Queens of the French StageWilliams, H. Noel (Hugh Noel)
History
Queens of the French Stage
Williams, H. Noel (Hugh Noel)
Actresses -- France -- Biography
himself were the reward of merit, and that she had no share in them; but
that gallantry on the part of one who was said to have so many
mistresses did not surprise her, and that he must be as accomplished an
actor outside the theatre as he was on the stage.
"Baron, to whom these kind of reproaches were not displeasing, told her
that he had indeed some habits that one might call _bonnes fortunes_,
but that he was prepared to sacrifice all for her, and that he would set
more value on the smallest of her favours than on any which the ladies
who had smiled upon him were able to bestow. And he mentioned their
names, with a discretion which was natural to him."
Armande is, of course, enchanted by this proof of devotion, and, to cut
a long story short, they resolve to continue their respective rôles off
the stage.
We have related this supposed intrigue at far greater length than it
deserves, since it furnishes a fair sample of the materials upon which
M. Loiseleur and other historians have based their judgments of Armande.
But, in point of fact, it is no more worthy of belief than the stories
about Lauzun, Guiche, and the Abbé de Richelieu. Although the
insufferable coxcomb whom La Bruyère has depicted under the name of
Roscius, and who is said to have depicted himself in his comedy,
_L'Homme à bonnes fortunes_, was not the kind of person to be deterred
by any honourable scruples from making love to the wife of his
benefactor, had he been so minded, we can hardly suppose that an
intrigue between Armande and a member of his own troupe could have been
carried on without Molière becoming aware of it, or that, when aware of
it, he would have permitted Baron to retain his place in the company.
Moreover, apart from the statement in the _Fameuse Comédienne_, there is
no reason to believe that the old antipathy between Armande and Baron
ever ceased to exist, far less that they became lovers. What is certain,
is that no sooner was Molière dead than Baron quitted the Palais-Royal
and went over to the Hôtel de Bourgogne, at a moment when Armande,
become chief of the troupe, was urgently in need of his services. This,
it must be admitted, was hardly the conduct of a friend, to say nothing
of a lover.
Public-domain text, read in full here on John Shaqi.
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