At this time, the seat of true taste in France seems to me not well established.  It exists, but torn by factions.  There is one party of petits maitres, one of half-learned women, another of insipid authors whose works are ‘verba et voces, et praeterea nihil’; and, in short, a numerous and very fashionable party of writers, who, in a metaphysical jumble, introduce their false and subtle reasonings upon the movements and the sentiments of the soul, the heart, and the mind.

Do not let yourself be overpowered by fashion, nor by particular sets of people with whom you may be connected; but try all the different coins before you receive any in payment.  Let your own good sense and reason judge of the value of each; and be persuaded, that nothing can be beautiful unless true:  whatever brilliancy is not the result of the solidity and justness of a thought, it is but a false glare.  The Italian saying upon a diamond is equally just with regard to thoughts, ’Quanto Piu sodezza, tanto piu splendore’.

All this ought not to hinder you from conforming externally to the modes and tones of the different companies in which you may chance to be.  With the ‘petits maitres’ speak epigrams; false sentiments, with frivolous women; and a mixture of all these together, with professed beaux esprits.  I would have you do so; for at your age you ought not to aim at changing the tone of the company, but conform to it.  Examine well, however; weigh all maturely within yourself; and do not mistake the tinsel of Tasso for the gold of Virgil.

You will find at Paris good authors, and circles distinguished by the solidity of their reasoning.  You will never hear trifling, affected, and far-sought conversations, at Madame de Monconseil’s, nor at the hotels of Matignon and Coigni, where she will introduce you.  The President Montesquieu will not speak to you in the epigrammatic style.  His book, the “Spirit of the Laws,” written in the vulgar tongue, will equally please and instruct you.

Frequent the theatre whenever Corneille, Racine, and Moliere’s pieces are played.  They are according to nature and to truth.  I do not mean by this to give an exclusion to several admirable modern plays, particularly “Cenie,”—­[Imitated in English by Mr. Francis, in a play called “Eugenia."]—­replete with sentiments that are true, natural, and applicable to one’s self.  If you choose to know the characters of people now in fashion, read Crebillon the younger, and Marivaux’s works.  The former is a most excellent painter; the latter has studied, and knows the human heart, perhaps too well.  Crebillon’s ’Egaremens du Coeur et de l’Esprit is an excellent work in its kind; it will be of infinite amusement to you, and not totally useless.  The Japanese history of “Tanzar and Neadarne,” by the same author, is an amiable extravagancy, interspersed with the most just reflections.  In short, provided you do not mistake the objects of your attention, you will find matter at Paris to form a good and true taste.