He had been a watchmaker, a musician, a court official, a speculator, and it was only when he was thirty-five that he turned dramatist. Various French authors, Diderot especially, weary of confinement to tragedy and comedy, the only two forms then admitted on the French stage, were seeking a new dramatic formula in which they might treat pathetic situations of modern life; and it is due largely to their efforts that the modern "play" or "drama," the story of every-day existence, has been evolved. The first dramatic attempt of Beaumarchais was a drama called 'Eugénie,' acted at the Théâtre Français in 1767, and succeeding just enough to encourage him to try again. The second, 'The Two Friends,' acted in 1770, was a frank failure. For the pathetic, Beaumarchais had little aptitude; and these two serious efforts were of use to him only so far as their performance may have helped him to master the many technical difficulties of the theatre. Beaumarchais had married a second time in 1768, and he had been engaged in various speculations with the financier Pâris-Duverney. In 1770 his wife died, and so did his associate; and he found himself soon involved in lawsuits, into the details of which it is needless to go, but in the course of which he published a series of memoirs, or statements of his case for the public at large. These memoirs are among the most vigorous of all polemical writings; they were very clever and very witty; they were vivacious and audacious; they were unfailingly interesting; and they were read as eagerly as the 'Letters of Junius.' Personal at first, the suits soon became political; and part of the public approval given to the attack of Beaumarchais on judicial injustice was due no doubt to the general discontent with the existing order in France. His daring conduct of his own cause made him a personality. He was intrusted with one secret mission by Louis XV; and when Louis XVI came to the throne, he managed to get him again employed confidentially.