 Toward the end of her long life, Scudéry faced the mixed reception which would be the destiny of her works for centuries to come. Her writings, especially her novels, reached an enormous cultivated public. Thousands of readers anxiously awaited the appearance of a new chapter in the serials. The royalties and government pensions attached to her writings permitted her to live comfortably in the fashionable Marais neighborhood. The translation of her works into English, Spanish, Italian, German, and Arabic indicates the breadth of her appreciative public. But an influential literary elite dismissed her works as illegible and unintelligible. Molière, Furetière, and Boileau caricatured Scudéry as a pendant whose picaresque tales and inconclusive dialogues only masked intellectual confusion. A leading literary critic, Nicolas Boileau’s criticism proved especially influential in subsequent dismissals of the thought of Scudéry. In Satire X, Boileau argues that the type of love celebrated by Scudéry is immoral. 