It was however at court only that Molière met these rebuffs; elsewhere his genius caused him to be admired and courted, while his excellent character secured him the affection of many friends. He brought forward Racine; and they continued intimate till Racine offended him by not only transferring a tragedy to the theatre of the Hôtel de Bourgogne, but seducing the best actress of his company to that of the rival stage. With Boileau he continued on friendly terms all his life. His old schoolfellow, "the joyous Chapelle," was his constant associate; though he was too turbulent and careless for the sensitive and orderly habits of the comedian.
Molière indeed was destined never to find a home after his own heart. Madeleine Bejart had a sister[38] much younger than herself, to whom Molière became passionately attached. She was beautiful, sprightly, clever, an admirable actress, fond of admiration and pleasure. Molière is said to describe her in "Le Bourgeois Gentilhomme," as more piquante than beautiful--fascinating and graceful--witty and elegant; she charmed in her very caprices. Another author speaks of her acting; and remarks on the judgment she displays both in dialogue and by-play: "She never looks about," he says, "nor do her eyes wander to the boxes; she is aware that the theatre is full, but she speaks and acts as if she only saw those with whom she is acting. She is elegant and rich in her attire without affectation: she studies her dress, but forgets it the moment she appears on the stage; and if she ever touches her hair or her ornaments, this bye-play conceals a judicious and inartificial satire, and she thus enters more entirely into ridicule of the women she personates: but with all these advantages, she would not please so much but for her sweet-toned voice. She is aware of this, and changes it according to the character she fills." With these attractions, young and lovely, and an actress, madame (or as she was called according to the fashion of the times, which only accorded the madame to women of rank, mademoiselle) Molière, fancying herself elevated to a high sphere when she married, giddy and coquettish, disappointed the hopes of her husband, whose heart was set on domestic happiness, and the interchange of affectionate sentiments in the privacy of home. Yet the gentleness of his nature made him find a thousand excuses for her:--"I am unhappy," he said, "but I deserve it; I ought to have remembered that my habits are too severe for domestic life: I thought that my wife ought to regulate her manners and practices by my wishes; but I feel that had she done so, she in her situation would be more unhappy than I am. She is gay and witty, and open to the pleasures of admiration. This annoys me in spite of myself. I find fault--I complain. Yet this woman is a hundred times more reasonable than I am, and wishes to enjoy life; she goes her own way, and secure in her innocence, she disdains the precautions I entreat her to observe. I take this neglect for contempt; I wish to be assured of her kindness by the open expression of it, and that a more regular conduct should give me ease of mind. But my wife, always equable and lively, who would be unsuspected by any other than myself, has no pity for my sorrows; and, occupied by the desire of general admiration, she laughs at my anxieties." His friends tried to remonstrate in vain. "There is but one sort of love," he said, "and those who are more easily satisfied do not know what true love is." The consequence of these dissensions was in the sequel a sort of separation; full of disappointment and regret for Molière, but to which his young wife easily reconciled herself. Her conduct disgraced her; but she had not sufficient feeling either to shrink from public censure or the consciousness of rendering her husband unhappy. To these domestic discomforts were added his task of manager; the difficulty of keeping rival actresses in good humour, the labour of pleasing a capricious public.