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MADELEINE BEJART (1618-1672) was at the See also:head of the travelling See also:company to which her See also:sister See also:Genevieve (1631-1675)—who played as Mlle Herve—and her See also:brothers belonged, before they joined See also:Moliere in forming l'Illustre See also:Theatre (1643). With Moliere she remained until her See also:death on the 17th of See also:February 1672. She had had an illegitimate daughter (1638) by an See also:Italian See also:count, and her conduct on her See also:early travels had not been exemplary, but whatever her private relations with Moliere may have been, however acrimonious and violent her See also:temper, she and her See also:family remained faithful to his fortunes. She was a tall, handsome blonde, and an excellent actress, particularly in soubrette parts, a number of which Moliere wrote for her. Among her creations were Maratte in See also:Les Precieuses ridicules, Lisette in L'Ecole See also:des marls, Dorine in Tartuffe.
Her sister, ARMANDE GRESINDE CLAIRE See also:ELIZABETH BEJART (1645-1700), seems first to have joined the company at See also:Lyons in 1653. Moliere directed her See also:education and she See also:grew up under his See also:eye. In 1662, he being then See also:forty and she seventeen, they were married. Neither was happy; the wife was a flirt, the See also:husband jealous. On the strength of a scurrilous See also:anonymous pamphlet, La Fameuse Comedienne, ou histoire de la See also:Guerin (1688), her See also:character has been held perhaps unduly See also:low. She was certainly guilty of indifference and ingratitude, possibly of infidelity; they separated after the See also:birth of a daughter in 1665 and met only at the theatre until 1671. But the See also:charm and See also:- GRACE (Fr. grace, Lat. gratia, from grates, beloved, pleasing; formed from the root cra-, Gr. xav-, cf. xaipw, x6p,ua, Xapts)
- GRACE, WILLIAM GILBERT (1848– )
grace which fascinated others, Moliere too could not resist, and they were reconciled. Her portrait is given in a well-known See also:scene (See also:Act iii., Sc. 9) in Le See also:Bourgeois gentilhomme. Mme Moliere's first See also:appearance on the See also:stage was in 1663, as Elise in the Critique de l'ecole des femmes. She was out of the See also:cast for a See also:short See also:- TIME (0. Eng. Lima, cf. Icel. timi, Swed. timme, hour, Dan. time; from the root also seen in " tide," properly the time of between the flow and ebb of the sea, cf. O. Eng. getidan, to happen, " even-tide," &c.; it is not directly related to Lat. tempus)
- TIME, MEASUREMENT OF
- TIME, STANDARD
time in 1664, when she See also:bore Moliere a son—See also:- LOUIS
- LOUIS (804–876)
- LOUIS (893–911)
- LOUIS, JOSEPH DOMINIQUE, BARON (1755-1837)
- LOUIS, or LEWIS (from the Frankish Chlodowich, Chlodwig, Latinized as Chlodowius, Lodhuwicus, Lodhuvicus, whence-in the Strassburg oath of 842-0. Fr. Lodhuwigs, then Chlovis, Loys and later Louis, whence Span. Luiz and—through the Angevin kings—Hungarian
Louis XIV. and Henrietta of See also:England See also:standing sponsors. But in the See also:spring, beginning with the fetes given at See also:Versailles by the See also:- KING
- KING (O. Eng. cyning, abbreviated into cyng, cing; cf. O. H. G. chun- kuning, chun- kunig, M.H.G. kiinic, kiinec, kiinc, Mod. Ger. Konig, O. Norse konungr, kongr, Swed. konung, kung)
- KING [OF OCKHAM], PETER KING, 1ST BARON (1669-1734)
- KING, CHARLES WILLIAM (1818-1888)
- KING, CLARENCE (1842–1901)
- KING, EDWARD (1612–1637)
- KING, EDWARD (1829–1910)
- KING, HENRY (1591-1669)
- KING, RUFUS (1755–1827)
- KING, THOMAS (1730–1805)
- KING, WILLIAM (1650-1729)
- KING, WILLIAM (1663–1712)
king to See also:Anne of See also:Austria and Maria See also:Theresa, she started her See also:long See also:list of important roles. She was at her best as Celimene—really her own highly-finished portrait—in Le Misanthrope, and hardly less admirable as Angelique in Le Malade imaginaire. She was the Elmire at the first performance of Tartuffe, and the Lucile of Le Bourgeois gentilhomme. All these parts were written by her husband to display her talents to the best See also:advantage and she made the most of her opportunities. The death of Moliere, the See also:secession of See also:Baron and several other actors, the rivalry of the Hotel de Bourgogne and the development of the Palais Royal, by royal patent, into the See also:home of See also:French See also:opera, brought matters to a crisis with the comediens du roi. Well advised by La See also:Grange (See also:Charles Varlet, 1639-1692), Armande leased the Theatre Guenegaud, and by royal See also:ordinance the See also:residue of her company were combined with the players from the Theatre du Marais, the fortunes of which were at low ebb. The See also:combination, known as the troupe du roi, at first was unfortunate, but in 1679 they secured Mlle du See also:Champmesle, later absorbed the company of the Had. de Bourgogne, and in 168o the Comedie Francaise was See also:born. Mme Moliere in 1677 had married Eustache See also:Francois Guerin (1636-1728), an actor, and by him she had one son (1678-1708). She continued her successes at the theatre until she retired in 1694, and she died on the 3oth of See also:November 1700.
End of Article: MADELEINE BEJART (1618-1672)
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