  Frontispiece. “Fimes en 1690”: probably an error. See Introduction. Page 2, 2. Maurice, comte de Saxe, MarÉchal de Saxe, was born at Gotzlar, Germany, October 28, 1696. He was a natural son of Frederick Augustus II (1670-1733), Elector of Saxony, and king of Poland (1697-), after the death of Jean Sobieski. His mother was Maria Aurora (1670-1728), sister of Count Philip Christopher, of KÖnigsmark, Sweden. She was noted for her accomplishments and beauty. The MarÉchal de Saxe was one of the greatest generals of the century. His most brilliant and memorable victory was at Fontenoy, May 11, 1745. In recognition of his achievements, he was made Marshal-General of France. He died November 30th, 1750, at the chÂteau de Chambord, which had been given him by Louis XV. 10. Adrienne Lecouvreur. See Introduction. At the opening presentation of the play, Adrienne Lecouvreur, at the ThÉÂtre-FranÇais, April 14, 1849, the title rÔle was taken by Mlle Rachel. See below. Rachel: Élisa-Rachel FÉlix, called Rachel, a celebrated French actress, was born at Munf, in Switzerland, February 28, 1820. She excelled in leading tragic rÔles, and by her extraordinary success and popularity she exerted a powerful influence in restoring to favor the great classic dramas of Corneille and Racine, which had been temporarily neglected during the Romantic movement. She also created the title rÔles of a number of plays written especially for her, including Adrienne Lecouvreur. The talent of Mlle Rachel was strikingly similar to that of her illustrious predecessor. Moreover, there were many similarities in their experiences and artistic triumphs. It was very natural therefore that Rachel played the rÔle of Adrienne Lecouvreur with remarkable fidelity and power. Mlle Rachel died at Cannet, near Toulon, Jan. 3, 1858. ACTE PREMIER 3, 2. chez la princesse de Bouillon. The former hÔtel de Bouillon, built in the eighteenth century, has a large courtyard, present No. 17, on the quai Malaquais, Faubourg St. Germain. It was near the rue des Marais, now rue Visconti, on which was the home of Mlle. Lecouvreur. ScÈne PremiÈre 5. La Princesse: Marie-Charlotte Sobieska, granddaughter of Jean Sobieski, king of Poland. She married, in 1724, Charles Godefroi de la Tour d’Auvergne, prince de Bouillon. In the play she has been given the rÔle of the duchesse de Bouillon. The latter was Louise-Henriette-FranÇoise de Lorraine (Mlle de Guise), daughter of the prince and princesse d’Harcourt. She became, in 1725, the fourth wife of Emmanuel-ThÉodose de la Tour d’Auvergne, duc de Bouillon. She is said to have been very beautiful but unscrupulous. She died at Paris, March 31, 1737, at the age of thirty. 9. scandale. It was a period of intrigue and frivolity. 13. Votre État est perdu: ‘Your profession is ruined.’ The abbÉ represents a certain type of men who frequented the homes of the nobility and who were expected to maintain themselves in favor by continually supplying the latest bits of gossip. Owing to their position as confidants of the public in questions of morality, the members of the clerical profession were supposed to be particularly well informed on such matters. 16. boÎte À mouches: ‘patch box.’ Small bits of black taffetas were placed on the face (“beauty spots”) by many fashionable ladies of the seventeenth and eighteenth centuries. 23. Bajazet: a tragedy (1672) by Jean Racine. The scene is in Constantinople. 4, 5. ne m’en veut pas de ma franchise: ‘will pardon my frankness.’ 7. systÈme des mouches: ‘custom of wearing bits of taffetas on the face.’ 19. est d’autant plus piquante: ‘will excite the greater interest.’ 5, 10. Des scrupules... À vous! ‘You have scruples! 16. Sobieski: Jean Sobieski, king of Poland; born in Galicia in 1629, died at Warsaw in 1696. He performed important service for Europe by repelling invasions of the Turks. 17. notre reine. The queen of France at this time was Marie Leczinska, daughter of Stanislas I Leczinski (1677-1766), king of Poland. 19. rivale: i.e. for the love of her husband. 6, 11. la Grange-BateliÈre: a street in the northern part of Paris, just north of the Boulevard Montmartre. The name was originally “Grange BatailliÈre,” and is supposed to have designated the site of a champ de Mars or military drill field of the ninth century. In the eighteenth century the rue de la Grange-BateliÈre was one of the most fashionable in Paris. 19. le dernier rÈgne: the Regency. 24. RÉgent: Philippe II, duc d’OrlÉans. He was regent of France from the death of Louis XIV, in 1715, till the majority of Louis XV, in 1723. The Regency was a period of financial difficulties and immorality. 27. Il souffle et il cuit: ‘He blows (with a blowpipe) and melts.’ 7, 2. Voltaire (1694-1778), one of the greatest French authors of the eighteenth century. 3. le bourgeois gentilhomme. An allusion to the famous comedy of this name by MoliÈre (1622-1673). 4. maÎtre de philosophie. M. Jourdain, the “bourgeois gentilhomme” of MoliÈre, engaged a “master of philosophy” and various other tutors to train him for the aristocratic society which he desired to cultivate. 7. il n’avait garde d’oublier: ‘he was careful not to forget.’ 12. me tient au fait de tout: ‘keeps me informed about everything’. 19. Ce que j’y gagne? In repeating a question just asked by another person, the French put it in the indirect form. 20. la petite fille de Sobieski. See note to page 5, line 16. 26. une infidÉlitÉ d’une haute portÉe et d’un grand rapport: ‘an infidelity of high import and great advantages.’ 8, 4. rien autre chose: ‘nothing else.’ 6. Si: ‘Yes.’ Si is used instead of oui as an affirmation in contradiction to a preceding negation. 11. vous ne vous en doutez pas: ‘you do not suspect it.’ 22. je suis de toutes ses parties: ‘I join in all his pleasure parties.’ 23. l’OpÉra. The grand opera house was from 1683 to 1787 at the Palais Royal, later at the Porte St. Martin, and from 1821 to 1874 in the rue Le Peletier. The present splendid edifice, at the Place de l’OpÉra, was begun in 1861 and completed in 1874. 24. l’AcadÉmie des Sciences: one of the five academies of the Institut de France. These five “academies” or associations of savants include the AcadÉmie FranÇaise, the AcadÉmie des Inscriptions et Belles Lettres, the AcadÉmie des Sciences, the AcadÉmie des Beaux-Arts, and the AcadÉmie des Sciences Morales et Politiques. 9, 11. l’on vous a souvent donnÉ, À vous autres abbÉs de boudoir: ‘favors have often been granted to you boudoir abbÉs.’ Notice the idiomatic use of autres, which is not to be translated. 12. dussiez-vous crier À l’ingratitude: ‘even if you must complain of my ingratitude.’ 28. C’est jouer de malheur: ‘You are unlucky.’ ScÈne II 10, 15. le cardinal de Fleury: AndrÉ-Hercule (1653-1743). In 1726 he succeeded the duc de Bourbon as prime minister of France. 22. Voltaire. The comment ascribed to Voltaire is, of course, sarcastic, as is the remark of the princess, “moi aussi.” 24. je le crois de bonne foi: ‘I believe he is sincere.’ 11, 12. poudre dite de succession: ‘so-called inheritance powder.’ The practice of poisoning spread from Italy to France. During the latter part of the reign of Louis XIV there were numerous cases of poisoning among the French nobles. The name “inheritance powder” was applied to poison used to remove a person in order to gain possession of his inheritance. 13. le grand roi: Louis XIV. 14. chevalier d’Effiat: Antoine de Ruze, marquis d’Effiat (1638-1719). He was an equerry of Monsieur, brother of Louis XIV, and later held the same position under the Regent. He was accused of being one of the murderers of Madame, Henrietta of England. 22. rien qu’une pincÉe de cette poudre. Compare the symptoms produced by this poison, which is now available to the princess, with the account of the death of Adrienne (Act V, Scenes II-V.) 13, 20. Allez toujours: ‘Continue, however.’ 14, 13. mon oncle le cardinal. See note to p. 10, l. 15. 22. quoique je ne partage pas votre enthousiasme. From the beginning of the play, the princess is not favorably inclined toward Adrienne, but prefers her rival, Mlle Du Clos, in spite of the latter’s intimacy with the prince. 25. un engouement!... ‘an infatuation! all the aristocratic circles vie with one another in entertaining Mlle Lecouvreur.’ 15, 16. ses ajustements: ‘her articles of dress.’ 20. Monsieur de Bourbon: the duc de Bourbon (1692-1740). He was succeeded as prime minister of France, in 1726, by Cardinal Fleury. 16, 1. Monsieur d’Argental: a lifelong friend of Mlle Lecouvreur. True to her memory and to their mutual friendship, he composed for her, in 1786, fifty-six years after her death, an epitaph in verse which was inscribed on a marble tablet still preserved at Paris. The first four lines of this are given in the Introduction of the present volume. 5. ce prÉtendu bon mot: ‘that supposed witticism.’ 8. elle sent tellement sa vÉritable princesse: ‘it is so evident that it was written by a real princess.’ 13. Mais le moyen: ‘But how could I?’ The grace and charm of this letter, attributed to Mlle Lecouvreur, were indeed characteristic. 17, 2. restituer l’esprit de son fils: ‘restore his son to his senses.’ Many letters passed between d’Argental fils and Mlle Lecouvreur. Upon learning that his mother viewed their friendship with displeasure, Adrienne wrote to her (March 22, 1721) a very dignified and kindly letter which is included in the published collection of her letters. 7. coadjuteur: ‘bishop coadjutor.’ 22. les foudres de l’Église... aussi qu’elle ne s’avise pas de mourir: ‘the denunciation of the church... Therefore, let her take care not to die!’ This refers to the strong opposition of the clergy 18, 14. roi de Pologne: Augustus II, who succeeded Jean Sobieski in 1697. 14. comtesse de Koenigsmarck: Maria Aurora, a woman of great talent and beauty (1670-1728). 20. Permettez! le bruit en a couru, etc.: ‘Pardon me, that report has been circulated, but it is not true.’ 22. Florestan de Belle-Isle. There seems to be here a reference also to one of Scribe’s contemporaries, Florestan de Bel-Montet, who was of a Bonapartist family. He had tried to secure for Napoleon III, in 1831, the crown of Poland. Napoleon III himself had been given the name of “Florestan” in a novel by Disraeli. 24. Courlande: a province of Russia in Europe, south of the Gulf of Riga; population about 673,000. 20, 3. Arminius: (Hermann), leader of the German army which destroyed the Roman legions under Varus in 9 A.D. 17. Malplaquet: a town in northern France, scene of the victory of the Duke of Marlborough (John Churchill, 1650-1722) and Prince EugÈne over Marshal Villars, Sept. 11, 1709. 17. le prince EugÈne: EugÈne de Savoie, a celebrated general (1663-1736). 18. Pierre le Grand: Peter the Great, Czar of Russia from 1682 to 1725. 18. Stralsund: in Pomerania, on the Baltic. Charles XII of Sweden was besieged there. ScÈne III 23, 7. Sa MajestÉ TrÈs ChrÉtienne: ‘His Most Christian Majesty,’ Louis XV, king of France. 17. Menzikoff: Mentchikof (Alexandre-Danilovitch) (1672-1729), prime minister of Russia under Peter the Great and Catherine I. He took an important part in the victory over Charles XII of Sweden, at Pultava, in 1709. 18. Mittau: a city of Courlande in Russia. Louis XVIII of France resided there from 1798 to 1807. 24, 2. A la Charles XII: ‘like Charles XII’ (1682-1718), king of Sweden, a very warlike and adventurous ruler who fought against the Danes, Russians, Poles, and Turks. 3. Bender: a city of European Russia, where Charles XII, after his defeat by the Russians at Pultava, was besieged by the Turks. 5. Cela me va! ‘That suits me!’ 25, 27. le cardinal de Fleury. See note to p. 10, l. 15. 26, 13. le vainqueur de Menzikoff. There may be here a hidden reference also to another of similar name—the prince Martznikoff, who was, in 1845-46, one of the best known admirers of the actress, Mlle Rachel. Napoleon III, whose experiences resembled in many particulars those of Maurice de Saxe, had, at the time the play of Adrienne Lecouvreur was presented (1849), superseded Martznikoff as the protector of Rachel. 27, 6. dÉclamation emphatique: ‘affected, or overdrawn, elocution.’ 14. Arma virumque cano: ‘Arms and the man I sing.’ The beginning of Vergil’s Æneid. 18. C’est de l’Horace ou du Virgile: Even the abbÉ appears none too sure in literary questions. 24. C’est sans rÉplique: ‘It cannot be contested.’ 28, 2. je m’en rapporte À: ‘I leave it to.’ 10. Laissez donc! ‘Nonsense!’ 10. que vous vous formez: ‘that you are improving.’ ScÈne IV 30, 8. Ayant l’air de chercher: ‘Apparently trying to recollect.’ 8. Le cardinal-ministre: Fleury. See note to p. 10, l. 15. 31, 25. tenir au courant: ‘keep informed.’ 32, 9. l’enceinte de Paris: ‘the Paris walls’: really a circle of fortifications immediately surrounding the city. 14. raison de plus: ‘all the better.’ ScÈne V 33, 16. qui est remontÉe: ‘who has gone to the rear of the stage.’ 21. À plusieurs reprises: ‘repeatedly. 22. redescendant le thÉÂtre: ‘returning to the front of the stage.’ 34, 2. la fille du czar. Probably a reference to the Duchess Anna Ivanova, niece of Peter the Great. She became Czarina in 1730. 35, 8. par État: ‘by profession.’ ScÈne VI 36, 16. “Sors vainqueur d’un combat dont ChimÈne est le prix.” Quotation from Corneille’s Le Cid, Act V, Scene I. It is ChimÈne herself who speaks these words to Don Rodrigue—the Cid. 37, 22. je tiendrais À savoir: ‘I am anxious to know.’ 23. actuelle: ‘present.’ 25. Je te saurai cela: ‘I will find that out for you.’ 38, 14. Bajazet: a play by Jean Racine (1672). 39, 7. C’est impayable: ‘It is a capital joke.’ 9. Impayable? Here the word is used in its literal sense: ‘Can’t be paid for.’ ACTE II 18. pÉnÈtre sur le thÉÂtre: ‘reaches the stage.’ 24. Baron: Michel Boyron, called Baron, a celebrated French actor and dramatic author (1653-1729). He belonged to the troupe of MoliÈre. 24. la ChampmeslÉ: Marie Desmares, a well-known French actress (1642-1698), wife of Charles ChampmeslÉ, also an actor and dramatist. She attained her highest eminence in the tragedies of Racine, in which Racine himself entrusted her with the leading rÔles. 27. Folies amoureuses: a three-act comedy in verse, by Jean-FranÇois Regnard (1655-1709). Regnard excelled in amusing intrigues. 40, 4. Acomat: grand vizir in Bajazet. 5. Crispin: name of the valet of Éraste in Regnard’s Les Folies amoureuses. ScÈne I 41, 12. me suis mis sur le pied: ‘have imposed upon myself the task.’ 14. Hippolyte: hero of Racine’s famous tragedy, PhÈdre. 42, 2. la reine. See note to p. 5, l. 17. 4. À ce qu’elle dit: ‘So she says.’ 8. Il n’y a pas de quoi: ‘There is no occasion for it.’ 12. appointements: ‘salary.’ 15. Qu’est-ce À dire? ‘What do you mean?’ 23. Échec et mat: ‘Checkmate.’ 23. Vous n’Êtes pas de force: ‘You are no match for me.’ ScÈne II 44, 12. Bonsoir, vizir: (because of Quinault’s rÔle in Bajazet). 21. Roxane: the rÔle of Adrienne in Bajazet. Roxane is the favorite sultana. 24. Par exemple! ‘Nonsense!’ ScÈne III 46, 5. s’en dÉfaire: ‘part with them.’ 23. difficile: ‘critical.’ 49, 3. AprÈs cela: ‘After all.’ 50, 5. Je me suis toujours dÉfiÉ de: ‘I have always distrusted.’ ScÈne IV 26. fais les confidents: ‘have played the part of confidant.’ 51, 5. rue FÉrou: a street running north from the Luxembourg Gardens. 14. livres tournois: ‘livres of Tours.’ Their value was three-fourths that of the livre of Paris or “livre parisis.” 18. Pas tant tant mieux: ‘Not entirely so much the better.’ 52, 11. PhÈdre: title rÔle of the masterpiece of Racine (1677). 53, 15. une force surnaturelle. Maurice de Saxe is said to have been able to break a horseshoe in his hands. 21. vous me rendrez raison: ‘you shall give me satisfaction.’ 25. vous serez aux premiÈres loges: ‘You will be in the first row of boxes,’ i.e., in a splendid position to see the fight. 26. allons, en scÈne: ‘come, let us make our appearance on the stage,’ i.e., begin the fight. 54, 2. en se jouant: ‘easily turning aside. 6. “Paraissez Navarrois, Maures et Castillans,” etc.: quoted from Corneille’s Le Cid (1636), Act V, Scene I. 12. “Et le combat finit faute de combattants”: from the Cid, Act IV, Scene III. 17. s’informer de mes nouvelles: ‘to inquire about me.’ 55, 23. se possÉdera: ‘will be self-possessed.’ 56, 17. l’emportait sur toi: ‘should excel you.’ 57, 5. “N’aurais-je tout tentÉ que pour une rivale”: Bajazet, Act III, Scene VII. 21. Allons, j’ai beau faire: ‘Come, it is useless for me to try.’ ScÈne V 58, 8. “Mes brigues,” etc.: Bajazet, Act III, Scene VII. 14. Rien qu’en traversant... on sent: ‘One needs but to pass thru to feel.’ 59, 2. ou peu s’en faut: ‘or nearly so.’ 5. clerc de procureur: ‘attorney’s clerk.’ 8. s’y connaissent aussi bien: ‘are as good judges.’ 17. une faÇon de gentilhomme: ‘a kind of nobleman.’ 18. On ne passe pas: ‘No admittance.’ 60, 12. s’il n’avait tenu qu’À moi: ‘if it had depended only on me.’ 61, 1. les chemins qui s’ÉlÈvent: ‘the uphill roads.’ 10. je vis au milieu des hÉros de tous les pays. She refers to the heroes of the drama. 12. je ne sais quoi qui sent son Rodrigue et son NicomÈde: ‘something which resembles Rodrigue and NicomÈde.’ Rodrigue, the hero of the Cid, by Corneille. NicomÈde, the hero of the play of the same name, also by Corneille. 13. aussi, vous arriverez: ‘accordingly you will make your mark.’ 62, 14. rire aux larmes: ‘laugh till I cried.’ 15. une orthographe d’une invention! ‘such original spelling!’ 17. Être de l’AcadÉmie: ‘be a member of the French Academy.’ See note to p. 8, l. 24. 21. mon Sarmate: ‘my Sarmatian’ (an old name for Polander). 63, 8. À telles enseignes: ‘so much so.’ 15. la fable des Deux pigeons: Livre IX, Fable II, by La Fontaine. 64, 19. aprÈs? ‘what next? 21. Avec finesse: ‘Archly.’ 65, 8. “Tenez-vous lieu de tout”: ‘be all in all to each other.’ 66, 5. Aux premiÈres: ‘In the first row of boxes.’ ScÈne VI 19. humeur: ‘ill humor.’ 20. Que trop: ‘Only too true!’ ScÈne VII 67, 25. notre pari de tantÔt: ‘our recent wager.’ 68, 6. Preuve de plus! ‘One more proof!’ 18. il ne te reste plus... qu’À t’exÉcuter: ‘you have only to pay the bet.’ 69, 4. le plus rigoureux tÊte-À-tÊte: ‘the strictest privacy.’ 13. ne fait rien À la chose: ‘is of no consequence.’ 70, 4. Éclat: ‘exposure.’ 18. toujours: ‘in any case.’ 24. PrÉvenez-la: ‘Get the start of her.’ 71, 4. Raison de plus: ‘All the more reason.’ 14. coup de thÉÂtre: ‘theatrical effect.’ 17. Mars et VÉnus: a reference to an incident related in Homer’s Odyssey, Book VIII. 19. Surpris par... (S’interrompant.): The abbÉ interrupts himself because he recollects that it was the lame Vulcan who surprised the lovers and he does not wish to compare the prince with him. 23. Toi, du tien: ‘You on your side.’ 24. un succÈs d’enthousiasme: ‘an enthusiastic success.’ 72, 3. ne sait dÉjÀ plus oÙ elle en est: ‘already doesn’t know what she is about.’ ScÈne VIII 24. C’est bien heureux: ‘It was high time.’ 73, 10. la lettre de Zatime: Bajazet, Act IV. Zatime is the slave of the sultana. 14. cela ne se remet point par la petite poste: ‘that must be sent by a special messenger. ScÈne IX 21. maudit soit le duchÉ de Courlande. He says this because his political schemes interfere with his love for Adrienne. 74, 16. Encore un: ‘One more’ (who is interested). 75, 4. Acomat: the grand vizir in Bajazet. 4. mon bon: ‘my good fellow.’ 8. Je vous trouve plaisant: ‘You are ridiculous.’ 23. Tu as beau faire: ‘It doesn’t make any difference what you do.’ 76, 1. palsambleu: (par le sang de Dieu) ‘by Jove!’ 6. Bajazet: brother of the sultan. 10. “Écoutez, Bajazet,” etc.: Bajazet, Act II, Scene I. 23. qui est fort bien: ‘who is very good looking.’ 25. votre entrÉe: ‘your cue.’ 77, 14. Dieu! quel effet! elle a tressailli. The real effect of the words of Maurice, denying her the interview that evening, are taken by Michonnet and the audience as merely a part of her acting. ScÈne X 78, 21. Vous Êtes des nÔtres: ‘You are coming to our party.’ 80, 3. cavalier: ‘escort.’ 12. Ma voisine. Mlle Lecouvreur lived on the rue des Marais, next to the home of Mlle Du Clos. The house of the former is now No. 21 rue Visconti. It had been the home of Racine, who died there in 1699. Mlle Du Clos soon moved to the rue Mazarine. 81, 16. pour me donner la main: ‘as my escort.’ 82, 16. on ne s’y reconnaÎt plus: ‘one doesn’t know what he is about.’ 17. À votre rÉplique: ‘Your cue.’ 21. “Qu’À ces nobles seigneurs,” etc.: adaptation from Bajazet. ACTE III 83, 3. en pan coupÉ: ‘crosswise of the corner.’ 5. sur le premier plan: ‘on the first wing. ScÈne I 10. “J’ai failli attendre”: ‘I came near waiting.’ A famous saying attributed to Louis XIV and indicative of his punctilious and exacting nature. ScÈne II 86, 15. Ils se feront tuer: ‘They will get killed.’ 21. vous faire apprÉhender au corps: ‘have you arrested.’ 87, 19. en gage: ‘a hostage.’ 88, 20. la Moscovie: ‘Russia.’ 89, 4. n’auront pas beau jeu: ‘will not have an easy time.’ 11. je vais toujours: ‘I shall continue in spite of it.’ 21. Permettez: ‘Pardon me,’ or, ‘I beg to differ.’ 27. C’est bien le moins que vous y restiez: ‘The least you can do is to remain here.’ 91, 25. dussÉ-je vous perdre: ‘even if I must ruin you.’ 92, 9. ne s’en aviserait pas: ‘would not think of such a thing.’ 93, 8. C’est fait de moi! ‘I am lost!’, ‘done for!’ or, ‘it is all over with me!’ Scene III 94, 5. l’on vous y prend: ‘you are caught.’ 14. la Saxe aux prises: ‘Saxony at war.’ 19. nous sommes au fait: ‘we know how matters stand.’ 21. À huis clos: ‘secretly,’ ‘behind closed doors.’ 95, 3. le bruit: ‘gossip,’ ‘scandal.’ 9. le costume n’y fait rien: ‘his (clerical) costume makes no difference.’ 19. Nous ne tenons pas À en finir: ‘We do not wish to end it.’ 23. Rameau: Jean Philippe (1683-1764), a French musician and composer. 96, 17. Que je ne tiens plus À ses charmes: ‘That I am no longer infatuated with her.’ 23. une querelle d’Allemand: ‘a senseless quarrel.’ 97, 12. de vous donner la main: ‘to shaking hands.’ 17. “Soyons amis, Cinna,” etc.: from the tragedy of Cinna, Act V, Scene III, by Corneille. 98, 21. second plan: ‘rear section of the wings. 101, 19. qu’il n’avait que la cape et l’ÉpÉe: ‘that his sword was his only fortune.’ 102, 7. cela me regarde: ‘they are my affair.’ ScÈne V 103, 10. avec explosion: ‘enthusiastically.’ ScÈne VI 108, 21. MelpomÈne: the muse of tragedy. 109, 13. Vous en Êtes convenu: ‘You admitted it.’ ScÈne VII 111, 15. gagner: ‘win over.’ 15. faire sauter: ‘blow up.’ ScÈne IX 117, 2. Il ne faut pas, nous autres comÉdiens, nous jouer aux grands seigneurs: ‘We comedians must not meddle with the affairs of great nobles.’ 15. comment veux-tu ainsi t’y reconnaÎtre: ‘how do you expect to see what you are doing?’ ScÈne X 118, 20. Mais, par exemple: ‘But that is not enough.’ 120, 19. Plus que vous, À coup sÛr: ‘A greater person than you, that is certain.’ ACTE IV 125, 2. chez la princesse de Bouillon. See note to p. 3, l. 2. ScÈne I 9. Godefroy de Bouillon (1058-1100), duc de Basse-Lorraine, leader of the First Crusade, and first king of Jerusalem. 14. rÉpÉtition: ‘rehearsal.’ 16. Je me derange: ‘I am becoming irregular.’ 18. Elle y tenait tant! ‘She insisted so much upon it! ScÈne II 126, 4. Que devenez-vous donc: ‘What can you be doing?’ 15. des diamants: ‘for the diamonds.’ See Act II, Scene III. 20. C’Était assez bien tournÉ: ‘It was adroitly worded.’ 127, 1. tu ne m’as pas fait part: ‘you have not told me.’ 3. un bon sur la caisse des fermiers gÉnÉraux: ‘a check on the treasury of the Farmers-General.’ The Farmers-General were various privileged financiers who farmed or leased the public revenues of France before the Revolution. 129, 4. souscrite À: ‘endorsed to.’ ScÈne III 22. Si, vraiment: ‘Yes, indeed.’ 130, 2. fanatiques: ‘admirers.’ 25. par-dessous main: ‘secretly.’ 131, 21. a dÉnoncÉ ce fait À l’ambassadeur tartare: ‘announced this fact to the Russian ambassador.’ ScÈne IV 133, 7. Si: ‘Yes, I can.’ 134, 15. Bien cela! ‘Well said!’ 135, 3. “ComblÉ de mes bienfaits...”: adapted from Corneille’s Cinna, Act V, Scene III. ScÈne V 26. je suis tentÉ de lui en vouloir... À lui: ‘I am almost indignant at him.’ ScÈne VI 136, 24. n’en fait jamais d’autres: ‘never does otherwise.’ 25. vienne l’occasion: ‘if the opportunity presents itself.’ 137, 18. la rÉcompense promise. See Act I, Scene I, also Act I, Scene V. 138, 18. À coup sÛr: ‘certainly. ScÈne VII 141, 23. Je rÉpÉtais: ‘I was rehearsing.’ 142, 6. Gardez-vous en bien! ‘No, don’t refuse to speak!’ 10. je n’en puis venir À bout: ‘I cannot say it right.’ 20. Oui-dÀ! ‘Oh, of course!’ (ironical). ScÈne VIII 145, 7. cela n’est pas. ‘that is not true.’ 10. Cela est: ‘It is true.’ 14. À telles enseignes: ‘so much so.’ 14. de sa part: ‘in his name.’ 14. dÉfier: ‘challenge’ (to a duel). 26. lui a demandÉ raison: ‘has demanded satisfaction.’ ScÈne IX 147, 2. Et la princesse donc: ‘And the princess still more.’ 8. me nommer: ‘introduce me.’ 23. si elle ne figure pas aussi bien: ‘if she does not appear as well.’ 148, 11. pour peu que je sois ressemblante: ‘provided I resemble you, even a little.’ 150, 6. se trouve mal: ‘has fainted.’ 151, 9. Permettez, je rÉclame: ‘Allow me to protest.’ 153, 7. vous n’Êtes jamais au fait des choses: ‘you are never informed about things.’ 16. Mais, j’y songe: ‘But now that I think of it.’ 26. Laissez donc: ‘Nonsense.’ 154, 2. cette maÎtresse en titre: ‘his acknowledged ladylove.’ 24. pour nous mettre À mÊme de prononcer: ‘to enable us to decide.’ 155, 13. Cendrillon: ‘Cinderella.’ 19. Mille et une nuits: ‘Arabian Nights.’ 157, 4. est dÉcidÉment des nÔtres: ‘is really our guest.’ 158, 4. Le Songe de Pauline. Pauline is the heroine of the tragedy of Polyeucte by Corneille. 6. Hermione: daughter of Helen, in Andromaque (1667) by Racine. 8. Camille: heroine in the tragedy of Horace (1640) by Corneille. 10. Ariane abandonnÉe: a reference to the mythological story of Ariane, daughter of Minos. She gave to Theseus the thread by means of which he was able to find his way out of the Labyrinth, after having slain the Minotaur. She was abandoned by him in the island of Naxos and cast herself from a rock into the sea. 10. Ariane: the best tragedy (1672) by Thomas Corneille. 14. PhÈdre: tragedy (1677) by Racine. 21. brochures: ‘copies of plays.’ 22. À souffler: ‘to prompt.’ 159, 1. “Juste ciel!” etc. These words are spoken, in the play of Racine, by PhÈdre, as her conscience accuses her of her passion toward Hippolytus, her stepson, and she fears the wrath of his father, Theseus, king of Athens. The expression, “une honteuse paix” is “une tranquille paix” in Racine, having been intentionally strengthened by Scribe. PhÈdre, Act III, Scene III. In reality this scene occurred, not in the hÔtel de Bouillon, but at a public presentation of PhÈdre at the ComÉdie-FranÇaise, probably on the tenth of November, 1729. The love of Mlle Lecouvreur and Maurice de Saxe was then at an end and he had abandoned the actress for the duchesse de Bouillon. The attempted poisoning of Mlle Lecouvreur by the duchess had occurred the preceding summer. It was while playing the title rÔle in PhÈdre that Mlle Lecouvreur directed these scathing words to the duchess, as the latter was seated in her box. The audience is said to have fully understood the bearing of the denunciation and to have frantically applauded. ACTE V ScÈne I 162, 13. Le spectacle est-il terminÉ? ‘Is the play over?’ 27. ne me voilÀ-t-il pas bien malade! ‘Wouldn’t that harm me tho!’ (sarcastic). 163, 23. c’est vindicatif... c’est mÉchant: ‘they are vindictive... they are mean. 26. toutes les qualitÉs de l’emploi: ‘all the qualities needed to play the rÔle.’ 165, 6. tu t’abuses encore: ‘you are mistaken again.’ 25. que je ne vous soupÇonnais pas: ‘that I did not suspect that you possessed.’ 27. Je triompherai d’une passion: ‘I shall overcome a passion.’ ScÈne II 167, 10. une sensation douloureuse. Cf. Act I, Scene II, p. 11, ll. 11-27. ScÈne III 170, 6. dussÉ-je jouer mon sang et ma vie: ‘even if I must risk my life.’ ScÈne IV 174, 16. PsychÉ: a tragi-comÉdie-ballet by Corneille, MoliÈre, and Quinault (1671). PsychÉ speaks thus to Amour, Act III, Scene III. The wording has been slightly changed. 18. remonter: ‘bring out again.’ 177, 1. avec Égarement: ‘delirious.’ 5. “Va lui jurer la foi,” etc. From Andromaque (1667), Act IV, Scene V, by Racine. ScÈne V 178, 1. approchant le fauteuil: ‘bringing the armchair.’ |
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