applied to it with an ardor which, for the first time, made me feel the
delightful sensation produced by the creative power of composition. One
evening, as I entered the opera, feeling myself strongly incited and
overpowered by my ideas, I put my money again into my pocket, returned to
my apartment, locked the door, and, having close drawn all the curtains,
that every ray of light might be excluded, I went to bed, abandoning
myself entirely to this musical and poetical 'oestrum', and in seven or
eight hours rapidly composed the greatest part of an act. I can truly
say my love for the Princess of Ferrara (for I was Tasso for the moment)
and my noble and lofty sentiment with respect to her unjust brother,
procured me a night a hundred times more delicious than one passed in the
arms of the princess would have been. In the morning but a very little
of what I had done remained in my head, but this little, almost effaced
by sleep and lassitude, still sufficiently evinced the energy of the
pieces of which it was the scattered remains.

I this time did, not proceed far with my undertaking, being interrupted
by other affairs. Whilst I attached myself to the family of Dupin, Madam
de Beuzenval and Madam de Broglie, whom I continued to visit, had not
forgotten me. The Count de Montaigu, captain in the guards, had just
been appointed ambassador to Venice. He was an ambassador made by
Barjac, to whom he assiduously paid his court. His brother, the
Chevalier de Montaigu, 'gentilhomme de la manche' to the dauphin, was
acquainted with these ladies, and with the Abbe Alary of the French
academy, whom I sometimes visited. Madam de Broglie having heard the
ambassador was seeking a secretary, proposed me to him. A conference was
opened between us. I asked a salary of fifty guineas, a trifle for an
employment which required me to make some appearance. The ambassador was
unwilling to give more than a thousand livres, leaving me to make the
journey at my own expense. The proposal was ridiculous. We could not