had passed the Letters Patent, was far from favourable to his Minister's literary project, as we learn from a letter of Chapelain. But Richelieu was passionately bent on its success, and we see from Tallemant that whenever the Académie made a step in advance, the Cardinal was at no pains to conceal his lively satisfaction. But there were more seats than eminent men of letters to fill them, and consequently almost anyone who would consent or could be inveigled was elected. Scarron says the only thing that some of the original Immortals were fit for was to snuff candles or to sweep the floor. There was a class of academicians who were styled "the children of the pity of Boisrobert," because the "plaisant abbé," in filling up the fauteuils, was merciful to needy men of letters without talent, and fetched them in so that they might eat a piece of bread. They were buoyed up with the hope that Richelieu would bring in an age of gold for scribblers.

But another element must not be forgotten. There was a great temptation to turn poachers into gamekeepers, and a certain number of the original members of the Académie Française were wits whose bitterness Richelieu himself, or Chapelain, or Boisrobert, dreaded. Maynard was one of these, but perhaps the most curious example was a man called Bautru. He was no writer, for one scurrilous piece in the Cabinet Satirique represents his complete works. But he was a savage practical joker, whose tongue was universally dreaded. His wit seems to have been ready. He was a "libertine" in the sense of that day, and openly irreligious. One day, he was caught taking his hat off to a crucifix as he passed in the street. "Ah! then," said his friends, "you are on better terms with God than we supposed?" "On bowing terms; we don't speak," Bautru replied. In 1642, he called our Charles I "a calf led from market to market; and presently they will take him to the shambles," he prophetically added. His was an evil tongue with a sharp edge to it, which it was safest to have inside the Académie, and there were others of the same sort among the false celebrities, les passe-volans or dummies, whose presence in the original list is at first so disconcerting.

In order to give dignity and discipline to their assemblies, the Academicians now created three offices, those of Director, Chancellor, and Perpetual Secretary; these were held by Sérisay, Desmarets, and Conrart respectively. They appointed the famous printer, Jean Camusat, their librarian and typographer, meeting sometimes at his house for easier correction of the press. On the 20th of March, 1634, they settled on their all-important name, and thenceforth were to the world "l'Académie françoise." Two days later, in a very long letter, they detailed to the Cardinal the objects and functions of their body, not failing to begin with the request that he would permit them to publish his own tragedies and pastorals. This document is very interesting to-day. In it the new Academy proposes to cleanse the French language from all the ordure which it has contracted from vulgar and ignorant usage; to establish the exact sense of words; seriously to examine the subject and treatment of prose, the style of the whole, the harmony of periods, the propriety in the use of words. Moreover, the Academicians undertook to examine the books of one another with a meticulous attention to faults of style and grammar. This "Projet," which was drafted by Faret, was submitted to Richelieu, and printed in an edition of thirty copies, in May, 1634.

In this first manifesto, which was kept extremely secret, nothing was said about the plan of a Dictionary. But Chapelain's heart had been set upon that from the first, and he did not forget to bring it forward. He insisted, in season and out of season, on the necessity of labouring in unison "for the purity of our language and for its capacity to develop the loftiest eloquence." On the 27th of March he brought forward his idea of a Dictionary. Balzac supported him by letter, Vaugelas offered his invaluable grammatical services, and at last the Academy so far accepted the idea as to instruct Chapelain and Vaugelas to report on the subject. But this was not until 1637, so that we must realize that the French Academy had existed three years before it finally settled down to the work with which its early existence is most popularly identified. But for the persistency of Chapelain this might never have been commenced.

On the other hand, the Academicians were very busily engaged over their statutes, which were drawn up by one of the latest of the original members, Hay du Chastelet, a learned lawyer of high repute. They were passed and accepted by the Cardinal, before the close of 1634. It was, very properly, Conrart himself who drafted the Letters Patent, a very long and dignified document, which Louis XIII signed in Paris on the 29th of January, 1635. But now came the first difficulty which beset the primrose path of the young Académie. It was not enough for the King to sign the Letters Patent; they had to be vérifiées by Parliament; and this was not done until the 10th of July, 1637. There has been much discussion as to the cause of this delay, which was intensely irksome to the Cardinal and threatened the existence of the infant association. It was early thought that the Parliament suspected Richelieu of having a design in creating the Académie which was much more directly political than appeared on the surface. If so, the placid and modest demeanour of the Academicians ultimately disarmed hostility, and they obtained their Letters Patent.

At this point we must draw our inquiry to a close, since the foundation of the Académie Française was completed by this action on the part of the Parliament. It will be seen that eight years had gone by since the first meetings of selected men of letters had taken place in Conrart's house, and that many tedious formalities had to be completed before the body was in a position even to begin its work. The humble nature of the origin of the Académie Française, the surprising and painful adventures of its youth, and the glories of its subsequent existence, should make us indulgent to the slow growth of any similar institution. Rome is not the only corporation which was not built in a day.

[The end]
Edmund Gosse's essay: Foundation Of The French Academy

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