In spite of Marie Antoinette's many kindnesses to authors, it seems doubtful if she really cared for literature, but of music she was a constant lover. As a child she had played with Mozart and had received lessons from Gluck, and when she became queen she still took lessons both in music and singing. Gluck was to her not only a great composer, he was one of the dear memories of her youth, her home, and her country, and also a hope for reform in French music, which she found monotonous. It was to please her that the directors of the Grand Opera invited Gluck to come to Paris and produce some of his works. The great reformer of opera had long wished for this opportunity, which he seized with alacrity, and set out from Vienna for Paris in the autumn of 1773. He was received with every kindness and encouragement by Marie Antoinette and the court, and proceeded to rehearse his "Iphigenia in Aulis"--not without difficulties, as he found the French singers and musicians even less inclined to reforms than those of Vienna. Gluck, however, supported by the protection of the dauphiness, made short work of those who held back. To the lady who sang the music of "Iphigenia," and who refused to obey him at rehearsal, he said, "Mademoiselle, I am here to bring out 'Iphigenia.' If you will sing, nothing can be better; if not, very well, I will go the queen and say, 'It is impossible to have my opera performed;' then I will take my seat in my carriage and return to Vienna." Doubtless this result would have been much to the prima donna's liking, but she had to submit. [Illustration: Gluck at the Trianon. From painting by E. J. C. Hamman.] "Iphigenia" was produced on April 19, 1774, and Marie Antoinette applauded from the royal box without ceasing. On the first representation, opinions were divided, but at the second performance the approval was unanimous. When Marie Antoinette became queen shortly afterward, she gave the composer a pension of six thousand francs, with the entree to her morning receptions. He often visited her at Trianon, where the daughter of Maria Theresa was always gracious to the forester's gifted son. The next work of Gluck to be given in Paris was his "Orpheus and Eurydice," whose success was greater than that of the "Iphigenia," and caused Rousseau to publicly acknowledge that he was mistaken in asserting that the French language was unsuitable to set to music. He also said that the music of "Orpheus" had reconciled him to existence, and met the reproach that Gluck's work was lacking in melody with the words, "I believe that melody proceeds from every pore."