Ah, my God, delightful Thalia, you only needed to say and I couldn’t be happier—you want four lines of verse for the ending, and quick, quick, here they are.

No, they’re not here. You’ll find them at the end of my letter.

Far from perfect, I know, but still, you haven’t had to wait long for them; and then, delightful Thalia, you’re allowed to throw them in the fire …

Actually I have some hopes of this piece by Gresset. When with your artistry you spread a few comic touches over this cold Gresset, it will be greatly to his benefit. Given your touch, Gresset may succeed, but if he fails I give Gresset up completely and it will be all Gresset’s fault.

But when you do me the honour of writing to me, you never tell me we’ve played such and such a piece, or that our theatre is doing well. You tell me nothing about the republic of drama; do you consider me as a limb severed from the body?

While I’ve been writing to you, beautiful Thalia, and thinking that it’s you whom I address, I have to admit that the verses I just thought up at your request are not worth the devil. So here’s my second version:

MADAME DE PORKYBACK, to Pridefool

Oh, well said—in the end I’ll make him mine,
My president; I’ll bring him into line
For you. Come on, you pedant, get us wed:
Just get me married and we’ll shake the bed.

The above might be a bit limp but you be the judge; you’re the expert on what makes people laugh. I have no idea myself and don’t consider myself in the least funny …

Thalia, Thalia, if I were in Paris I’d work for you alone. You’d turn me into an amphibious animal, comic for six months of the year and tragic the other six. The trouble is, the world contains a devil called Newton who has discovered exactly how much the sun weighs and defined the colours of the rays that constitute light. This strange man has my head in a whirl; please write to me and bring me back to the muses.

I’m tenderly devoted to you for ever; don’t forget me …

I’m at your feet.

The painting by Nattier depicts Thalia, the muse of drama.