lovely feet on the enamel of the soft turf danced delightful steps, which carried me quite beyond myself and bound me by irresistible bonds to the easy and accurate movements with which her whole body followed those harmonious motions."

On the three concluding days of the fêtes, the Fâcheux, the first three acts of Tartuffe, and the Mariage forcé were in turn represented. It is uncertain what parts were allotted Armande in the first and third of these plays, but in the much discussed Tartuffe, now played for the first time, she again filled the leading feminine rôle. How she fared on this occasion we have unfortunately no information; but when, in February 1669, the interdict under which Tartuffe had so long lain was at length withdrawn and the piece produced at the Palais-Royal, the rhyming chronicle of Robinet speaks in eulogistic terms of her performance of Elmire.

In the meanwhile, she had successfully created other important parts: Lucinde in the Medecin malgré lui, Angélique in George Dandin, and Elise in l'Avare, and, on June 4, 1666, the greatest of all her triumphs—the rôle of Célimène in the famous comedy of the Misanthrope.

"Célimène," says M. Larroumet, "is the type of woman the most original and the most complete which the genius of Molière has evolved. Eternal temptation of actresses, those who have attempted it may be called legion, those who have succeeded in making themselves mistresses of it form a select group, admired, envied. Such an actress of genius as Rachel failed here miserably, and a true Célimène, like Mlle. Mars, is sure of transmitting her name to posterity. One has noted, however, the tones and gestures of the great interpreters of the part; tradition preserves them, and they point out the way. But an intelligent pupil will readily make herself acquainted with all that can be learned; if she does not evolve from her own resources the sentiment of the character, she will only swell the alarming number of vain attempts which theatrical history records. Célimène is twenty years of age, and her experience is that of a woman of forty. Coquettish and feline with Alceste, frivolous and back-biting with the little marquises, cruelly ironical with Arsinoé, in each act, in each scene, she shows herself under a different aspect. Contemporary, or very nearly so, of Mesdames de Châtillon, de Luynes, de Monaco, de Soubise, and the nieces of Mazarin, she ought to awaken a vague memory of these great names; she is the exquisite and rare product of an aristocratic civilisation in the full splendour of its development, and often she speaks a language of almost plebeian candour and acerbity. In the salon where she reigns, she ought to convey the idea of perfect ease and supreme distinction; and in the dénouement she submits to a cruel humiliation without the possibility of revenge; she makes her exit vanquished at all points, and, even then, she ought to lose nothing of her haughty bearing and her tranquil smile."[16]

It will thus be readily understood that an actress who could be trusted to create such a part must have truly been a great artist, and Armande secured a brilliant triumph. Her performance was "a charm" and "an ecstasy," Robinet tells us; and though Robinet was in the habit of dealing somewhat freely in such expressions, we have no reason to doubt that on this occasion he faithfully reflects the opinion of the audience.

But, after all, we can hardly wonder at the young actress's success, since she had only to be perfectly natural to realise the author's whole idea of his heroine. For what is Célimène but a finished portrait of Armande herself? Célimène is "la grande coquette par excellence," surrounded by a crowd of admirers wherever she goes. Armande, unhappily for Molière's peace of mind, seems to have enjoyed very much the same reputation. Célimène depends for her fascination not so much on beauty of face or form as on her expression, her smile, her manners, her conversation; "elle a l'art de me plaire," says the infatuated Alceste. Armande possessed the same kind of attractions, and was "very affecting when she wished to please." Célimène is haughty and imperious. "It is my wish; it is my wish," she cries when Alceste hesitates to comply with her demands. "Armande," says a contemporary, "could not brook contradiction, and pretended that a lover ought to be as submissive as a slave." In fact, so perfect is the resemblance that even if the circumstances, of which we shall presently speak, did not preclude all reasonable doubt about the matter, few would be found to deny that the heroine of the Misanthrope was drawn from life.

Among Armande's other rôles may be mentioned the capricious and charming Lucile of the Bourgeois gentilhomme, in which Molière drew the well-known portrait of his wife which we have already cited; the title-part in the famous "tragedy-ballet" of Psyché, one of the most remarkable instances of collaboration in dramatic history,[17] in which she appeared in a different costume in each of its five acts—a very unusual extravagance in those days—and is described by the enthusiastic Robinet as "marvellous" and "playing divinely"; Henriette in the Femmes savantes, "the model of an honest, sensible, and well-brought-up young lady;" and finally, Angélique in Molière's swan-song, the Malade imaginaire, perhaps, next to Célimène, her most finished impersonation.

But great as were the dramatic talents of Armande Béjart, they count for comparatively little in the curiosity which her name arouses. It is her moral character, her private life, her relations with her famous husband, which have exercised the minds of the biographers of Molière for upwards of two centuries. On these matters even more ink has been expended than on the vexed question of her birth, and with far less satisfactory results. To the great majority of writers Armande was an unworthy wife, who repaid the kindness and affection lavished upon her by the great man whose name she bore with ingratitude and contumely; while there are not wanting those who go so far as to accuse her of the grossest infidelity, and to assert that her misconduct was in some measure responsible for the dramatist's untimely death. When, however, we come to sift the evidence against her, we shall find that these extreme views are based on very insufficient or very suspicious testimony, and that one thing only has been clearly established, namely, that she rendered Molière's later years very unhappy. But what was the true cause of his unhappiness, whether occasioned by actual misconduct on the part of Armande, or merely by an ever present dread that such must be the inevitable termination of one or other of the very imprudent flirtations in which she appears to have been continually indulging, is very difficult, nay, well-nigh impossible, to determine.

It has always been a favourite practice with biographers of Molière and historians of the French theatre to affect to discover more or less direct allusions to the dramatist's relations with his wife in several of his plays: the École des femmes, the Impromptu de Versailles, the Mariage forcé, George Dandin, and, of course, the Misanthrope. That this is true of the last-named play cannot, we think, be disputed; but in regard to the others, we are inclined to believe that the significance of the passages and episodes on which their contention rests have been a good deal exaggerated.

Let us begin with