of my being in the country, were of more service to me than the waters I
drank during my stay there. Mussard played the violincello, and was
passionately found of Italian music. This was the subject of a long
conversation we had one evening after supper, particularly the
'opera-buffe' 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.