inent French women which the
nineteenth century produced, possibly not more than a half-dozen
names will survive,--Mme. de Stael, George Sand, Rosa Bonheur, Sarah
Bernhardt, Mme. Lebrun, and Rachel. This circumstance is, possibly,
largely due to the character of the century: its activity, its varied
accomplishments, its wide progress along so many lines, its social
development, its absolute freedom and tolerance--all of which tended
to open a field for women more extensive than in any preceding
century.

The salon, in its old-time glory, became a thing of the past; and
the passing of this institution lessened, to a large extent, the
possibility of great influence on the part of women. In short, the
mode of life became, in the nineteenth century, unfavorable to the
absolute power exercised by woman in former times. She was now on a
level with man, enjoying more privileges and being looked upon more as
the equal and possible rival of man. It became necessary for woman to
make and establish her own position, whereas, under the old regime,
her power and position were established by custom, which regarded her
vocation as entirely distinct from that of man. The result was a host
of prominent and active women, but few really great ones. Undoubtedly
by far the most important and influential was Madame de Stael, but her
influence and work are so intimately associated with her life that
any account of her which aims at giving a true estimate of her
significance must necessarily involve much biography.

Her mother, the Mme. Necker of salon fame, endeavored to bring up her
daughter as the _chef d'oeuvre_ of natural art,--pious, modest in her
conversation, dignified in her behavior, without pride or frivolity,
but with wide knowledge. In this ambition she partly succeeded. At
the age of eleven the young girl was present at receptions, where
she listened to discussions by such men as Grimm, Buffon, Suard,
and others. Her parents took her to the theatre, and she would
subsequently compose short stories on what she had heard and seen.
Rousseau became her ideal, but she enjoyed all literature, showing an
insatiable desire for knowledge. From her early youth to her death,
her conversation was ever the result of her own impulse; consequently,
it was uncontrolled and lacked the seriousness imparted by deep
reflection.

Interested in all things except Nature, which seemed mournful to her,
while solitude horrified her, society was her de