MADEMOISELLE'S CAMPAIGNS.
THE SCENE AND THE ACTORS.
The heroine of our tale is one so famous in history that her proper name never appears in it. The seeming paradox is the soberest fact. To us Americans, glory lies in the abundant display of one's personal appellation in the newspapers. Our heroine lived in the most gossiping of all ages, herself its greatest gossip; yet her own name, patronymic or baptismal, never was talked about. It was not that she sank that name beneath high-sounding titles; she only elevated the most commonplace of all titles till she monopolized it, and it monopolized her. Anne Marie Louise d'Orléans, Souveraine de Dombes, Princesse Dauphine d'Auvergne, Duchesse de Montpensier, is forgotten, or rather was never remembered; but the great name of Mademoiselle, La Grande Mademoiselle, gleams like a golden thread shot through and through that gorgeous tapestry of crimson and purple which records for us the age of Louis Quatorze.
In May of the year 1627, while the Queen and Princess of England lived in weary exile at Paris,—while the slow tide of events was drawing their husband and father to his scaffold,—while Sir John Eliot was awaiting in the Tower of London the summoning of the Third Parliament,—while the troops of Buckingham lay dying, without an enemy, upon the Isle of Rhé,—while the Council of Plymouth were selling their title to the lands of Massachusetts Bay,—at the very crisis of the terrible siege of Rochelle, and perhaps during the very hour when the Three Guardsmen of Dumas held that famous bastion against an army, the heroine of our story was born. And she, like the Three Guardsmen, waited till twenty years after for a career.
The twenty years are over. Richelieu is dead. The strongest will that ever ruled France has passed away; and the poor, broken King has hunted his last badger at St. Germain, and meekly followed his master to the grave, as he had always followed him. Louis XIII., called Louis Le Juste, not from the predominance of that particular virtue (or any other) in his character, but simply because he happened to be born under the constellation of the Scales, has died like a Frenchman, in peace with all the world except his wife. That beautiful and queenly wife, Anne of Austria, (Spaniard though she was,)—no longer the wild and passionate girl who fascinated Buckingham and embroiled two kingdoms,—has hastened within four days to defy all the dying imprecations of her husband, by reversing every plan and every appointment he has made. The little prince has already shown all the Grand Monarque in his childish "Je suis Louis Quatorze," and has been carried in his bib to hold his first parliament. That parliament, heroic as its English contemporary, though less successful, has reached the point of revolution at last. Civil war is impending. Condé, at twenty-one the greatest general in Europe, after changing sides a hundred times in a week, is fixed at last. Turenne is arrayed against him. The young, the brave, the beautiful cluster around them. The performers are drawn up in line,—the curtain rises,—the play is "The Wars of the Fronde,"—and into that brilliant arena, like some fair circus equestrian, gay, spangled, and daring, rides Mademoiselle.
Almost all French historians, from Voltaire to Cousin, (St. Aulaire being the chief exception,) speak lightly of the Wars of the Fronde. "La Fronde n'est pas sérieuse." Of course it was not. If it had been serious, it would not have been French. Of course, French insurrections, like French despotisms, have always been tempered by epigrams; of
