Madame de Sévigné's retreat was not of long continuance. It took place when Fouquet was first arrested, and she returned to court long before his trial. Her daughter was presented in 1663. [Sidenote: 1664. Ætat. 38.] The following year was rendered remarkable by the brilliancy of the _fêtes_ given at Versailles.[65] The carousals or tournaments were splendid, from the number of combatants and the magnificence of the dresses and accoutrements. The personages that composed the tournament passed in review before the assembled court. [Sidenote: 1665. Ætat. 39.] The king represented Roger. All the diamonds of the crown were lavished on his dress and the harness of his horse: his page bore his shield, whose device was composed by Benserade, who had a happy talent for composing these slight commemorations of the feelings and situation of the real person, mingled with an apt allusion to the person represented. The queen, attended by three hundred ladies, witnessed the review from under triumphal arches. Amidst this crowd of ladies, lost in it to all but the heart of Louis, and shrinking from observation, was mademoiselle de la Vallière, the real object of the monarch's magnificent display. The cavalcade was followed by an immense gilt car, representing the chariot of the sun. It was surrounded by the four Ages, the Seasons, and the Hours. Shepherds arranged the lists, and other characters recited verses written for the occasion. The tournament over, the feast succeeded, and, darkness being come, the place was illuminated by 4000 flambeaux. Two hundred persons, dressed as fauns, sylvans, and dryads, together with shepherds, reapers, and vine-dressers, served at the numerous tables; a theatre arose, as if by magic, behind the tables; the arcades that surrounded the whole circuit were ornamented with 500 girandoles of green and silver, and a gilt balustrade shut in the whole. Molière's play of the "Princesse d'Elide," agreeable at the time from the allusions it contained, his comedy of the "Marriage Forcée," and three acts of the "Tartuffe," added the enduring stamp of genius to mere outward show and splendour. Mademoiselle de Sévigné appeared in these _fêtes_. In 1663 she represented a shepherdess in a ballet; and the verses which Benserade wrote for her to repeat show that she was held in consideration as one of the most charming beauties of the court, and as the daughter of one of its loveliest and most respected ornaments. In 1664 she appeared as Cupid disguised, as a Nereid[66]; and as Omphale in 1665. We must not forget that at this very time, while enjoying her daughter's success, madame de Sévigné was interesting herself warmly for Fouquet. The favour of a court could not make her forget her friends. Her chief object of interest, as personally regarded herself at this time, was the marriage of her daughter. Her son was in the army. When only nineteen he joined the expedition undertaken by the dukes of