[1] She was at once admitted to the Hôtel de Rambouillet coterie of préciosité, and afterwards established a salon of her own under the title of the Société du samedi (Saturday Society).

[1] He gave Madeleine an abnormally well-rounded education: she studied writing, spelling, drawing, dancing, painting, and needlework.

[citation needed] Her novels derive their length from endless conversations and, as far as incidents go, successive abductions of the heroines, conceived and told decorously.

[3] In fact, Scudéry created the roman à clef to provide a forum for her thinly veiled fiction featuring political and public figures.

[3] These covered the art of speaking, invention, the manner of writing letters, and scenarios where women had control of the intellectual conversation.

Madeleine survived her brother by more than thirty years, and in her later days published numerous volumes of conversations, to a great extent extracted from her novels, thus forming a kind of anthology of her work.

[2] Madeleine de Scudéry was part of a movement in the late Renaissance in England and France where women used classical rhetorical theory for their own.

[clarification needed] Mademoiselle de Scudéry is also featured prominently in Madeleine: One of Love's Jansenists, a novel published in 1919 by modernist writer Hope Mirrlees.

It has been suggested that the novel is a roman à clef with Natalie Clifford Barney portrayed as Mademoiselle de Scudéry.

[8] Summaries of the stories and keys to the characters may be found in Heinrich Körting, Geschichte des französischen Romans im 17ten Jahrhundert (second edition, Oppeln, 1891).