man; "it is a very rare thing, and I take much interest in you." In
spite of this, however, Voltaire would not write him the text for an
opera. The philosopher of Ferney feared to trust his reputation with an
unknown musician. When Grétry arrived in Paris he still found the same
difficulty, as no distinguished poet was disposed to give him a libretto
till he had made his powers recognized. After two years of starving and
waiting, Marmontel gave him the text of "The Huron," which was brought
out in 1769 and well received. Other successful works followed in rapid
succession.

At this time Parisian frivolity thought it good taste to admire the
rustic and naive. The idyls of Gessner and the pastorals of Florian
were the favorite reading, and Watteau the popular painter. Gentlefolks,
steeped in artifice, vice, and intrigue, masked their empty lives under
the as sumption of Arcadian simplicity, and minced and ambled in the
costumes of shepherds and shepherdesses. Marie Antoinette transformed
her chalet of Petit Trianon into a farm, where she and her courtiers
played at pastoral life--the farce preceding the tragedy of the
Revolution. It was the effort of dazed society seeking change. Grétry
followed the fashionable bent by composing pastoral comedies, and
mounted on the wave of success.

In 1774 "Fausse Magie" was produced with the greatest applause. Rousseau
was present, and the composer waited on him in his box, meeting a most
cordial reception. On their way home after the opera, Grétry offered
his new friend his arm to help him over an obstruction. Rousseau with
a burst of rage said, "Let me make use of my own powers," and
thenceforward the sentimental misanthrope refused to recognize the
composer. About this time Grétry met the English humorist Hales, who
afterward furnished him with many of his comic texts. The two combined