Online: Amazon (Recommended translation) Google Books (Free preview available). We thank Matthew Mendham who, as commentator, offered insightful remarks on that occasion. Scholars now refer to Rousseau's use of Montesquieu's depiction of the ancient republics and the virtue which they inculcated. Rousseaus view that drama might well be abolished marked a final break between the two writers. In the early 1750s, Rousseau had a string of successes. [3], Rousseau generally opposed the Enlightenment thrust that was occurring during his lifetime. Very many literate people in the eighteenth century read and responded to Rousseau, in France and elsewhere. He also attached great importance to conscience, the divine voice of the soul in man, opposing this both to the bloodless categories of rationalistic ethics and to the cold tablets of biblical authority. 74 Various scholars have touched upon aspects of one or both of these points: see Mostefai, Le citoyen de Genve, 5, 8082; Forman-Barzilai, Emergence of Contextualism in Rousseau's Political Thought, 45556, 442; Jensen, Rousseau's French Revolution, in The Challenge of Rousseau, edited by Grace and Kelly, 231, 238, 245; Rahe, Soft Despotism, 97; Michael Sonenscher, Sans-Culottes: An Eighteenth-Century Emblem in the French Revolution (Princeton, NJ, 2008), 15455. Jean-Jacques Rousseau (UK: / r u s o /, US: / r u s o / French: [ ak uso]; 28 June 1712 - 2 July 1778) was a Genevan philosopher (), writer, and composer.His political philosophy influenced the progress of the Age of Enlightenment throughout Europe, as well as aspects of the French Revolution and the development of modern political, economic, and educational thought. Rousseau Letter To D' Alembert And Writings For The Theater ( Collected Writings Vol. Rousseau's relationship to the Enlightenment was not a simple one. 54 Letter, 271. In the early 1750s, Rousseau had a string of successes. 8 Letter, 254. Quotations from d'Alembert's uvres, cited as "D'Al.," refer to the Belin edition (Paris, 1821) in five volumes.The edition of Voltaire's Correspondence is . It is Rousseau's specific recognition of the advisability of changing mores through the introduction of other mores that explains his revision of his original position on the theatre. Phaedra thus dramatises the very concerns that Montesquieu's treatise discusses at such length and in such detail, but does so in an emotionally affecting manner precisely because Racine presents Hippolytus as so undeserving of such a callous and vindictive father. For an overview of the state of the scholarship on the relation of the two thinkers, see Gabrielle Radica, Rousseau, Jean-Jacques, in Dictionnaire lectronique Montesquieu, September 2013 edition, http://dictionnaire-montesquieu.ens-lyon.fr/index.php?id=436 [accessed 12 June 2014]. Rousseau's depictions of the theatre as well as his discussions of the role of women in both French and English society reveal that the Letter bears a striking resemblance to, and, in fact, appears to be a response to, aspects of Montesquieu's thought. 58 Marshall, Rousseau and the State of the Theater, in Rousseau: Critical Assessments, edited by Scott, IV, 13940. See also Bellhouse, Femininity & Commerce in the Eighteenth Century, 29294; Schaub, Erotic Liberalism, 12122. For example, he writes: les Hommes donnent trop dans la Bagatelle & ne sont pas asss Hommes, les femmes ont trop de Hardiesse & ne sont pas asss Femmes. Though the actor is not necessarily malevolent with his talents of deception, Rousseau goes on, the seductive, manipulative nature of acting could potentially be used by actors to do harm in society outside of the theatre. He himself asserted in the Confessions that he was led to write the book by a desire for loving, which I had never been able to satisfy and by which I felt myself devoured. Saint-Preuxs experience of love forbidden by the laws of class reflects Rousseaus own experience; and yet it cannot be said that The New Eloise is an attack on those laws, which seem, on the contrary, to be given the status almost of laws of nature. Catherine Larrre notes that although Montesquieu grants that the ancient republics needed to restrict the female presence in the public sphere so as to preserve their mores, in modernity, and especially in monarchies, feminine tastes are the spring of the commercial activity that results in a thriving public sphere: the positive effects of commerce are global ones, however much it turns individuals to self-interest, depriving them of virtue; see Catherine Larrre, Montesquieu on Economics and Commerce, in Montesquieu's Science of Politics, edited by David W. Carrithers, Michael A. Mosher, and Paul A. Rahe (Lanham, MD, 2001], 33574 (347, cf. She returns his love and yields to his advances, but the difference between their classes makes marriage between them impossible. This is a civil law, Montesquieu proclaims pointedly, that punishes natural defense.Footnote39 After asserting that natural defense demands that the accused be confronted by witnesses in a criminal proceeding, the chapters go on to provide examples of how civil laws can interfere with familial relations. In such a case, theatre is useful [] for covering the ugliness of vice with the polish of forms; in a word, for preventing bad morals from degenerating into brigandage.Footnote88 In speaking somewhat sarcastically about the positive role of theatre in such a corrupt society, Rousseau reveals that he would not recommend the proscription of the theatre in Paris and thus he is not such a one as to venture to constrain its women, make laws to correct their mores, and limit their luxury.Footnote89 Here, Rousseau acknowledges that theatre may, in fact, at least prevent what he sees as the debaucheries of Parisian society. 3 Rousseau, Correspondance gnrale, ed. Rousseaus attack on the theater proved to be an important turning point in his career as he decisively broke withother Enlightenment thinkers over questions of religion, gender, and contemporary social culture. Yet in the Letter his encomia cross from enthusiastic to the fervid. For example, Phaedra scorns herself for her incestuous love, but is unable to resist it. In making this case in Letter to d'Alembert, Rousseau engages Montesquieu's thought by confirming some aspects of his predecessor's reflections while challenging others, frequently adopting Montesquieu's very language in order to counter the trends his predecessor's work might promote. In the Letter, Rousseau rejected the traditional notion of male politicians being responsible for moral reform, and thought it was women's responsibility. Letter of M. d'Alembert to M. J. J. Rousseau ; "Response to the anonymous letter written by members of the legal profession" ; Letter from Julien-David Leroy to Rousseau ; From Rousseau to Leroy. The basic argument of the book, as Rousseau himself expressed it, is that vice and error, which are alien to a childs original nature, are introduced by external agencies, so that the work of a tutor must always be directed to counteracting those forces by manipulating pressures that will work with nature and not against it. GREAT ROUSSEAU Letter to M. d'Alembert on the Theatre}.-}.Rousseau, Citizen ofGeneva TO M. d'A1embert, of the French Academy, The Royal Academy of Sci ences ofParis, the Prussian Academy, the Royal Society ofLondon, the Royal Academy of Literature of Sweden, and the Institute of Bologna; On his article Geneva in the seventh volume of fEncyclopedie and The work is famous for displaying Rousseau's charismatic rhetoric and digressive tendencies, all with his personal experience woven into the text. Rousseau describes them as scandalous, hedonistic, and compares them to jesters, who were more blatantly indecent and obscene. Mostefai quotes this letter; see Mostefai, Le citoyen de Genve, 41. They eventually became lovers, and des Warens persuaded him to convert to Catholicism. You may cancel your subscription on your Subscription and Billing page or contact Customer Support at custserv@bn.com. This is an open access article distributed under the terms of the Creative Commons CC BY license, which permits unrestricted use, distribution, reproduction in any medium, provided the original work is properly cited. [4], If a theatre is established it will change the maxims and prejudices of Geneva, for better or worse, and the best way to deal with this is simply prevention, Rousseau argues. In October of 1758,Rousseau published theLetter to dAlembertto refuteJean dAlemberts suggestion that Geneva establish a public theater. Your subscription will continue automatically once the free trial period is over. Believing that Thrse was the only person he could rely on, he finally married her in 1768, when he was 56 years old. Rahe broaches the possibility that Rousseau's deep reflection on Montesquieu's Spirit, which his work for the Dupins afforded him, was the catalyst for Rousseau's illumination that occurred on the road to Vincennes when he was travelling to visit his imprisoned friend Denis Diderot; see Rahe, Soft Despotism, 7377. The novel was clearly inspired by Rousseaus own curious relationshipat once passionate and platonicwith Sophie dHoudetot, a noblewoman who lived near him at Montmorency. The French government ordered that Rousseau be arrested, so he fled to Neuchatel in Switzerland. In this different context religion plays a different role. When the hospitality of Mme dpinay proved to entail much the same. The key historical context of Discourse on Inequalitywas the complex phenomenon known as the Enlightenment. The relation between art and society is . Rousseau received thousands . Towards the end of the afternoon, everyone assembles and goes to perform in a sort of show [une espce de scne], called, so I have heard, a play [comdie]. Some six years later Saint-Preux returns from his travels and is engaged as tutor to the Wolmar children. Discourse on Inequality was completed in May 1754, and published in 1755. However, Muralt's focus is on the inverted character of each sex, which results in a society that replaces good sense and simplicity (masculine characteristics) with wit and beauty (feminine characteristics); see Muralt, Lettres, 246, 260. Did you know that with a free Taylor & Francis Online account you can gain access to the following benefits? [3], D'Alembert himself was moved by the response, even intimidated. 0:00. Wed love to have you back! In 1758, Jean Le Rond d'Alembert proposed the public establishment of a theater in Genevaand Jean-Jacques Rousseau vigorously objected. On this topic, see Mosher, Judgmental Gaze of European Women, 25, 3336. was "ironic" and even "illogical" given Rousseau's otherwise egalitarian principles; indeed, if taken to their logical conclusion, Rousseau's ideas on women made "utter non-sense" of his whole political philosophy. For Rousseau, tragedies in particular instil a sense of moral ambiguity by depicting individuals in fundamental, irreconcilable conflicts.Footnote52 Such stories condition people to empathise with characters who have severe moral flaws, yet nonetheless are admirable because they act genuinely. As these two leading figures of the Enlightenment argue about censorship, popular versus high culture, and the proper role . Among them, Le Devin du village was the most popular French opera of the eighteenth . de Montesquieu rightly calls a fine law the one which excludes from public office the citizens who fail to pay their own debts or those of [their] fathers after their death.Footnote5, What d'Alembert intended as an encomium, Jean-Jacques Rousseau regarded as an outrage.Footnote6 In 1758 Rousseau penned an open letter to d'Alembert expressing his indignation at the essay's claims regarding his beloved birthplace. Rousseau's dismay arose largely from d'Alembert's proposal that theatre be established in Geneva as it would The legislator's task is to make sure a society's women are in order. 60 Spirit, 19.6, 311. While he concedes that the exchanges and interactions which occur when men and women congregate in the theatre are often artificial and result in theatrical behaviour far from the stage, he refuses to criticise such a form of sociability. Sometimes it can end up there. He argues that the presence and authority of women in public spaces corrupts the male youth, turning them effeminate and void of patriotic passion. By closing this message, you are consenting to our use of cookies. Emphasis added. Thanks for creating a SparkNotes account! Their exchange, collected in volume ten of this. Prof. Mostefai will present a newly completed critical edition of Rousseau's Letter to d'Alembert for the new complete edition of Rousseau's work currently in preparation in France (Garnier). It was the first of Rousseau's writings to be translated into Russian. To learn about our use of cookies and how you can manage your cookie settings, please see our Cookie Policy. Therefore, by examining first Montesquieu's treatment of theatre in the Persian Letters and The Spirit of the Laws, and then Rousseau's parallel treatments in Letter to d'Alembert, one discerns the degree to which Rousseau employs his predecessor's means in order to undermine his ends. Women of Geneva (from the Letter to D'Alembert). For example, when Aricia, Hippolytus's beloved, begs him to tell his father that Phaedra had deceived him, he responds: What more should I/ Have told him? In other words, people have to share the concerns with legislators if a state is to be successful. Eloge de D'Alembert mais Rousseau a quand mme des devoirs. Rousseau continues to say that actors coming to the town of Geneva will be indifferent to the town's morality, and will quickly corrupt it. You'll also receive an email with the link. Montesquieu takes a particular interest in such judicial proceedings throughout The Spirit of the Laws, declaring that the knowledge already acquired in some countries and yet to be acquired in others, concerning the surest rules one can observe in criminal judgments, is of more concern to mankind than anything else in the world.Footnote32 Criminal judgements can bring down the full power of the state against individuals, depriving them of their property, liberty, homeland, or very lives.Footnote33 Given this import, Montesquieu advises gentleness in punishing, declaring that people must not be led to extremes; one should manage the means that nature gives us to guide them and explaining that nature [] has given men shame for their scourge. The place seems to breed affection.Footnote20, Nevertheless, Montesquieu's description of these theatrical relations of the French in the Persian Letters, while in part satirical, bears an important resemblance to his description and praise of a people who possess a sociable humour in Book 19 of The Spirit of the Laws. He first tries to sway Geneva away from the idea of theatre by suggesting that it is not economically feasible, and that the population is too low to support a theatre. Letter 28 humorously depicts Rica conflating the actors and the audience of the scene he describes, thus confusing the spectacle on the stage with the spectacle of Parisian social life: Yesterday I saw something rather odd [assez singulire], although in Paris it happens every day. 65 Letter, 311 (5: 74). As soon as they are elected, it is a slave, it is nothing; see Rousseau, Social Contract, in Collected Writings, IV, 3.15, 192. And indeed, Rousseau does seem to have recovered his peace of mind in his last years, when he was once again afforded refuge on the estates of great French noblemen, first the Prince de Conti and then the Marquis de Girardin, in whose park at Ermenonville he died. [4], Rousseau continues to say that though Greek and Roman society functioned well with tragic and violent content in theatres because it was part of the traditions specific to the time and place, putting these plays in a French context would be far more dangerous. Therefore, the substantial difference in their perspectives on theatre in France is that whereas Montesquieu identifies theatre as improving French morals and manners, Rousseau simply maintains that it can slow the rate of further debauchery. He considered women, by virtue of their nature, to be the primary agents of moral reform, and that the success of the state depends on the harmony within private, domestic life. Writing to Gilbert Imlay from France in 1784, she contemplated buying their daughter a sash "to honour J. J. Rousseau and why not?for I have always been half in love with him." 1 Half in love, indeed - and half infuriated. It develops the Romanticism that had already informed his writings on music and perhaps did more than any other single work of literature to influence the spirit of its age. From 174041, he worked as a private tutor for Monsieur de Mably, brother of the famous writer, the Abbe de Mably. Rousseau was the least academic of modern philosophers and in many ways was the most influential. 20 Montesquieu, Persian Letters, letter 28, 79. The particular play that Montesquieu selects for praise in this regard is Racine's Phaedra, which enacts many of Montesquieu's teachings and elicits the very sentiments he finds valuable. 2 Jean-Baptiste le Rond d'Alembert, Geneva, in Jean-Jacques Rousseau, Letter to d'Alembert and Writings for the Theater [hereafter Letter], in The Collected Writings of Rousseau, edited by Roger D. Masters and Christopher Kelly, 13 vols (Hanover, NH, 19902010), X, 241. Montesquieu's captivating depictions of the sociability that the French theatre can engender was surely an obstacle for Rousseau's opposition to its influence in Geneva. 20% 90 Cf. When the hospitality of Mme dpinay proved to entail much the same social round as that of Paris, Rousseau retreated to a nearby cottage, called Montlouis, under the protection of the Marchal de Luxembourg. 50 Kapossy, Iselin contra Rousseau, 39. The New Eloise, being a novel, escaped the censorship to which the other two works were subject; indeed, of all his books it proved to be the most widely read and the most universally praised in his lifetime. In his Notes on England, Montesquieu somewhat comically speaks from personal experience: The women here are reserved, because Englishmen see little of them. He considered women, by virtue of their nature, to be the primary agents of moral reform, and that the success of the state depends on the harmony within private, domestic life. Jean Jacques Rousseau (n. 28 iunie 1712, Geneva, Republica Geneva (d) - d. 2 iulie 1778, Ermenonville, Picardia, Frana) a fost un filozof elveian, scriitor i compozitor, unul dintre cei mai ilutri gnditori ai Iluminismului.A influenat hotrtor, alturi de Voltaire i Diderot, spiritul revoluionar, principiile de drept i contiina social a epocii; ideile lui se . Rousseau rarely acknowledges the extent to which Montesquieu's writings influenced his political and moral thought, but study of his Letter reveals the great degree to which Rousseau builds his case from and in response to Montesquieu's observations and ideas. Of course, Montesquieu does not broach the specific issue that Rousseau considersthat is, the spread of the theatre in modern times into the small, virtuous mountainside republic. 16 Spirit, 4.8, 41. After formally renouncing his Genevan citizenship in 1763, Rousseau became a fugitive, spending the rest of his life moving from one refuge to another. 35 Theseus is the only character in the play to use the word tratre, which occurs on six different occasions in the work, all concentrated in the first and second scenes of Act 4 and all applied to Hippolytus. Rousseau's letter was widely known in Europe. Continue to start your free trial. Evidence suggests that the feminist consensus on Jean-Jacques Rousseau "misogyny" is breaking down.New studies are emerging that bring to light the many sympathetic portrayals of women in Rousseau's works and the important role he ascribed to women within the family. Aspects of Rousseau's ideas from Discourse on Inequality, particularly his idea of a system of increasing needs that govern modern society are found in Hegel's account of civil society, and perhaps in Marx's idea of alienated labour. His First Discourse, on the Arts and Sciences, won first prize in a competition run by the Dijon Academy, and he had an opera and a play performed to great acclaim. Rousseau also describes the weather and geography of Geneva, and argues that it is not particularly conducive to supporting a theatre. Dufour (Paris, 1924), i, 379-380,384.Further quotations from this work will be cited as "R." and will refer to this edition. 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