Eugénie, the daughter of a Welsh gentleman, supposes herself the wife of Lord Clarendon, nephew of the Minister of War. Clarendon, however, basely has deceived her by a false marriage in which his steward plays the rôle of chaplain, and he prepares to marry a wealthy heiress the very day that his victim arrives in London. The weakness of the play consists in this, that while the character of Eugénie in its delicate, sweet womanliness, enlists our entire sympathy and admiration, we are not sufficiently prepared at the end of the fifth act to see the man who has so deceived her, pardoned and re-accepted on his giving up his intended marriage along with the ambitious schemes of his powerful uncle, even though the old baron utters the sublime truth that “he who has sincerely repented is farther from evil than he who has never known it.” In the words of the Duke of Nivernais, “In the first act Clarendon is a scoundrel who has deceived a young girl of good family by a false marriage, he prepares to wed another, and this is the man, who in the end finds grace in the eyes of Eugénie, a being who interests us. It requires a great deal of preparation to arrive at this conclusion.” This was the whole difficulty, and though Beaumarchais retouched as best he could the character of Clarendon, making as much as possible of the extenuating circumstances, and emphasizing his hesitation and remorse, the play remains weak in this respect. The English imitation before spoken of, rectifies this difficulty by altering the rôle of Clarendon. In the advertisement, the author says, however, “I have not dared to deviate from the gentle, interesting Eugénie of Beaumarchais.” The play finally was given for the first time, January 29th, 1767. In the “_Année Littéraire_” of that year this passage occurs: “_Eugénie_, played for the first time January the 29th of this year, was badly received by the public and its reception had all the appearance of a failure; it has raised itself since with brilliancy, through omissions and corrections; it occupied the public for a long time and this success greatly honors the comedians.” “The changes made by Beaumarchais between the first and second representations were sufficient,” says Loménie, “to bring into relief the first three acts, which contain many beautiful parts, and which announced already a rare talent of _mise en scène_ and of dialogue. The refined, distinguished acting of an amiable young actress, Mlle. Doligny, who represented Eugénie, contributed not a little to save the drama and make it triumph brilliantly over the danger that threatened its first representation.”