Of the English play Garrick writes to Beaumarchais: “_The School for Rakes_, which is rather an imitation than a translation of your _Eugénie_, has been written by a lady to whom I recommended your drama, which has given me the greatest pleasure and from which I thought she could make a play which would singularly please an English audience; I have not been deceived, because with my help, as stated in the advertisement, which precedes the piece, our _Eugénie_ has received the continual applause of the most numerous audiences.” In Italy the success of _Eugénie_ was scarcely less pronounced. It was first produced in Venice in 1767, and in the criticism which follows the publication of the translation we read: “The whole city was in great expectancy when it was known that this drama was to appear upon the scene. The impressions made upon the hearts of the spectators corresponded with the fame which had preceded it and instead of diminishing this constantly continued to increase in such a manner that the whole of Italy, although rich in her own productions, has not grown weary of praising the piece.” But for Beaumarchais the important thing was to win recognition from his own country. This was no easy matter; he, however, did not despair, and set about it with his usual tenacity of purpose, infinitude of resource and versatility of genius. M. de Loménie says: “Beaumarchais worked with all his energy to prepare a success for his play; we are indeed, far from 1784, at which time the author of the _Mariage de Figaro_ only had to hold back the feverish impatience of a public that awaited the performance of the piece as one of the most extraordinary events. We are in 1767, Beaumarchais is completely unknown as an author. He is a man of business, a man of pleasure who has been able to push himself somewhat at court, about whom people talk very differently, and whom men of letters are disposed to consider, as did the courtiers, an intruder. From this arose the necessity for him to push ahead, to arouse curiosity and to secure from all ranks supporters for his play. This is what he does with that aptitude which distinguishes him. “When, for instance, it is a question of obtaining the privilege of reading his drama before Mesdames, he poses as a courtier who has condescended to occupy himself with literature in the interest of virtue and good manners. He assumes a celebrity which he has not yet acquired and on the whole seems endowed with a rare presumption; here is the letter: “‘Mesdames: