tenaciously retain those they have. However weak or false most of their objections were, and although I answered them with great timidity, and I confess, in bad terms, yet with decisive reasons, I never once made myself understood, or gave them any explanation in the least satisfactory. I was constantly surprised at the facility with which, by the aid of a few sonorous phrases, they refuted, without having comprehended me. They had learned, I know not where, that a monk of the name of Souhaitti had formerly invented a mode of noting the gamut by ciphers: a sufficient proof that my system was not new. This might, perhaps, be the case; for although I had never heard of Father Souhaitti, and notwithstanding his manner of writing the seven notes without attending to the octaves was not, under any point of view, worthy of entering into competition with my simple and commodious invention for easily noting by ciphers every possible kind of music, keys, rests, octaves, measure, time, and length of note; things on which Souhaitti had never thought it was nevertheless true, that with respect to the elementary expression of the seven notes, he was the first inventor.
But besides their giving to this primitive invention more importance than was due to it, they went still further, and, whenever they spoke of the fundamental principles of the system, talked nonsense. The greatest advantage of my scheme was to supersede transpositions and keys, so that the same piece of music was noted and transposed at will by means of the change of a single initial letter at the head of the air. These gentlemen had heard from the music—masters of Paris that the method of executing by transposition was a bad one; and on this authority converted the most evident advantage of my system into an invincible objection against it, and affirmed that my mode of notation was good for vocal music, but bad for instrumental; instead of concluding as they ought to have done, that it was good for vocal, and still better for instrumental. On their report the academy granted me a certificate full of fine compliments, amidst which it appeared that in reality it judged my system to be neither new nor useful. I did not think proper to ornament with such a paper the work entitled 'Dissertation sur la musique moderne', by which I appealed to the public.
I had reason to remark on this occasion that, even with a narrow understanding, the sole but profound knowledge of a thing is preferable for the purpose of judging of it, to all the lights resulting from a cultivation of the sciences, when to these a particular study of that in question has not been joined. The only solid objection to my system was made by Rameau. I had scarcely explained it to him before he discovered its weak part. "Your signs," said he, "are very good inasmuch as they clearly and simply determine the length of notes, exactly represent intervals, and show the simple in the double note, which the common notation does not do; but they are objectionable on account of their requiring an operation of the mind, which cannot always accompany the rapidity of execution. The position of our notes," continued he, "is described to the eye without the concurrence of this operation. If two notes, one very high and the other very low, be joined by a series of intermediate ones, I see at the first glance the progress from one to the other by conjoined degrees; but in your system, to perceive this series, I must necessarily run over your ciphers one after the other; the glance of the eye is here useless." The objection appeared to me insurmountable, and I instantly assented to it. Although it be simple and striking, nothing can suggest it but great knowledge and practice of the art, and it is by no means astonishing that not one of the academicians should have thought of it. But what creates much surprise is, that these men of great learning, and who are supposed to possess so much knowledge, should so little know that each ought to confine his judgment to that which relates to the study with which he has been conversant.
My frequent visits to the literati appointed to examine my system and the other academicians gave me an opportunity of becoming acquainted with the most distinguished men of letters in Paris, and by this means the acquaintance that would have been the consequence of my sudden admission amongst them, which afterwards came to pass, was already established. With respect to the present moment, absorbed in my new system of music, I obstinately adhered to my intention of effecting a revolution in the art, and by that means of acquiring a celebrity which, in the fine arts, is in Paris mostly accompanied by fortune. I shut myself in my chamber and labored three or four months with inexpressible ardor, in forming into a work for the public eye, the memoir I had read before the academy. The difficulty was to find a bookseller to take my manuscript; and this on account of the necessary expenses for new characters, and because booksellers give not their money by handfuls to young authors; although to me it seemed but just my work should render me the bread I had eaten while employed in its composition.
Bonnefond introduced me to Quillau the father, with whom I agreed to divide the profits, without reckoning the privilege, of which I paid the whole expense. Such were the future proceedings of this Quillau that I lost the expenses of my privilege, never having received a farthing from that edition; which, probably, had but very middling success, although the Abbe des Fontaines promised to give it celebrity, and, notwithstanding the other journalists, had spoken of it very favorably.
The greatest obstacle to making the experiment of my system was the fear, in case of its not being received, of losing the time necessary to learn it. To this I answered, that my notes rendered the ideas so clear, that to learn music by means of the ordinary characters, time would be gained by beginning with mine. To prove this by experience, I taught music gratis to a young American lady, Mademoiselle des Roulins, with whom M. Roguin had brought me acquainted. In three months she read every kind of music, by means of my notation, and sung at sight better than I did myself, any piece that was not too difficult. This success was convincing, but not known; any other person would have filled the journals with the detail, but with some talents for discovering useful things, I never have possessed that of setting them off to advantage.
Thus was my airy castle again overthrown; but this time I was thirty years of age, and in Paris, where it is impossible to live for a trifle. The resolution I took upon this occasion will astonish none but those by whom the first part of these memoirs has not been read with attention. I had just made great and fruitless efforts, and was in need of relaxation. Instead of sinking with despair I gave myself up quietly to my indolence and to the care of Providence; and the better to wait for its assistance with patience, I lay down a frugal plan for the slow expenditure of a few louis, which still remained in my possession, regulating the expense of my supine pleasures without retrenching it; going to the coffee-house but every other day, and to the theatre but twice a week. With respect to the expenses of girls of easy virtue, I had no retrenchment to make; never having in the whole course of my life applied so much as a farthing to that use except once, of which I shall soon have occasion to speak. The security, voluptuousness, and confidence with which I gave myself up to this indolent and solitary life, which I had not the means of continuing for three months, is one of the singularities of my life, and the oddities of my disposition. The extreme desire I had, the public should think of me was precisely what discouraged me from showing myself; and the necessity of paying visits rendered them to such a degree insupportable, that I ceased visiting the academicians and other men of letters, with whom I had cultivated an acquaintance. Marivaux, the Abbe Malby, and Fontenelle, were almost the only persons whom I sometimes went to see. To the first I showed my comedy of Narcissus. He was pleased with it, and had the goodness to make in it some improvements. Diderot, younger than these, was much about my own age. He was fond of music, and knew it theoretically; we conversed together, and he communicated to me some of his literary projects. This soon formed betwixt us a more intimate connection, which lasted fifteen years, and which probably would still exist were not I, unfortunately, and by his own fault, of the same profession with himself.
It would be impossible to imagine in what manner I employed this short and precious interval which still remained to me, before circumstances forced me to beg my bread:—in learning by memory passages from the poets which I had learned and forgotten a hundred times. Every morning at ten o'clock, I went to walk in the Luxembourg with a Virgil and a Rousseau in my pocket, and there, until the hour of dinner, I passed away the time in restoring to my memory a sacred ode or a bucolic, without being discouraged by forgetting, by the study of the morning, what I had learned the evening before. I recollected that after the defeat of Nicias at Syracuse the captive Athenians obtained a livelihood by reciting the poems of Homer. The use I made of this erudition to ward
