In no fictitious tale before hers was love depicted with such rare delicacy and pathos.  In her novel, La Princesse de Cleves, “a novel of a married woman, we feel the woman who has loved and who knows what she is saying, for she, also, has struggled and suffered.”  The writer confesses her weakness and leaves us witness of her virtue.  All the soul struggles and interior combats represented in her work the authoress herself has experienced.  As an example of this we cite the description of the sentiments of Mme. de Cleves when she realizes that her feeling toward one of the members of the court may develop into an emotion unworthy of her as a wife.  She falls upon her knees and says: 

“I am here to make to you a confession such as has never been made to man; but the innocence of my conduct and my intentions give me the necessary courage.  It is true that I have reasons for desiring to withdraw from court, and that I wish to avoid the perils which persons of my age experience.  I have never shown a sign of weakness, and I would not fear of ever showing any, if you permitted me to withdraw from court, or if I still had, in my efforts to do right, the support of Mme. de Chartres.  However dangerous may be the action I take, I take it with pleasure, that I may be worthy of your actions, I ask a thousand pardons; if I have sentiments displeasing to you, I shall at least never displease you by my actions.  Remember, to do what I am doing, one must have for a husband more friendship and esteem than was ever before had.  Have pity on me and lead me away—–­and love me still, if you can.”

La Princesse de Cleves is a novel of human virtue purely, and teaches that true virtue can find its reward in itself and in the austere enjoyment of duty accomplished.  “It is a work that will endure, and be a comfort as well as a guide to those who aspire to a high morality which necessitates a difficult sacrifice.”

M. d’Haussonville regards the novels of Mmes. de Charriere, de Souza, de Duras, de Boigne, as mere imitations or as having been inspired by that masterpiece of Mme. de La Fayette.  He says:  “In fact, novels in general, that depict the struggle between passion and duty, with the victory on the side of virtue, emanate more or less from it.”

Taine wrote:  “She described the events in the careers of society women, introducing no special terms of language into her descriptions.  She painted for the sake of painting and did not think of attempting to surpass her predecessors.  She reflects a society whose scrupulous care was to avoid even the slightest appearance of anything that might displease or shock.  She shows the exquisite tact of a woman—­and a woman of high rank.”

Mme. de La Fayette is one of the very rare French writers that have succeeded in analyzing love, passion, and moral duty, without becoming monotonous, vulgar, brutal, or excessively realistic.  Her creations contain the most minute analyses of heart and soul emotions, but these never become purely physiologic and nauseating, as in most novels.  This achievement on her part has been too little imitated, but it, alone, will preserve the name of Mme. de La Fayette.