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. It is about people finding happiness in domestic as distinct from public life, in the family as opposed to the state. [3], Rousseau generally opposed the Enlightenment thrust that was occurring during his lifetime. Did you know you can highlight text to take a note? | 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). 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. Rousseau's letter can help to understand the distinction between lived-in culture and theoretical political order. From 1742 to 1749, Rousseau lived in Paris, barely earning a living by teaching and by copying music. 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). 49 Bla Kapossy, Iselin contra Rousseau: Sociable Patriotism and the History of Mankind (Basel, 2006), 68. See also Bellhouse, Femininity & Commerce in the Eighteenth Century, 29294; Schaub, Erotic Liberalism, 12122. Allan Bloom, "Jean-Jacques Rousseau," in History of Political Philosophy, ed. 64 Mosher, Judgmental Gaze of European Women, 30; Schaub, Erotic Liberalism, 14243. [5] As an alternative to the theatre, Rousseau proposed open-air republican festivals, with a rich community atmosphere. Despite laws and historical examples that attempt to overcome or deny those natural feelings, theatre offers the assurance that they continue to exist or can be recalled. Rousseau was particularly opposed to the adoption of French mores in Geneva; see Whatmore, Against War and Empire, 50, 59. SparkNotes PLUS 8 Letter, 254. Rousseau worked as a clerk to a notary, and then was apprenticed to an engraver. Rousseau takes comfort in an allegiance to truth alone at the time of his break with Diderot and at which he becomes convinced that he must live without friends. We're sorry, SparkNotes Plus isn't available in your country. 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. Personnages principaux. April 18, 2023, SNPLUSROCKS20 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. An example is how the Letter itself is open and expressive in style, while the content of the Letter is about this openness. 37 Jean Racine, Phaedra, translated by Richard Wilbur (New York, NY, 1987) 5.1, 89. In 1794, the French revolutionary government ordered that his ashes be honored and moved to the Pantheon. 45 For Rousseau's association with Geneva both before and after the composition of the Letter, see Richard Whatmore, Against War and Empire: Geneva, Britain and France in the Eighteenth Century (New Haven, CT, 2012), 5497. 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. In it Rousseau speaks to . Whereas Montesquieu sees the theatre as a salutary way of teaching morality and sympathy, Rousseau condemns it as a corrupting influence. (one code per order). It was the first of Rousseau's writings to be translated into Russian. Whereas Montesquieu and Rousseau speak of female society forming and perfecting taste, Muralt asserts that the subordination of the masculine to the feminine in society corrupts tastes: on se corrompt le got; see Muralt, Lettres, 246. Rather, he offers reasons to esteem a society in which individuals become spectacles for each other. They imagine that a foreigner who speaks to them is looking for a leg-over. Love from Simone: Epistolarity and the love letter. The theme of The New Eloise provides a striking contrast to that of The Social Contract. 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. Emphasis added. If you don't see it, please check your spam folder. In other words, people have to share the concerns with legislators if a state is to be successful. He sought to distance himself philosophically from the views that the universal use of reason, science, uninhibited freedom of thought, and increasing appreciation for the fine arts would make society a better place. . 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. 4. 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. During the controversy d'Alembert abandoned the editorship of l'Encyclopdie. Rousseau was the least academic of modern philosophers and in many ways was the most influential. In his own name, Montesquieu asserts as much, declaring in his preface his belief that, amidst the infinite diversity of laws and mores, human beings were not led by their fancies alone. In Rousseau's opinion, true love for the nurturing, feminine mother, instead of lustful love for a mistress, goes hand in hand with patriotism and civic harmony. Did you know that with a free Taylor & Francis Online account you can gain access to the following benefits? The Letter on Providence aroused Voltaire's great interest. Scholars have pointed to Montesquieu's influence on Rousseau's work generally. 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. They say that however slightly one man knows another, he has the right to suffocate him. [4], Even if the theatre is morally innocuous, Rousseau argues, its presence is disruptive to potentially productive use of time. 16 Spirit, 4.8, 41. [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. The best alternative to theatres is open-air festivals, in nature, to provide a unifying, patriotic spirit. 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]. 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 Confessions used is the Gamier edition (Paris, n.d.). He reacted to the suppression of The Social Contract in Geneva by indicting the regime of that city-state in a pamphlet entitled Lettres crites de la montagne (1764; Letters Written from the Mountain). Here, he began to write his famous autobiography, Confessions, and formally renounced his Genevan citizenship. The main action is on a platform [estrade], called the stage [thtre]. Your group members can use the joining link below to redeem their group membership. The relation between art and society is . The central character, Saint-Preux, is a middle-class preceptor who falls in love with his upper-class pupil, Julie. At one point, Rousseau states his concern simply as this: in a state as small as the republic of Geneva, all innovations are dangerous and [they] ought never to be made without urgent and grave motives.Footnote79 This passage mirrors Montesquieu's teaching throughout The Spirit of the Laws, which he encapsulates in its preface: changes can be proposed only by those who are born fortunate enough to fathom by a stroke of genius the whole of a state's constitution.Footnote80 Thus, with an inflection borrowed from Montesquieu, Rousseau warns any would-be proposer of improvements to Geneva that even seemingly small and well-intentioned, but ill-considered, changes can have significant deleterious consequences. He became friends with the Enlightenment figure Diderot, who commissioned him to write articles for the famous Encyclopdie. However, it is important to consider the diverse concerns of the Enlightenment as a background to Rousseau's work. [3], D'Alembert himself was moved by the response, even intimidated. Some of its key concerns were the operation of reason, the idea of human progress and development, and a hostility to received opinion (dogma) and religious authority. At the same time the book sets out to explore the possibilities of an education for republican citizenship. Dartmouth College Press. Montesquieu's description of a gentle and joyful societal existence could very well foster admiration beyond the borders of France, and thus spread the very mores from which Rousseau endeavours to protect Geneva. Il ne veut pas ressembler aux . For the next 7 days, you'll have access to awesome PLUS stuff like AP English test prep, No Fear Shakespeare translations and audio, a note-taking tool, personalized dashboard, & much more! After he had been expelled from France, he was chased from canton to canton in Switzerland. In Emile, Rousseau refers to the illustrious Montesquieu, but criticises him for being content to discuss the positive right of established governments, and not treating, therefore, the principles of political right. Rousseau was the eighteenth-century's greateast admirer, even idolator, of Sparta. He propelled political and ethical thinking into new channels. 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". Coleman's insight is intriguing in part because Montesquieu's discussion of duelling occurs in Spirit, 28.22, where Montesquieu declares that women are quite enlightened judges of a part of the things that constitute personal merit; see Spirit, 28.22, 561. Discourse on Inequality was completed in May 1754, and published in 1755. Jean-Jacques Rousseau In 1758, Jean Le Rond d'Alembert proposed the public establishment of a theater in Genevaand Jean-Jacques Rousseau vigorously objected. 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. Julie was published in 1761 and soon becomes one of the best-selling works of the century. 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. Online: Amazon (Recommended translation) Google Books (Free preview available). Rousseau's later quarrel with Voltaire was legendary for its violence . 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. 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. Download Letter to D'Alembert and Writings for the Theater PDF . Her frustration with the lack of control she has over her passions drives her to perpetuate the calumny against Hippolytus so that he may be banished forever, and therefore beyond the reach of her uncontrollable lust. The younger thinker also heeds the admonition of the elder that any change must be undertaken with full knowledge of its consequences and hence with supreme care. Although Rousseau in his Letter refers neither to Montesquieu nor to his works by name, he was certainly well versed in his predecessor's teachings. 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. 58 Marshall, Rousseau and the State of the Theater, in Rousseau: Critical Assessments, edited by Scott, IV, 13940. 6 Rousseau authored many of the entries related to music in the Encyclopdie as well as the article Economie, in Encyclopdie, ou dictionnaire raisonn des sciences, des arts et des mtiers, etc., edited by Denis Diderot and Jean-Baptiste le Rond d'Alembert; see University of Chicago, IL: ARTFL Encyclopdie Project (Spring 2013 Edition), edited by Robert Morrissey, http://artflsrv02.uchicago.edu/cgi-bin/philologic/getobject.pl?c.4:599.encyclopedie0513 [accessed 18 June 2014]. 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. 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. 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). The legislator's task is to make sure a society's women are in order. 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. Get Annual Plans at a discount when you buy 2 or more! Jean-Jacques Rousseau, (born June 28, 1712, Geneva, Switzerlanddied July 2, 1778, Ermenonville, France), Swiss-born philosopher, writer, and political theorist whose treatises and novels inspired the leaders of the French Revolution and the Romantic generation. 69 Letter, 328 (5: 95). In the early 1750s, Rousseau had a string of successes. Amusements are acceptable in moderation, when they are necessary, but they become a burden if they consume the minds of men enough to waste their time. Although Rousseau offers evaluations of the English and French in opposition to the ones Montesquieu presents, he simultaneously confirms Montesquieu's teachings regarding the powerful effect that women can have on mores and accepts Montesquieu's fundamental tenet regarding the transformative effect of mores on society and government. All live together in harmony, and there are only faint echoes of the old affair between Saint-Preux and Julie. Renews April 25, 2023 Rousseau; D'Alembert; Habitants de Genve; Les Montagnards; Rsum. 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. 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. Rousseau received thousands . 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. He reasons that even if comedy writers write a play that is morally acceptable, the audience will not find it funny. She returns his love and yields to his advances, but the difference between their classes makes marriage between them impossible. Thus, theatre serves to extenuate moral lapses. Once again looking to Greece and Rome as an ideal, he says that Sparta did not tolerate theatres, and Rome considered the acting profession dishonourable. In October of 1758,Rousseau published theLetter to dAlembertto refuteJean dAlemberts suggestion that Geneva establish a public theater. 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. In this manner, one sees that Rousseau's engagement with Voltaire in his Letter is matched by a subtle, yet substantial, engagement with Montesquieu. Thus, consideration of Rousseau's Letter helps to establish the formative character of the elder's thought on that of the younger. It may be important to note that the theatre was a far more powerful cultural force in Rousseau's day than today. Rousseau also describes the weather and geography of Geneva, and argues that it is not particularly conducive to supporting a theatre. Marshall goes on to suggest that Rousseau's discussion of vanity, amour-propre, is inherently theatrical: the moment that people are aware they must present themselves for others, a theatrical consciousness is fostered such that the character and attributes that a person possesses become indistinguishable from what they seem to be.Footnote58 Rousseau laments that the introduction of theatre in an incorrupt society will induce people to substitute a theatrical jargon for the practice of the virtues.Footnote59 Of course, before Rousseau had offered this analysis, Montesquieu had comically depicted the tendency of social interactions to foster theatrical affectationseven theatrical masksin Rica's mistaken but understandable conflation of the actors and the audience in his description of the theatre in the Persian Letters. 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