[22] He had previously written a _Clytemnestre_, which Diderot, having had the privilege of hearing the author read it, tells us contained some very fine verses, the work, however, not of the count, but of a “ghost” in his employ, named Clinchant. This play Lauraguais endeavoured to prevail upon the Comédie-Française to produce. The actors found themselves in a somewhat embarrassing position, as the count had just subscribed the 12,000 livres already mentioned towards the alterations in the theatre necessitated by the removal of the seats on the stage, and, from motives of gratitude, they did not like to refuse. On the other hand, the tragedy was so utterly opposed to all the canons of dramatic art that to produce it would be to court not only failure but ridicule. Eventually, however, they persuaded him to withdraw his offer. Notwithstanding its rejection by the Comédie-Française, Lauraguais thought so highly of his _Clytemnestre_ that he caused it to be printed, and sent a copy to Voltaire, who wrote back that his own _Oreste_ was but “_une plate machine_” in comparison with M. le Comte’s superb masterpiece. The noble author, says Diderot, took the poet quite seriously, and his delight and pride knew no bounds. [23] Diderot, _Correspondance et Mémoires_, ii. 69. Diderot, who had a high opinion of Sophie and was also a friend of Lauraguais, was much distressed by her conduct. Under date October 7, 1761, he writes to Mlle. Voland: “This affair displeases me more than I can tell you. This girl had two children by him (Lauraguais); he was the man of her choice; there had been no constraint, no self-interest, none of those things which go to make ordinary engagements. If ever there was a sacrament, this was one; so much the more so, since it is not in the nature of a man to espouse only one woman. She forgets that she is married. She forgets that she is a mother. It is not only a lover; it is the father of her children whom she is leaving. Mlle. Arnould is something more in my eyes than a little baggage.” [24] Favart, _Mémoires et Correspondance_, i. 195. Several writers refuse to accept this letter as genuine, believing that Favart invented it. It must be admitted, however, that its dry humour is very characteristic of Sophie. [25] Mr. Sutherland Edwards, in his “Idols of the French Stage” (vol. i. p. 181), falls into a singular error. He states that, on his return to Paris, Lauraguais found that Sophie “had placed herself under the protection of M. de Saint-Florentin, for whom, however, she had no affection.” Sophie did certainly place herself under the protection of Saint-Florentin; but it was not his private but his official protection, as Minister for Paris and Chief of the Police; a not altogether unnecessary precaution, since Lauraguais had threatened to poison her. [26] _Mémoires secrets de la République des Lettres._ [27] Grimm, _Correspondance littéraire_, iii. 297.