The public attention was stimulated by the war of pamphlets, lampoons, and newspaper articles. Many of the great _literati_ were Piccinists, among them Marmontel, La Harpe, D'Alembert, etc. Suard du Rollet and Jean Jacques Rousseau fought in the opposite ranks. Although the nation was trembling on the verge of revolution, and the French had just lost their hold on the East Indies; though Mirabeau was thundering in the tribune, and Jacobin clubs were commencing their baleful work, soon to drench Paris in blood, all factions and discords were forgotten. The question was no longer, "Is he a Jansenist, a Molinist, an Encyclopædist, a philosopher, a free-thinker?" One question only was thought of, "Is he a Gluckist or Piccinist?" and on the answer often depended the peace of families and the cement of long-established friendships. Piccini's opera was a brilliant success with the fickle Parisians, though the Gluckists sneered at it as pretty concert music. The retort was that Gluck had no gift of melody, though they admitted he had the advantage over his rival of making more noise. The poor Italian was so much distressed by the fierce contest that he and his family were in despair on the night of the first representation. He could only say to his weeping wife and son, "Come, my children, this is unreasonable. Remember that we are not among savages; we are living with the politest and kindest nation in Europe. If they do not like me as a musician, they will at all events respect me as a man and a stranger." To do justice to Piccini, a mild and timid man, he never took part in the controversy, and always spoke of his opponent with profound respect and admiration. FOOTNOTE: [E] _See_ article on Gluck in "Great German Composers." III. Marie Antoinette, whom Mdme. du Barry and her clique looked on as Piccini's enemy, astonished both cabals by appointing Piccini her singing-master--an unprofitable honour, for he received no pay, and was obliged to give costly copies of his compositions to the royal family. He might have quoted from the Latin poet in regard to this favour from Marie Antoinette, whose faction in music, among other names, was known as the Greek party, "_Timeo Danaos et dona ferentes_."[F] Beaumarchais, the brilliant author of "Figaro," had found the same inconvenience when acting as court teacher to the daughters of Louis XV. The French kings were parsimonious except when lavishing money on their vices. The action of the dauphiness, however, paved the way for a reconciliation between Piccini and Gluck. Berton, the manager of the opera, gave a luxurious banquet, and the musicians, side by side, pledged each other in libations of champagne. Gluck got confidential in his cups. "These French," he said, "are good enough people, but they make me laugh. They want us to write songs for them, and they can't sing." In fact, the quarrel was not between the musicians but their adherents. In his own heart Piccini knew his inferiority to Gluck.