publicity of authorship, that led her to buy the entire edition
of her "Reflexions sur les Femmes," which was published without her
consent.

One of her marked traits was moderation. "The taste is spoiled
by amusements," she writes. "One becomes so accustomed to ardent
pleasures that one cannot fall back upon simple ones. We should
fear great commotions of the soul, which prepare ennui and
disgust." This wise thought suggests the influence of
Fontenelle, who impressed himself strongly upon the salons of the
first half of the century. His calm philosophy is distinctly
reflected in the character of Mme. de Lambert, also in that of
Mme. Geoffrin, with whom he was on very intimate terms. It is
said that this poet, critic, bel esprit, and courtly favorite,
whom Rousseau calls "the daintiest pedant in the world," was
never swayed by any emotion whatever. He never laughed, only
smiled; never wept; never praised warmly, though he did say
pretty things to women; never hurried; was never angry; never
suffered, and was never moved by suffering. "He had the gout,"
says one of his critics, "but no pain; only a foot wrapped in
cotton. He put it on a footstool; that was all." It is perhaps
fair to present, as the other side of the medallion, the portrait
drawn by the friendly hand of Adrienne LeCouvreur. "The charms
of his intellect often veiled its essential qualities. Unique of
his kind, he combines all that wins regard and respect.
Integrity, rectitude, equity compose his character; an
imagination lively and brilliant, turns fine and delicate,
expressions new and always happy ornament it. A heart pure,
actions clear, conduct uniform, and everywhere principles . . . .
Exact in friendship, scrupulous in love; nowhere failing in the