roumet [pp. 313-319] and by Fleury [pp. 365-371]).

From this classification it will be seen that by no means all of
Marivaux's comedies could be termed _Surprises de l'amour_, although some
of his best come within that category. There is a whole series of plays,
to which Larroumet[112] calls attention, in which Marivaux has left the
real for the imaginary world. There are times when we are almost inclined
to admit with Lemaitre "that fancy's wing, which bears so high and so far
the poet of _A Midsummer Night's Dream_, has at least grazed the powdered
brow of Marivaux." [113]

The poetic fantasies of the latter certainly recall the fanciful creations
of the great English poet.

In the limited space of this Introduction it will be impossible to analyze
the plots of any, save only the most important.[114] The following
comedies are about the only ones presented regularly at the Comedie-
Francaise: _le Jeu de l'Amour et du Hasard_, _le Legs_, _les Fausses
Confidences_, and _l'Epreuve_; but this brief list by no means embraces
all of his exquisite sketches of eighteenth century society. Add to these
_la Mere confidente_, for which both Larroumet[115] and Sarcey[116] plead,
or, at the suggestion of Lemaitre,[117] _la Surprise de l'Amour_, _les
Sinceres_, _la Double Inconstance_, and _les Serments indiscrets_, and we
shall still have left a whole series of treasures unexplored, especially
in the realm of the fanciful. As we have already examined one of the most
delightful pieces of the latter class, _Arlequin poli par l'Amour_, a
hasty survey of his best known plays will have to suffice. It might be
well to add here that Marivaux's favourite plays were the following: _la
Double Inconstance_, the two _Surprises de l'Amour_, _la Mere confidente_,
_les Serments indiscrets_, _les Sinceres_ and _l'Ile des Esclaves_.[118]

_Le Jeu de l'Amour et du Hasard_, a comedy in three acts, presented on
January 23, 1730, at the Theatre-Italien, is generally considered as the
masterpiece of Marivaux, although he did not include it in the number of
his favourites. It is certainly his best-known play. Its success was great
and immediate, according to the _Mercure_ of January, 1730. The plot is as
follows: With the characteristic caution of the heroines of Marivaux, ever
on their guard against an ill-assorted marriage, and with the sad
experiences of certain friends of hers in mind to make her still more
cautious, Silvia determines not to accep