included several obscure figures and possible made-up names. (For example, "Titreville" is mentioned only in Satire VII and Satire IX. There is no other source on his existence.) Since Boileau had briefly targeted Boursault in his satires, Boursault evidently wanted to respond in kind. Boileau managed to prevent the staging of this play by an act of parlement. Years later, the two writers befriended each other. In response, Boileau edited the text of his satire to instead target Jacques Pradon. This altered version survived in subsequent editions of his work. The incident sheds some light on the legal limitations of theatrical satire at the time. The decision of parlement (dated to 22 October 1668) objected to the use of the proper name of Boileau, proclaiming that the practice was "defamatory of the honor" of the suppliant and therefore illegal. Larry Norman also points that direct satire was a controversial literary topic at the time. François Hédelin, abbé d'Aubignac criticized Old Comedy, mainly represented by Aristophanes, for mixing his narrative with public affairs. Boileau himself would later comment on the vices of Old Comedy which turned Socrates to a laughingstock for the "vile masses" of Athens. This sympathy for Socrates might have been connected to his own treatment at the pen of Boursault. Germanicus (1673). A tragedy, based on Ancient Rome. The titular character is Germanicus, nephew of Tiberius. The other featured characters include (1)Drusus Julius Caesar, son of Tiberius, (2)Agrippina the Elder, daughter to Marcus Vipsanius Agrippa and granddaughter of Augustus, (3)Livilla, sister of Germanicus, (4) Pison, a Roman chevalier (member of the Roman equestrian order). Possibly named after the Piso family, (5)Flavia, a confidant to Agripinna, (6)Albinus, a confidant to Germanicus, and (7)Flavian, a confidant to Pison. While successful at the time of its release, the tragedy went on to gain a reputation as an "indifferent work". Its main claim to fame has to do with indirectly causing a quarrel between two other writers. While congratulating Boursault for his play, Pierre Corneille commented that it only needed the signature of Jean Racine "to be deemed a great work". The comparison between Boursault and Racine pleased the former and infuriated the latter. Resulting in a verbal fight between Corneille and Racine. The two opponents were not on speaking terms afterwards. La Princesse de Clèves (English: The Princess of Clèves, December 1678). It was written for the Guénégaud Theatre, and proved