The Restoration was a time of major cultural effervescence and intense transnational traffic of wares, people and ideas. The Caroline court was characterized by its Francophilia, which was manifest in the import and emulation of French fashions in music, gardens, architecture, and visual arts, as well as, and importantly, literature. But the fascination for French cultural models did not go without the fear of political and religious hegemony, especially in the context of growing anti-catholicism. French models were also satirized and vilified. Molière’s comedies, while immensely popular, were travestied as farces, while the influence of French tragedy can be perceived in the ambivalent reception of heroic tragedy. The extensive presence of French literary culture in Restoration England went beyond the court, as shown by the numerous translations, adaptations, and rewritings of French texts. French fiction was translated at speed; but as shown by the reception of Madame de Lafayette’s novella La Princesse de Clèves – turned into a romp by Nathaniel Lee --, the French taste for delicacy and decorum met with some incomprehension. Among the translators, Aphra Behn in particular played an important part as a cultural mediator, adapting French elite texts for a more mixed readership. This chapter studies the double-edged appropriation of French literary works and models in Restoration England by focusing on a few emblematic cases.