said, but by the mere indication of the ridiculous. This it is
impossible to reproduce, and the celebrity of Selwyn as a wit must
be allowed to rest on the opinion of his contemporaries.

"Je suis bien eloignee," wrote Madame du Deffand, in 1767, who, of
those who knew him, has left us the most finished portrait, "de
croire M. Selwyn stupide, mais il est souvent dans les espaces
imaginaires. Rien ne le frappe ni le reveille que le ridicule, mais
il l'attrape en volant; il a de la grace et de la finesse dans ce
qu'il dit mais il ne sais pas causer de suite; il est distrait,
indifferent; il s'ennuierait souvent sans une tres bonne recette
qu'il a contre l'ennui, c'est de s'endormir quand il veut. C'est un
talent que je lui envie bien; si je l'avais, j'en ferais grand
usage. Il est malin sans etre mechant; il est officieux, poli; hors
son milord March, il n'aime rien: on ne saurait former aucune
liaison avec lui, mais on est bien aise de l'encontrer, d'etre avec
lui dans le meme chambre, quoi qu'on n'ait rien a lui dire." *

* "Correspondance complete de Mme. du Deffand," vol. i. p. 87.

There is a popular idea that in the eighteenth century England and
France were essentially hostile nations, immemorial enemies, yet at
no time had there been more sympathy between two sections of society
than there existed between the governing and fashionable men and
women of Paris and London; in literature, art, and dress they held
the same opinions. Englishmen braved the Channel and underwent the
fatigue and trouble of the two land journeys with cheerfulness in
order to enjoy the society of St. Germain. They were received not as
strange travellers, but as valued friends.