much as thought of it. Besides, where was I to find a person to write
the words, and one who would give himself the trouble of turning the
poetry to my liking? These ideas of music and the opera had possession
of my mind during my illness, and in the delirium of my fever I composed
songs, duets, and choruses. I am certain I composed two or three little
pieces, 'di prima infenzione', perhaps worthy of the admiration of
masters, could they have heard them executed. Oh, could an account be
taken of the dreams of a man in a fever, what great and sublime things
would sometimes proceed from his delirium!

These subjects of music and opera still engaged my attention during my
convalescence, but my ideas were less energetic. Long and frequent
meditations, and which were often involuntary, and made such an
impression upon my mind that I resolved to attempt both words and music.
This was not the first time I had undertaken so difficult a task. Whilst
I was at Chambery I had composed an opera entitled 'Iphis and Anaxarete',
which I had the good sense to throw into the fire. At Lyons I had
composed another, entitled 'La Decouverte du Nouveau Monde', which, after
having read it to M. Bordes, the Abbes Malby, Trublet, and others, had
met the same fate, notwithstanding I had set the prologue and the first
act to music, and although David, after examining the composition, had
told me there were passages in it worthy of Buononcini.

Before I began the work I took time to consider of my plan. In a heroic
ballet I proposed three different subjects, in three acts, detached from
each other, set to music of a different character, taking for each
subject the amours of a poet. I entitled this opera Les Muses Galantes.
My first act, in music strongly characterized, was Tasso; the second in
tender harmony, Ovid; and the third, entitled Anacreon, was to partake of
the gayety of the dithyrambus. I tried my skill on the first act, and