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.