On the relation between the two thinkers, see also Michael Sonenscher, Before the Deluge: Public Debt, Inequality, and the Intellectual Origins of the French Revolution (Princeton, NJ, 2007), 86, 96, 175, 223; Christopher Kelly, Rousseau and the Illustrious Montesquieu, in The Challenge of Rousseau, edited by Grace and Kelly, 1933 (2021). 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. 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. 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]. He also responds to some comments D'Alembert makes praising the tolerance of the Geneva clergy while criticizing the intolerance of French Roman Catholicism. Continue to start your free trial. Want 100 or more? Rousseau could never entertain doubts about God's existence or about the immortality of the soul. Dieses exklusive Werk zusammen mit anderen einzigartigen kuratierten Kunstwerken finden Sie nur hier! However, tragedies are not as dangerous as comedies, because the characters more closely resemble French citizens. Montesquieu takes a particular interest in such judicial proceedings throughout The Spirit of the Laws, declaring that the knowledge already acquired in some countries and yet to be acquired in others, concerning the surest rules one can observe in criminal judgments, is of more concern to mankind than anything else in the world.Footnote32 Criminal judgements can bring down the full power of the state against individuals, depriving them of their property, liberty, homeland, or very lives.Footnote33 Given this import, Montesquieu advises gentleness in punishing, declaring that people must not be led to extremes; one should manage the means that nature gives us to guide them and explaining that nature [] has given men shame for their scourge. on 50-99 accounts. 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. For example, d'Alembert selects for particular praise the type of welcome Geneva provided for Voltaire, recounting that the citizens of Geneva reveal their admirable sophistication by having provided haven for the beleaguered author and noting approvingly that these republicans bestowed on Voltaire the same marks of esteem and respect he has received from many monarchs.Footnote3 D'Alembert further observes with approbation that they now sanction in their environs the publishing of Voltaire's history, which condemns John Calvin for countenancing Michael Servetus's trial as a heretic within its walls and his burning just outside of them upon his conviction. 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! 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. 16 Spirit, 4.8, 41. 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). It is about people finding happiness in domestic as distinct from public life, in the family as opposed to the state. We have corrected the translation here. Please wait while we process your payment. 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. Rousseau devotes many pages to explaining the methods the tutor must use. 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. Their exchange, collected in volume ten of this acclaimed series, offers a classic debate over the political importance of the arts. 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. [4], Even if the theatre is morally innocuous, Rousseau argues, its presence is disruptive to potentially productive use of time. He makes it clear that the growth of society, reason, and language makes man capable of amazing things, but at the same time, such growth will "ruin" him. 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. 58 Marshall, Rousseau and the State of the Theater, in Rousseau: Critical Assessments, edited by Scott, IV, 13940. Having long regarded Voltaire as an additional target of Rousseau's criticism in the Letter, the scholarship has largely ignored the extent to which Rousseau also engages with and responds to Montesquieu in this particular work. [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. 48 Letter, 270. 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. 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. At this time, Rousseau wants to serve that truth that contributes to the "public good," that is to say, to all individuals. 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. [2], In the Letter, Rousseau rejected the traditional notion of male politicians being responsible for moral reform, and thought it was women's responsibility. Yet in the Letter his encomia cross from enthusiastic to the fervid. Il ne veut pas ressembler aux . Rousseau's depictions of the theatre as well as his discussions of the role of women in both French and English society reveal that the Letter bears a striking resemblance to, and, in fact, appears to be a response to, aspects of Montesquieu's thought. 60 Spirit, 19.6, 311. 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. He argues that the presence and authority of women in public spaces corrupts the male youth, turning them effeminate and void of patriotic passion. It may be important to note that the theatre was a far more powerful cultural force in Rousseau's day than today. In October of 1758, Rousseau published the Letter to d'Alembert to refute Jean d'Alembert's suggestion that Geneva establish a public theater. 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]. Here, he began to write his famous autobiography, Confessions, and formally renounced his Genevan citizenship. They appreciate the routines of country life and enjoy the beauties of the Swiss and Savoyard Alps. In the guise of La Profession de foi du vicaire savoyard (1765; The Profession of Faith of a Savoyard Vicar) Rousseau sets out what may fairly be regarded as his own religious views, since that book confirms what he says on the subject in his private correspondence. But after quoting a passage from D'Alembert's letter, Rousseau writes that it is imperative to discuss the potential disasters that a theatre could bring. 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. 177. Online: Amazon (Recommended translation) Google Books (Free preview available). Women of Geneva (from the Letter to D'Alembert). 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. 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's later quarrel with Voltaire was legendary for its violence. An earlier version of this essay was presented at the Northeastern Political Science Association Conference in Philadelphia in 2013. Rousseau considers this play to be a work of genius, but it is, of course, morally backwards. 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. Other scholars, in examining Rousseau's Letter in particular, discern limited indications of Montesquieu's influence. [4], The trend of the Enlightenment among philosophers, since Descartes and Spinoza, was to move towards a society with minimized restrictions. 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. Dartmouth College Press. 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. 19 Montesquieu, Persian Letters, letter 28, 79. Que les Anglois se vantent, aprs cela, d'avoir les meilleures Femmes du monde; Muralt, Lettres, 12829. It greatly deceives itself; it is free only during the election of the members of Parliament. 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. As these two leading figures of the Enlightenment argue about censorship, popular versus high culture, and the proper role . The novel was clearly inspired by Rousseaus own curious relationshipat once passionate and platonicwith Sophie dHoudetot, a noblewoman who lived near him at Montmorency. Once again, the morality of Ancient Rome and Greece is frequently referenced as an ideal that should be aspired to. This work made final Rousseau's public break with most of the philosophes. 2. 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 describes them as scandalous, hedonistic, and compares them to jesters, who were more blatantly indecent and obscene. 1 . In it Rousseau speaks to . He also wrote Rousseau juge de Jean-Jacques (1780; Rousseau, Judge of Jean-Jacques) to reply to specific charges by his enemies and Les Rveries du promeneur solitaire (1782; Reveries of the Solitary Walker), one of the most moving of his books, in which the intense passion of his earlier writings gives way to a gentle lyricism and serenity. [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. In 1758 his Letter to M. d'Alembert on the Theatre was published. In 1756, Rousseau left Paris. 64 Mosher, Judgmental Gaze of European Women, 30; Schaub, Erotic Liberalism, 14243. 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. It offered a critique of d'Alembert's article on Geneva in the Encyclopdie. 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. 30 Montesquieu's view was quite common at this time; see Mostefai, Le citoyen de Genve, 4763. The best alternative to theatres is open-air festivals, in nature, to provide a unifying, patriotic spirit. Did you know you can highlight text to take a note? 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. creating and saving your own notes as you read. Radica's article does not treat the Letter. 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. Rousseau worked as a clerk to a notary, and then was apprenticed to an engraver. GREAT Montesquieu broaches the possibility that drama itself can teach morality in The Spirit of the Laws in Book 25, one of two devoted to the subject of religion. Cf. Lettre d'Alembert de Rousseau. Both furious with his father's accusation and passionately in love with Aricia, Hippolytus nevertheless resists immoral action on behalf of those passions. Jean-Jacques Rousseau was born in Geneva on June 28, 1712; his mother died on July 7. In other words, people have to share the concerns with legislators if a state is to be successful. Dont have an account? 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. 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. They imagine that a foreigner who speaks to them is looking for a leg-over. She returns his love and yields to his advances, but the difference between their classes makes marriage between them impossible. Rousseau worked as a clerk to a notary, and then was apprenticed to an engraver. 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. Rousseau Letter To D' Alembert And Writings For The Theater ( Collected Writings Vol. Allan Bloom, "Jean-Jacques Rousseau," in History of Political Philosophy, ed. 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? 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! Jean-Jacques Rousseau In 1758, Jean Le Rond d'Alembert proposed the public establishment of a theater in Genevaand Jean-Jacques Rousseau vigorously objected. 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. Maloy follows Eric Nelson in reading Montesquieu as favourable to the ancient republics generally and to their land reforms particularly. 18 Charles-Louis Secondat de Montesquieu, Persian Letters, translated by C. J. Betts (London, 2004, first published in 1979), letter 28, 79 (1:172). 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. [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. His father, Isaac Rousseau, was a watchmaker. Letter of M. d'Alembert to M. J. J. Rousseau ; "Response to the anonymous letter written by members of the legal profession" ; Letter from Julien-David Leroy to Rousseau ; From Rousseau to Leroy. Because of the natural respect men have for the moral sense and timidity of women, for men to be amongst women as actresses will be a further threat to men's morality. 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. Description. An obstreperous critic of the theatre, Rousseau presents its stories not as clarifying and correcting humanity's moral compass, but rather as obscuring it. Ace your assignments with our guide to Discourse on Inequality! His next works were less popular; The Social Contract and milewere condemned and publicly burnt in Paris and Geneva in 1762. It is also problematic, according to Rousseau for women and men to be working together as actors and actresses. 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. Nonetheless, taken together, these apparently contrasting accounts reveal that Montesquieu sees value in the theatrical experience in its entirety. 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. For example, he writes: les Hommes donnent trop dans la Bagatelle & ne sont pas asss Hommes, les femmes ont trop de Hardiesse & ne sont pas asss Femmes. In resisting such influence, Rousseau counters many of Montesquieu's specific arguments and judgements. [7] With impartiality, he decided it fit for publication (he himself at one time worked as a censor). 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). Sometimes it can end up there. The Confessions used is the Gamier edition (Paris, n.d.). 8 Letter, 254. Your subscription will continue automatically once the free trial period is over. Phaedra thus dramatises the very concerns that Montesquieu's treatise discusses at such length and in such detail, but does so in an emotionally affecting manner precisely because Racine presents Hippolytus as so undeserving of such a callous and vindictive father. 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. 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. Montesquieu on the French Theatre and Sociability in the, 3. See also Thomas, Negotiating Taste in Montesquieu, 8182. That minimal creed put Rousseau at odds with the orthodox adherents of the churches and with the openly atheistic philosophes of Paris, so that despite the enthusiasm that some of his writings, and especially The New Eloise, excited in the reading public, he felt himself increasingly isolated, tormented, and pursued. In this different context religion plays a different role. 15 For a fuller discussion, see Thomas, Negotiating Taste in Montesquieu, 7172. Renews April 25, 2023 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. 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. He first tries to sway Geneva away from the idea of theatre by suggesting that it is not economically feasible, and that the population is too low to support a theatre. People also read lists articles that other readers of this article have read. Rousseau began to write whilst living with her. 26 Michael A. Mosher, The Judgmental Gaze of European Women: Gender, Sexuality, and the Critique of Republican Rule, Political Theory, 22 (1994), 2544 (42). Though the actor is not necessarily malevolent with his talents of deception, Rousseau goes on, the seductive, manipulative nature of acting could potentially be used by actors to do harm in society outside of the theatre. After formally renouncing his Genevan citizenship in 1763, Rousseau became a fugitive, spending the rest of his life moving from one refuge to another. -36:18. 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. $24.99 Members will be prompted to log in or create an account to redeem their group membership. [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. Discourse on Inequality was completed in May 1754, and published in 1755. He writes that the actor is someone who is artificial, performs for money, subjects himself to disgrace, and abandons his role as a man. 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. 2023 The Foundation for Constitutional Government Inc. All rights reserved. After he had been expelled from France, he was chased from canton to canton in Switzerland. 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. 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. Association Conference in Philadelphia in 2013 far more powerful cultural force in Rousseau: Critical Assessments, by. Genve, 4763 volume ten of this acclaimed series, offers a classic over! Greatly deceives itself ; it is free only during the election of the Geneva clergy while the. To be successful the, 3 with impartiality, he was chased canton... Theater ( collected Writings Vol only during the rousseau letter to d'alembert summary of the Theater ( collected Writings Vol our to. And Writings for the Theater, in examining Rousseau 's Letter in particular, discern limited indications of 's... In other words, people have to share the concerns with legislators a. 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