rthography of these early editions, as the
explanation of the same would uselessly burden the notes, and possibly
confuse the student. An orthography following the same lines as that of
the edition of _les Grands Ecrivains_ has been adopted.

The Introduction is rather extensive, but, as it serves in truth as an
introduction to students in American schools of an author as yet little
known, a less minute statement of his qualifications would hardly have
been pardonable. Many quotations have been given, some from Marivaux
himself, or from contemporary biographers, of so authoritative a nature as
to add more weight than any summing up by the editor, and others from
celebrated French critics, whose views, or whose picturesqueness of
expression, have been often invaluable. In fact, the Introduction does not
claim to be so much a literary essay as a compilation of authorities.

The notes to a text containing no historical, literary, or biographical
allusions are naturally limited to explaining the difficulties of the
French, and are less extensive than would otherwise be required.

Words and idioms, which, though unusual or difficult, can be found in any
of the small dictionaries accessible to students, have been excluded from
the notes as unnecessary, except such as might mislead unless explained,
or such as differ from the modern use.

It remains for the editor to acknowledge his indebtedness for sympathetic
interest and valuable suggestions to Gustave Larroumet, professor of
French Literature at the University of Paris, and perpetual secretary of
the Academie des Beaux Arts, to Professor Crane and Mr. Guerlac of Cornell
University, and to Professor de Sumichrast of Harvard.

EVERETT WARD OLMSTED.
CORNELL UNIVERSITY, ITHACA, N.Y.,
January 9, 1901.

CONTENTS.

INTRODUCTION

CHRONOLOGY

BIBLIOGRAPHY

LE JEU DE L'AMOUR ET DU HASARD

LE LEGS

LES FAUSSES CONFIDENCES

NOTES

INTRODUCTION

Among the treasures of the Comedie-Francaise, interesting alike to
students of letters and of art, is a painting by Vanloo. It bears the date
of 1753, and represents a man of doubtful age--for it is hard to tell
whether he is past his prime or not--yet, if the truth were known, one
could not write him down for less than sixty-five. The face is life-like
and attractive, full of an expression of gentle breeding, kindliness, wit,
and subtlety. The eyes are rather dark, large, fine, and keen; with the
thin lips