[Footnote 33: G. Allen, Life of Philidor (Philadelphia, 1863). At first Grimm thought his music no better than other French music (Corr. Litt., II., p. 346; III., p. 89); after 1764 he notes his increasing progress (III., p. 401; IV., p. 200), and praises him highly in 1768 (VI., p. 14). He was accused of stealing from Italian masters, but Grimm retorted that it required great talent to steal in such a way (V., p. 25; VI., p. 145). Later on Grimm considered that Philidor inclined too much to Gluck's manner (IX., p. 378; X., p. 358), and finally he declared that Philidor had grown feeble (XII., p. 468; XIII., p. 137).] [Footnote 34: Tagebuch der Mannh. Schaub'., I., p. 264.] [Footnote 35: Marmontel relates the affair more circumstantially (Mém., IX.; Ouvr., II., p. 72).] [Footnote 36: Grimm discusses this question after the manner of Diderot, on the production of "Le Déserteur," the first comic opera of the kind (Corr. Litt., VI., p. 212). Madame du Deffand thought the exhibition of passion in "Le Déserteur" of very doubtful propriety (Corr. inéd., I., p. 175).] [Footnote 37: Grimm condemns the "barbarous fashion" of mixing spoken dialogue and song in the comic opera, and asserts that there can be no great composers in France until real recitative is made use of (Corr. Litt., IV., p. 166; VI., pp. 120, 209).] [Footnote 38: He has given a detailed account of his education, of the suggestions for his works and of his views on dramatic music in his Mémoires ou Essais sur la Musique (Paris, 1789; Brussels 1829,1.-III.). The naïveté of intense vanity is apparent everywhere. His opinions show some power of observation, but are for the most part trivial and arbitrary.] [Footnote 39: He describes his way of working to the celebrated physician Tronchin (Mém., I., p. 21): "Je lis, je relis vingt fois les paroles que je veux peindre avec des sons; il me faut plusieurs jours pour échauffer ma tète; enfin je perds l'appétit, mes yeux s'enflamment, l'imagination se monte, alors je fais un opéra en trois semaines ou un mois." He maintains that this excitement is more likely to lead a composer aright than attention to rules ( I., pp. 168, 204).] [Footnote 40: Prince Henry of Prussia paid him the most appropriate compliment in the words: "Vous avez le courage d'oublier que vous êtes musicien pour être poète" ( Mém., I., p. 121, cf., p. 346).] [Footnote 41: Mém., I., p. 112.] [Footnote 42: Mém., I., pp. 141, 238; III., p. 144.] [Footnote 43: Mém., I., p. 169.] [Footnote 44: Mém., I., pp. 146, 170.] [Footnote 45: Mém., I., p. 231.] [Footnote 46: He declared the French language to be the one best suited to music ( I., p. 400), although he does not conceal its difficulties ( I., p. 134), and demonstrates that France is destined to be pre-eminent in music.] [Footnote 47: Mém., I., p. 212; cf. pp. 224, 260.] [Footnote 48: Mém., I., p. 339; II., p. 45.] [Footnote 49: Mém., I., pp. 237, 375.] [Footnote 50: Mém., I., p. 356.]