we had both seen in Italy, and with which we were highly delighted.  My sleep having forsaken me in the night, I considered in what manner it would be possible to give in France an idea of this kind of drama.  The ‘Amours de Ragonde’ did not in the least resemble it.  In the morning, whilst I took my walk and drank the waters, I hastily threw together a few couplets to which I adapted such airs as occurred to me at the moments.  I scribbled over what I had composed, in a kind of vaulted saloon at the end of the garden, and at tea.  I could not refrain from showing the airs to Mussard and to Mademoiselle du Vernois, his ‘gouvernante’, who was a very good and amiable girl.  Three pieces of composition I had sketched out were the first monologue:  ’J’ai perdu mon serviteur;’—­the air of the Devin; ‘L’amour croit s’il s’inquiete;’ and the last duo:  ‘A jamais, Colin, je t’engage, etc.’  I was so far from thinking it worth while to continue what I had begun, that, had it not been for the applause and encouragement I received from both Mussard and Mademoiselle, I should have throw n my papers into the fire and thought no more of their contents, as I had frequently done by things of much the same merit; but I was so animated by the encomiums I received, that in six days, my drama, excepting a few couplets, was written.  The music also was so far sketched out, that all I had further to do to it after my return from Paris, was to compose a little of the recitative, and to add the middle parts, the whole of which I finished with so much rapidity, that in three weeks my work was ready for representation.  The only thing now wanting, was the divertissement, which was not composed until a long time afterwards.

My imagination was so warmed by the composition of this work that I had the strongest desire to hear it performed, and would have given anything to have seen and heard the whole in the manner I should have chosen, which would have been that of Lully, who is said to have had ‘Armide’ performed for himself only.  As it was not possible I should hear the performance unaccompanied by the public, I could not see the effect of my piece without getting it received at the opera.  Unfortunately it was quite a new species of composition, to which the ears of the public were not accustomed; and besides the ill success of the ‘Muses Gallantes’ gave too much reason to fear for the Devin, if I presented it in my own name.  Duclos relieved me from this difficulty, and engaged to get the piece rehearsed without mentioning the author.  That I might not discover myself, I did not go to the rehearsal, and the ‘Petits violons’,

     [Rebel and Frauneur, who, when they were very young, went together
     from house to house playing on the violin, were so called.]