The outrageous true story of the French plot to supply arms and ammunition to Washington's Continental Army, and the bold French spy, inventor, playwright, and rogue behind it all

Based on archival research in Europe and the United States, this authoritative study tells the fascinating story of Beaumarchais's role in the American War of Independence as an owner and outfitter of ships and as an arms merchant. It chronicles his dealings with Louis XVI, Vergennes, Benjamin Franklin, and the American Continental Congress and recounts his family's struggle to receive payment for the weapons and materials sent to the American colonists.

Few men of 18th-century letters led a more varied or controversial life than Pierre-Augustin Caron de Beaumarchais. Incorporating letters and firsthand accounts, this is an irresistibly lively and engaging account of an extraordinary life.

The Barber of Seville * The Marriage of Figaro * The Guilty Mother Eighteenth-century France produced only one truly international theatre star, Beaumarchais, and only one name, Figaro, to put with Don Quixote or D'Artagnan in the ranks of popular myth. But who was Figaro? Not the impertinent valet of the operas of Mozart or Rossini, but both the spirit of resistance to oppression and a bourgeois individualist like his creator. The three plays in which he plots and schemes chronicle the slide of the ancien régime into revolution but also chart the growth of Beaumarchais' humanitarianism. They are also exuberant theatrical entertainments, masterpieces of skill, invention, and social satire which helped shape the direction of French theatre for a hundred years. This lively new translation catches all the zest and energy of the most famous valet in French literature. ABOUT THE SERIES: For over 100 years Oxford World's Classics has made available the widest range of literature from around the globe. Each affordable volume reflects Oxford's commitment to scholarship, providing the most accurate text plus a wealth of other valuable features, including expert introductions by leading authorities, helpful notes to clarify the text, up-to-date bibliographies for further study, and much more.

William D Howarth sets Le Mariage de Figaro and Beaumarchais's other dramatic works in the broad historical context of pre-revolutionary France, providing a unique and authoritative study of the dramatist and his plays. He presents detailed analyses of the plays themselves, discussing their critical receptions, their influence on drama of the period and their legacy. Included is a discussion of the operatic adaptations: Mozart's Mariage de Figaro and Rossini's Le Barbier de Seville. The author also provides analyses of sketches and fragments only recently re-discovered. Beaumarchais and the Theatre is a comprehensive and much needed study of one of the most significant playwrights of the turbulent eighteenth century. It is invaluable reading for students of theatre history.

In Eugenia, the title character is a Welsh girl of good birth who believes herself to be married to a wealthy young Earl. In fact, the Earl has deliberately misled her and knowingly had arranged a fraudulent wedding ceremony; their union is invalid, but Eugenia is already pregnant, and the Earl is only days away from a legitimate marriage to another woman. Even Eugenia does not know his secret, but with his new wedding fast approaching, he cannot keep his shameful behavior hidden much longer. Will he give in to his true love for Eugenia and save her from a life of indignity, or will he follow the wishes of others and marry according to his own family's demands? Duels, disownments and near-death experiences abound in this famous play of the 18th century.The play Eugénie (as it's called in French) premiered in Paris in 1767 and had "acquired acclaim for itself before it had even graced the stage." It was the first feature play of author Pierre-Augustin Caron de Beaumarchais, who already was well known for his literary accomplishments; he'd gotten his start arguing his rights to a patent through publicly published letters, and had made a splash internationally with his account of his adventures in Spain while he was attempting to force an unfaithful lover of his sister's to do right by her; this story was adapted into a play in his own lifetime, by none other than Johann Wolfgang von Goethe. Beaumarchais had written some theater as well, but prior to Eugénie all of his scripts had either been rejected by the theaters, or else were simple one-act comedies (parades) intended for performance at private functions. Eugénie was his first serious play, but it was a success. The genre is known now as drame bourgeois, and was seen at the time as a halfway point between comedy and tragedy. William Howarth, in this book Beaumarchais and the Theater, indicates that the playwright had originally set his story in Brittany, and developed the English setting at a later point for uncertain reasons - perhaps to play off the mood of fashionable sentimental English stories such as those by Samuel Richardson, which were extremely popular at the time. The new setting did, however, create some problems: as Englishwoman Elizabeth Griffiths wrote in the introduction to her contemporary adaptation The School for Rakes, she found Beaumarchais had "unluckily adopted Spanish manners" for his English characters and did not demonstrate a familiarity with local laws and customs, and in her case she realized the troubles caused by the cultural mismatch to be so numerous that she had to resort to merely adapting the play rather than translating. To my knowledge, this book which you hold in your hands is the first ever direct English translation of Eugénie to have seen print. After the initial premier, Eugénie was extremely well-received, and even moreso after Beaumarchais made some cuts to the play's copious running time (which changes were reflected in the printed editions.) It found itself being one of the first plays known to be performed in New Orleans in the French colony of Louisiana, and early printings of The Barber of Seville were always certain to announce on the title page that the play was "from the author of Eugénie."

John Wells introduces the opera with a high-spirited account of the action-packed career of the author, in many respects the prototype of Figaro himself. Basil Deane explores the score: he shows that Mozart's characters are illuminated here not so much in soliloquies but in their reactions to each other. Composer Stephen Oliver discusses how the comedy exists not just in the words but, essentially, in the music. The full Italian text is given, with a note on the order of scenes in Act Three and the alternative passages Mozart wrote for the 1789 revival. The classic translation of E.J. Dent is an excellent way to get to know the twists and turns of the plot and the stylish wit of da Ponte's innuendos.Contents: A Society Marriage, John Wells; A Musical Commentary, Basil Deane; Music and Comedy in 'The Marriage of Figaro, Stephen Oliver; Beaumarchais's Characters; Le nozze di Figaro: Libretto by Lorenzo da Ponte; The Marriage of Figaro: English version by Edward J. Dent