We are inclined, however, to think with M. Paléologue--whose study of the actress from the psychological point of view is as admirable as M. Larroumet's from the dramatic--that apart from "that species of fascination and magnetism which the libertine, when he is not of vulgar race, exercises over the feminine mind," Adrienne had very early discovered the really great qualities of Maurice, and that the prospect of developing them, and of generally exercising a beneficent influence over such a man, was a temptation which an imagination so generous as hers found it impossible to resist. The results of this influence are well summarised by Lemontey in the _éloge_ of the actress which he read at a _séance_ of the Academy in 1823:-- "She was then thirty, an age favourable to experience and passion, which renders a woman as skilful to please as prompt to love. As in the time of chivalry, her cares, her tenderness, her wise counsels, initiated her friend into the amiable accomplishments, the benevolent virtues, the polished manners which, in the sequel, made him as much a Frenchman as his victories. Under her sweet tuition, the Achilles of Homer became the Achilles of Racine. She adorned his mind without enervating it, and modified what seemed extraordinary and singular in the turn of his ideas. She taught him our language, our literature, and inspired him with the taste for poetry, for music, for all the arts, and with that passion for the theatre which followed him even into the camp. One might say of the victor of Fontenoy and his beautiful preceptress that he learned from her everything save war, which he knew better than any one, and orthography, which he never knew at all."[79]