In this, continued he, consists the error of the French with regard to the power of music. As they can have no peculiar melody in a language void of musical accent, nor in their uniform and unnatural poetry, they have no idea of any other effect than that of harmony and a loud voice, which instead of softening the tones, renders them more intolerably noisy; nay they are even so unfortunate in their pretensions, that they suffer the very harmony they expect to escape them; for in order to render it more compleat, they sacrifice all choice, they no longer distinguish the powers and effects of particular tones, their compositions are overcharged, they have spoilt their ears, and are become insensible to every thing but noise: so that, in their opinion, the finest voice is that which roars the loudest. Having no original stile or taste of their own, they have always followed us heavily and at a great distance, and since their, or rather our Lulli, who imitated the operas which were then quite common in Italy, we have beheld them, thirty or forty years behind us, copying, mutilating and spoiling our ancient compositions, just as other nations do by their fashions. Whenever they boast of their _chansons_, they pronounce their own condemnation; for if they could express the passions, they would not set wit to music: but because their music is entirely incapable of any expression, it is better adapted to _chansons_ than operas, and ours is more fit for the latter because it is extremely pathetic.