The history of the Bastile, and of its principal captivesDavenport, R. A. (Richard Alfred)
History
The history of the Bastile, and of its principal captives
Davenport, R. A. (Richard Alfred)
Bastille -- History; Political crimes and offenses -- France; Prisons -- France -- History
We have, in the former part of this chapter seen one literary female an
inmate of the Bastile, we must now contemplate in the same situation
another, of equal talents, but with a more sullied character. The second
of these females was Madame de Tencin, sister of the cardinal of that
name. Though, like most Frenchwomen of that period, it is probable that
Madame de Staal did not preserve an inviolate chastity, she certainly
paid more respect to appearances than was paid by Madame de Tencin, and
was less stimulated by mere animal passion. “I shall paint only my bust,”
Madame de Staal is said to have replied, when she was asked how, in her
Memoirs, she would contrive to speak of her love affairs; with respect
to Madame de Tencin, it may be doubted whether, at least while she was
moving in the circle of the court, she would have hesitated to delineate
a whole-length likeness of herself.
Tencin was a name derived from a small estate; the family name was
Guerin. The lady in question was born in 1681, and her father was
president of the parliament of Grenoble. She was placed in the convent of
Montfleury, near Grenoble, where she resided for five years. If credit
may be given to the statements of St. Simon and others, her conduct while
she wore the veil was anything but pious and decorous. The consequence
of one of her amours is said to have rendered it indispensable for her
to leave the convent, of which she was already tired. Her great object
was to shine in Paris, and this she accomplished. Through the interest of
Fontenelle, who took a great interest in her, she obtained a dispensation
from the Pope, and she then gave full swing to her pleasures. She
became the mistress of the ultra profligate Dubois; and the scandalous
chronicles of the time charge her with having joined in the orgies of the
regent and his companions, and prostituted her talents by the composition
of obscene works. With Law, the Mississippi projector, she was intimate,
and she and her brother appear to have profited largely by speculations
during that period of national madness. It is one pleasing feature in
her character, that she was more anxious to establish her brother than
herself.
Public-domain text, read in full here on John Shaqi.
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