| Jean de La Bruyère  Born: 16-Aug-1645
Birthplace: Paris, France
Died: 10-May-1696
Location of death: Paris, France
Cause of death: Stroke
Gender: Male
Race or Ethnicity: White
Sexual orientation: Straight
Occupation: Author Nationality: France
Executive summary: Les Caractères de Théophraste French essayist and moralist, born in Paris on the 16th of August 1645, and not, as was once the common statement, at Dourdan (Seine-et-Oise) in 1639. His family was of the middle class, and his reference to a certain Geoffroy de la Bruyère, a crusader, is only a satirical illustration of a method of self-ennoblement common in France as in some other countries. Indeed he himself always signed the name Delabruyère in one word, thus avowing his roture. His progenitors, however, were of respectable position, and he could trace them back at least as far as his great-grandfather, who had been a strong Leaguer. La Bruyère's own father was controller-general of finance to the Hôtel de Ville. The son was educated by the Oratorians and at the university of Orleans; he was called to the bar, and in 1673 bought a post in the revenue department at Caen, which gave the status of noblesse and a certain income. In 1687 he sold this office. His predecessor in it was a relation of Jacques Bossuet, and it is thought that the transaction was the cause of La Bruyère's introduction to the great orator. Bossuet, who from the date of his own preceptorship of the dauphin, was a kind of agent-general for tutorships in the royal family, introduced him in 1684 to the household of the great Condé, to whose grandson Henri Jules de Bourbon as well as to that princes girl-bride Mlle. de Nantes, one of Louis XIV's natural children, La Bruyère became tutor. The rest of his life was passed in the household of the prince or else at court, and he seems to have profited by the inclination which all the Condé family had for the society of men of letters. Very little is known of the events of this part - -or, indeed, of any part -- of his life. The impression derived from the few notices of him is of a silent, observant, but somewhat awkward man, resembling in manners Joseph Addison, whose master in literature La Bruyère undoubtedly was. Yet despite the numerous enemies which his book raised up for him, most of these notices are favorable -- notably that of Saint-Simon, an acute judge and one bitterly prejudiced against roturiers generally. There is, however, a curious passage in a letter from Nicolas Boileau to Jean Racine in which he regrets that "nature has not made La Bruyère as agreeable as he would like to be." His Caractères appeared in 1688, and at once, as Nicolas de Malezieu had predicted, brought him "bien des lecteurs et bien des ennemis." At the head of these were Thomas Corneille, Fontenelle and Benserade, who were pretty clearly aimed at in the book, as well as innumerable other persons, men and women of letters as well as of society, on whom the cap of La Bruyère's fancy-portraits was fitted by manuscript "keys" compiled by the scribblers of the day. The friendship of Bossuet and still more the protection of the Condés sufficiently defended the author, and he continued to insert fresh portraits of his contemporaries in each new edition of his book, especially in the 4th (1689). Those, however, whom he had attacked were powerful in the Academy, and numerous defeats awaited La Bruyère before he could make his way into that guarded hold. He was defeated thrice in 1691, and on one memorable occasion he had but seven votes, five of which were those of Bossuet, Boileau, Racine, Pellisson and Bussy-Rabutin. It was not until 1693 that he was elected, and even then an epigram, which, considering his admitted insignificance in conversation, was not of the worst, haesit lateri:
Quand la Bruyère se présente
Pourquoi faut il crier haro?
Pour faire on nombre de quarante
Ne falloit il pas un zéro?
His unpopularity was, however, chiefly confined to the subjects of his sarcastic portraiture, and to the hack writers of the time, of whom he was wont to speak with a disdain only surpassed by that of Alexander Pope. His description of the Mercure galant as "immédiatement au dessous de rien" is the best-remembered specimen of these unwise attacks; and would of itself account for the enmity of the editors, Fontenelle and the younger Corneille. La Bruyère's discourse of admission at the Academy, one of the best of its kind, was, like his admission itself, severely criticized, especially by the partisans of the "Moderns" in the "Ancient and Modern" quarrel. With the Caractères, the translation of Theophrastus, and a few letters, most of them addressed to the prince de Condé, it completes the list of his literary work, with the exception of a curious and much-disputed posthumous treatise. La Bruyère died very suddenly, and not long after his admission to the Academy. He is said to have been struck with dumbness in an assembly of his friends, and, being carried home to the Hôtel de Condé, to have expired of apoplexy a day or two afterwards, on the 10th of May 1696. It is not surprising that, considering the recent panic about poisoning, the bitter personal enmities which he had excited and the peculiar circumstances of his death, suspicions of foul play should have been entertained, but there was apparently no foundation for them. Two years after his death appeared certain Dialogues sur le Quiétisme, alleged to have been found among his papers incomplete, and to have been completed by the editor. As these dialogues are far inferior in literary merit to La Bruyère's other works, their genuineness has been denied. But the straightforward and circumstantial account of their appearance given by this editor, the Abbé du Pin, a man of acknowledged probity, the intimacy of La Bruyère with Bossuet, whose views in his contest with Fénelon these dialogues are designed to further, and the entire absence, at so short a time after the alleged author's death, of the least protest on the part of his friends and representatives, seem to be decisive in their favor.
Although it is permissible to doubt whether the value of the Caractères has not been somewhat exaggerated by traditional French criticism. they deserve beyond all question a high place. The plan of the book is thoroughly original, if that term may be accorded to a novel and skillful combination of existing elements. The treatise of Theophrastus may have furnished the first idea, but it gave little more. With the ethical generalizations and social Dutch painting of his original La Bruyère combined the peculiarities of the Montaigne essay, of the Pensées and Maximes of which Blaise Pascal and François de la Rochefoucauld are the masters respectively, and lastly of that peculiar 17th-century product, the "portrait" or elaborate literary picture of the personal and mental characteristics of an individual. The result was quite unlike anything that had been before seen, and it has not been exactly reproduced since, though the essay of Addison and Steele resembles it very closely, especially in the introduction of fancy portraits. In the titles of his work, and in its extreme desultoriness, La Bruyère reminds the reader of Montaigne, but he aimed too much at sententiousness to attempt even the apparent continuity of the great essayist. The short paragraphs of which his chapters consist are made up of maxims proper, of criticisms literary and ethical, and above all of the celebrated sketches of individuals baptized with names taken from the plays and romances of the time. These last are the great feature of the work, and that which gave it its immediate if not its enduring popularity. They are wonderfully piquant, extraordinarily lifelike in a certain sense, and must have given great pleasure or more frequently exquisite pain to the originals, who were in many cases unmistakable and in most recognizable.
But there is something wanting in them. The criticism of Charpentier, who received La Bruyère at the Academy, and who was of the opposite faction, is in fact fully justified as far as it goes. La Bruyère literally "est [trop] descendu dans le particulier." He has neither, like Molière, embodied abstract peculiarities in a single lifelike type, nor has he, like Shakespeare, made the individual pass sub speciem aertnitatis, and serve as a type while retaining his individuality. He is a photographer rather than an artist in his portraiture. So too his maxims, admirably as they are expressed, and exact as their truth often is, are on a lower level than those of La Rochefoucauld. Beside the sculpturesque precision, the Roman brevity, the profoundness of ethical intuition "piercing to the accepted hells beneath", of the great Frondeur, La Bruyère has the air of a literary petit-maître dressing up superficial observation in the fanciness of esprit. It is indeed only by comparison that he loses, but then it is by comparison that he is usually praised. His abundant wit and his personal "malice" have done much to give him his rank in French literature, but much must also be allowed to his purely literary merits. With Racine and Massillon he is probably the very best writer of what is somewhat arbitrarily styled classical French. He is hardly ever incorrect -- the highest merit in the eyes of a French academic critic. He is always well-bred, never obscure, rarely though sometimes "precious" in the turns and niceties of language in which he delights to indulge, in his avowed design of attracting readers by form, now that, in point of matter, "tout est dit." It ought to be added to his credit that he was sensible to the folly of impoverishing French by ejecting old words. His chapters on "Les ouvrages de l'esprit" contain much good criticism, though it shows that, like most of his contemporaries except Fénelon, he was lamentably ignorant of the literature of his own tongue.
Father: (controller general of finance, Hotel de Ville, Paris)
University: University of Orléans
French Academy 1693
Author of books:
Les Caractères de Théophraste traduits du grec avec Les Caractères ou les moeurs de ce siècle (1688)
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