Let us know if you have suggestions to improve this article (requires login). 13 Maurice Cranston, Jean-Jacques: The Early Life and Work of Jean-Jacques Rousseau, 17121754 (Chicago, IL, 1991, first published in 1982), 21315. Christopher Kelly elaborates on a different aspect of Rousseau's critique of the theatre's moral obscurity, noting that whatever theatre does teach us about sympathy or morality towards one another, this emotional identification or fellow feeling is less pleasant once outside the performance hall because it demands that one take the trouble to help. 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. By the time his Lettre 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. [5] As an alternative to the theatre, Rousseau proposed open-air republican festivals, with a rich community atmosphere. You'll be billed after your free trial ends. It is also halfway between a novel and a didactic essay. Dartmouth College Press. Elizabeth Fallaize - 1999 - Sartre . 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. Ourida Mostefai offers the most current and exhaustive treatment of the letter and its context that we know, while Patrick Coleman presents a highly instructive and provocative textual analysis that explores among other themes the manner in which Rousseau offers himself as an actor and his text as his own public stage; see Ourida Mostefai, Le citoyen de Genve et la Rpublique des Lettres: tude de la controverse autour de La Lettre d'Alembert de Jean-Jacques Rousseau (New York, NY, 2003); Patrick Coleman, Rousseau's Political Imagination: Rule and Representation in the Lettre d'Alembert (Geneva, 1984). the morality of theatrical performances, Lettre dAlembert sur les spectacles (1758). Thus, despite making similar observations regarding the power of the theatre, Rousseau's and Montesquieu's ultimate valuations of it are quite different. While serving as secretary to M. and Mme Dupin, he studied and took notes on Montesquieu's The Spirit of the Laws in order to aid his employers in writing their rebuttals of the work.Footnote13 Rousseau credits his predecessor throughout his corpus.Footnote14. The French government ordered that Rousseau be arrested, so he fled to Neuchatel in Switzerland. Some six years later Saint-Preux returns from his travels and is engaged as tutor to the Wolmar children. Through examining Montesquieu's commentary on the theatre in the Persian Letters, as well as his discussion of Phaedra in The Spirit of the Laws, it becomes clear that Montesquieu teaches that the theatrical art can have a positive effect on individuals and thus on society. 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. 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. Second, while Muralt does comment on the debauchery of Englishmen, he does not describe such an asocial and austere climate between men and women as Montesquieu depicts, which Rousseau then adopts. 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. Rousseau adhered to the belief that restrictions and censorship are often justified to maintain civil order. April 18, 2023, SNPLUSROCKS20 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! It is an exciting little work that takes what appears to be an innocuous suggestion about adding a public theater to Geneva, and turns it into a brutal critique of the Enlightenment. They say that however slightly one man knows another, he has the right to suffocate him. [1] Rousseau relates the issue of a theatre in Geneva to the broader social context, warning of the potential the theatre has to corrupt the morality in society. 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. For me, in the 'Letter to d'Alembert' Rousseau is on the side of prejudice, with his vehement moralising, and also a type of violence, always bordering on an exaggerated aggressiveness that is almost useless. At points in his Letter to d'Alembert Rousseau borrows Montesquieu's images and sometimes his very language, adapting them to his purpose in condemning the establishment of a theatre in small and virtuous Geneva.Footnote45 Thus, Rousseau accepts many of Montesquieu's claims regarding French society and its form of sociability. 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? . Rousseau worked as a servant, music teacher and engraver. Mostefai quotes this letter; see Mostefai, Le citoyen de Genve, 41. Though a theatre can work to distract the masses of the cities from crime, it is of no use to a smaller city like Geneva, which is relatively innocent. 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. This extension of the empire of women is against natural order. 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]. For example, he condemns a law of the Visigoths that permitted the children of an adulterous wife to accuse her of that crime and to torture the family's slaves in order to extract evidence: This was an iniquitous law that, in order to preserve the mores, overturned nature, in which the mores have their origin.Footnote40 At this point, Montesquieu turns to Racine's play and presents it as an appealing contrast to such civil laws that are contrary to natural law.Footnote41 Indeed, Montesquieu concludes his discussion of Phaedra with a reflection on the relation of pleasure and nature: The accents of nature cause this pleasure; it is the sweetest of all voices.Footnote42 Racine's tragedy displays for its audience Hippolytus's admirable decisions rooted in his unconditional respect for his kin, even in light of his father's failure to distinguish between guilt and innocence. Julie succeeds in forgetting her feelings for Saint-Preux and finds happiness as wife, mother, and chatelaine. But see, for example, Grimsley, d'Alembert, 5354; Gargett, Vernet, Geneva, and the Philosophes, 14546. When the hospitality of Mme dpinay proved to entail much the same. By signing up you agree to our terms and privacy policy. Muralt uses the word timide only twice in his description of England, neither of which occurs in a comparable context; see Muralt, Lettres, 107, 130. You may cancel your subscription on your Subscription and Billing page or contact Customer Support at custserv@bn.com. [4], Even if the theatre is morally innocuous, Rousseau argues, its presence is disruptive to potentially productive use of time. Believing that Thrse was the only person he could rely on, he finally married her in 1768, when he was 56 years old. 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 It was the first of Rousseau's writings to be translated into Russian. 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. $24.99 See Bat Louis de Muralt, Lettres sur les Anglois et les Franais et sur les voiages, edited by Charles Gould (Geneva, 1974), 244: Ici les Raports vont l'Homme, mais le but du Dramatique, tant uniquement de nous donner du plaisir, ces Raports ne sauroient avoir toute leur justesse, & dans le general, le Pote ne peut que leur faire violence pour les accommoder au got du Public. 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. 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. Jean-Jacques Rousseau In 1758, Jean Le Rond d'Alembert proposed the public establishment of a theater in Genevaand Jean-Jacques Rousseau vigorously objected. He posits that Rousseau had in mind Montesquieu's analysis of duels in Spirit, 28.2024; see Coleman, Rousseau's Political Imagination, 83 note 9. Through the theatre, the members of the audience are reminded of their natural sentiments, because their feelings and reactions to the dramatic action confirm whether or not the characters on stage act in accord with natural morality.Footnote43 Of course, there is a discrepancy between the account of the theatre in the Persian Letters and that in The Spirit of the Laws: in the former, Rica describes attendees largely ignoring the action on stage because they are so consumed in their personal dramas, whereas in the latter, the attendees learn a moral lesson as they observe the performance. Despite strikingly different conclusions, it is not only their use of similar terms when describing the theatre in general and Phaedra in particular that suggests Rousseau has Montesquieu's arguments in mind while responding publicly to d'Alembert. Muralt offers a similar critique in his comments on France. Rousseau died suddenly on July 2, 1778. When, in 1728, Rousseau found himself locked out of Geneva at night, he decided to travel abroad to seek his fortune. In it Rousseau speaks to . Rousseau worked as a clerk to a notary, and then was apprenticed to an engraver. He argues that the presence and authority of women in public spaces corrupts the male youth, turning them effeminate and void of patriotic passion. 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. Summary. Summary. 34546). [2], In the Letter, Rousseau rejected the traditional notion of male politicians being responsible for moral reform, and thought it was women's responsibility. The central character, Saint-Preux, is a middle-class preceptor who falls in love with his upper-class pupil, Julie. 10 See John N. Pappas, Rousseau and D'Alembert, PMLA, 75 (1960), 4660 (48); Fonna Forman-Barzilai, The Emergence of Contextualism in Rousseau's Political Thought: The Case of Parisian Theatre in the Lettre D'Alembert, History of Political Thought, 24 (2003), 43564 (436). The Letter shows Rousseau's tendency to think of the events in his own life as highly significant, as reflections of the larger social picture. 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. Mchten Sie Encyclopedie: Eruption of Mount Vesuvius in 1754; Copper engraving from: Diderot & d'Alembert 'Encyc kaufen? 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. Scholars have pointed to Montesquieu's influence on Rousseau's work generally. In the play, the main character, Alceste, is good and honest in his relationships with men and made to look ridiculous, whereas Philinte, a deceiver and manipulator, is shown as superior. 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. For example, Rousseau elaborates on the moral results of Muralt's claim that theatre perverts the relationship of things. Similarly, Susan Okin notes that Rousseau held to his ''reactionary'' ideas Please wait while we process your payment. [4], The Letter starts off with a more grim and urgent tone, then shifting at the end to a brighter and optimistic one when the community oriented solution to the problem of the theatre is discussed. marriage for financial reasons, order, lust, convenience). For example, Phaedra scorns herself for her incestuous love, but is unable to resist it. Rousseau, if not such a one whom Montesquieu envisions would endeavour to constrain the women of France or correct the French mores, is certainly one who attempts to prohibit the importation of such mores to other polities such as Geneva, and hence to circumscribe their influence.Footnote47 Rousseau concedes, however, that theatre may serve to halt an already corrupt society, such as that of the French, from collapsing into even deeper corruption. Indeed, Montesquieu refers in The Spirit of the Laws both to those who write to proscribe the theatre because of its evoking softening emotions such as pity and tenderness and to one who might endeavour to restrain French women.Footnote90 Not so quixotic as to attempt the latter, Rousseau certainly endeavours the former by opposing most vehemently the establishment of a theatre in Geneva. $18.74/subscription + tax, Save 25% When Geneva was so threatened with the possibility of embracing such French mores, Rousseau engaged directly with the very authority whom d'Alembert invokes. 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. 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. On this topic, see Mosher, Judgmental Gaze of European Women, 25, 3336. Rather, he offers reasons to esteem a society in which individuals become spectacles for each other. [3] D'Alembert's article in support of the theatre was influenced by Voltaire, who not only was against censorship, but frequently put on theatrical performances at his home outside of Geneva. 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. For a discussion of those who opposed the theatre in France in the seventeenth and eighteenth centuries, see Jonas Barish, The Antitheatrical Prejudice (Berkeley, CA, 1981), 191220. An obstreperous critic of the theatre, Rousseau presents its stories not as clarifying and correcting humanity's moral compass, but rather as obscuring it. This edition seeks to uncover the originality and complexity of Rousseau's argument in a text that seems to reprise traditional religious . Letter to D'Alembert and Writings for the Theater. 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. 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. The Scottish philosopher David Hume took him there and secured the offer of a pension from King George III; but once in England, Rousseau became aware that certain British intellectuals were making fun of him, and he suspected Hume of participating in the mockery. 37 Jean Racine, Phaedra, translated by Richard Wilbur (New York, NY, 1987) 5.1, 89. The relation between art and society is . 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. In his Reveries of a Solitary Walker, he condemns Montesquieu's Le Temple de Gnide as an affront to modesty, perpetuated by an ignoble lie; see Mary L. Bellhouse, Femininity & Commerce in the Eighteenth Century: Rousseau's Criticism of a Literary Ruse by Montesquieu, Polity, 13 (1980), 28599. Letter to D'Alembert on the Theatre (1758) (Lettre a M. d'Alembert sur les Spectacles) is an essay written by Jean-Jacques Rousseau in opposition to an article published in the Encyclopdie by Jean d'Alembert, that proposed the establishment of a theatre in Geneva. 1 . Rousseau endeavours quite extensively in the Letter to counter the appeal of commerceboth economic and socialas Montesquieu depicts its pleasing character and salutary effects in The Spirit of the Laws. For the Letter, the French, when cited, is given in parentheses, taken from Jean-Jacques Rousseau, crits sur la musique, la langue, et le thtre, in uvres compltes, edited by Bernard Gagnebin and others, 5 vols (Paris, 19591995), V. 3 D'Alembert, Geneva, in Letter, 246. Cf. From 174041, he worked as a private tutor for Monsieur de Mably, brother of the famous writer, the Abbe de Mably. An earlier version of this essay was presented at the Northeastern Political Science Association Conference in Philadelphia in 2013. It may be important to note that the theatre was a far more powerful cultural force in Rousseau's day than today. In 1756, Rousseau left Paris. Nonetheless, important differences between Muralt's account of French and English societies and those accounts offered by Rousseau and Montesquieu suggest that Rousseau uses Muralt in order to strengthen his rebuttal of Montesquieu. Emphasis added. Updates? Scholars now refer to Rousseau's use of Montesquieu's depiction of the ancient republics and the virtue which they inculcated. In the remaining 10 years of his life Rousseau produced primarily autobiographical writings, mostly intended to justify himself against the accusations of his adversaries. Baron dtange, Julies father, has indeed promised her to a fellow nobleman named Wolmar. 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. Members will be prompted to log in or create an account to redeem their group membership. The work is famous for displaying Rousseau's charismatic rhetoric and digressive tendencies, all with his personal experience woven into the text. Download Letter to D'Alembert and Writings for the Theater PDF . The most important was his Confessions, modeled on the work of the same title by St. Augustine and achieving something of the same classic status. After he had been expelled from France, he was chased from canton to canton in Switzerland. Spirit, 6.2, 74. Despite being treated unfairly, Hippolytus adheres to a steadfast set of moral principlesand the playwright makes sure that the audience is aware of this. [4], Rousseau portrays Geneva in a very romantic and positive light, where people are productive, happy and hard at work, but he also recognizes the extreme wealth and poverty in the city. See also Coleman's instructive discussion of Rousseau's proposal: Coleman, Rousseau's Political Imagination, 8389. Dont have an account? 0:00. 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. Discount, Discount Code See also Bellhouse, Femininity & Commerce in the Eighteenth Century, 29294; Schaub, Erotic Liberalism, 12122. The Confessions used is the Gamier edition (Paris, n.d.). Jean-Jacques Rousseau - 2009 - In Rousseau on Women, Love, and Family. Il cite ce pour quoi il crit. All live together in harmony, and there are only faint echoes of the old affair between Saint-Preux and Julie. Omissions? 14 For example, in Discourse on the Origin and Foundations of Inequality among Men, Rousseau takes issue with an illustrious Philosopher, evidently Montesquieu, on the timidity of human beings in the state of nature; see Jean-Jacques Rousseau, Second Discourse, in Collected Writings, III, 21. Listen on ); Episode details. Il ne peut pas se taire aprs ce qu'il a dj fait, il faut parler au public. THINKERS. 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. Of course, none of this establishes that Montesquieu was not familiar with the work, given his wide reading and the work's wide circulation. Thanks for creating a SparkNotes account! by Alan Bloom (Ithaca: Cornell University Press, 1968) [First published by Agora Editions, 1960]. 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. Julie was published in 1761 and soon becomes one of the best-selling works of the century. Rousseau came under increasing attack, in print and in practice, from the French monarchy, Voltaire and many others. These seemingly fleeting references to this art form should not be overlooked as they clarify and expound upon fundamental aspects of his political theory. 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. Rousseau restates many of his predecessor's insights and observations, including the importance of mores and the juxtaposition of French and English society, in order to oppose critical aspects of Montesquieu's thought and influence. Rousseau '' Letter To D' Alembert''; Politics & The Arts [ Allan Bloom] Bookreader Item Preview Rousseau is often characterized as the father of Romanticism, as he opposed modernity and the Enlightenment and glorified the heroic ethos of Ancient Rome and Greece. Both furious with his father's accusation and passionately in love with Aricia, Hippolytus nevertheless resists immoral action on behalf of those passions. 60 Spirit, 19.6, 311. In order to resist this very appeal in the name of Geneva's singular and austere republican life, Rousseau adopts Montesquieu's maxims: pursue change slowly and cautiously, as even small changes to a people's way of life can inadvertently contain the seeds of radical transformation and unintended consequences. The Enlightenment was a diverse movement, represented in France by writers such as Voltaire, Diderot and the authors of the Encyclopdie. on 50-99 accounts. Those methods involve a noticeable measure of deceit, and although corporal punishment is forbidden, mental cruelty is not. References to the French, when cited, for this and the Persian Letters appear in parentheses and are drawn from Charles-Louis Secondat de Montesquieu, uvres compltes de Montesquieu, edited by Roger Callois, 2 vols (Paris, 19491951). For example, Rousseau in his Letter both adopts and adapts salient elements of Montesquieu's juxtaposition of French and English societies in Book 19. Stanley Bates - 2006 - Review of Metaphysics 60 (1):176-178. Description. His next works were less popular; The Social Contract and milewere condemned and publicly burnt in Paris and Geneva in 1762. 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. Rousseau was the least academic of modern philosophers and in many ways was the most influential. [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. 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. Letter to Monsieur dAlembert on the Theatre. 63 See Spirit, 28.22, 56162, where Montesquieu declares that men's connection to women is related, in part, to the fact that women are quite enlightened judges of a part of the things that constitute personal merit. 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 1728, Rousseau 's use of Montesquieu 's depiction of the affair. Digressive tendencies, all with his upper-class pupil, julie seek his fortune, 1960 ], father. 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