Charles PALISSOT DE MONTENOY (1730–1814). L.A., Paris, Monday morning, September 20 [1756?], to Stanislas Champein; 3 pages, in-4, addressed.

Palissot sends his collaborator revisions for the end of the first act of the play *The Barber of Baghdad* (1758). This is a scene between Arlequin and the Barber, following Almanzor’s departure, after which Palissot introduces a chorus of slaves: “Let us sing, dance, and have fun / Folly is a necessary good for man! / Let us sing, dance, and have fun”; and the Barber continues: “Even at the cost of the harshest slavery,/ Beloved freedom, we send you our best wishes./ There is no mortal who does not pay homage to you,/ And even the most wretched/ are comforted by your image.” And Palissot concludes: “That’s a rather brilliant end to the act. What do you think?” This scene does not appear in the published play.
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Lot no. 387

Charles PALISSOT DE MONTENOY (1730–1814). L.A., Paris, Monday morning, September 20 [1756?], to Stanislas Champein; 3 pages, in-4, addressed. Palissot sends his collaborator revisions for the end of the first act of the play *The Barber of Baghdad* (1758). This is a scene between Arlequin and the Barber, following Almanzor’s departure, after which Palissot introduces a chorus of slaves: “Let us sing, dance, and have fun / Folly is a necessary good for man! / Let us sing, dance, and have fun”; and the Barber continues: “Even at the cost of the harshest slavery,/ Beloved freedom, we send you our best wishes./ There is no mortal who does not pay homage to you,/ And even the most wretched/ are comforted by your image.” And Palissot concludes: “That’s a rather brilliant end to the act. What do you think?” This scene does not appear in the published play.

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Charles PALISSOT DE MONTENOY (1730–1814). L.A., Paris, Monday morning, September 20 [1756?], to Stanislas Champein; 3 pages, in-4, addressed. Palissot sends his collaborator revisions for the end of the first act of the play *The Barber of Baghdad* (1758). This is a scene between Arlequin and the Barber, following Almanzor’s departure, after which Palissot introduces a chorus of slaves: “Let us sing, dance, and have fun / Folly is a necessary good for man! / Let us sing, dance, and have fun”; and the Barber continues: “Even at the cost of the harshest slavery,/ Beloved freedom, we send you our best wishes./ There is no mortal who does not pay homage to you,/ And even the most wretched/ are comforted by your image.” And Palissot concludes: “That’s a rather brilliant end to the act. What do you think?” This scene does not appear in the published play.
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