Geneva, which already has a large degree of inequality, does not need any more. For example, Phaedra scorns herself for her incestuous love, but is unable to resist it. 70 Letter, 325 (5: 92). They imagine that a foreigner who speaks to them is looking for a leg-over. 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. [2], The Letter is considered to be highly personally relevant to Rousseau, whose patriotism and affinity for Geneva shows through as he writes to defend his country from moral decay. Emphasis added. 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. 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). 2023 The Foundation for Constitutional Government Inc. All rights reserved. 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. 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. 20 Montesquieu, Persian Letters, letter 28, 79. [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. 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. on 50-99 accounts. 83 Spirit, 19.5, 310 (2: 559). Subscribe now. 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. [3], D'Alembert himself was moved by the response, even intimidated. 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). Dieses exklusive Werk zusammen mit anderen einzigartigen kuratierten Kunstwerken finden Sie nur hier! 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. Cf. These seemingly fleeting references to this art form should not be overlooked as they clarify and expound upon fundamental aspects of his political theory. As a dutiful daughter, Julie marries Wolmar and Saint-Preux goes off on a voyage around the world with an English aristocrat, Bomston, from whom he acquires a certain stoicism. Rousseau was particularly opposed to the adoption of French mores in Geneva; see Whatmore, Against War and Empire, 50, 59. From 174041, he worked as a private tutor for Monsieur de Mably, brother of the famous writer, the Abbe de Mably. [6] Rousseau's views on the theatre are also thought to echo current concerns with global entertainment, television and Internet taking over local customs and culture. Rousseau worked as a clerk to a notary, and then was apprenticed to an engraver. You are not required to obtain permission to reuse this article in part or whole. Rousseau famously argued that the continued progress of the sciences and arts corrupted human morality, it would appear that Rousseau's view of a free society has little to do Abstract An analysis of Rousseau's cultural and artistic ideas, as taken from the famous Letter to d'Alembert on the Theater. In addition, Montesquieu's treatment of the theatre seems to have been a fitting topic for Rousseau's engagement. Did you know you can highlight text to take a note? 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. 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. 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. Rousseau '' Letter To D' Alembert''; Politics & The Arts [ Allan Bloom] Bookreader Item Preview Rousseaus view that drama might well be abolished marked a final break between the two writers. 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. It made the author at least as many friends among the reading publicand especially among educated womenas The Social Contract and mile made enemies among magistrates and priests. The novel was clearly inspired by Rousseaus own curious relationshipat once passionate and platonicwith Sophie dHoudetot, a noblewoman who lived near him at Montmorency. 34546). Rousseau is, however, reluctant to engage this discussion in depth.[3][6]. 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. First, Montesquieu describes them as timide, a term which Rousseau adopts. Cette uvre exclusive ainsi que d'autres uvres d'art uniques ne peuvent tre trouves qu'ici! His thought marked the end of the European Enlightenment (the "Age of Reason"). How she smirched their marriage-tie?/ How could I, by disclosing everything,/ Humiliate my father and my king?Footnote37 Later, Theseus expresses regret for the hasty and ill-considered judgement and punishment when, learning of the true worth of the son he had so recently reviled, he laments: O bring me back my son, and let him clear/ His name! to start your free trial of SparkNotes Plus. In addition, the very foundation of Rousseau's concern for Geneva has a basis in Montesquieu's thought. The relation between art and society is . Indeed, Rousseau, who elsewhere can be quite critical of England's political life,Footnote66 in this particular instance undertakes to defend the English by arguing that the social separation of the sexes in England does not, in fact, diminish individual happiness but rather deepens the profundity of society and therefore fosters a truer pleasure: Thus both [sexes], withdrawn more into themselves, give themselves less to frivolous imitations, get more of a taste for the true pleasures of life, and think less of appearing happy than of being so.Footnote67 Rousseau thus maintains that with the exception of family life, the two sexes ought to come together sometimes and to live separated ordinarily.Footnote68 But this separation is certainly not observed in France: The society of the two sexes, having become too usual and too easy, has harmed both men and women in his view, as the general spirit of gallantry [galanterie] stifles both genius and love.Footnote69 Men, he says, are affected as much as, and more than, women by a commerce [commerce] that is too intimate; they lose only their morals, but we lose our morals and our constitution [constitution].Footnote70 He urges sardonically: Imagine what can be the temper of the soul of a man who is uniquely occupied with the important business of amusing women.Footnote71 Finally, he elaborates on the harm that such frequent social interactions have on women: They are flattered without being loved; they are served without being honored; they are surrounded by agreeable persons but they no longer have lovers; and the worst is that the former, without having the sentiments of the latter, usurp nonetheless all the rights.Footnote72. 177. Spectacles and Sociability: Rousseau's R . 2. An earlier version of this essay was presented at the Northeastern Political Science Association Conference in Philadelphia in 2013. Montesquieu devotes the entirety of Part 4 of Spirit to commerce and population. 15 For a fuller discussion, see Thomas, Negotiating Taste in Montesquieu, 7172. 19 Montesquieu, Persian Letters, letter 28, 79. 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 Jean-Jacques Rousseau - 2009 - In Rousseau on Women, Love, and Family. [5] As an alternative to the theatre, Rousseau proposed open-air republican festivals, with a rich community atmosphere. 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. 9 Letter, 27174, 35960. Rousseau devotes many pages to explaining the methods the tutor must use. In fact, Muralt relates that he observed that Englishmen sometimes had the audacity to bring their mistresses to the dinner table, and this caused so little trouble that it led Muralt to declare: Je crois que s'il leur en prenoit envie, ils les feroient coucher dans un mme lit, & je ne sai s'il n'y en a pas eu qui s'en soient avisez. His next works were less popular; The Social Contract and milewere condemned and publicly burnt in Paris and Geneva in 1762. In this manner, Rousseau adheres closely to Montesquieu's language, even if their ultimate judgements on the phenomenon differ. Rousseau too offers this very contrast in his treatment of the theatre in his Letter to d'Alembert, but in the case of English society, where Montesquieu raises objections, Rousseau offers praise. 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. -36:18. 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. 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. 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. Renew your subscription to regain access to all of our exclusive, ad-free study tools. On this topic, see Mosher, Judgmental Gaze of European Women, 25, 3336. Of course, Rousseau is willing to harness female society in such a manner only in the already corrupt society of France. 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. Sometimes it can end up there. Letter to Monsieur dAlembert on the Theatre. Montesquieu makes the Parisian theatre a setting in his Persian Letters when his character Rica, a young Persian, describes his outing to this hub of French sociability. Radica's article does not treat the Letter. Elizabeth Fallaize - 1999 - Sartre . 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. 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. It greatly deceives itself; it is free only during the election of the members of Parliament. Corrections? 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. 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. This edition seeks to uncover the originality and complexity of Rousseau's argument in a text that seems to reprise traditional religious . Vous souhaitez acheter Encyclopedie: Eruption of Mount Vesuvius in 1754; Copper engraving from: Diderot & d'Alembert 'Encyc? He begins the first of these two chapters with a bold criticism of Plato, accusing him of promulgating laws that are against nature: If a slave, says Plato, defends himself and kills a free man, he should be treated as a parricide. 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. Contact us 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. 52 Rousseau may be elaborating on Muralt's only description of tragedy in his Lettres: Elle convertit le Bon en Beau, sa maniere, en le faisant servir des Representations, des Peintures dont il n'est question que de savoir si elles sont bien faites; see Muralt, Lettres, 245. He continues that this French vivacity is corrected by the politeness it brings us, by inspiring us with a taste for the world and above all for commerce with women [commerce des femmes].Footnote24 He accepts the fact, apparently without regret, that the society of women spoils mores and forms taste [socit des femmes gte les murs, et forme le got]. He notes that the citizens forbearance in the face of such criticism of the founder of their church reveals their enlightened tolerance.Footnote4 In addition, d'Alembert makes use of Montesquieu's authority when treating Geneva's laws in his essay, adducing the fact that M. Wed love to have you back! 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. Spirit, 4.8, 41; Spirit, 19.5, 310. When the hospitality of Mme dpinay proved to entail much the same. Love from Simone: Epistolarity and the love letter. The principle of the theatre is to please, it is not, Rousseau argues, functional because the characters are always distant from man. Some six years later Saint-Preux returns from his travels and is engaged as tutor to the Wolmar children. 8 Letter, 254. Save over 50% with a SparkNotes PLUS Annual Plan! The Letter on Providence aroused Voltaire's great interest. Isaac left Geneva after an argument in 1722; Rousseau nevertheless had a high opinion of his father, referring to him in the dedication to Discourse on Inequality as "the virtuous Citizen to whom I owe my life." Letter to M. D'Alembert on Spectacles (French: Lettre a M. d'Alembert sur les spectacles) is a 1758 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. [4], The trend of the Enlightenment among philosophers, since Descartes and Spinoza, was to move towards a society with minimized restrictions. Moreover, theatre is incompatible with the rural mindset, where people work hard, and as a result should find simple relaxation pleasurable, rather than the extravagant, over-stimulating entertainment which retards the imagination. [4], In this section, Rousseau expresses his belief that actors and actresses themselves are people of an undesirable lifestyle and potentially weak moral foundation. In this regard see Downing A. Thomas, who suggests in passing, for example, that Rousseau seems to accept Montesquieu's teaching in Spirit that the mores of a given people fundamentally influence their taste, as Rousseau repeats that very formula in the Letter: Downing A. Thomas, Negotiating Taste in Montesquieu, Eighteenth Century Studies, 39 (2005), 7190 (76). The theme of The New Eloise provides a striking contrast to that of The Social Contract. It is not hard to excuse Phaedra, who is incestuous and spills innocent blood.Footnote53. 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! 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. People also read lists articles that other readers of this article have read. 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 was the least academic of modern philosophers and in many ways was the most influential. 33 See, for example, Michael Zuckert, Natural Rights and Modern Constitutionalism, Northwestern University Journal of International Human Rights, 2 (2004), 42-66 (4546, 52). Il ne veut pas ressembler aux . Cody Valdes provided perspicacious editorial assistance. Rousseau adheres to Montesquieu's specific terminology here, even though Muralt makes a brief but related statement: foreigners would rather go to France than elsewhere [ceux-l iront pltt en France qu'ailleurs]; see Muralt, Lettres, 225, cf. Rousseau died suddenly on July 2, 1778. This work made final Rousseau's public break with most of the philosophes. April 18, 2023, SNPLUSROCKS20 Lettre d'Alembert de Rousseau. In both the Persian Letters and The Spirit of the Laws, Montesquieu points to the theatre as a locus of sociability that has a transformative effect on its auditors. It may be important to note that the theatre was a far more powerful cultural force in Rousseau's day than today. On Rousseau's awareness of these apparent paradoxes, see Jean-Jacques Rousseau, "Letter to D'Alembert on the Theatre," in Politics and the Arts, trans. 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. Dufour (Paris, 1924), i, 379-380,384.Further quotations from this work will be cited as "R." and will refer to this edition. Thus, [i]n the theater we congratulate ourselves for our moral sensitivity while remaining isolated from irksome involvement with our fellows; see Christopher Kelly, Rousseau and the Case for (and Against) Censorship, in Jean-Jacques Rousseau, Critical Assessments of Leading Political Philosophers, edited by John T. Scott, 4 vols (New York, NY, 2006, first published in 1997), IV, 20122 (209). 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. for a group? Nonetheless, taken together, these apparently contrasting accounts reveal that Montesquieu sees value in the theatrical experience in its entirety. He accepted the Scottish philosopher Hume's offer to take refuge in Britain, only to quarrel with Hume as well and soon return to France. Despite drawing very different conclusions regarding the choice worthiness of sociability, commerce, and gentleness that theatre fosters than does Montesquieu, Rousseau makes essentially identical assessments and observations regarding its influence in shaping public opinion and the way in which spectacle in general contributes to the mores and manners of a given society. When Geneva was so threatened with the possibility of embracing such French mores, Rousseau engaged directly with the very authority whom d'Alembert invokes. You'll be billed after your free trial ends. 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. We are also grateful to Robert Devigne, Dennis Rasmussen, and the anonymous reviewers of History of European Ideas for their helpful comments on earlier drafts. To learn about our use of cookies and how you can manage your cookie settings, please see our Cookie Policy. Que les Anglois se vantent, aprs cela, d'avoir les meilleures Femmes du monde; Muralt, Lettres, 12829. 48 Letter, 270. But see, for example, Grimsley, d'Alembert, 5354; Gargett, Vernet, Geneva, and the Philosophes, 14546. 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. See also Radica, Rousseau, in Dictionnaire lectronique Montesquieu, September 2013 edition, 7. [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 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. 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. 28 Spirit, 19.8, 311 (2:560). 4. 26 Michael A. Mosher, The Judgmental Gaze of European Women: Gender, Sexuality, and the Critique of Republican Rule, Political Theory, 22 (1994), 2544 (42). Eloge de D'Alembert mais Rousseau a quand mme des devoirs. 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