Memoirs of Madame la Marquise de Montespan — Volume 3 — A Closer Reading
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M. de Lauzun and Mademoiselle de Montpensier.--Marriage of the One and Passion of the Other.--The King Settles a Match.--A Secret Union.--The King Sends M. de Lauzun to Pignerol.--The Life He Leads There.--Mademoiselle's Liberality.--Strange Way of Acknowledging It.
They are forever talking about the coquetry of women; men also have their coquetry, but as they show less grace and finesse than we do, they do not get half as much attention.
The Marquis de Lauzun, having one day, noticed a certain kindly feeling for him in the glances of Mademoiselle, endeavoured to seem to her every day more fascinating and agreeable. The foolish Princess completely fell into the snare, and suddenly giving up her air of noble indifference, which till then had made her life happy, she fell madly in love with a schemer who despised and detested her.
Held back for some months by her pride, as also by the exigencies of etiquette, she only disclosed her sentimental passion by glances and a mutual exchange of signs of approval; but at last she was tired of self-restraint and martyrdom, and, detaining M. de Lauzun one day in a recess, she placed her written offer of marriage in his hand.
The cunning Marquis feigned astonishment, pretending humbly to renounce such honour, while increasing his wiles and fascinations; he even went so far as to shed tears, his most difficult feat of all.
Mademoiselle de Montpensier, older than he by twelve or fourteen years, never suspected that such a disparity of years was visible in her face. When one has been pretty, one imagines that one is still so, and will forever remain so. Plastered up and powdered, consumed by passion, and above all, blinded by vanity, she fancied that Nature had to obey princes, and that, to favour her, Time would stay his flight.
Though tired and bored with everything, Lauzun, the better to excite her passion, put on timid, languid airs, like those of some lad fresh from school. Quitting the embraces of some other woman, he played the lonely, pensive, melancholy bachelor, the man absorbed by this sweet, new mystery of love.
Having made mutual avowal of their passion, which was fill of esteem, Lauzun inquired, merely from motives of caution, as to the Princess's fortune; and she did not fail to tell him everything, even about her plate and jewels. Lauzun's love grew even more ardent now, for she had at least forty millions, not counting her palace.
He asked if, by the marriage, he would become a prince, and she replied that she, herself, had not sufficient power to do this; that she was most anxious to arrange this, if she could; but anyhow, that she could make him Duc de Montpensier, with a private uncontrolled income of five hundred thousand livres.
He asked if, on the family coat-of-arms, the husband's coronet was to figure, or the wife's; but, as she would not change her name, her arms, she decided, could remain as heretofore,--the crown, the fleur-de-lis, and so forth.
He inquired if the children of the marriage would rank as princes, and she said that she saw nothing to prevent this. He also asked if he would be raised higher in the peerage, and might look to being made a prince at last, and styled Highness as soon as the contract had been signed.
This caused some doubt and reflection. "The King, my cousin," said Mademoiselle, "is somewhat strict in matters of this sort. He seems to think that the royal family is a new arch-saint, at whom one may look only when prostrate in adoration; all contract therewith is absolutely forbidden. I begin to feel uneasy about this; yes, Lauzun, I have fears for our love and marriage."
"Are you, then, afraid?" asked Lauzun, quite crestfallen.
"I knew how to point the Bastille cannon at the troops of the King," she replied; "but he was very young then. No matter, I will go and see him; if he is my King, I am his cousin; if he has his crotchets, I have my love and my will. He can't do anything, my dear Lauzun; I love you as once he loved La Valliere, as to-day he loves Montespan; I am not afraid of him. As for the permission, I know our history by heart, and I will prove to him by a hundred examples that, from the time of Charlemagne up to the present time, widows and daughters of kings have married mere noblemen. These nobleman may have been most meritorious,--I only know them from history,--but not one of them was as worthy as you."
Madame de Montespan opens this volume with a pointed observation on male coquetry, immediately establishing her ironic, analytical tone. She describes the Marquis de Lauzun's calculated seduction of Mademoiselle de Montpensier, noting how he 'put on timid, languid airs' and feigned tears—his 'most difficult feat of all.' The narrator's voice shifts between worldly cynicism and sharp detail, as when she notes that Lauzun's love grew 'even more ardent' upon learning of the Princess's fortune. This blend of psychological insight and dry humor characterizes the memoir's narrative voice.
The Art of Feigned Emotion
Montespan dissects Lauzun's performance with clinical precision. She observes that he 'pretended humbly to renounce such honour, while increasing his wiles and fascinations.' The narrator highlights the disparity between Lauzun's outward show—'timid, languid airs, like those of some lad fresh from school'—and his actual calculation. This contrast between appearance and reality recurs throughout the excerpts. The memoirist also notes Mademoiselle's self-deception: 'When one has been pretty, one imagines that one is still so.' Montespan's voice here is detached yet knowing, exposing the mechanics of courtly manipulation without moralizing.
Confessors and Casuistry
A later episode shifts to religious hypocrisy. Montespan recounts a dispute between confessors over the King's adultery. The General argues that the King's Jesuit confessor 'gives the King absolution every year' for his intimacy with Madame de Montespan, so why should another cleric condemn her? The narrator then describes her own confession to a 'village priest' who 'flew into a passion' upon learning her name, stamping on the floor and speaking 'disrespectfully of the King.' The scene is both comic and revealing: Montespan's voice conveys indignation undercut by irony, as she resolves to 'take a good long holiday' from confession. The pacing quickens here, moving from theological debate to farcical confrontation.
Disguise and Desperation
The Comte de Guiche's passion for Henrietta of England is narrated with a shift to romantic melodrama. Montespan describes his disguises: a suit of 'La Valliere livery' to walk beside her sedan-chair, and later a 'pretty gipsy' costume to tell her fortune. The narrator notes that he 'only lived and had his being in the enjoyment of contemplating her charms.' Yet the tone remains observational rather than sympathetic. When a page announces Monsieur's arrival, Guiche 'slipped out by a back staircase'—a swift, almost comic exit. This section shows Montespan varying pace: from the slow, detailed courtship to the abrupt interruption, mirroring the volatility of court life.
Readers attentive to shifts in tone will notice how Montespan moves from satirical dissection to theatrical anecdote within a single chapter. Her voice remains consistently worldly, but the pacing—from Lauzun's calculated delays to the confessor's explosive anger to Guiche's hurried escape—reflects the unpredictability of Versailles. These memoirs reward those who listen for the narrator's ironic asides and structural contrasts rather than seeking a straightforward historical account.
That sharp, ironic way Madame de Montespan watches people perform—Lauzun, Guiche—stayed with me long after I closed the book. It made me think of a quieter kind of performance, the careful staging of everyday objects. That's what Chats on English China — Context and Discussion touches on, in its own unhurried way. There's a similar pleasure in noticing the small, deliberate things we leave out for others to see.
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