34 ([return])
[ Tagebuch der Mannh. Schaub'., I., p. 264.]
35 ([return])
[ Marmontel relates the affair more circumstantially (Mém., IX.; Ouvr., II., p. 72).]
36 ([return])
[ 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).]
37 ([return])
[ 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).]
38 ([return])
[ 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.]