exceedingly annoyed at this weakness
of my son, and said to him, angrily, "Ah! there you are; since the days
of Louis le Debonnaire there has been nobody so debonnaire as yourself."

My son was much amused at it.

When he is under the necessity of saying anything harsh, he is much more
pained at it than the person who experiences the disgrace.

He is not fond of the country, but prefers living in town. He is in this
respect like Madame de Longueville, who was tired to death of being in
Normandy, where her husband was.

[The Duc de Longueville was Governor of Normandy; and after the
reduction of Bordeaux, in 1652, the Duchesse de Longueville received
an order from the Court to repair to her husband.]

Those who were about her said, "Mon Dieu, Madame, you are eaten up with
ennui; will you not take some amusement? There are dogs and a beautiful
forest; will you hunt?"

"No," she replied, "I don't like hunting."

"Will you work?"

"No, I don't like work."

"Will you take a walk, or play at some game?"

"No, I like neither the one nor the other."

"What will you do, then?" they asked.

"What can I do?" she said; "I hate innocent pleasures."

My son understands music well, as all the musicians agree. He has
composed two or three operas, which are pretty. La Fare, his Captain of
the guards, wrote the words. He had them played in his palace, but never
would permit them to be represented on the public stage.

When he had nothing to do he painted for one of the Duchess's cabinets
all the pastoral romance of "Daphnis and Chloe."

[The designs for the romance of "Daphnis and Chloe" were composed by
the Regent, with the advice, and probably the assistance, of Claude
Audran, a distinguished painter, whom Lebrun often employed to help
him with his large pictures. He painted a part of the battles of
Alexander. These designs were engraved by Benoit Audran; they
embellish what is called "the Regent's edition" of the Pastoral of
Longus, which was printed under his inspection in the year 1718. It
is somewhat surprising that Madame should speak so disdainfully of
so eminent an artist as Benoit Audran.]

With the exception of the first, he invented and painted all the
subjects. They have been engraved by one Audran. The Duchess thought
them so pretty that she had them worked in a larger size in tapestry; and
these, I think, are better than the engravin