"High born Helen
Round your dwelling
These twenty years I've paced in vain.
Haughty Beauty,
Your lover's duty
Has been his pleasure and his pain."
Vide Poet. Works of Charles Lamb.
Molière in the farce in question gives a diverting account of a Précieuse courtship: "Il faut qu'un amant, pour être agréable, sache débiter les beaux sentiments, pousser le doux, le tendre, et le passionné, et que sa recherche soit dans les formes. Premièrement, il doit voir au temple, ou à la promenade, ou dans quelque cérémonie publique, la personne dont il devient amoureux, ou bien être conduit fatalement chez elle par un parent ou un ami, et sortir de la tout rêveur ou mélancholique. Il cache, un temps, sa passion à l'objet aimé, et cependant lui rends plusieurs visites où l'on ne manque jamais de mettre sur le tapis une question galante qui exerce les esprits de l'assemblée. Le jour de la déclaration arrive, qui se doit faire ordinairement dans une allée de quelque jardin, tandis que la compagnie s'est un peu éloignée: et cette déclaration est suivie d'un prompte courroux, qui parait à notre rougeur, et qui, pour un temps, bannit l'amant de notre présence. Ensuite il trouve moyen de nous appaiser, de nous accoutumer insensiblement au discours de sa passion, et de tirer de nous cet aveu qui fait tant de peine. Après cela viennent les aventures, les rivaux qui se jettent à traverse d'une inclination établie, les persécutions des pères, les jalousies conçues sous des fausses apparences, les plaintes, les désespoirs, les enlèvemens, et ce qui s'ensuit."
[36]When Fléchier delivered a funeral oration on the death of madame de Montauzier, he spoke of her mother by her assumed name of Athénice. "You remember, my brothers," he exclaimed, "those cabinets, which we still regard with so much veneration; where the mind was purified and where virtue was revered under the name of the incomparable Athénice; where persons of quality or talent assembled, and composed a select court—numerous without confusion, modest without constraint, learned without pride, refined without affectation." La Bruyère describes this society in somewhat different terms: "Not long ago we witnessed a circle of persons of either sex, drawn together by conversation and the cultivation of talent. They left the art of speaking intelligibly to the vulgar. One remark, enveloped in mysterious phrase, brought on another yet more obscure; and they went on exaggerating till they spoke in absolute enigmas, which were most applauded. By talking of delicacy, sentiment, and finesse of expression, they managed neither to make themselves understood, nor to understand. There was need of neither good sense, memory, nor cleverness for these conversations. Wit was all in all—not true wit, but that which consists in conceits and extravagant fancies."
[37]It has been frequently asserted this piece was written while the author was in the country; his preface favours this notion, in which he says that he only ridicules les fausses Précieuses, that name being then held in esteem. Contemporary notices, however, make it apparent that this piece came out first in Paris; and it was impossible that he could have so well seized the peculiar tone of these sentimental pedants any where except in their very birth-place.
[38]It is well known that even during his life-time the calumny was spread abroad, that Molière married his own natural daughter. The great difference of age between the sisters, Madeleine and Armande Bejart gave to those who were ignorant of their true relationship some foundation for a report, which sprung from a former intimacy between Molière and the elder sister. He always disdained to contradict the falsehood; and it has generally been assumed by biographers, while they acquitted him of the alleged crime, that his wife was the daughter of Madeleine. We owe the discovery of this falsehood to the pains which M. Beffara took to discover the certificate of Molière's marriage; which is as follows:—"Jean Baptiste Poquelin, son of sieur Jean Poquelin, and of the late Marie Cressé, on the one side: and Armande Gresinde Bejart, daughter of the late Joseph Bejart and of Marie Hervée, on the other: both of this parish, opposite the Palais Royal, affianced and married together, by permission of M. Comtes, deacon of Notre-Dame, and grand vicar of Monseigneur the cardinal de Retz, archbishop of Paris; in presence of the said Jean Poquelin, father of the bridegroom, and of André Boudet, brother-in-law of the bridegroom; the said Marie Hervée, mother of the bride, and Louis Bejart and Madeleine Bejart, brother and sister of the said bride." This certificate is signed by J. B. Poquelin, J. Poquelin, Boudet, Marie Hervée, Armande Gresinde Bejart, Louis Bejart, and Bejart (Madeleine). Madeleine's daughter, by the noble Modena, who was the cause of this calumny, was older than the wife of Molière; her baptismal register names her the daughter of Madeleine Bejart et Messire Esprit de Raymond, noble of Modena, and chamberlain to Monsieur, brother of the king, born 11th July, 1638; her name was Françoise, and she is mentioned as illegitimate in her baptismal register. It is singular that in his "Essay on Molière," Sir Walter Scott slurs over the complete refutation which this certificate brings with it of the calumny in question, and speaks of the relationship of Molière and his wife as a doubtful point. This is neither just nor generous; but Sir Walter seems to insinuate that as Molière's life was not entirely exempt from the stain of illicit love, a little more or less was of no account.
[39]The king often danced in these ballets, till struck by some lines in the "Britannicus" of Racine, in allusion to Nero's public exhibitions of himself, he entirely gave up the practice; and soon after the appearing in them fell into such discredit, that, when Lulli took a part in that appended to the "Bourgeois Gentilhomme," the secretaries of the king refused to receive him among them on this account, and the king was obliged to interpose to bring them to reason.
[40]The following is the story of Ninon de l'Enclos and the "Tartuffe":—When Gourville, the vicissitudes of whose life were many and great, was, in 1661, in danger of being hanged, and was indeed hanged in effigy, he left two caskets full of money, one with Ninon, the other with a priest of his acquaintance, who affected great devotion. On his return, Ninon restored him his casket, and the value of money being increased, he was richer than before. He offered this surplus to his friend; but she replied by threatening to throw the money out of window, if he said a word more on the subject. The priest acted in a different way: he said he had employed the sum deposited with him in pious works, having preferred the good of Gourville's soul to pelf, which might have occasioned his perdition. This story Ninon used to tell with such clever mimicry of the false devotee, that Molière declared he owed his best inspiration to her.
[41]Preface to "Tartuffe."
[42]Schlegel.