Women of History

<h3>MADEMOISELLE DE LA VALLIERE.</h3> <p><span class="pagenum"><SPAN name="Page_161" id="Page_161"></SPAN></span></p> <p class="heading">[BORN 1644. DIED 1710.]<br/> DAVENPORT ADAMS.</p> <p><ANTIMG src="images/ii.jpg" alt="I" width-obs="69" height-obs="67" class="floatl" />T must be acknowledged that Louis XIV., in his amours more refined than his contemporary Charles II. of England, sought for mental gifts no less than personal charms, and, if caught at first by the eye and the lip, the bloom of the cheek and the lustre of the hair, could only be held by the surer and more exquisite fascination of a clear judgment and a lively wit. He was not content with a dumb Venus. Beauty was required to wear the robe of Pallas, and to borrow some, at least, of the magical spells of the Graces. Criminal as were his attachments, and fatal to the heart and soul of his people by the general levity of manners and morals which they necessarily seemed to justify, they were clothed with a pomp and refinement that concealed their most hideous features.</p> <p>The most romantic of Louis' attachments was that which he professed for Mademoiselle de la Valliere, born in 1664 of a noble family, which had been long established in Touraine. While yet a child, she lost her father, and was brought up at Blois, in the household of Gaston of Orleans. "Her features," as we learn from Elizabeth of Bavaria, Duchess of Orleans, "had an inexpressible attraction; her figure was beautiful, her appearance modest; she limped a little, but this did not ill become <span class="pagenum"><SPAN name="Page_162" id="Page_162"></SPAN></span> her." Her forehead was smooth and white, and on each side of it clustered abundant curls of a glossy auburn. The soft languishing eyes, the straight nose, the exquisite mouth and the dimpled chin, with a certain eloquent air of love and gentleness, made up a most fascinating countenance. All the figure was firm and plump&mdash;not one of your angular forms, that bristle with sharp points, but the shape of a Venus, rich in graceful curves, and softly rounded. There was a peculiar charm in her conversation; it so sparkled with that light, effervescing humour, which in the mouth of a pretty woman is accounted wit, while it breathed an air of refinement that indicated a graceful and accomplished mind. A sweet temper and a gentle disposition won the affection of all her companions. She was capable of a passionate love, a deep and unalterable love, devoted to its object, and utterly regardless of itself. She was not ambitious, except of being loved; and that is an ambition which a man willingly forgives to beauty. Envy and jealousy shrunk afar from her generous soul. Finally, La Valliere had all the softness if she lacked the purity of Imogen, the self-abandonment of Juliet, the passionate fidelity of Ophelia; but nature had rendered it impossible for her to play the part of a Cleopatra. She was formed to yield, to obey, to suffer in silence; and the secret of her power lay in the simplicity of her devotion.</p> <p>The beautiful La Valliere is still the heroine of the people. Her story is a tale of passion, of guilt, sorrow, and penitence; it has had peculiar attractions for the popular mind; and, while it has contributed poem, romance, and history to French literature, it has not been neglected by the English writer. It certainly possesses the most striking features of romance. Consider the quality of the actors&mdash;a powerful sovereign in the flush of youthful pride, contrasted with a <span class="pagenum"><SPAN name="Page_163" id="Page_163"></SPAN></span> young and simple maid of honour. Consider the startling variety of the passions&mdash;ardent and aspiring love, triumphant possession; satiety on the one side, and sorrow on the other, remorse, and a long repentance. Consider the picturesque character of the scenes&mdash;the glittering pomp of a palace, the austere simplicity of a convent. And then there is thrown over the whole the bewildering atmosphere of splendour; nobles and pages, statesmen and beauties, priests and councillors,&mdash;music and flowers, and the glow of a thousand lights,&mdash;the fall of powerful ministers, the intrigues of subtle courtiers,&mdash;all blend in the exciting movement of this passionate and fantastic drama. And yet it is an old, old story,&mdash;the brief madness of love, the prolonged penitence of remorse. It is a fine commentary on the exultant sin,&mdash;this dreary old age of shattered hopes that closes all.</p> <div class="figcenter p4"> <ANTIMG src="images/i168.jpg" width-obs="113" height-obs="145" alt="Decoration" /></div> <div style="break-after:column;"></div><br />