 Long framed by her critics as a pedantic précieuse, Scudéry has only recently attracted the interest of professional philosophers. Critics have dismissed her lengthy novels as unreadable, her famous Saturday salon as amateurish, and her philosophical ideas as derivative and confused. In the recent feminist expansion of the canon of humanities, however, another Scudéry has appeared. In this reevaluation, the philosophical significance of her writings has emerged. Her literary corpus presents a novel version of the ancient philosophical method of dialogue; it also expresses original, sophisticated theories concerning the ethical, aesthetic, and theological disputes of early modernity. 