But when I proposed this idea at the opera-house, nobody would so much as hearken to me, and I was obliged to tack together music and dances in the usual manner: on this account the divertissement, although full of charming ideas which do not diminish the beauty of scenes, succeeded but very middlingly.

I suppressed the recitative of Jelyotte, and substituted my own, such as I had first composed it, and as it is now engraved; and this recitative a little after the French manner, I confess, drawled out, instead of pronounced by the actors, far from shocking the ears of any person, equally succeeded with the airs, and seemed in the judgment of the public to possess as much musical merit.
I dedicated my piece to Duclos, who had given it his protection, and declared it should be my only dedication.

I have, however, with his consent, written a second; but he must have thought himself more honored by the exception, than if I had not written a dedication to any person.
I could relate many anecdotes concerning this piece, but things of greater importance prevent me from entering into a detail of them at present.

I shall perhaps resume the subject in a supplement.

There is however one which I cannot omit, as it relates to the greater part of what is to follow.