I signed the interrogatory after I had read it carefully, and went away. The next day the lieutenant of police sent for me, and after he had heard me, as well as the mother and the daughter, he acquitted me and condemned Madame Quinson in costs. But I could not after all resist the tears of Mimi, and her entreaties for me to defray the expenses of her confinement. She was delivered of a boy, who was sent to the Hotel Dieu to be brought up at the nation's expense.
Soon afterwards Mimi ran away from her mother's house, and she appeared on the stage at St. Laurent's Fair. Being unknown, she had no difficulty in finding a lover who took her for a maiden. I found her very pretty on the stage.
"I did not know," I said to her, "that you were a musician."
"I am a musician about as much as all my companions, not one of whom knows a note of music. The girls at the opera are not much more clever, and in spite of that, with a good voice and some taste, one can sing delightfully."
I advised her to invite Patu to supper, and he was charmed with her.
Some time afterwards, however, she came to a bad end, and disappeared.
The Italian comedians obtained at that time permission to perform parodies of operas and of tragedies. I made the acquaintance at that theatre of the celebrated Chantilly, who had been the mistress of the Marechal de Saxe, and was called Favart because the poet of that name had married her. She sang in the parody of 'Thetis et Pelee', by M.
de Fontelle, the part of Tonton, amidst deafening applause. Her grace and talent won the love of a man of the greatest merit, the Abbe de Voisenon, with whom I was as intimate as with Crebillon. All the plays performed at the Italian Comedy, under the name of Madame Favart, were written by the abbe, who became member of the Academie after my departure from Paris. I cultivated an acquaintance the value of which I could appreciate, and he honoured me with his friendship. 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. I told him that I had come from Italy on purpose to see him.
"Confess, sir," he said to me, "that you have kept me waiting a very long time."
This repartee was obliging and critical at the same time, and pointed out in a delicate and witty manner the untruth of my compliment. He made me a present of his works, and asked me if I liked the French plays; I told him that I had seen 'Thetis et Pelee' at the opera.
That play was his own composition, and when I had praised it, he told me that it was a 'tete pelee'.
"I was at the Theatre Francais last night," I said, "and saw Athalie."
"It is the masterpiece of Racine; Voltaire, has been wrong in accusing me of having criticized that tragedy, and in attributing to me an epigram, the author of which has never been known, and which ends with two very poor lines:
Pour avoir fait pis qu'Esther, Comment diable as-to pu faire"
I have been told that M. de Fontenelle had been the tender friend of Madame du Tencin, that M. d'Alembert was the offspring of their intimacy, and that Le Rond had only been his foster-father. I knew d'Alembert at Madame de Graffigny's. That great philosopher had the talent of never appearing to be a learned man when he was in the company of amiable persons who had no pretension to learning or the sciences, and he always seemed to endow with intelligence those who conversed with him.
When I went to Paris for the second time, after my escape from The Leads of Venice, I was delighted at the idea of seeing again the amiable, venerable Fontenelle, but he died a fortnight after my arrival, at the beginning of the year 1757.
When I paid my third visit to Paris with the intention of ending my days in that capital, I reckoned upon the friendship of M. d'Alembert, but he died, like Fontenelle, a fortnight after my arrival, towards the end of 1783. Now I feel that I have seen Paris and France for the last time. The popular effervescence has disgusted me, and I am too old to hope to see the end of it.
Count de Looz, Polish ambassador at the French court, invited me in 1751 to translate into Italian a French opera susceptible of great transformations, and of having a grand ballet annexed to the subject of the opera itself. I chose 'Zoroastre', by M. de Cahusac. I had to adapt words to the music of the choruses, always a difficult task.
The music remained very beautiful, of course, but my Italian poetry was very poor. In spite of that the generous sovereign sent me a splendid gold snuff-box, and I thus contrived at the same time to please my mother very highly.