Correspondance. Tome IX. 11 mars 1748-25 avril 1749. Lettres 1217-1390 (review)

Panpan's long-awaited visit is over, and Mme de Graffigny is desolate. After the five-month gap in their correspondence due to her young friend's presence in Paris, this volume opens with the reprise of her remarkable letters. (Previous volumes of the Correspondance are reviewed in FS, xli (1987), 214–15; xlvi (1992), 330–31; lii (1998), 100–01; liv (2000), 372; lvi (2002), 98; and lix (2005), 250–52). The gap unfortunately covers the period of publication of her Lettres d'une Péruvienne. As the editors observe in their Introduction to the present volume (p. xv), we do not know the exact date when the novel first appeared, or even whether she chose its title. However, its great success is reflected throughout these letters. They report several more unauthorized editions, rumours of an English translation, Boissy's theatrical spin-off, and by other hands a brief Suite and a more substantial réplique. This last, Les Lettres d'Aza, she finds 'assés bien pour le sentiment, fort sot pour les critiques des mœurs, et tres foible imitateur' (p. 367). Most important perhaps to her is the enthusiasm of so many members of her own wide circle — including the courts of Lorraine and Vienna — and of cultivated people in general. Invitations allow her to spend time outside Paris, for the first time in six years. She is charmed by the delicate generosity of Mme de Montigny ('la Bonne'). She is flattered by men of accomplishment like La Font de Saint-Yenne, Quentin de La Tour and Vaucanson, who offer her that blend of intelligence and sensibility, 'politesse' and flirtation, which she most enjoys. Yet her life is generally worse than before. Visits received or required are incessant. Tensions within her own household (Valleré, Minette and the two servants) fray her nerves. Money remains short. Then she suffers three harsh blows within a week. Her hopes of income from two different sources dashed, she is appalled less by her present debts than by the prospect of poverty and dependence without end (p. 328). At the same time she discovers that her beloved Montigny is dying of breast cancer. She becomes quite hysterical, recognizing shortly afterwards 'Il me semble que depuis un mois j'ai eté folle, car je n'avois pas ma tete' (p. 355). She countenances a lucrative but doubtful marriage offer for her niece, which falls through amid scandal, doubling her humiliation (which she blames on everyone else, but principally as ever on Panpan).

Moral recovery is assisted by an unexpected visitor (p. 399). The comte de Clermont comes in person to tell her he is so pleased by the Péruvienne that he wants more of her work. (Only during 'Les Lumières' would one find the anonymous female author of an illegally-published novel that is critical of France receiving a congratulatory visit by a prince of the blood — himself both a commendatory abbé and a devotee of the theatre.) Graffigny promptly sets about revising her play-texts Phaza and La Gouvernante (the future Cénie), in consultation with Panpan and others, for what may be public performance or private 'théâtre de société'. But all her letters exhibit this sociable culture. Literary works are transmitted and discussed; theatrical events are reported. Manuscript and print are not absolutely distinct (and a revised manuscript is called an 'edition': pp. 465, 466). In either form, writings are less often read silently and alone than read aloud with other persons. Events prompt witticisms, which circulate: Crébillon's odd marriage is said to complete at last his Égarements; La Place's tragedy on Jane Grey is not 'au gray du public', and is soon declared 'morte sur la place' (pp. 100, 108). Such mockeries...