It did not take long for Molière’s plays to travel across the Channel, but the forms in which they appeared on the early modern English stage and page were varied. The first translations of the 1660s were marked by a hybridising tendency in which one or more Molière plots were absorbed into composite plays, thereby satisfying the English taste for dramatic variety. Although this trend dwindled in favour of single-play translations, the hybridising approach was not abandoned altogether – comedy-ballets, as compound forms, were still blended. Even where single plays were translated, it was common for extra characters and small subplots to be added. But what one hand giveth the other taketh away: rhyme was, at this time, described as ‘an effeminate practice’ and, except for Dryden’s Amphitryon, was largely eschewed for its unnaturalness. Early translations of Molière were occasionally undertaken by women; Aphra Behn and Susanna Centlivre took up the medical satires and their work reveals that translation could be used to explore gender-based power imbalances. In the early eighteenth century, there was a notable drive towards preserving Molière’s plays in monumental collected editions, but these were seen as a complement to continued translation experimentation.