The verse seems to have been composed during Voltaire’s stay at Cirey, likely in September/October 1734.

The manuscript is an autograph letter featuring a decastich, with the rhyme scheme ABABCDCDDC. The poem explores the themes of creation, imitation, and authenticity/counterfeit. The author betrays his fascination with Voltaire’s creative prowess. According to T. D. N. Besterman, ‘Caussy, p. 9, makes it appear that MS1 is dated 1732, which is not the case; this note may be supposed to have been written after the publication of the Temple du goût, and of course, before Formont left Paris for Rouen.’

The manuscript is an eleven-line poem, with a rhyme scheme ABBAAACACACA, authored for the poets La Harpe and Chabanon, mildly praising their literary talent. The latter was also an actor and a playwright who had been leisuring at Ferney. The poem is a response to ‘Vers de Monsieur de La Harpe à Monsieur de Voltaire, pour le jour de la Saint-Francois’. Voltaire’s response was featured in the periodical press. Additionally, in comparison with other manuscripts, line 12 has minor discrepancies, reading ‘Qu’ils m’ont pris aussi mon’.

The collections includes: ‘Vers de Mr Fred. Hervey, et reponse de Mr. de Voltaire’, 1764, beg. ‘Dix mois Apollon’ and ‘Le soleil des Anglois’ (f.123); ‘La Tactique, par Voltaire’, beg. ‘J’etais Lundy passé’ (f.126).

In the letter dated 24 April 1775, Thomas writes that the ‘patriarch of Ferney’ [Voltaire] speaks at ease about envy, noting that ‘it is Apollo who speaks on the body of the serpent Pithon struck down at his feet. But the teeth of the monster are terrible, and not everyone has the arrows of the god. I wish you one of the arrows from his quiver. It is up to you to irritate the monster and to defeat him.’
In the letter dated 7 July 1775, Thomas writes that he was astonished to see his private letters printed in the Mercure as they are not suitable for the public eye. He quips that ‘Mr de Voltaire alone can have this right; all that escapes from his pen, can interest, and his praises become titles.’
In the letter dated 14 July 1778, Thomas deplores the circumstances of Voltaire’s funeral, and the prohibition of publicity and theatrical representation that followed his death.
In the letter dated 6 February 1779, he discusses the eulogy of Voltaire proposed by the academy, arguing that it must ‘awaken all the talents’ because ‘in celebrating him, one must speak his language, and verses worthy of him are the most beautiful homage.’

In this letter, Voltaire mentions that he has been ordered to rest in his bed, and so will begin to transcribe Mohammed during the coming days. He discusses different routes that can be used to go to Aix la Chapelle. He thanks Frederick for the “beautiful compliments” he paid Voltaire in his last letter. The letter begins and ends with a poem, assumedly written by Voltaire. He mentions some mythological characters/ideas in the poetry as well, such as Appollo and Parnassus. The letter is not signed.
Besterman suggests that this letter was written in 1742 rather than 1741 as proposed in the University of Southern California catalogue.