But of all who entered the enchanted garden in the inebriation of delight, and quitted it in agonies of rage and shame, the most remarkable was Voltaire. Many circumstances had made him desirous of finding a home at a distance from his country. His fame had raised him up enemies. His sensibility gave them a formidable advantage over him. They were, indeed, contemptible assailants. Of all that they wrote against him, nothing has survived except what he has himself preserved. But the constitution of his mind resembled the constitution of those bodies in which the slightest scratch of a bramble, or the bite of a gnat, never fails to fester. Though his reputation was rather raised than lowered by the abuse of such writers as Freron and Desfontaines, though the vengeance which he took on Freron and Desfontaines was such, that scourging, branding, pillorying, would have been a trifle to it, there is reason to believe that they gave him far more pain than he ever gave them. Though he enjoyed during his own lifetime the reputation of a classic, though he was extolled by his contemporaries above all poets, philosophers, and historians, though his works were read with as much delight and admiration at Moscow and Westminster, at Florence and Stockholm, as at Paris itself, he was yet tormented by that restless jealousy which should seem to belong only to minds burning with the desire of fame, and yet conscious of impotence. To men of letters who could by no possibility be his rivals, he was, if they behaved well to him, not merely just, not merely courteous, but often a hearty friend and a munificent benefactor. But to every writer who rose to a celebrity approaching his own, he became either a disguised or an avowed enemy. He slily depreciated Montesquieu and Buffon. He publicly, and with violent outrage, made war on Rousseau. Nor had he the heart of hiding his feelings under the semblance of good humour or of contempt. With all his great talents, and all his long experience of the world, he had no more self-command than a petted child, or a hysterical woman. Whenever he was mortified, he exhausted the whole rhetoric of anger and sorrow to express his mortification. His torrents of bitter words, his stamping and cursing, his grimaces and his tears of rage, were a rich feast to those abject natures, whose delight is in the agonies of powerful spirits and in the abasement of immortal names. These creatures had now found out a way of galling him to the very quick. In one walk, at least, it had been admitted by envy itself that he was without a living competitor. Since Racine had been laid among the great men whose dust made the holy precinct of Port-Royal holier, no tragic poet had appeared who could contest the palm with the author of Zaire, of Alzire, and of Merope. At length a rival was announced. Old Crebillon, who, many years before, had obtained some theatrical success, and who had long been forgotten, came forth from his garret in one of the meanest lanes near the Rue St. Antoine, and was welcomed by the acclamations of envious men of letters, and of a capricious populace. A thing called Catiline, which he had written in his retirement, was acted with boundless applause. Of this execrable piece it is sufficient to say, that the plot turns on a love affair, carried on in all the forms of Scudery, between Catiline, whose confidant is the Praetor Lentulus, and Tullia, the daughter of Cicero. The theatre resounded with acclamations. The King pensioned the successful poet; and the coffee-houses pronounced that Voltaire was a clever man, but that the real tragic inspiration, the celestial fire which had glowed in Corneille and Racine, was to be found in Crebillon alone.