Part 1

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QUEENS OF THE FRENCH STAGE

QUEENS OF THE FRENCH STAGE

BY H. NOEL WILLIAMS

AUTHOR OF "MADAME RÉCAMIER AND HER FRIENDS," "MADAME DE POMPADOUR," "MADAME DE MONTESPAN," "MADAME DU BARRY," ETC.

NEW YORK CHARLES SCRIBNER'S SONS 153-157 FIFTH AVENUE 1905

CONTENTS

PAGE

I. THE WIFE OF MOLIÈRE 1

II. MARIE DE CHAMPMESLÉ 87

III. ADRIENNE LECOUVREUR 127

IV. MADEMOISELLE DE CAMARGO 197

V. JUSTINE FAVART 223

VI. MADEMOISELLE CLAIRON 273

INDEX 353

LIST OF ILLUSTRATIONS

ADRIENNE LECOUVREUR. (_Photogravure_) _Frontispiece_ _After the painting by_ CHARLES COYPEL

ARMANDE BÉJART _to face page_ 24 _After a contemporary drawing in the collection of_ M. HENRY HOUSSAYE, _of the Academia Française_

JEAN RACINE " 96 _From an engraving by_ VERTUE

MAURICE DE SAXE " 168 _After the painting by_ HYACINTHE RIGAUD

MADEMOISELLE PRÉVOST " 200 _After the painting by_ JEAN RAOUX, _in the Music of Tours_

MADEMOISELLE DE CAMARGO " 208 _From the painting by_ LANCRET, _in the Wallace Collection at Hertford House_

JUSTINE FAVART " 240 _After the drawing by_ CHARLES NICOLAS COCHIN _fils_

MADEMOISELLE CLAIRON " 296 _After the painting by_ CARLE VAN LOO

ELIZABETH BERKELEY, Countess of Craven (afterwards Margravine of Anspach) " 344 _After the drawing by_ SIR JOSHUA REYNOLDS

QUEENS OF THE FRENCH STAGE

I

THE WIFE OF MOLIÈRE

Few women in French history have been the subject of more discussion than the young girl whom Molière married, at the church of Saint-Germain l'Auxerrois, on February 20, 1662.

Armande Grésinde Claire Elisabeth Béjart, for that was the bride's name, is described in the marriage deed as the daughter of the late Joseph Béjart, _écuyer_, sieur de Belleville, and of his widow, Marie Hervé. Joseph Béjart, it should be stated, had died shortly before, or shortly after, Armande's birth.

The Béjarts were very poor, for the only means which Joseph seems to have possessed wherewith to maintain his pretensions to nobility were derived from a small government appointment (_huissier ordinaire du roy ès eaux et forêts de France_), and his wife had presented him with "at least eleven children." They lived in the Marais, then the theatrical quarter of Paris. On its northern outskirts, near the Halles, in the Rue Mauconseil, stood the old Hôtel de Bourgogne, the first home of the regular drama; in the centre, in the Rue Vieille-du-Temple, was the theatre which took its name from the quarter, the Théâtre du Marais, where Corneille's _Cid_ was first performed; while nearer the Seine, the playgoer could make choice between the Italian troupes, the _Trois Farceurs_, Gaultier-Garguille, Gros-Guillaume, and Turlupin,[1] and open-air entertainments on the Pont-au-Change, the Pont-Neuf, and the Place Dauphine. It is, therefore, not surprising that the little Béjarts should have been in the habit of varying the monotony of their poverty-stricken lives by occasional visits to one or other of these spectacles, or that, dazzled by those well-known attractions, which were doubtless as potent in the seventeenth century as they are to-day, the two eldest, Joseph and Madeleine, should have decided, while still very young, to make the stage their profession.

What theatre witnessed their _débuts_ we do not know. The majority of authors are of opinion that they joined a company of strolling players which was at this time exploiting Languedoc; M. Larroumet hesitates between one of the unlicensed playhouses of the fairs in the neighbourhood of Paris and a troupe of amateurs, several of which were to be found in the capital; while another of Madeleine's biographers, M. Henri Chardon, thinks that she obtained admission to the Théâtre du Marais, though it appears very improbable that a young and inexperienced actress could have met with such good fortune.

However that may be, Madeleine seems to have prospered in her profession from the very outset, as on January 10, 1636, supported by her _curateur_, one Simon Courtin, her father, a paternal uncle, a "_chef du gobelet du roi_," and divers other relatives and friends, she appears before the Civil Lieutenant of Paris[2] to request permission to contract a loan of 2000 livres, wherewith to supplement a like sum of her own and enable her to acquire a little house and garden situated in the Cul-de-Sac Thorigny.

Two and a half years later (July 11, 1638), we hear of her again, under circumstances which perhaps explain her desire to secure a residence of her own--a desire, it must be admitted, not a little singular in a young lady of eighteen--for on that day is baptized at Saint-Eustache "Françoise, daughter of Esprit Raymond, chevalier, seigneur de Modène and other places, chamberlain of the affairs of Monseigneur, only brother of the King, and of the demoiselle Madeleine Béjart."

M. de Modène and Madeleine were not married; indeed, there was already a Madame de Modène, residing at Le Mans, who did not die until 1649. But this trifling accident, as it was regarded in those days, did not prevent the son of the former (by proxy)[3] and the mother of the latter (in person) standing as sponsors to the little Françoise, whose birth was fated to be the cause of much trouble, not to her guilty parents, but to two perfectly innocent persons, one of whom was as yet unborn.

A few words must here be said of the father of Madeleine Béjart's child.

Esprit Raymond de Mormoiron, Comte de Modène, who was then about thirty years of age, came of an old family in the Venaissin. His father, François Raymond de Mormoiron, had at one time held the office of Grand Provost of France and had also been employed on several diplomatic missions. Appointed page to Gaston d'Orléans, brother of Louis XIII., he became later one of the chamberlains of that prince, and seems to have done his best to imitate him in his dissipated and turbulent conduct. He early ranged himself among the enemies of Richelieu, joined the famous league "for the universal peace of Christendom," and fought on its behalf at the battle of La Marfée, at the head of a body of cavalry which he had raised at his own expense. In consequence of this, he was condemned to death, by a decree of the Parliament of Paris (September 6, 1641), but took refuge in Flanders, with the Duc de Guise, against whom a similar sentence had been pronounced, and remained there until the death of Richelieu, followed by that of Louis XIII., left him at liberty to return to France. When, in 1647, Guise went to Naples, to endeavour to exploit the revolt of Masaniello to his own advantage, Modène accompanied him and greatly distinguished himself. He was eventually, however, taken prisoner by the Spaniards and held captive until 1650. On his return to France, he meddled no more with public affairs, but occupied himself with the care of his neglected estates and in the compilation of a valuable history of the revolution in Naples, reprinted, in 1826, under the title of _Mémoires du Comte de Modène_. It is to be noted here that from the early autumn of 1641 until the summer of 1643 the Comte de Modène was absent from France.

Some time in the early weeks of the year 1643, probably either in the last week in February or the first in March, Madeleine's father, Joseph Béjart the elder, died; and on March 10, Marie Hervé, his widow, presented herself before the Civil Lieutenant of Paris, where, in the name, and as guardian, of Joseph, Madeleine, Geneviève, Louis, and _"a little girl not yet baptized," children under age_ (_i.e._ under twenty-five) of the said deceased and herself, she represented that "the inheritance of her deceased husband being charged with heavy debts without any property wherewith to acquit them, she feared that it would be more burdensome than profitable," and, accordingly, declared her intention of renouncing it. Her request was supported by her brother-in-law, Pierre Béjart, _procureur_ to the Châtelet, and other relatives, and on June 10 of the same year she was permitted to make the renunciation she desired.

Now who was this "little unbaptized girl"? Without a shadow of doubt, Armande Béjart, the future wife of Molière; on this point all the poet's biographers are unanimous. Was she, as represented, the daughter of Marie Hervé? That is the question which has afforded material for a controversy which has already lasted for nearly two hundred and fifty years and seems not unlikely to continue till the end of all things, for the most fantastic theories, for a small library of books and pamphlets, and for review and newspaper articles without number. For some see in this little girl a sister, others a _daughter_ of Madeleine Béjart, and the truth is of the most vital importance to the honour of the great man whose wife Armande became.

That the latter impression was almost universal amongst Molière's contemporaries is beyond question, nor is the fact one that need occasion any surprise. Every one, that is to say, every one connected with, or interested in, the theatrical world, was aware that, early in life, Madeleine Béjart had had a little girl; while, on the other hand, the birth of Marie Hervé's child, which was of no public interest, and which, moreover, probably took place not in Paris, but in one of the adjacent villages,[4] was known to very few. A young girl grew up with Madeleine, who was tenderly attached to her; it was Armande; but gossip confounded her with the child Francoise, of whom all trace seems to have been lost, and the wiseacres smiled the smile begotten of superior knowledge when any stranger to Paris chanced to refer to the girl as Madeleine's sister.

For over a century and a half this belief remained unchallenged. Hostile or sympathetic, all who wrote of Molière--La Grange, Grimarest, Breuze de la Martinière, Bayle, Donneau de Visé--shared the common opinion in regard to the origin of Armande Béjart. In 1821, however, there was quite a flutter of excitement in literary circles, for in that year Beffara discovered Molière's _acte de mariage_, in which Armande is spoken of as the daughter of Joseph Béjart and his widow, Marie Hervé. Forty-two years later, the old scandal, which in the interim had been partly revived by M. Fournier (_Études sur la vie et les oeuvres de Molière_) and M. Bazin (_Notes historiques sur Molière_), received another severe blow by Eudore Soulié's discovery of the deed of March 10, 1643, already mentioned, wherein Marie Hervé requested permission to renounce the succession to her husband's property, and which confirmed the statement made in the _acte de mariage_. Such evidence, one would naturally suppose, would have been accepted as conclusive, and the matter set at rest once and for all. But tradition dies hard; not a few _Molièristes_ refused to renounce an opinion sanctioned by so many generations, and M. Jules Loiseleur, a writer who enjoyed a considerable, and not undeserved, reputation as an unraveller of historical mysteries, propounded, on behalf of his fellow-sceptics, the following theory.

The declarations made by Marie Hervé, in the deed of March 10, 1643, and again in the _acte de mariage_, that Armande was her child, were, he maintains, deliberate falsehoods, conceived in the interests of her daughter, Madeleine. At the beginning of the year 1643, Madeleine was about to become a mother, for the second time, not, of course, by the Comte de Modène, who had been in exile for nearly two years, but by some new lover. Fearing that if Modène returned and learned the fact, he would refuse to resume the _liaison_, which she hoped might one day be regularised (M. Loiseleur was under the impression that Madame de Modène was dead, whereas she lived until 1649), she begged her mother to recognise the child as her own; a request to which that complacent old lady, whose husband was just dead, or on the point of death, readily consented.

Now this ingenious theory is based on the advanced age of Marie Hervé--she was then about fifty-three--and the belief that she had not had a child since the birth of Louis Béjart, afterwards a prominent member of Molière's troupe, who was born on November 14 or 15, 1630, that is to say, more than twelve years earlier, which facts rendered it highly improbable that she could have been the mother of Armande; and M. Loiseleur supports his contention by pointing out that the two eldest children, Joseph and Madeleine, described in the deed of March 10, 1643, as minors, were over twenty-five, and that their age was purposely understated to make their mother appear younger than she was, and so facilitate the fraud. This point has been contested by Mr. Andrew Lang, in his admirable article on Molière in the _Encyclopædia Britannica_, but is really of no importance, as if M. Loiseleur had exercised a little more care, he would have found that so far from more than twelve years having elapsed between the birth of the last of Marie Hervé's children and that of Armande, she had had a little girl _less than three and a half years before_ (November 30, 1639), baptized, in the parish of Saint-Sauveur, by the name of Bénigne Madeleine, the second name being doubtless intended as a compliment to Madeleine Béjart, who acted as _marraine_.[5] Whereby M. Loiseleur's argument disappears, and his theory with it.

Nevertheless, the fact remains that Armande's contemporaries saw in her not a sister, but a daughter of Madeleine Béjart, and, with this belief, they held another, to wit, that Molière had been, previous to his marriage with the younger sister, the lover of the elder. From which two suppositions sprang one of the most hideous accusations that has ever sullied the reputation of a great man.

Molière, like most successful men, had a good many enemies, and was accustomed to give and receive very hard knocks. With the company of the Théâtre du Marais he appears to have been on tolerably amicable terms; but with the actors of the third great theatre, the Hôtel de Bourgogne, his relations were decidedly strained, and whenever an opportunity arose of turning one or other of them into ridicule, he seldom failed to avail himself of it, though he made an exception in the case of Floridor, who was too great a favourite with the public for them to tolerate any attacks upon him. In his _Impromptu de Versailles_, played before the Court in October 1663, Molière satirised several actors of the Hôtel de Bourgogne, and, among them, one named Montfleury,[6] whose ponderous style of declamation he imitated with great success. To this, Montfleury's son, Antoine Montfleury, who was a prolific and successful dramatist, replied with another play, called _l'Impromptu de l'hôtel de Condé_, in which he endeavoured to turn the tables on Molière; but the vengeance of the father took a very different form.

In December 1663, Racine wrote to the Abbé Le Vasseur: "Montfleury has drawn up a memorial and presented it to the King. He accuses him [Molière] of having married the daughter [Armande], and of having formerly lived with the mother [Madeleine]. But Montfleury is not listened to at Court."[7] From this passage it is evident that Montfleury intended Louis XIV. to believe that Molière had married his own daughter; which is the starting-point of the abominable calumny which so long weighed, and which still weighs, on the memory of the great dramatist.

Beyond what Racine tells us, we have no information about this memorial of Montfleury. That he advanced any proofs in support of his accusation is extremely improbable; although it is quite possible that he would have endeavoured to substantiate it had he received any encouragement from the King. Any way, Louis XIV. appears to have satisfied himself that the charge was merely the outcome of jealousy and spite, and when, in the following February, Molière's first child was baptized at Saint-Germain l'Auxerrois, he and his sister-in-law, the ill-fated Henrietta of England, stood sponsors. Than which the poet could have desired no more complete reparation.

Thirteen years later, in 1676, that is to say, three years after Molière's death, Montfleury's accusation was repeated. A man of the name of Guichard, a sort of _entrepreneur_ for fêtes and plays, coveted Lulli's post as director of the recently-established Opera, and, seeing no likelihood of realising his ambition by any legitimate means, had recourse to poison, the fashionable expedient for ridding oneself of professional rivals and other inconvenient persons at this period. One Sebastian Aubry, a connection of the Béjarts, was entrusted with the commission; but, instead of executing it, he informed Lulli, who promptly invoked the protection of the law. An inquiry was held and numerous witnesses called for the prosecution, among whom was the widow of Molière. In order to discredit the testimony of these witnesses, Guichard drew up a memorial, in which, besides making the most infamous charges against Armande's moral character, of which we shall speak later, he alluded to her as "the orphan of her husband" and "the widow of her father." Unlike Montfleury, however, who was an old and respected member of his profession, Guichard appears to have been a consummate scoundrel, capable of any villainy to serve his ends; and we can hardly believe that a charge made by such a person could have excited any feelings, save those of indignation and disgust.

However, unhappily, other pens were not wanting to keep alive this hideous calumny. It is true that there are no further direct accusations; but there are allusions, which, as they appear in works that enjoyed, in their day, a considerable circulation, must have answered much the same purpose. In 1770, seven years after Montfleury had set the ball rolling, a certain Le Boulanger de Chalussay, of whom little or nothing seems to be known, attacked Molière in a play called _Élomire hypocondre, ou les Médicins vengés_--Élomire being, of course, an anagram of Molière. This play, intended as a reply to the great dramatist's repeated attacks on the medical profession, was a fatuous production, dull, confused, and encumbered with an absurd number of characters; and the company of the Hôtel de Bourgogne, to whom it was submitted, very prudently declined to accept it, notwithstanding which the author caused it to be printed and circulated. In one scene, Élomire speaks of the care he is taking to train up his wife in the way he would have her go, in order to avoid all risk of finding himself numbered among deceived husbands. Thereupon, his confidant reminds him of the fate which befell Arnolphe in the _École des femmes_, in spite of all his precautions.[8] But Élomire replies that he is better advised than Arnolphe:--

"Arnolphe commença trop tard à la forger; C'est avant le berceau qu'il y devoit songer, Comme quelqu'un l'a fait."

Molière demanded and obtained the suppression of _Élomire hypocondre_; but this only had the effect of stimulating its circulation, as, in the following year, a new edition was clandestinely printed in the provinces, and, in 1672, a third was produced by the Elzevirs, in Holland.

Another allusion occurs in a scandalous work entitled _La Fameuse Comédienne_, published anonymously in 1688, of which we shall have a good deal to say hereafter: "She [Armande] was the daughter of the deceased Béjart, a provincial actress, who was making the _bonne fortune_ of numbers of young gentlemen in Languedoc at the time of the auspicious birth of her daughter. That is why it is very difficult, in the face of such promiscuous gallantry, to say who was the father." And the writer concludes: "She is believed to be the daughter of Molière, notwithstanding the fact that he afterwards became her husband; however, one does not really know the truth."

It appears to be the tendency among modern writers, while indignantly repudiating the accusation of Montfleury, to accept with complacency the opinion of Molière's contemporaries that his relations with Madeleine Béjart had been, at one time, on a closer footing than that of friendship. In this they show a singular want of consistency, for, as M. Gustave Larroumet, than whom Molière has no more ardent admirer, very justly observes, the two suppositions are inseparable, and those who admit the probability of the second cannot well deny the possibility of the first, provided, of course, that they hold, with M. Loiseleur, that Marie Hervé had been guilty of fraud in the documents discovered by Beffara and Eudore Soulié, and that Armande was the daughter of Madeleine.[9]

Let us, however, look at the facts as briefly as may be, since the subject is not one upon which it profits greatly to dwell.

Molière's connection with the Béjart family is commonly believed to have begun some time in 1641 or 1642. In June 1643, Madeleine Béjart, with her younger sister Géneviève, and her brothers, Joseph and Louis, joined Molière and several others in founding the Illustre Théâtre. She remained faithful to Molière's fortunes during those disastrous two years, when the receipts of the new theatre did not suffice to discharge the ordinary working expenses, and its chief was, on one occasion, imprisoned in the Châtelet, until the bill of an importunate candle-merchant had been settled. When the company left Paris, in the spring of 1646, on its twelve years' wanderings through the provinces, she accompanied it, and, in addition to playing in nearly every piece, appears to have superintended the costumes and scenery, and regulated the expenses, at least so far as concerned Molière and the three other Béjarts. Finally, when Molière returned to Paris, in 1658, and the company was installed, first, at the Petit-Bourbon and, afterwards, at the Palais-Royal, she retained her place and continued to play regularly down to the time of her death on February 17, 1678, exactly a year before that of Molière himself.

An admirable actress, one of the best of her time, according to Tallemant des Réaux, ready to undertake almost any rôle in either tragedy or comedy, she excelled in depicting smartly-attired maids, who ridicule the follies of their employers with equal wit, impudence, and good sense, and, but for her, Molière might never have created his inimitable _soubrettes_.[10] She was, moreover, remarkably handsome, tall and graceful, with hair of a peculiarly beautiful blonde hue, and La Fontaine, Loret, and other contemporaries speak of her in terms of unfeigned admiration; while she seems to have possessed some literary ability, having, when a girl of eighteen, addressed a quatrain to Rotrou, who had just produced his _Hercule mourant_ at the Hôtel de Bourgogne--which so delighted the dramatist that he published it in an edition of his work--and also adapted an old comedy, which was performed by the Illustre Théâtre in the provinces.