In Paris Grétry was present at a representation of “Dardanus,” by Rameau, which he did not altogether understand, and which, as he admitted later, he found to be almost wearisome. He was still too full of the memories of Italian music—although it had exercised very little real influence on his genius—to be able to thoroughly appreciate at its proper value this essentially dramatic French music, which was at times somewhat crude as to harmony and melodious expression, but always suited to the action. Nevertheless, although this work of the immediate predecessor of Gluck did not appeal to him strongly, Grétry was not long in recognizing its true merit. He told himself that Music, although not merely the humble handmaid of Poesy, with which she is allied, ought to aid her to express her feelings with due effect, and that consequently theatrical music should, as far as possible, be subject to the rules of pure elocution. Following the example of Lully—for whom Grétry always expressed great admiration—he was wont to attend the Théâtre-Français to find the notes, so to speak, of spoken declamation, and unite it intimately with song and melody. Moreover, the difficulty he experienced in finding a piece to set to music gave him a good deal of leisure; indeed the first two years of Grétry’s stay in Paris were devoted to a search for a poem. At last he obtained from an unknown poet named du Rozoy, “Les Mariages Samnites,” a piece in three acts which was destined for the Comédie Italienne but was not accepted at that theatre and was afterwards rewritten for the Opera. The work was represented there, but with great difficulty and bitter mortification for the composer. This essay, which failed to impress the public of the Académie de Musique, was followed by “Le Huron,” a comedy in two acts by Marmontel, which was represented for the first time at the Italiens on the 20th of August, 1769. The piece was unanimously and we might say even enthusiastically applauded, both by the audience and by the critics. Above all, the care taken by the composer as to good prosody and the proper feeling peculiar to the _dramatis personæ_, was greatly applauded. The songs were considered very happy, although they did not exhibit that graceful variety of form and contour then characteristic of the music which the public were accustomed to hear at the Italiens by masters like Piccinni, Pergolèse, Jomelli, Galuppi, etc.