'Women seem to be destined solely for our pleasure. When they no longer have that attraction, they have lost everything' (letter from Diderot to Sophie Volland, 1762). How typical was this view of the 'older woman' in the eighteenth century? What was it like for women of intelligence and sensibility to grow old in such a culture? By studying the correspondences of four prominent women (Francoise de Graffigny, Marie Du Deffand, Marie Riccoboni and Isabelle de Charriere) during their middle and late years, Stewart explores the relation of female aging to respectability, sexuality and power. The author's focus lies in the physical, emotional and professional well-being of middle-aged and elderly women during a time when all the available dignity of age seemed to belong to men. The 'repulsiveness' of growing old was patently a female issue. One of the most emblematic aspects of these correspondences is the often unrequited love of older women for younger men during a period when the common wisdom denied women the right to any feelings except piety. Stewart juxtaposes their letters with representations of aging women in the period's fictional and medical literature. She takes up several canonical, mostly male-authored, texts that purvey this common wisdom, and re-reads them with originality and grace. Through The Enlightenment of age - at once learned, highly personal and entertaining - Stewart speaks to us about the secret lives of older women, and about the ethos of an era.

Marie-Jeanne Riccoboni was one of the most popular novelists of her day. Stewart examines Lettres de Fanni Butlerd (1957) and the seven subsequent novels, paying particular attention to the technical aspects of her work to her handling of the letter form to her ideas on men, women, and love and to her feminism.

Set in prerevolutionary France, The Story of Ernestine tells of the love between an innocent young woman and an aristocrat.

Ernestine, German-born and orphaned, is an apprentice painter putting the finishing touches on a portrait when the marquis de Clemengis, elegant and handsome, enters the studio. Recognizing him as the subject of the portrait, she gestures for him to be seated and goes on working, looking back and forth between him and his likeness. The world-weary aristocrat is smitten.

In graceful, understated prose, Marie Riccoboni shows how her heroine learns to negotiate questions of honor and appearances and to find a precarious balance between economic security and the potentially compromising nature of male generosity. The story raises questions about sexual enlightenment and social prejudice and reexamines the links of money, reputation, and marriageability that preoccupied eighteenth-century writers.