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.]

by whom it was directed, knew not who the author was until after a general plaudit had borne the testimony of the work.  Everybody present was so delighted with it, that, on the next day, nothing else was spoken of in the different companies.  M. de Cury, Intendant des Menus, who was present at the rehearsal, demanded the piece to have it performed at court.  Duclos, who knew my intentions, and thought I should be less master of my work at the court than at Paris, refused to give it.  Cury claimed it authoratively.  Duclos persisted in his refusal, and the dispute between them was carried to such a length, that one day they would have gone out from the opera-house together had they not been separated.  M. de Cury applied to me, and I referred him to Duclos.  This made it necessary to return to the latter.  The Duke d’Aumont interfered; and at length Duclos thought proper to yield to authority, and the piece was given to be played at Fontainebleau.