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no information; but when, in February 1669, the interdict under which _Tartuffe_ had so long lain was at length withdrawn and the piece produced at the Palais-Royal, the rhyming chronicle of Robinet speaks in eulogistic terms of her performance of Elmire.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]