Grimm, after remarking on the singularity of a demonstration of the impossibility of setting melody to French words on the part of a writer who had just produced the Village Soothsayer, informs us that the letter created a furious uproar, and set all Paris in a blaze. He had himself taken the side of the Italians in an amusing piece of pleasantry, which became a sort of classic model for similar facetiousness in other controversies of the century. The French, as he said, forgive everything in favour of what makes them laugh, but Rousseau talked reason and demolished the pretensions of French music with great sounding strokes as of an axe.[322] Rousseau expected to be assassinated, and gravely assures us that there was a plot to that effect, as well as a design to put him in the Bastille. This we may fairly surmise to have been a fiction of his own imagination, and the only real punishment that overtook him was the loss of his right to free admission to the Opera. After what he had said of the intolerable horrors of French music, the directors of the theatre can hardly be accused of vindictiveness in releasing him from them.[323] Some twenty years after (1774), when Paris was torn asunder by the violence of the two great factions of the Gluckists and Piccinists, Rousseau retracted his opinion as to the impossibility of wedding melody to French words.[324] He went as often as he could to hear the works both of Grétri and Gluck, and _Orfeo_ delighted him, while the _Fausse magie_ of the former moved him to say to the composer, "Your music stirs sweet sensations to which I thought my heart had long been closed."[325] This being so, and life being as brief as art is long, we need not further examine the controversy. It may be worth adding that Rousseau wrote some of the articles on music for the Encyclopædia, and that in 1767 he published a not inconsiderable Musical Dictionary of his own.