[3] The Voïart family took up residence in Choisy-le-Roi outside Paris, where Élise ran a liberal-minded salon[4] frequented by Adélaïde-Gillette Dufrénoy, "la Sapho française," the popular singer Béranger, and the artist couple Pierre-Paul Prud'hon and Constance Mayer who painted a portrait of Élise Voïart that is held at the Museum of Fine Arts of Nancy.

[5] For Fridolin by Friedrich Schiller, however, Élise opted instead to stick rigorously to the text, saying it was the only way to make "the touching and naive simplicity inherent to the character and the German language."

Struck with the influence that in all times her sex exerted on our mores, she sought the origin, and thought she found it based on religious principles, passed out in the wave of centuries, but preserved until today by popular traditions: the Gauls and the Germans, according to Tacitus, attributed something divine to their wives; recognition and love, continues Voïart, made this cult lasting.

In the process of supporting her stepdaughter, the poet Amable Tastu during the bankruptcy of her husband's printing business, together they begin to collect fairy tales.

[8] In 1836, the Voïarts offered their hospitality to the aging and bankrupt Rouget de Lisle, famous for writing the words and music of the French national anthem, the Marseillaise.

[3] Voïart growing notoriety caused her to be included in collections such as Montferrand's Femmes célèbres (1843) and the Book of the Hundred and one by Pierre-François Ladvocat, where she is listed among the most prominent literary figures.

[2] The literary critic Sainte-Beuve wrote condescendingly about Voïart's work, citing her "young, gifted (...) taste and talent for writing, known by several nice books.