town, and met with great success; a success which continued when it was
played in Paris at the Theatre du Petit-Bourbon in 1658. Why in some of
the former English translations of Moliere the servant Gros-Rene is
called "Gros-Renard" we are unable to understand, for both names are
thoroughly French. Mr. Ozell, in his translation, gives him the
unmistakably English, but not very euphonious name of "punch-gutted Ben,
_alias_ Renier," whilst Foote calls him "Hugh." The incidents of
the _Love-tiff_ are arranged artistically, though in the Spanish
taste; the plot is too complicated, and the ending very unnatural. But
the characters are well delineated, and fathers, lovers, mistresses, and
servants all move about amidst a complication of errors from which there
is no visible disentangling. The conversation between Valere and Ascanio
in man's clothes, the mutual begging pardon of Albert and Polydore, the
natural astonishment of Lucile, accused in the presence of her father,
and the stratagem of Eraste to get the truth from his servants, are all
described in a masterly manner, whilst the tiff between Eraste and
Lucile, which gives the title to the piece, as well as their
reconciliation, are considered among the best scenes of this play.

Nearly all actors in France who play either the _valets_ or the
_soubrettes_ have attempted the parts of Gros-Rene and Marinette,
and even the great tragedienne Madlle. Rachel ventured, on the 1st of
July, 1844, to act Marinette, but not with much success.

Dryden has imitated, in the fourth act of _An Evening's Love_, a
small part of the scene between Marinette and Eraste, the quarrelling
scene between Lucile, Eraste, Marinette, and Gros-Rene, as well as in
the third act of the same play, the scene between Albert and
Metaphrastus. Vanbrugh has very closely followed Moliere's play in the
_Mistake_, but has laid the scene in Spain. This is the principal