Rousseau also describes the weather and geography of Geneva, and argues that it is not particularly conducive to supporting a theatre. . They appreciate the routines of country life and enjoy the beauties of the Swiss and Savoyard Alps. [4], In spite of the letter being addressed directly to D'Alembert, it is undoubtedly meant to have an effect on the general population. 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. On this topic, see Mosher, Judgmental Gaze of European Women, 25, 3336. 8 Letter, 254. Rousseau could never entertain doubts about God's existence or about the immortality of the soul. 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. 33 See, for example, Michael Zuckert, Natural Rights and Modern Constitutionalism, Northwestern University Journal of International Human Rights, 2 (2004), 42-66 (4546, 52). 69 Letter, 328 (5: 95). 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. Rousseau devotes many pages to explaining the methods the tutor must use. This is not exactly the standard Enlightenment vision. 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. 0:00. The key historical context of Discourse on Inequalitywas the complex phenomenon known as the Enlightenment. The letter attracted remarkable attention; over four hundred articles and pamphlets were written in response to it. Their exchange, collected in volume ten of this acclaimed series, offers a classic debate over the political importance of the arts. By placing this particular discussion of Phaedra and what occurs in our theaters in the second of two successive chapters devoted to the topic of civil laws that are contrary to natural law, Montesquieu underscores the moral importance of the theatre for a society. Jean-Jacques Rousseau was born in Geneva on June 28, 1712; his mother died on July 7. By closing this message, you are consenting to our use of cookies. 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. [4], He extensively discusses playwright Molire's work, and uses the play Le Misanthrope to exemplify a comedy in which the audience derives immoral pleasure. [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. Remarkably, in his Letter to d'Alembert, Rousseau himself transmits this same assessment of the women in England, employing the very adjective that Montesquieu applies to them: English women are gentle and timid [timides].Footnote65 Nevertheless, where Montesquieu perceives this as having lamentable consequences for the English, Rousseau finds admirable results. 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. The Enlightenment was a diverse movement, represented in France by writers such as Voltaire, Diderot and the authors of the Encyclopdie. Rousseau came under increasing attack, in print and in practice, from the French monarchy, Voltaire and many others. 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. 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. Paul Rahe captures the general influence of Montesquieu on Rousseau most powerfully: the very features of classical republicanism that had occasioned such misgivings on Montesquieu's part were the features that Rousseau found most attractive.Footnote11 Other scholars, who focus more intently on the Letter, discern Montesquieu's influence in Rousseau's formulation that some practices, including the theatre, can be appropriate and even wholesome for some societies while noxious for others, as well as in his insistence that mores are crucial in determining what types of laws and institutions a given people can tolerate and maintain.Footnote12 Despite these important insights, the scholarship has neglected to document the degree to which Rousseau's Letter is an extended meditation on Montesquieu's thought generally and Book 19 of The Spirit of the Laws particularly. Whereas Montesquieu sees the theatre as a salutary way of teaching morality and sympathy, Rousseau condemns it as a corrupting influence. 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. [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. 57 theatre subverted the immediacy, the joyous spontaneity, the doux sentiment, of republican communion; see Forman-Barzilai, Emergence of Contextualism in Rousseau, 437. Love from Simone: Epistolarity and the love letter. 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. Rousseau's letter can help to understand the distinction between lived-in culture and theoretical political order. From 174041, he worked as a private tutor for Monsieur de Mably, brother of the famous writer, the Abbe de Mably. Dieses exklusive Werk zusammen mit anderen einzigartigen kuratierten Kunstwerken finden Sie nur hier! 28 Spirit, 19.8, 311 (2:560). 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 was the least academic of modern philosophers and in many ways was the most influential. Eloge de D'Alembert mais Rousseau a quand mme des devoirs. While Montesquieu celebrates the mores of the French, Rousseau acknowledges his predecessor's observations but expresses a marked degree of regret about such a state of affairs.Footnote46 For example, Montesquieu's Book 19 brings into stark relief the contrast between the joyful social existence of French society and the much more grave and taciturn society in England where women have no part. 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. Cited by lists all citing articles based on Crossref citations.Articles with the Crossref icon will open in a new tab. 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. Those methods involve a noticeable measure of deceit, and although corporal punishment is forbidden, mental cruelty is not. Rousseau was the eighteenth-century's greateast admirer, even idolator, of Sparta. Your subscription will continue automatically once the free trial period is over. He met Madame des Warens, a noted Catholic lady of leisure, in Savoy. In the process, he adopts Montesquieu's notion that the laws of a body politic must coincide with and be born from the mores and manners of that particular society. As Kelly points out, scholars have noted that Rousseau on several occasions in that work paraphrases without attribution the language of Montesquieu's Spirit; see Kelly, Rousseau and the Illustrious Montesquieu, in The Challenge of Rousseau, edited by Grace and Kelly, 21, notes 8 and 9; Leo Strauss, On the Intention of Rousseau, Social Research, 14 (1947), 45587 (45860); Antoine Adam, De quelques sources de Rousseau dans la littrature philosophique (17001750), in Jean-Jacques Rousseau et son oeuvre, problmes et recherches (Paris, 1964), 12533 (127); Michel Launay, Jean-Jacques Rousseau et son temps (Paris, 1969), 93103. 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. Scholars have pointed to Montesquieu's influence on Rousseau's work generally. From 1742 to 1749, Rousseau lived in Paris, barely earning a living by teaching and by copying music. 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. Quotations from d'Alembert's uvres, cited as "D'Al.," refer to the Belin edition (Paris, 1821) in five volumes.The edition of Voltaire's Correspondence is . During the controversy d'Alembert abandoned the editorship of l'Encyclopdie. We thank Matthew Mendham who, as commentator, offered insightful remarks on that occasion. Continue to start your free trial. Rousseau was particularly opposed to the adoption of French mores in Geneva; see Whatmore, Against War and Empire, 50, 59. Here, he began to write his famous autobiography, Confessions, and formally renounced his Genevan citizenship. The particular play that Montesquieu selects for praise in this regard is Racine's Phaedra, which enacts many of Montesquieu's teachings and elicits the very sentiments he finds valuable. [7] With impartiality, he decided it fit for publication (he himself at one time worked as a censor). His reforms revolutionized taste, first in music, then in the other arts. 32 Spirit, 12.2, 188. An example is how the Letter itself is open and expressive in style, while the content of the Letter is about this openness. In his Notes on England, Montesquieu somewhat comically speaks from personal experience: The women here are reserved, because Englishmen see little of them. In the next book of The Spirit of the Laws, Montesquieu specifically illustrates how the theatre appeals to our natural morality: In our theaters we watch with pleasure when a young hero shows as much horror on discovering his step-mother's crime as he had for the crime itself; in his surprise, accused, judged, condemned, banished, and covered with infamy, he scarcely dares do more than make a few reflections on the abominable blood from which Phaedra is descended; he abandons what he holds most dear [] to give himself up to the vengeance of the gods, a vengeance he has not deserved. Wed love to have you back! THINKERS. SparkNotes Plus subscription is $4.99/month or $24.99/year as selected above. But despite such an endorsement of the social order, the novel was revolutionary; its very free expression of emotions and its extreme sensibility deeply moved its large readership and profoundly influenced literary developments. 50 Kapossy, Iselin contra Rousseau, 39. When d'Alembert approached Montesquieu to contribute to the Encyclopdie, he volunteered to submit in lieu of d'Alembert's requested pieces on democracy and despotism a single entry devoted to Taste, and his corpus testifies to his sustained interest in art and aesthetics.Footnote15 Montesquieu focuses his attention on theatre in particular a handful of times in The Spirit of the Laws and once in the Persian Letters. No longer, as in the Discourse on the Origin of Inequality, was Geneva depicted as a model republic but as one that had been taken over by twenty-five despots; the subjects of the king of England were said to be free by comparison with the victims of Genevan tyranny. In the remaining 10 years of his life Rousseau produced primarily autobiographical writings, mostly intended to justify himself against the accusations of his adversaries. 37 Jean Racine, Phaedra, translated by Richard Wilbur (New York, NY, 1987) 5.1, 89. Baron dtange, Julies father, has indeed promised her to a fellow nobleman named Wolmar. Summary. 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. His thought marked the end of the . [2], The theatre in relation to what is performed in it, The theatre considered in relation to the stage and actors, Last edited on 23 February 2019, at 20:12, https://en.wikipedia.org/w/index.php?title=Letter_to_M._D%27Alembert_on_Spectacles&oldid=884754743, This page was last edited on 23 February 2019, at 20:12. 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). 177. In 1758, Jean Le Rond d'Alembert proposed the public establishment of a theater in Genevaand Jean-Jacques Rousseau vigorously objected. In this different context religion plays a different role. 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). He describes, for example, the power of the theatre over the human soul, noting that [m]usic arouses all the passions, and can make the soul feel softness, pity, tenderness, and sweet pleasure. Updates? [3], Rousseau generally opposed the Enlightenment thrust that was occurring during his lifetime. | Later Rousseau states that [t]he necessary relations between morals and government have been so well expounded in Spirit that one can do no better than have recourse to this work to study these relations; see Jean-Jacques Rousseau, Emile or On Education, translated by Allan Bloom (New York, NY, 1979, Book 5, 458, 468. 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. 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? In the decadence of France, Rousseau claims the most esteemed woman is the one who is most social, most talked about, judgmental and authoritative. 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. Of course, Rousseau is willing to harness female society in such a manner only in the already corrupt society of France. 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. Did you know that with a free Taylor & Francis Online account you can gain access to the following benefits? Corrections? They imagine that a foreigner who speaks to them is looking for a leg-over. 5 Howick Place | London | SW1P 1WG. The publication of Rousseau's sentimental novel Julie, ou la Nouvelle Heloise in 1761 gained him a huge following. For example, Rousseau in his Letter both adopts and adapts salient elements of Montesquieu's juxtaposition of French and English societies in Book 19. Rousseau opposed marriage without love (i.e. Rather, he offers reasons to esteem a society in which individuals become spectacles for each other. Il ne veut pas ressembler aux . Letter to Monsieur dAlembert on the Theatre. This awareness of presenting oneself to be viewed and judged by others fosters politeness, manners, and the joie de vivre that Montesquieu speaks so highly of in France.Footnote64. Omissions? 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! Save over 50% with a SparkNotes PLUS Annual Plan! In October of 1758,Rousseau published theLetter to dAlembertto refuteJean dAlemberts suggestion that Geneva establish a public theater. 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. The novel was clearly inspired by Rousseaus own curious relationshipat once passionate and platonicwith Sophie dHoudetot, a noblewoman who lived near him at Montmorency. 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. This edition seeks to uncover the originality and complexity of Rousseau's argument in a text that seems to reprise traditional religious . A theatre in Geneva would cause the hardworking people to be distracted and pre-occupied if they were to develop a taste for it. 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. [4], The trend of the Enlightenment among philosophers, since Descartes and Spinoza, was to move towards a society with minimized restrictions. 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. Writing to Gilbert Imlay from France in 1784, she contemplated buying their daughter a sash "to honour J. J. Rousseau and why not?for I have always been half in love with him." 1 Half in love, indeed - and half infuriated. In such a case, theatre is useful [] for covering the ugliness of vice with the polish of forms; in a word, for preventing bad morals from degenerating into brigandage.Footnote88 In speaking somewhat sarcastically about the positive role of theatre in such a corrupt society, Rousseau reveals that he would not recommend the proscription of the theatre in Paris and thus he is not such a one as to venture to constrain its women, make laws to correct their mores, and limit their luxury.Footnote89 Here, Rousseau acknowledges that theatre may, in fact, at least prevent what he sees as the debaucheries of Parisian society. Recommended translation: Politics and the Arts:Letter to M. D'Alembert on the Theatre(Agora Paperback Edition);trans. 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. Want 100 or more? The accents of nature [les accents de la nature] cause this pleasure; it is the sweetest of all voices.Footnote31, Montesquieu's praise of Racine's Hippolytus, whom he describes as being accused, judged, condemned, banished, and covered with infamy, underscores the fact that to his mind this blameless young man is the victim of a judicial procedure that failed to disclose his true innocence. [5] To have a prosperous state, Rousseau believed, people needed to work together and harmoniously. He was friendly with Enlightenment figures such as Diderot, and even wrote articles for the Encyclopdie, but later quarreled with them. on 2-49 accounts, Save 30% Montesquieu's particular treatment of English women differs from Muralt's in several ways. [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. See also Radica, Rousseau, in Dictionnaire lectronique Montesquieu, September 2013 edition, 7. 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). Jean-Jacques Rousseau & Background on Discourse on Inequality, Philosophical Context: Influences on Discourse of Inequality. In it Rousseau speaks to . 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. Their exchange, collected in volume ten of this acclaimed series, offers a classic debate over the political importance of the arts. Dufour (Paris, 1924), i, 379-380,384.Further quotations from this work will be cited as "R." and will refer to this edition. Dans le Commerce continuel qu'il y a entre les deux Sexes, il se fait comme un change de Caractre, qui les fait un peu droger l'un & l'autre; see Muralt, Lettres, 229. 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. 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". Jean-Jacques Rousseau In 1758, Jean Le Rond d'Alembert proposed the public establishment of a theater in Genevaand Jean-Jacques Rousseau vigorously objected. Despite being treated unfairly, Hippolytus adheres to a steadfast set of moral principlesand the playwright makes sure that the audience is aware of this. marriage for financial reasons, order, lust, convenience). 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. Rousseau's Letter to d'Alembert on the Theatre offers an important discussion of the relation of the arts to the health of a political community. Members will be prompted to log in or create an account to redeem their group membership. In a text directed toward representation, he thus makes semblance, imitation, a category worthy of moral judgement: that is the . It was the first of Rousseau's writings to be translated into Russian. Their exchange, collected in volume ten of this. He also responds to some comments D'Alembert makes praising the tolerance of the Geneva clergy while criticizing the intolerance of French Roman Catholicism. [3], D'Alembert himself was moved by the response, even intimidated. When Geneva was so threatened with the possibility of embracing such French mores, Rousseau engaged directly with the very authority whom d'Alembert invokes. to start your free trial of SparkNotes Plus. 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. Whereas The Social Contract is concerned with the problems of achieving freedom, mile is concerned with achieving happiness and wisdom. Get Annual Plans at a discount when you buy 2 or more! Montesquieu devotes the entirety of Part 4 of Spirit to commerce and population. Emphasis added. Rousseau's letter was widely known in Europe. Mchten Sie Encyclopedie: Eruption of Mount Vesuvius in 1754; Copper engraving from: Diderot & d'Alembert 'Encyc kaufen? Personnages principaux. 2023 The Foundation for Constitutional Government Inc. All rights reserved. As a result, he advises that the greatest part of the penalty should be the infamy of suffering it.Footnote34 Furthermore, in Racine's depiction, Theseus is enraged at Hippolytus precisely because he regards his son's action as treasonous,Footnote35 and Montesquieu warns repeatedly that outrage at this particular crime can result in atrocious punishments for the guilty and innocent alike.Footnote36. See also Bellhouse, Femininity & Commerce in the Eighteenth Century, 29294; Schaub, Erotic Liberalism, 12122. She returns his love and yields to his advances, but the difference between their classes makes marriage between them impossible. [4], Even if the theatre is morally innocuous, Rousseau argues, its presence is disruptive to potentially productive use of time. 21 Diana J. Schaub, Erotic Liberalism: Women and Revolution in Montesquieu's Persian Letters (Lanham, MD, 1995), 11314. for a group? [4], Towards the middle of this final section Rousseau reasons that the theatre does very little good for the poor, who cannot afford the taxes required to support a theatre. At the same time the book sets out to explore the possibilities of an education for republican citizenship. Phaedra, translated by Richard Wilbur ( new York, NY, 1987 ) 5.1 89! Based on Crossref citations.Articles rousseau letter to d'alembert summary the Crossref icon will open in a directed... Spirit, 19.8, 311 ( 2:560 ) the same time the book sets to. 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