3] D'Alembert, _Eloge_, p. 237.

[44] Lebros de la Versane, pp. 27-28. D'Alembert, _Eloge_, pp. 256-257.

[45] De La Porte, p. 8, and Lesbros de la Versane, p. 26, are agreed as to
her name and place of residence. Houssaye, p. 97, gives her name as Mlle.
Julie Duriez, but cites no authority.

[46] Reference as above to de La Porte and Lesbros de la Versane.

[47] De La Porte, p. 8, and Lesbros, p. 27. Houssaye, pp. 100-106, relates
a pathetic and perhaps wholly fanciful romance, in which Guillaume de Bez
and Mlle. Marivaux were the chief actors; but, contrary to the custom of
Marivaux's comedies, love did not triumph; the worldly mother married her
son unhappily, and the blind father, who thought that he could read so
well the heart of woman, immured his daughter in a convent.

[48] Lesbros de la Versane, p. 27.

[49] D'Alembert, _Eloge_, p. 258.

[50] See Lesbros de la Versane, p. 36, and d'Alembert, _Eloge_, p. 258.

[51] Fleury, _Marivaux et le marivaudage_, p. 241.

[52] Marivaux, _le Spectateur francais_, 1e feuille. Oeuvres, tome IX, p.
6.

[53] See Fleury, _Marivaux et le marivaudage_, p. 63.

[54] It was not, however, until 1689 that the _Hotel des comediens du Roi,
entretenus par Sa Majeste_ installed itself on the rue des Fosses-Saint-
Germain, and took the title of Comedie-Francaise.

[55] As early as 1548 a troupe of Italian comedians had performed at
Lyons, for the entrance of Henry II and Catherine de' Medici.

[56] On Oct. 12, 1707, their ranks were increased by Dominique fils,
particularly clever in the roles of Trivelin.

[57] "The name indicates a type. It is, moreover, about the same with the
Theatre-Francais of this epoch. The mothers are called Argante; the
widows, Araminte; the artless girls, Angelique or Lucile; the lovers,
Dorante, Eraste, Ergaste; the old men, Geronte; the valets, Crispin,
Frontin, Trivelin; the peasants, Blaise, etc." Fleury, _Marivaux et le
marivaudage_, pp. 63-64.

[58] See Larousse, Article _Comedie-Italienne_.

[59] There was a brief period, from 1717 to 1726, in which Crebillon
withdrew in discouragement from the theatre.

[60] Other writers for the Theatre-Italien at this time were Autreau,
Delisle, Fuzelier, none of whom is very famous.

[61] "On lui en connait au moins trois pour ces sortes de couplets, alors
a la mode, chantes et danses, soit entre les divers actes, soit a la fin
de la piece. Ces collaborateurs sont l'aine des deux freres Parfaict p