salons and salonnières
Although its influence has receded in the twenty first century, the literary salon was an unparalleled shaper of cultural consciousness across Europe, Britain, and America from its earliest inception at the hands of Madame Rambouillet in the seventeenth century through its most famous incarnation in the parlour of Gertrude Stein in the twentieth century. While salons might be hosted by either male or female figures, the most successful salons were largely hosted by artistic women, whom the French exquisitely titled salonnières.
literary salons.
Dismounting from your carriage, you approach the door of a large house; figures flit through its doors, light streams from its windows, and the noise of laughter and music emanate from its walls. Inside this building lies the promise of an evening of stimulating conversation, delightful refreshments, and consummate artistry. Inside this building lies a literary salon.
The literary salon traces its roots to the more generic salon of the seventeenth century. Beginning with French courtesan Madame Rambouillet’s efforts to establish a more intellectual alternative to court life, the salon had spread from France to England and then across Europe. Each country adapted the salon’s template to its own cultural emphases. In France, the salon’s function was slightly more ornamental and retained the etiquette and manners of high society; in England and America, ornamentalism was eschewed in favor of a more robust intellectualism. Across all societies, however the salon’s primary function—assembling culture’s brightest minds in congenial discourse together—remained unaltered. Due to this emphasis on intellectual, rather than social superiority, these salons became sites of egalitarian upheaval as earnest members of all classes and genders met upon neutral territory and engaged in the equalizing activity of sharing ideas.
Indeed, in regards to its egalitarian emphasis, the literary salon might almost be termed revolutionary. Its bid for this title arises from the fact that in a century in which every institution—except, possibly, the most progressive schools—maintained sharply defined gender roles, the literary salon largely abolished roles. In the space of a literary salon, one was either that salon’s host(ess) or attendee, and women and men held equal footing in both roles, speaking with and acting among one another as equals.
In an era pre-dating instant communication or mass dissemination of ideas through authoritative media outlets, these assemblies provided an unparalleled opportunity to and a central location in which thinkers of all stripes might develop and spread their notions of art, philosophy, politics, and culture. Nor did the contents of these private conversations remain in the province of those individuals; rather attendees went on to write, theorize, and govern out of the ideas discussed and inspiration received during these meetings. In this manner, many a social movement and artistic innovation was based out of the salon scene.
Thus, these informal rendezvous did not simply provide a rejuvenating interlude for their participants; the ideas and connections spawned in these cloistered conclaves rippled out from their participants’ pens, podiums, and presses, thus infiltrating and influencing culture itself. The literary salon quickly transformed from a cultural phenomenon into a cultural institution throughout the eighteenth century and continued to effect its reign through the late nineteenth and early twentieth century.
One of the peculiar features of the salon was its dependency upon its host. Delicately straddling the public and private realms, the salon—though commanding a wide swath of attendees—was based in the home of its host and thus was shaped entirely by that host’s dictates. Accordingly, the quality of a salon rested upon that host’s tastes, pleasures, and skill in first selecting guests and then providing them with a programme of activity.
Nor was a woman’s assumption of this hosting role a rare occurrence—on the contrary, far from being a predominantly male center of power to which women were only occasionally permitted, a large percentage of salons were hosted by women. Indeed, while a few male-led salons achieved high status, women were widely held to be superior to their male counterparts due to their greater skill at blending charisma with care as they cultivated their salon’s atmosphere.
Due to the salon’s reliance on its host’s imagination for its structure, the salon might assume a wide variety of modes, each reflecting its host’s personality. In this way, a salon provided its host with a remarkable degree of power in determining the development of cultural movements; in this way, the women who hosted salons were empowered to enter into and exercise power over the development of ideas and relationships to a far greater extent than was afforded them by any other outlet. The hostess of an influential salon could elevate an artist’s reputation and prospects simply by inviting them to her salon; conversely, a hostess could damage that reputation by withdrawing her favor and excluding an individual from her salon.
Many salons never achieved this degree of influence; others remained merely fashionable affairs at which it was more important to be seen than heard. The salons that achieved the greatest fame, however, were uniformly those that were orchestrated by a dynamic host. This host might achieve or express that dynamism in multiple ways; in many salons, such as those hosted by Stephane Mallarme and Gertrude Stein, the host acted as a central, magnetizing figure around whom visitors clustered, eager either to listen to or feel themselves under the influence of their host. Other hosts expressed their dynamism by presiding generally over their guests, actively wending their way through and entering their attendees’ conversations to dazzle with their wit. A still more select cast of host rooted their dynamic persona and programme in their own theories of social and interpersonal interaction, as we shall see when we examine Anne Lynch Botta and the salon she famously hosted for over thirty years in New York City.
literary salonnières.
bibliography.
Bodek, Evelyn Gordon. “Salonières and Bluestockings: Educated Obsolescence and Germinating Feminism.” Feminist Studies, 3, No. 3/4 (Spring - Summer, 1976), 185-99.
Botta, Vincenzo, ed. Memoirs of Anne C. L. Botta Written by Her Friends with Selections from her Correspondence and from her Writings in Prose and Poetry. New-York: J. Selwin Tait & Sons, 1893.
Fitzsimons, Eleanor. “’The Paradise for Women’: How Oscar Wilde was Embraced by the Women of America.” Comparative American Studies: An International Journal 14, no. 1 (2016): 49-61.
Hatvary, George Eton. “Anne C. Lynch Botta.” In Antebellum Writers in New York: Second Series, edited by Kent P. Ljungquist, 44-47. Detroit, MI: Thomson Gale, 2002.
Kale, Steven D. “Women, the Public Sphere, and the Persistence of Salons.” French Historical Studies 25, no 1 (Winter 2002): 115-48.
Llewellyn, Jennifer and Steve Thompson. “The Salons.” AlphaHistory.com, 10 July 2018. https://alphahistory.com/frenchrevolution/salons/.
Quinn, Arthur Hobson. Edgar Allan Poe: A Critical Biography. New York: D. Appleton-Century, 1941.
Rioux, Anne Boyd. “Lions and Bluestockings.” In Edgar Allan Poe in Context, edited by Kevin J. Hayes, 129-37. New York: Cambridge University Press, 2013.
"Salons." Europe, 1450 to 1789: Encyclopedia of the Early Modern World. Encyclopedia.com. 14 July 2020. https://www.encyclopedia.com/history/encyclopedias-almanacs-transcripts-and-maps/salons
“Salon Women.” The Chronicle Review 51, no. 30 (2005): B23. https://www.chronicle.com/article/salon-women/
Silverman, Kenneth. Edgar A. Poe: A Biography. New York, NY: Harper Perennial, 2009.
Stern, Madeleine B. “The House of the Expanding Doors: Anne Lynch’s Soirées, 1846.” New York History 23, no. 1 (January 1942): 42-51. https://www.jstor.org/stable/23135245.
Ticknor, Caroline. Poe’s Helen. New York, NY: Haskell House Publishers Ltd., 1973.
Whitley, Edward. “Bluestockings and Bohemians.” The Oxford Handbook of Edgar Allan Poe, edited by J. Gerald Kennedy and Scott Peeples, Oxford University Press, pp. 576-96.