As my singers had now practised the portions of Liebesverbot
intended for the trial audience, I was anxious at least to have
them performed before some persons of influence. M. Edouard
Monnaie, who had been appointed temporary director of the Grand
Opera after Duponchel's retirement, was the less disposed to
refuse as the singers who were to take part belonged to the
institution over which he presided; moreover, there was no
obligation attached to his presence at the audience. I also took
the trouble to call on Scribe to invite him to attend, and he
accepted with the kindest alacrity. At last my three pieces were
performed before these two gentlemen in the green room of the
Grand Opera, and I played the piano accompaniment. They
pronounced the music charming, and Scribe expressed his
willingness to arrange the libretto for me as soon as the
managers of the opera had decided on accepting the piece; all
that M. Monnaie had to reply to this offer was that it was
impossible for them to do so at present. I did not fail to
realise that these were only polite expressions; but at all
events I thought it very nice of them, and particularly
condescending of Scribe to have got so far as to think me
deserving of a little politeness.

But in my heart of hearts I felt really ashamed of having gone
back again seriously to that superficial early work from which I
had taken these three pieces. Of course I had only done this
because I thought I should win success more rapidly in Paris by
adapting myself to its frivolous taste. My aversion from this
kind of taste, which had been long growing, coincided with my
abandonment of all hopes of success in Paris. I was placed in an