The publication of her work on "Literature" restored Madame de Stael to popularity. Her _salons_ were again crowded, but chiefly with foreigners, for she still remained upon bad terms with the first consul. "She pretends," said he, "to speak neither of politics nor of me; yet it happens that every one leaves her house less attached to me than when they went in. She gives them fanciful notions, and of the opposite kind to mine." Wounded vanity had no doubt a large share in producing her state of feeling. Upon him, as we have before seen, all her powers of fascination were exerted in vain. Indeed, he seems, in his treatment of her, to have been wanting in his usual tact. She was one day asked to dine in company with him. As she had heard that he sometimes spoke sarcastically of her, she thought he might perhaps address to her some of these speeches, which were the terror of the courtiers. She prepared herself, therefore, with various repartees. But Bonaparte hardly appeared conscious of her presence, and her consolation for the neglect was the conjecture that fear had been the cause of his forbearance. The early attempts of Madame de Stael in novel-writing gave no promise of superiority in that department of literature. Four tales, published in 1795, were as weak in plan and in execution as they were deficient in moral taste. It is a sad illustration of the state of moral feeling in the community, that a mind, naturally so well-intentioned and powerful, could be so debased, especially of one who had, at all times, a deep sense of religion, and who had been educated in the strict principles of Calvin. "Delphine," which appeared in 1802, is marked by the same faults of a moral character, and its tendency was so marked, as to incur the censure even of French critics, "who dared," as Madame de Stael indignantly exclaims, "to blame a book approved by Necker." That the censure was merited, no right-minded person can deny. The defence which Madame de Stael felt called upon to put forth is weak, inconclusive, and abounding in sophistries. The misfortunes of the heroine are, indeed, the consequences of her actions, but these results are made to appear her misfortune, and not her fault. Fascinated by the eloquence of the author, our hearts are enlisted on the side of the sufferer, whatever may be the decision of our judgment. Though deficient in some of the requisites for a novelist, especially in dramatic talent, Madame de Stael was eminently endowed with one essential faculty--that of delineating character. In Delphine, it was said the character of the author herself was exhibited, and that Madame de Vernon, in whom we have a perfect picture of social Machiavelism, was drawn from Talleyrand. "I am told," said he to her, "that you have put us both in your novel in the character of women." Even if this had been the occasion of offence to the wily courtier, he was too sagacious to disclose it.