The loftiest pretensions were there respected.
During the winter of 1833, when society rallied after the revolution
of July, some salons, notably those of Mesdames d'Espard and de
Listomere, Mademoiselle des Touches, and the Duchesse de Grandlieu,
had selected certain of the celebrities in art, science, literature,
and politics, and received them. Society can lose nothing of its
rights, and it must be amused. At a concert given by Madame de
Montcornet toward the close of the winter of 1833, a man of rising
fame in literature and politics appeared in her salon, brought there
by one of the wittiest, but also one of the laziest writers of that
epoch, Emile Blondet, celebrated behind closed doors, highly praised
by journalists, but unknown beyond the barriers. Blondet himself was
well aware of this; he indulged in no illusions, and, among his other
witty and contemptuous sayings, he was wont to remark that fame is a
poison good to take in little doses.
From the moment when the man we speak of, Raoul Nathan, after a long
struggle, forced his way to the public gaze, he had put to profit the
sudden infatuation for form manifested by those elegant descendants of
the middle ages, jestingly called Young France. He assumed the
singularities of a man of genius and enrolled himself among those
adorers of art, whose intentions, let us say, were excellent; for
surely nothing could be more ridiculous than the costume of Frenchmen
in the nineteenth century, and nothing more courageous than an attempt
to reform it.
Pages:
29
30
31
32
33
34
35
36
37
38
39
40
41
42
43
44
45
46
47
48
49
50
51
52
53