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Crebillon was a giant; he was six feet high, and three inches taller than I. He had a good appetite, could tell a good story without laughing, was celebrated for his witty repartees and his sociable manners, but he spent his life at home, seldom going out, and seeing hardly anyone because he always had a pipe in his mouth and was surrounded by at least twenty cats, with which he would amuse himself all day. He had an old housekeeper, a cook, and a man-servant. His housekeeper had the management of everything; she never allowed him to be in need of anything, and she gave no account of his money, which she kept altogether, because he never asked her to render any accounts. The expression of Crebillon's face was that of the lion's or of the cat's, which is the same thing. He was one of the royal censors, and he told me that it was an amusement for him. His housekeeper was in the habit of reading him the works brought for his examination, and she would stop reading when she came to a passage which, in her opinion, deserved his censure, but sometimes they were of a different opinion, and then their discussions were truly amusing. I once heard the housekeeper send away an author with these words:

"Come again next week; we have had no time to examine your manuscript."

During a whole year I paid M. Crebillon three visits every week, and from him I learned all I know of the French language, but I found it impossible to get rid of my Italian idioms. I remark that turn easily enough when I meet with it in other people, but it flows naturally from my pen without my being aware of it. I am satisfied that, whatever I may do, I shall never be able to recognize it any more than I can find out in what consists the bad Latin style so constantly alleged against Livy.

I composed a stanza of eight verses on some subject which I do not recollect, and I gave it to Crebillon, asking him to correct it. He read it attentively, and said to me, "These eight verses are good and regular, the thought is fine and truly poetical, the style is perfect, and yet the stanza is bad."

"How so?"

"I do not know. I cannot tell you what is wanting. Imagine that you see a man handsome, well made, amiable, witty-in fact, perfect, according to your most severe judgment. A woman comes in, sees him, looks at him, and goes away telling you that the man does not please her. 'But what fault do you find in him, madam?' 'None, only he does not please me.' You look again at the man, you examine him a second time, and you find that, in order to give him a heavenly voice, he has been deprived of that which constitutes a man, and you are compelled to acknowledge that a spontaneous feeling has stood the woman in good stead."

It was by that comparison that Crebillon explained to me a thing almost inexplicable, for taste and feeling alone can account for a thing which is subject to no rule whatever.

We spoke a great deal of Louis XIV., whom Crebillon had known well for fifteen years, and he related several very curious anecdotes which were generally unknown. Amongst other things he assured me that the Siamese ambassadors were cheats paid by Madame de Maintenon.

He told us likewise that he had never finished his tragedy of Cromwell, because the king had told him one day not to wear out his pen on a scoundrel.

Crebillon mentioned likewise his tragedy of Catilina, and he told me that, in his opinion, it was the most deficient of his works, but that he never would have consented, even to make a good tragedy, to represent Caesar as a young man, because he would in that case have made the public laugh, as they would do if Madea were to appear previous to her acquaintances with Jason.

He praised the talent of Voltaire very highly, but he accused him of having stolen from him, Crebillon, the scene of the senate. He, however, rendered him full justice, saying that he was a true historian, and able to write history as well as tragedies, but that he unfortunately adulterated history by mixing with it such a number of light anecdotes and tales for the sake of rendering it more attractive. According to Crebillon, the Man with the Iron Mask was nothing but an idle tale, and he had been assured of it by Louis XIV.

himself.

On the day of my first meeting with Crebillon at Silvia's, 'Cenie', a play by Madame de Graffigny, was performed at the Italian Theatre, and I went away early in order to get a good seat in the pit.

The ladies all covered with diamonds, who were taking possession of the private boxes, engrossed all my interest and all my attention. I

wore a very fine suit, but my open ruffles and the buttons all along my coat shewed at once that I was a foreigner, for the fashion was not the same in Paris. I was gaping in the air and listlessly looking round, when a gentleman, splendidly dressed, and three times stouter than I, came up and enquired whether I was a foreigner. I

answered affirmatively, and he politely asked me how I liked Paris.

I praised Paris very warmly. But at that moment a very stout lady, brilliant with diamonds, entered the box near us. Her enormous size astonished me, and, like a fool, I said to the gentleman:

"Who is that fat sow?"

"She is the wife of this fat pig."

"Ah! I beg your pardon a thousand times!"

But my stout gentleman cared nothing for my apologies, and very far from being angry he almost choked with laughter. This was the happy result of the practical and natural philosophy which Frenchmen cultivate so well, and which insures the happiness of their existence under an appearance of frivolity!

I was confused, I was in despair, but the stout gentleman continued to laugh heartily. At last he left the pit, and a minute afterwards I saw him enter the box and speak to his wife. I was keeping an eye on them without daring to look at them openly, and suddenly the lady, following the example of her husband, burst into a loud laugh. Their mirth making me more uncomfortable, I was leaving the pit, when the husband called out to me, "Sir! Sir!"