It was at my suggestions that the Abbe de Voisenon conceived the idea of composing oratorios in poetry; they were sung for the first time at the Tuileries, when the theatres were closed in consequence of some religious festival.

That amiable abbe, who had written several comedies in secret, had very poor health and a very small body; he was all wit and gracefulness, famous for his shrewd repartees which, although very cutting, never offended anyone.

It was impossible for him to have any enemies, for his criticism only grazed the skin and never wounded deeply.

One day, as he was returning from Versailles, I asked him the news of the court.
"The king is yawning," he answered, "because he must come to the parliament to-morrow to hold a bed of justice." "Why is it called a bed of justice ?" "I do not know, unless it is because justice is asleep during the proceedings." I afterwards met in Prague the living portrait of that eminent writer in Count Francois Hardig, now plenipotentiary of the emperor at the court of Saxony.
The Abbe de Voisenon introduced me to Fontenelle, who was then ninety-three years of age.

A fine wit, an amiable and learned man, celebrated for his quick repartees, Fontenelle could not pay a compliment without throwing kindness and wit into it.