It is not hard to excuse Phaedra, who is incestuous and spills innocent blood.Footnote53. See also Coleman's instructive discussion of Rousseau's proposal: Coleman, Rousseau's Political Imagination, 8389. 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. Eloge de D'Alembert mais Rousseau a quand mme des devoirs. 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. Your group members can use the joining link below to redeem their group membership. In the Letter, Rousseau rejected the traditional notion of male politicians being responsible for moral reform, and thought it was women's responsibility. Thus, an examination of Rousseau's discussion of theatre together with its relation to women and morality reveals that he is employing distinctly Montesquieuian terms and themes in order to engage and challenge his predecessor. 70 Letter, 325 (5: 92). TO CANCEL YOUR SUBSCRIPTION AND AVOID BEING CHARGED, YOU MUST CANCEL BEFORE THE END OF THE FREE TRIAL PERIOD. Love from Simone: Epistolarity and the love letter. Jean-Jacques Rousseau & Background on Discourse on Inequality, Philosophical Context: Influences on Discourse of Inequality. 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. He himself asserted in the Confessions that he was led to write the book by a desire for loving, which I had never been able to satisfy and by which I felt myself devoured. Saint-Preuxs experience of love forbidden by the laws of class reflects Rousseaus own experience; and yet it cannot be said that The New Eloise is an attack on those laws, which seem, on the contrary, to be given the status almost of laws of nature. marriage for financial reasons, order, lust, convenience). Julie was published in 1761 and soon becomes one of the best-selling works of the century. 77 Rousseau proposes an alternative to the tribunal Louis XIV established to settle conflicts regarding honour without recourse to violence, which he argues would be much more effective as it would harness honour to quell the violence arising from perceived dishonour; see Letter, 6774. Cette uvre exclusive ainsi que d'autres uvres d'art uniques ne peuvent tre trouves qu'ici! We use cookies to improve your website experience. If he'll but speak, I now will hear.Footnote38 Thus, Racine dramatically reinforces Montesquieu's teaching regarding criminal proceedings by staging the pain inflicted on particular individuals by flawed procedures. 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. 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. 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 Allan Bloom, "Jean-Jacques Rousseau," in History of Political Philosophy, ed. 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. Emphasis added. the morality of theatrical performances, Lettre dAlembert sur les spectacles (1758). Il ne peut pas se taire aprs ce qu'il a dj fait, il faut parler au public. 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. 11 Paul A. Rahe, Soft Despotism, Democracy's Drift: Montesquieu, Rousseau, Tocqueville, and the Modern Prospect (New Haven, CT, 2009), 120. 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. In 1758, Jean Le Rond d'Alembert proposed the public establishment of a theater in Genevaand Jean-Jacques Rousseau vigorously objected. 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. More generally, it is a critical analysis of the effects of culture on morals, that clarifies the links between politics and social life. Did you know you can highlight text to take a note? Whereas Montesquieu sees the theatre as a salutary way of teaching morality and sympathy, Rousseau condemns it as a corrupting influence. 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. 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]. These seemingly fleeting references to this art form should not be overlooked as they clarify and expound upon fundamental aspects of his political theory. 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. [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. 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. 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. Registered in England & Wales No. His thought marked the end of the . 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). Women naturally have power over men via resistance in the area of relationships and this power can be extended to the play, where women can have the same control over the audience. 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. 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. When Geneva was so threatened with the possibility of embracing such French mores, Rousseau engaged directly with the very authority whom d'Alembert invokes. Use up and down arrows to review and enter to select. Rousseau describes them as scandalous, hedonistic, and compares them to jesters, who were more blatantly indecent and obscene. 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. Rousseau '' Letter To D' Alembert''; Politics & The Arts [ Allan Bloom] Bookreader Item Preview Comments. The Enlightenment was a diverse movement, represented in France by writers such as Voltaire, Diderot and the authors of the Encyclopdie. 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. Rousseau's essay critiqued the immorality of the Parisian theater and argued that a theater in Geneva would have a similarly corruptive effect on their society. Baron dtange, Julies father, has indeed promised her to a fellow nobleman named Wolmar. 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. 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. An example is how the Letter itself is open and expressive in style, while the content of the Letter is about this openness. . This edition seeks to uncover the originality and complexity of Rousseau's argument in a text that seems to reprise traditional religious . Jean-Jacques Rousseau In 1758, Jean Le Rond d'Alembert proposed the public establishment of a theater in Genevaand Jean-Jacques Rousseau vigorously objected. -36:18. 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. Please wait while we process your payment. They imagine that a foreigner who speaks to them is looking for a leg-over. 9 Letter, 27174, 35960. He propelled political and ethical thinking into new channels. [4], The trend of the Enlightenment among philosophers, since Descartes and Spinoza, was to move towards a society with minimized restrictions. Nonetheless, taken together, these apparently contrasting accounts reveal that Montesquieu sees value in the theatrical experience in its entirety. The place seems to breed affection.Footnote20, Nevertheless, Montesquieu's description of these theatrical relations of the French in the Persian Letters, while in part satirical, bears an important resemblance to his description and praise of a people who possess a sociable humour in Book 19 of The Spirit of the Laws. See also Bellhouse, Femininity & Commerce in the Eighteenth Century, 29294; Schaub, Erotic Liberalism, 12122. For example, when Aricia, Hippolytus's beloved, begs him to tell his father that Phaedra had deceived him, he responds: What more should I/ Have told him? 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. Mostefai describes in some detail how d'Alembert's essay bears the marks of Voltaire's influence by mimicking Voltaire's own literary approach of criticising French politics and religion through the praise of another society and furthering Voltaire's interests of establishing a theatre in his neighbourhood which may fulfil the substance of Rousseau's accusation; see, for example, Mostefai, Le citoyen de Genve, 1718, 31, 3435, 41, 56. Discourse on Inequality was completed in May 1754, and published in 1755. Yet in the Letter his encomia cross from enthusiastic to the fervid. 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. Radica's article does not treat the Letter. By focusing on his belief in the natural order and harmony of traditional sex roles and community, Rousseau writes to convince D'Alembert, and the public of Geneva, that a theatre is a threat to an ideal, natural way of life. Letter 28 humorously depicts Rica conflating the actors and the audience of the scene he describes, thus confusing the spectacle on the stage with the spectacle of Parisian social life: Yesterday I saw something rather odd [assez singulire], although in Paris it happens every day. 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. In the Social Contract he credits Montesquieu by name in his discussions of the power of the legislator, the effect of climate, and his characterisation of democracy; see Jean-Jacques Rousseau, The Social Contract, in Collected Writings, IV, 2.7, 3.8, 4.3. [4], He goes on to criticize women's social activity in public and private venues in Paris and Geneva, suggesting women produce the only gossip, and the moral decay of men, women and children. 66 For example: The English people think it is free. Because that praise exemplifies so much of what was fundamental in Rousseau's thinking, both it and the Letter as a whole are mandatory reading for anyone who wishes to understand him. 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. 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. If the play is a comedy, for example, the content is undermined, and if it is tragic, the heroic ideals are exaggerated and placed out of the reach of man. For Montesquieu, this appeal to natural morality is why viewers find the play such a moving and pleasurable an experience. 2. 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. 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. Among them, Le Devin du village was the most popular French opera of the eighteenth . You'll be billed after your free trial ends. 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 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. Rousseau remains resolutely opposed to the theatre in Geneva, however. We thank Matthew Mendham who, as commentator, offered insightful remarks on that occasion. For an overview of the state of the scholarship on the relation of the two thinkers, see Gabrielle Radica, Rousseau, Jean-Jacques, in Dictionnaire lectronique Montesquieu, September 2013 edition, http://dictionnaire-montesquieu.ens-lyon.fr/index.php?id=436 [accessed 12 June 2014]. [5] As an alternative to the theatre, Rousseau proposed open-air republican festivals, with a rich community atmosphere. Rousseau's dismay arose largely from d'Alembert's proposal that theatre be established in Geneva as it would For example, Phaedra scorns herself for her incestuous love, but is unable to resist it. Mchten Sie Encyclopedie: Eruption of Mount Vesuvius in 1754; Copper engraving from: Diderot & d'Alembert 'Encyc kaufen? 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). 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. [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. In resisting such influence, Rousseau counters many of Montesquieu's specific arguments and judgements. They appreciate the routines of country life and enjoy the beauties of the Swiss and Savoyard Alps. 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