[106] VONT LEUR TRAIN, ‘Are doing their work,’ ‘are producing their effect.’

[107] NOUS Y VOILA, ‘Just what I feared.’

[108] IL EST DE MAUVAIS GOUT.  The il refers not to Arlequin, whom Lisette takes for Dorante, but to the idea that she should be loved by one so much her superior socially.

[109] CELA NE LAISSERA PAS QUE D’ETRE, ‘It will be no less true.’  The idiom may be expressed more logically by the omission of the que (Littre, “laisser,” 20 deg.).

[110] D’HOMME D’HONNEUR.  An ellipsis for the more complete expression which later editions print, foi d’homme d’honneur.

[111] J’AI MENAGE SA TETE, ‘I have spared his mind,’ ’I have handled him carefully.’

[112] LE MOMENT.  For l’occasion.

[113] A VUE DE PAYS, ‘From the looks of things.’

[114] FAIT.  Some later editions print tourne.  The idea is the same.

[115] JUSQUE LA, ‘To such a degree.’

[116] A LA BONNE HEURE, ‘As you please.’

[117] AVANT QUE DE.  See note 93.

[118] DE VOTRE FACON, ‘Brought forth by you.’  The whole figure is both trivial and bombastic, in perfect accord with the role of Harlequin.

[119] ROQUILLE.  An ancient wine measure amounting to a quarter of a setier.  A setier, in the current use of the word, was equal to half a pinte.  A pinte was a little less than a litre (Hatzfeld and Darmesteter).  Hence a roquille would be less than an eighth of a litre.  A synonym for any small measure.

[120] COMME UN PERDU, ‘Desperately.’

[121] VALETAILLE, ‘Whole set of valets,’ Composed of valet and the pejorative ending aille (Littre).

[122] SERA.  The text of 1732 has fera, but this is likely a misprint, as the f’s and long s’s were easily confounded.

[123] IMPERTINENT.  Here the actor taking the part of Dorante, profiting by the inattention of Lisette, administers to Harlequin a vigorous kick, which the latter is obliged to receive with equanimity, much to the amusement of the spectators.  This byplay is also a reminiscence of the habits of the early comediens italiens, who indulged to excess in lazzi, which originally meant, not witticisms, but tricks more or less buffoon in their nature, such as circus clowns still indulge in.  We know that Marivaux objected to any liberty being taken with the roles by the actors.  It may well be questioned whether the above-mentioned gesture would have met his approval.  In a letter written to Sarcey (published in Quarante ans de theatre, tome II, pp. 271- 275), Larroumet writes as follows upon this subject:  “Pour ma part, une longue etude de Marivaux m’a prouve que lazzis et jeux de scene n’etaient nullement le fait des premiers interpretes qui jouerent sous la direction de l’auteur, mais bien des troupes de petits theatres qui, apres la disparition de la comedie italienne, en 1782, recueillirent plusieurs pieces de Marivaux et les jouerent un peu partout, jusqu’a ce que Mlle. Contat les fit entrer, vers 1794 et 1796, au Theatre de la Republique.”