"You see, my friends, I was right in not putting my tragedy on paper." "Why so?" asked Godoyn. "Because, I should have had the trouble of throwing it into the fire. Now, I shall merely have to forget it, which is easier done." When Crebillon seemed no longer formidable in the literary world, and all were agreed he was in the decline of his genius, the very men who had previously denied his power, now thought fit to combat Voltaire by exalting Crebillon, in the same way as they afterwards exalted Voltaire so soon as another star appeared on the literary horizon. "With the intention of humbling the pride of Voltaire, they proceeded," says a writer of the time, "to seek out in his lonely retreat the now aged and forsaken Crebillon, who, mute and solitary for the last thirty years, was no longer a formidable enemy for them, but whom they flattered themselves they could oppose as a species of phantom to the illustrious writer by whom they were eclipsed; just as, in former days, the Leaguers drew an old cardinal from out the obscurity in which he lived, to give him the empty title of king, only that they themselves might reign under his name." The literary world was then divided into two adverse parties--the Crebillonists, and the Voltairians. The first, being masters of all the avenues, succeeded for a length of time in blinding the public. Voltaire passed for a mere wit; Crebillon, for the sole heir of the sceptre of Corneille and Racine. It was this clique which invented the formula ever afterwards employed in the designation of these three poets--Corneille the great, Racine the tender, and Crebillon the tragic. One great advantage Crebillon possessed over Voltaire: he had written nothing for the last thirty years. His friends, or rather Voltaire's enemies, now began to give out that the author of "Rhadamiste" was engaged in putting the finishing hand to a tragedy, a veritable dramatic wonder, by name "Catilina." Madame de Pompadour herself, tired of Voltaire's importunate ambition, now went over with her forces to the camp of the Crebillonists. She received Crebillon at court, and recommended him to the particular care of Louis XV., who conferred a pension on him, and also appointed him to the office of censor royal. "Catilina" was at length produced with great _éclat_. The court party, which was present in force at the first performance, doubtless contributed in a great measure to the success of the piece. The old poet, thus encouraged, set to work on a new play, the "Triumvirat," with fresh ardor; but as was Voltaire's lot in after years, it was soon perceptible that the poet was but the shadow of what he had been. Out of respect, however, for Crebillon's eighty-eight years, the tragedy was applauded, but in a few days the "Triumvirat" was played to empty benches. Crebillon had now but one thing left to do: to die, which, in fact, he did in the year 1762.