49 Bla Kapossy, Iselin contra Rousseau: Sociable Patriotism and the History of Mankind (Basel, 2006), 68. Jean-Jacques Rousseau was born in Geneva on June 28, 1712; his mother died on July 7. In the decadence of France, Rousseau claims the most esteemed woman is the one who is most social, most talked about, judgmental and authoritative. Your subscription will continue automatically once the free trial period is over. mile is a book that seems to appeal alternately to the republican ethic of The Social Contract and the aristocratic ethic of The New Eloise. Rousseaus essay critiqued the immorality of the Parisian theater and argued that a theater in Geneva would have a similarly corruptive effect on their society. 32 Spirit, 12.2, 188. Allan Bloom makes the claim that Voltaire persuaded d'Alembert [] to insert a passage (which Rousseau insists Voltaire himself wrote) in an otherwise laudatory presentation suggesting that Geneva should have a theatre; see Allan Bloom, Introduction, Jean-Jacques Rousseau, Politics and the Arts: Letter to M. D'Alembert on the Theater, translated by Allan Bloom (New York, NY, 1960), xi-xxxiv (xv). Rousseau and D'Alembert managed to maintain their friendship after the response, though somewhat at a distance. 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. 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. 51 Muralt's name does not appear in indexes of Montesquieu's works, including the Penses; neither does it appear in Catalogue de la bibliothque de Montesquieu la Brede, edited by Louis Desgraves (Geneva, 1954) nor in Robert Shackleton, Montesquieu: A Critical Biography (Oxford, 1961). His reforms revolutionized taste, first in music, then in the other arts. Rousseau's letter can help to understand the distinction between lived-in culture and theoretical political order. [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. He explains that he terms prejudices not what makes one unaware of certain things but what makes one unaware of oneself.Footnote44 Through our feelingsthat is, through emotional responses to the actions on stage, the theatre reminds people that despite their integration into societies sustained by a multiplicity of political, civil, and religious codes, a natural human core still remains. Register a free Taylor & Francis Online account today to boost your research and gain these benefits: Spectacles and Sociability: Rousseau's Response in His, Department of Political Science, Tufts University, Medford, MA, USA, Tufts University, Medford, MA, USA and New England Conservatory of Music, Boston, MA, USA. [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. 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. [3], In post-modern thinking, there has been renewed interest and appreciation for Rousseau's Letter to M. D'Alembert on Spectacles, with the acceptance since Rousseau's time of utopian and primitivist elements in political thought. When, in 1728, Rousseau found himself locked out of Geneva at night, he decided to travel abroad to seek his fortune. It is not hard to excuse Phaedra, who is incestuous and spills innocent blood.Footnote53. by Alan Bloom (Ithaca: Cornell University Press, 1968) [First published by Agora Editions, 1960]. Listen on ); Episode details. See also Bellhouse, Femininity & Commerce in the Eighteenth Century, 29294; Schaub, Erotic Liberalism, 12122. [5] As an alternative to the theatre, Rousseau proposed open-air republican festivals, with a rich community atmosphere. Down below there is a crowd of people standing up, who make fun of those who are performing above, and they in turn laugh at those below.Footnote18, Eventually everyone goes off to a room where they act a special sort of play: it begins with bows and continues with embraces. Corrections? 1 Ronald Grimsley, Jean d'Alembert (London, 1963), 5277. When the hospitality of Mme dpinay proved to entail much the same. At this time, Rousseau wants to serve that truth that contributes to the "public good," that is to say, to all individuals. It greatly deceives itself; it is free only during the election of the members of Parliament. His thought marked the end of the European Enlightenment (the "Age of Reason"). In this context, he declares: Men, rascals when taken one by one, are very honest as a whole; they love morality; and if I were not considering such a serious subject, I would say that this is remarkably clear in the theaters; one is sure to please people by the feelings that morality professes, and one is sure to offend them by those that it disapproves.Footnote29. In October of 1758, Rousseau published the Letter to d'Alembert to refute Jean d'Alembert's suggestion that Geneva establish a public theater. Rousseau was particularly opposed to the adoption of French mores in Geneva; see Whatmore, Against War and Empire, 50, 59. SparkNotes PLUS His death caused a great outpouring of sentiment amongst his many readers and admirers. While Rousseau and Montesquieu dispute the goodness of theatre and the desirability of women's active role in society, they agree on something much more fundamental. You'll be billed after your free trial ends. Julie was published in 1761 and soon becomes one of the best-selling works of the century. Rousseau could never entertain doubts about God's existence or about the immortality of the soul. See, for example, Clifford Orwin, Rousseau's Socratism, The Journal of Politics, 60 (1998), 17487 (180); J. S. Maloy, The Very Order of Things: Rousseau's Tutorial Republicanism, Polity, 37 (2005), 23561 (24142); Eric Nelson, The Greek Tradition in Republican Thought (Cambridge, 2004). Rousseau's dismay arose largely from d'Alembert's proposal that theatre be established in Geneva as it would form the taste of the citizens and would give them a fineness of tact, [and] a delicacy of sentiments, thus benefiting the already admirable city.Footnote7 In his Lettre d'Alembert sur les spectacles, Rousseau condemns this as the most dangerous advice that could be given us.Footnote8 Invoking his status as a citizen of that city, he argues that the theatre would only serve to corrupt the virtuous mores and manners of Geneva's citizens. The volume also contains Rousseau's own writings for the theater, including plays and libretti for operas, most of which have never been translated into English. However, it is important to consider the diverse concerns of the Enlightenment as a background to Rousseau's work. Nevertheless, Montesquieu's pleasing depiction of polite French society and his praise of theatre's support for natural morality could very well abet that transmission which Rousseau resists. 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. In October of 1758,Rousseau published theLetter to dAlembertto refuteJean dAlemberts suggestion that Geneva establish a public theater. For a more comprehensive discussion of Rousseau's relationship to Muralt, see Kapossy, Iselin contra Rousseau, 3976; Charles Gould, Introduction, in Muralt, Lettres, 997 (8795). [1], Rousseau believed that public morals could be created not by laws or punishment, but simply by women, who have access to their senses and largely control the way men think. In a text directed toward representation, he thus makes semblance, imitation, a category worthy of moral judgement: that is the . Lettre d'Alembert de Rousseau. dAlembert sur les spectacles (1758; Letter to Monsieur dAlembert on the Theatre) appeared in print, Rousseau had already left Paris to pursue a life closer to nature on the country estate of his friend Mme dpinay near Montmorency. Rousseau also describes the weather and geography of Geneva, and argues that it is not particularly conducive to supporting a theatre. Summary. We wish to acknowledge the generous support of the Faculty Research and Awards Committee, the Undergraduate Research Fund, and the Department of Political Science at Tufts for the award of grants in support of this project. With Racine's Phaedra in mind, Rousseau denies that the theatre can teach morality: What do we learn from Phdre and pide other than that man is not free and that Heaven punishes him for crimes that it makes him commit? The French government ordered that Rousseau be arrested, so he fled to Neuchatel in Switzerland. Mostefai quotes this letter; see Mostefai, Le citoyen de Genve, 41. After naming these passions in particular, Montesquieu immediately observes: Those who write on morality for us and so strongly proscribe the theaters make us feel sufficiently the power of music on our souls.Footnote16 Thus, Montesquieu here testifies to the power that theatre has over the feelings, and hence the actions, of human beings. 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. For example, Rousseau elaborates on the moral results of Muralt's claim that theatre perverts the relationship of things. 9 Letter, 27174, 35960. to start your free trial of SparkNotes Plus. Later Rousseau states that [t]he necessary relations between morals and government have been so well expounded in Spirit that one can do no better than have recourse to this work to study these relations; see Jean-Jacques Rousseau, Emile or On Education, translated by Allan Bloom (New York, NY, 1979, Book 5, 458, 468. [4], The trend of the Enlightenment among philosophers, since Descartes and Spinoza, was to move towards a society with minimized restrictions. He met Madame des Warens, a noted Catholic lady of leisure, in Savoy. Find many great new & used options and get the best deals for Music and the French Enlightenment: Rameau and the Philosophes in Dialogue by Cy at the best online prices at eBay! Online: Amazon (Recommended translation) Google Books (Free preview available). In 1758, Jean Le Rond d'Alembert proposed the public establishment of a theatre in Geneva - and Jean-Jacques Rousseau vigorously objected. 66 For example: The English people think it is free. Rousseau Letter To D' Alembert And Writings For The Theater ( Collected Writings Vol. Their exchange, collected in volume ten of this acclaimed series, offers a classic debate over the political importance of the arts. 20% As David Marshall points out, Rousseau explores throughout his works, and most explicitly in the Letter, theatrical relations enacted outside as well as inside the playhouse by people who face each other as actors and spectators. Spectacles and Sociability: Rousseau's R . 2. Although Montesquieu nowhere explicitly refers to France in this discussion, he reveals its identity if not through his depiction of a society that exults in a striking une joie dans la vivre, where men and women mingle together freely, then certainly through his use of the first-person plural.Footnote23 Nature, Montesquieu says, has given us a vivacity capable of offending and one apt to make us inconsiderate. 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. 16 Spirit, 4.8, 41. He felt, moreover, a strong emotional drive toward the worship of God, whose presence he felt most forcefully in nature, especially in mountains and forests untouched by human hands. When Geneva was so threatened with the possibility of embracing such French mores, Rousseau engaged directly with the very authority whom d'Alembert invokes. Continue to start your free trial. They eventually became lovers, and des Warens persuaded him to convert to Catholicism. Rousseau opposed marriage without love (i.e. 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. The relation between art and society is . 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. His father, Isaac Rousseau, was a watchmaker. In a personal letter, Rousseau wrote that he was not ignorant that Voltaire had played a part in d'Alembert's entry, and indeed, he dedicates a substantial portion of the Letter to critiquing Voltaire's play, Mahomet.Footnote9 Thus, many scholars read his open letter to d'Alembert as a simultaneous response to Voltaire.Footnote10. Subscribe now. [2], Rousseau believed that the theatre took people away from the community, and replaced any patriotic, unifying spirit with artificial emotions. $24.99 The key historical context of Discourse on Inequalitywas the complex phenomenon known as the Enlightenment. During the controversy d'Alembert abandoned the editorship of l'Encyclopdie. On this topic, see Mosher, Judgmental Gaze of European Women, 25, 3336. The Enlightenment was a diverse movement, represented in France by writers such as Voltaire, Diderot and the authors of the Encyclopdie. . Summary. 34546). Moreover, the double entendre he deploys here should not be overlooked, as he also illustrates that men's social interactions with women unleash the power of commercial exchange: Fashions are an important subject; as one allows one's spirit to become frivolous, one constantly increases the branches of commerce [on augmente sans cesse les branches de son commerce].Footnote25 Thus, both women and commerce foster the communicability and nurture the adaptability of a given people.Footnote26. Instead of a civil religion, Rousseau here outlines a personal religion, which proves to be a kind of simplified Christianity, involving neither revelation nor the familiar dogmas of the church. [5] To have a prosperous state, Rousseau believed, people needed to work together and harmoniously. 8 Letter, 254. Recommended translation: Politics and the Arts:Letter to M. D'Alembert on the Theatre(Agora Paperback Edition);trans. An example is how the Letter itself is open and expressive in style, while the content of the Letter is about this openness. Similarly, Susan Okin notes that Rousseau held to his ''reactionary'' ideas 12 Forman-Barzilai, Emergence of Contextualism in Rousseau, 438, 442, 448, 45354; Pamela K. Jensen, Rousseau's French Revolution, in The Challenge of Rousseau, edited by Eve Grace and Christopher Kelly (Cambridge, 2012), 23052 (231, 238, 245); Mostefai, Le citoyen de Genve, 5, 8082, 90. Because Montesquieu understands women as the judges and bestowers of a man's honour, when women are placed in the public sphere, men adopt mannerisms and behaviour to win their approval.Footnote63 Thus, women enhance the theatricality of public life, putting men (and themselves) on display for each other. Rahe explains that it is not simply the case that the two thinkers were opposedtheir thought is much more entwined: For the arguments that Rousseau deployed against enlightenment and commercial society and those that he presented on behalf of ancient Sparta [] were for the most part borrowed from Montesquieu's Spirit of Laws; see Rahe, Soft Despotism, 77. [1] He praised Geneva for its moral women, and its ordered familial sphere, while criticizing the women of the salons in France for making men womanly and cowardly. marriage for financial reasons, order, lust, convenience). Free trial is available to new customers only. The Letter on Providence aroused Voltaire's great interest. Jean le Rond d'Alembert's article on Geneva ignited much controversy when it was published in 1757 in the seventh volume of l'Encyclopdie.Footnote1 The article, which names Geneva as one of the most flourishing cities of Europe, served as a vehicle by which d'Alembert endeavoured to promote not only a tolerant and enlightened Christianity, but also the establishment of a theatre in the otherwise stern Calvinist city.Footnote2 D'Alembert enlists by name the authority of both Voltaire and Montesquieu to aid him in his treatment of the small, Protestant republic. Remarkably, in his Letter to d'Alembert, Rousseau himself transmits this same assessment of the women in England, employing the very adjective that Montesquieu applies to them: English women are gentle and timid [timides].Footnote65 Nevertheless, where Montesquieu perceives this as having lamentable consequences for the English, Rousseau finds admirable results. One of Rousseau's pivotal points in the Letter is that customs, opinions and priorities which are common and well-accepted among all citizens should be those that make accepting laws in favour of respect, equality and harmony a pleasurable and natural experience. If it did not exempt him from persecution, at least it ensured that his persecution was observed, and admiring femmes du monde intervened from time to time to help him so that Rousseau was never, unlike Voltaire and Diderot, actually imprisoned. The members of the Wolmar household are depicted as finding happiness in living according to an aristocratic ideal. Jean-Jacques Rousseau's passionate attack on inequalities political, social, and economic, his critique of reigning governments in the name of democracy, and his questioning of the authority of science or philosophy in defense of moral virtue shook the century of Enlightenment and the aftershocks are still felt today. In addition, Montesquieu's treatment of the theatre seems to have been a fitting topic for Rousseau's engagement. Earlier in the same book of Emile, Rousseau provides a quotation from the Persian Letters, but names neither the work nor the author; see Rousseau, Emile, Book 5, 451. Use up and down arrows to review and enter to select. 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. Other scholars, who focus more intently on the Letter to d'Alembert, discern a crucial but limited influence of Montesquieu in two of Rousseau's teachings there: first, that some practices, including the theatre, can be appropriate and even wholesome for some societies, while noxious for others; and second, that mores are important in determining what types of laws and institutions a given people can tolerate and maintain. See also Coleman, Rousseau's Political Imagination, 6466; David Marshall, Rousseau and the State of Theater, in Rousseau: Critical Assessments, edited by Scott, IV, 13970 (141, 144, 148); Mostefai, Le citoyen de Genve, 82. (one code per order). 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. Rousseau considers this play to be a work of genius, but it is, of course, morally backwards. At each side you can see, in little compartments called boxes, men and women acting out scenes together [des hommes et des femmes qui jouent ensemble des scnes muettes ]. The little community, dominated by Julie, illustrates one of Rousseaus political principles: that while men should rule the world in public life, women should rule men in private life. In the Letter, Rousseau rejected the traditional notion of male politicians being responsible for moral reform, and thought it was women's responsibility. [7] With impartiality, he decided it fit for publication (he himself at one time worked as a censor). What d'Alembert intended as an encomium, Jean-Jacques Rousseau regarded as an outrage.6 In 1758 Rousseau penned an open letter to d'Alembert expressing his indignation at the essay's claims regarding his beloved birthplace. Their exchange, collected in volume ten of this. Ultimately, Rousseau seeks this engagement with Montesquieu's images, claims, and teachings as a result of his political goal of preserving the mores and customs of Geneva. The main letter is divided into three general areas: "A) The Theatre in Relation to What Is Performed in It"; "B) The Theatre Considered in Relation to the Stage and Actors"; and "C) The Establishment of a Theatre in Geneva". 4. For example, in praising the exclusion of women from society, which Geneva with its lack of a theatre exhibits, Rousseau adduces the English, depicting them in terms very similar to Montesquieu's portrait of them in Book 19 of The Spirit of the Laws.Footnote17 Yet whereas Montesquieu's depiction of the dour and grave English is critical, Rousseau's is explicitly laudatory. Here is a lecture on Rousseau's Letter to D'Alembert. She returns his love and yields to his advances, but the difference between their classes makes marriage between them impossible. We're sorry, SparkNotes Plus isn't available in your country. Eloge de D'Alembert mais Rousseau a quand mme des devoirs. In subjecting the type of sociability that a theatre engenders to finely-grained analysis, Rousseau offers examples and language remarkably akin to those that Montesquieu employs in The Spirit of the Laws, yet he uses Montesquieu's teaching in order to oppose some of the very assertions his predecessor makes. 3 Rousseau, Correspondance gnrale, ed. Rather, he offers reasons to esteem a society in which individuals become spectacles for each other. 17 In his consideration of this aspect of Rousseau's argument, Coleman poses the question: Why England? Neither of Coleman's proposed responses include Rousseau's specific response to Montesquieu's Book 19; see Coleman, Rousseau's Political Imagination, 110. Careful consideration of Rousseau's Letter in light of Montesquieu's Persian Letters and Spirit of the Laws reveals a much more pervasive influence, however. Rousseau proceeds to explore the effect of theatre when decency is lost. 69 Letter, 328 (5: 95). A decade later, Rousseau would discern that same power, but would respond by endeavouring to proscribe itat least as far as Geneva is concerned. The letter attracted remarkable attention; over four hundred articles and pamphlets were written in response to it. While he surely discerns the vices of commercial peoples, he also points out the positive transformative power of commerce in bringing peace and understanding among peoples; see Spirit, 20.1, 338. Many scholars have identified the decisive influence of Montesquieu's treatment of the ancient city in Rousseau's thought more generally, but have not yet fully explored the role that Montesquieu's treatment of the theatre plays in Rousseau's Letter. 64 Mosher, Judgmental Gaze of European Women, 30; Schaub, Erotic Liberalism, 14243. Alternate titles: Lettre dAlembert sur les spectacles, Letter to Monsieur dAlembert on the Theatre, Jean-Jacques Rousseau: Years of seclusion and exile of Jean-Jacques Rousseau. 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