FAUNE.
Elle a beau re-sis-ter et fai-re-la
C'est à moi, c'est à mu-ti-ne,
DUET.
. . . . . . C'est à moi, . . . . . . c'est à moi,
C'est à moi, . . . . . . c'est à moi, . . . . . .
c'est à moi, c'est à moi, que le ciel la des-ti . .
c'est à moi, c'est à moi, que le ciel la des-ti . .
It is not difficult to see that this recitative shows an advance in flexibility and directness over that of Beaujoyeux. Undoubtedly Cambert had profited by his study of the Italian works produced under the auspices of the Cardinal Mazarin, but he did not penetrate the secret of the Italian method. The influence of the ballet style is discernible throughout the work. Probably Cambert would have hesitated at a complete adoption of the Italian method, even if he had been capable of it, for it would hardly have been approved by the public taste of France at that time.
Perrin and Cambert had associated with themselves in the Académie the Marquis de Sourdeac, with whom Perrin, for some reason not on record, had a quarrel in the course of the run of "Pomone." Perrin resigned from the partnership, which continued without him. But he was not content to be idle, and in company with Henri Sinchard, a poet, and the Sieur de Sablières, a musician, started a rival enterprise.