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. Yet in the Letter his encomia cross from enthusiastic to the fervid. by Alan Bloom (Ithaca: Cornell University Press, 1968) [First published by Agora Editions, 1960]. Various symptoms of paranoia began to manifest themselves in Rousseau, and he returned to France incognito. If it did not exempt him from persecution, at least it ensured that his persecution was observed, and admiring femmes du monde intervened from time to time to help him so that Rousseau was never, unlike Voltaire and Diderot, actually imprisoned. His thought marked the end of the European Enlightenment (the "Age of Reason"). 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. 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. 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. Rousseau also describes the weather and geography of Geneva, and argues that it is not particularly conducive to supporting a theatre. Rousseau was particularly opposed to the adoption of French mores in Geneva; see Whatmore, Against War and Empire, 50, 59. Rousseau remains resolutely opposed to the theatre in Geneva, however. GREAT You can view our. 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. 30 Montesquieu's view was quite common at this time; see Mostefai, Le citoyen de Genve, 4763. $18.74/subscription + tax, Save 25% Recommended translation: Politics and the Arts:Letter to M. D'Alembert on the Theatre(Agora Paperback Edition);trans. [3], D'Alembert himself was moved by the response, even intimidated. It is also problematic, according to Rousseau for women and men to be working together as actors and actresses. Dont have an account? Omissions? Voltaire's propensity to organise theatrical performances at his residence in Les Dlices, just outside the city but within Geneva's territory, had occasioned concern among the pastors and the Consistory in 1755; see Graham Gargett, Jacob Vernet, Geneva, and the Philosophes (Oxford, 1994), 11520. Believing that Thrse was the only person he could rely on, he finally married her in 1768, when he was 56 years old. 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. The work is famous for displaying Rousseau's charismatic rhetoric and digressive tendencies, all with his personal experience woven into the text. Que les Anglois se vantent, aprs cela, d'avoir les meilleures Femmes du monde; Muralt, Lettres, 12829. His thought marked the end of the . 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]. In other words, people have to share the concerns with legislators if a state is to be successful. 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. [1], Rousseau believed that public morals could be created not by laws or punishment, but simply by women, who have access to their senses and largely control the way men think. It offered a critique of d'Alembert's article on Geneva in the Encyclopdie. Similarly, Susan Okin notes that Rousseau held to his ''reactionary'' ideas From 174041, he worked as a private tutor for Monsieur de Mably, brother of the famous writer, the Abbe de Mably. In October of 1758, Rousseau published the Letter to d'Alembert to refute Jean d'Alembert's suggestion that Geneva establish a public theater. [5] As an alternative to the theatre, Rousseau proposed open-air republican festivals, with a rich community atmosphere. 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. was "ironic" and even "illogical" given Rousseau's otherwise egalitarian principles; indeed, if taken to their logical conclusion, Rousseau's ideas on women made "utter non-sense" of his whole political philosophy. In the remaining 10 years of his life Rousseau produced primarily autobiographical writings, mostly intended to justify himself against the accusations of his adversaries. 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. He became friends with the Enlightenment figure Diderot, who commissioned him to write articles for the famous Encyclopdie. 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. But see, for example, Grimsley, d'Alembert, 5354; Gargett, Vernet, Geneva, and the Philosophes, 14546. Down below there is a crowd of people standing up, who make fun of those who are performing above, and they in turn laugh at those below.Footnote18, Eventually everyone goes off to a room where they act a special sort of play: it begins with bows and continues with embraces. 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. Described by the author as a treatise on education, it is not about schooling but about the upbringing of a rich mans son by a tutor who is given unlimited authority over him. No way do I wish, they say, to give to him encouragement; see Charles-Louis Secondat de Montesquieu and Iain Stuewart, Montesquieu in England: His Notes on England, with Commentary and Translation, translated by Iain Stewart (Oxford, 2002), http://ouclf.iuscomp.org/articles/montesquieu.shtml [accessed 12 June 2014], note 114. 33 See, for example, Michael Zuckert, Natural Rights and Modern Constitutionalism, Northwestern University Journal of International Human Rights, 2 (2004), 42-66 (4546, 52). Jean-Jacques Rousseau & Background on Discourse on Inequality, Philosophical Context: Influences on Discourse of Inequality. Women of Geneva (from the Letter to D'Alembert). 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. He writes that the actor is someone who is artificial, performs for money, subjects himself to disgrace, and abandons his role as a man. In 1794, the French revolutionary government ordered that his ashes be honored and moved to the Pantheon. 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. According to Montesquieu, it is exactly this tenderness [tendresse] that illustrates the power of the theatre over human beings.Footnote56 This softening of the mores, which Montesquieu sees as so valuable for producing human attachments, Rousseau finds unworthy of true men who will embrace and fulfil the duties of their polity.Footnote57 Thus, while Montesquieu uses Phaedra as an illustration of how theatre serves to eliminate moral ambiguity by reminding us of our natural morality, Rousseau uses the play to demonstrate drama's subversion of citizenship. For example, Rousseau elaborates on the moral results of Muralt's claim that theatre perverts the relationship of things. Let us know if you have suggestions to improve this article (requires login). Rousseau devotes many pages to explaining the methods the tutor must use. For example, Phaedra scorns herself for her incestuous love, but is unable to resist it. To learn about our use of cookies and how you can manage your cookie settings, please see our Cookie Policy. Continue to start your free trial. The publication of Rousseau's sentimental novel Julie, ou la Nouvelle Heloise in 1761 gained him a huge following. Updates? Therefore, by examining first Montesquieu's treatment of theatre in the Persian Letters and The Spirit of the Laws, and then Rousseau's parallel treatments in Letter to d'Alembert, one discerns the degree to which Rousseau employs his predecessor's means in order to undermine his ends. for a customized plan. On this topic, see Mosher, Judgmental Gaze of European Women, 25, 3336. This edition seeks to uncover the originality and complexity of Rousseau's argument in a text that seems to reprise traditional religious . 0:00. Thus, despite making similar observations regarding the power of the theatre, Rousseau's and Montesquieu's ultimate valuations of it are quite different. You are not required to obtain permission to reuse this article in part or whole. 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. Allan Bloom makes the claim that Voltaire persuaded d'Alembert [] to insert a passage (which Rousseau insists Voltaire himself wrote) in an otherwise laudatory presentation suggesting that Geneva should have a theatre; see Allan Bloom, Introduction, Jean-Jacques Rousseau, Politics and the Arts: Letter to M. D'Alembert on the Theater, translated by Allan Bloom (New York, NY, 1960), xi-xxxiv (xv). 5 D'Alembert, Geneva, in Letter, 243. As these two leading figures of the Enlightenment argue about censorship, popular versus high culture, and the proper role . Description. Thus, consideration of Rousseau's Letter helps to establish the formative character of the elder's thought on that of the younger. Their exchange, collected in volume ten of this acclaimed series, offers a classic debate over the political importance of the arts. The essay reconstructs the socioeconomic and political context of eighteenth-century Geneva in order to explain the intended meaning of Rousseau's Letter to d'Alembert. In 1758, Jean Le Rond d'Alembert proposed the public establishment of a theatre in Geneva - and Jean-Jacques Rousseau vigorously objected. 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." 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. By entering your email address you agree to receive emails from SparkNotes and verify that you are over the age of 13. 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. Politics and the Arts: Letter to M. D'Alembert on the Theatre (Agora Editions) Paperback - October 31, 1968 by Jean-Jacques Rousseau (Author), Allan Bloom (Translator) 11 ratings See all formats and editions Hardcover $45.00 Other used and collectible from $45.00 Paperback $18.95 Other new, used and collectible from $2.22 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. Rousseau came under increasing attack, in print and in practice, from the French monarchy, Voltaire and many others. to start your free trial of SparkNotes Plus. It was in England that Rousseau found refuge after he had been banished from the canton of Bern. This is a civil law, Montesquieu proclaims pointedly, that punishes natural defense.Footnote39 After asserting that natural defense demands that the accused be confronted by witnesses in a criminal proceeding, the chapters go on to provide examples of how civil laws can interfere with familial relations. The younger thinker also heeds the admonition of the elder that any change must be undertaken with full knowledge of its consequences and hence with supreme care. 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. In 1758, Jean Le Rond d'Alembert proposed the public establishment of a theater in Genevaand Jean-Jacques Rousseau vigorously objected. We wish to acknowledge the generous support of the Faculty Research and Awards Committee, the Undergraduate Research Fund, and the Department of Political Science at Tufts for the award of grants in support of this project. Use up and down arrows to review and enter to select. 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. Rousseau was the least academic of modern philosophers and in many ways was the most influential. 4. A theatre in Geneva would cause the hardworking people to be distracted and pre-occupied if they were to develop a taste for it. [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. References to the French, when cited, for this and the Persian Letters appear in parentheses and are drawn from Charles-Louis Secondat de Montesquieu, uvres compltes de Montesquieu, edited by Roger Callois, 2 vols (Paris, 19491951). 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. 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. [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. 2 Jean-Baptiste le Rond d'Alembert, Geneva, in Jean-Jacques Rousseau, Letter to d'Alembert and Writings for the Theater [hereafter Letter], in The Collected Writings of Rousseau, edited by Roger D. Masters and Christopher Kelly, 13 vols (Hanover, NH, 19902010), X, 241. [6], The Letter begins by Rousseau establishing the respect he has for his friend D'Alembert. 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. While he surely discerns the vices of commercial peoples, he also points out the positive transformative power of commerce in bringing peace and understanding among peoples; see Spirit, 20.1, 338. Spectacles and Sociability: Rousseau's R . 2. [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. Although he debated extensively with critics of his earlier work, First Discourse, Rousseau never mailed his replies to the major critics of Discourse on Inequality, Charles Bonnet (writing as Philopolis) and Charles Le Roy (writing as Buffon). In 1756, Rousseau left Paris. He argues that the presence and authority of women in public spaces corrupts the male youth, turning them effeminate and void of patriotic passion. 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. Very many literate people in the eighteenth century read and responded to Rousseau, in France and elsewhere. [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. Rousseau; D'Alembert; Habitants de Genve; Les Montagnards; Rsum. . The years at Montmorency had been the most productive of his literary career; The Social Contract, mile, and Julie; ou, la nouvelle Hlose (1761; Julie; or, The New Eloise) came out within 12 months, all three works of seminal importance. Rousseau died suddenly on July 2, 1778. on 2-49 accounts, Save 30% 1758 marked a break with many of the Enlightenment philosophers; his Letter to d'Alembert attacked d'Alembert's article in the French Encyclopedia on Geneva. In other words, it is easier to not have to deal with corrupted morality and have to change the laws accordingly. Rousseau's later quarrel with Voltaire was legendary for its violence . Listen on ); Episode details. For a discussion of those who opposed the theatre in France in the seventeenth and eighteenth centuries, see Jonas Barish, The Antitheatrical Prejudice (Berkeley, CA, 1981), 191220. See also Radica, Rousseau, in Dictionnaire lectronique Montesquieu, September 2013 edition, 7. The letter attracted remarkable attention; over four hundred articles and pamphlets were written in response to it. Whereas The Social Contract is concerned with the problems of achieving freedom, mile is concerned with achieving happiness and wisdom. 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). 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! In the Letter, Rousseau rejected the traditional notion of male politicians being responsible for moral reform, and thought it was women's responsibility. During the controversy d'Alembert abandoned the editorship of l'Encyclopdie. At one point, Rousseau states his concern simply as this: in a state as small as the republic of Geneva, all innovations are dangerous and [they] ought never to be made without urgent and grave motives.Footnote79 This passage mirrors Montesquieu's teaching throughout The Spirit of the Laws, which he encapsulates in its preface: changes can be proposed only by those who are born fortunate enough to fathom by a stroke of genius the whole of a state's constitution.Footnote80 Thus, with an inflection borrowed from Montesquieu, Rousseau warns any would-be proposer of improvements to Geneva that even seemingly small and well-intentioned, but ill-considered, changes can have significant deleterious consequences. Dartmouth College Press. Montesquieu's description of a gentle and joyful societal existence could very well foster admiration beyond the borders of France, and thus spread the very mores from which Rousseau endeavours to protect Geneva. 32 Spirit, 12.2, 188. 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