A third undertaking of a more substantial sort was to arrange and edit the papers and printed works of the Abbé de Saint Pierre (1658-1743), confided to him through the agency of Saint Lambert, and partly also of Madame Dupin, the warm friend of that singular and good man.[259] This task involved reading, considering, and picking extracts from twenty-three diffuse and chaotic volumes, full of prolixity and repetition. Rousseau, dreamer as he was, yet had quite keenness of perception enough to discern the weakness of a dreamer of another sort; and he soon found out that the Abbé de Saint Pierre's views were impracticable, in consequence of the author's fixed idea that men are guided rather by their lights than by their passions. In fact, Saint Pierre was penetrated with the eighteenth-century faith to a peculiar degree. As with Condorcet afterwards, he was led by his admiration for the extent of modern knowledge to adopt the principle that perfected reason is capable of being made the base of all institutions, and would speedily terminate all the great abuses of the world. "He went wrong," says Rousseau, "not merely in having no other passion but that of reason, but by insisting on making all men like himself, instead of taking them as they are and as they will continue to be." The critic's own error in later days was not very different from this, save that it applied to the medium in which men live, rather than to themselves, by refusing to take complex societies as they are, even as starting-points for higher attempts at organisation. Rousseau had occasionally seen the old man, and he preserved the greatest veneration for his memory, speaking of him as the honour of his age and race, with a fulness of enthusiasm very unusual towards men, though common enough towards inanimate nature. The sincerity of this respect, however, could not make the twenty-three volumes which the good man had written, either fewer in number or lighter in contents, and after dealing as well as he could with two important parts of Saint Pierre's works, he threw up the task.[260] It must not be supposed that Rousseau would allow that fatigue or tedium had anything to do with a resolve which really needed no better justification. As we have seen before, he had amazing skill in finding a certain ingeniously contrived largeness for his motives. Saint Pierre's writings were full of observations on the government of France, some of them remarkably bold in their criticism, but he had not been punished for them because the ministers always looked upon him as a kind of preacher rather than a genuine politician, and he was allowed to say what he pleased, because it was observed that no one listened to what he said. Besides, he was a Frenchman, and Rousseau was not, and hence the latter, in publishing Saint Pierre's strictures on French affairs, was exposing himself to a sharp question why he meddled with a country that did not concern him. "It surprised me," says Rousseau, "that the reflection had not occurred to me earlier," but this coincidence of the discovery that the work was imprudent, with the discovery that he was weary of it, will surprise nobody versed in study of a man who lives in his sensations, and yet has vanity enough to dislike to admit it.
The short remarks which Rousseau appended to his abridgment of Saint Pierre's essays on Perpetual Peace, and on a Polysynodia, or Plurality of Councils, are extremely shrewd and pointed, and would suffice to show us, if there were nothing else to do so, the right kind of answer to make to the more harmful dreams of the Social Contract. Saint Pierre's fault is said, with entire truth, to be a failure to make his views relative to men, to times, to circumstances; and there is something that startles us when we think whose words we are reading, in the declaration that, "whether an existing government be still that of old times, or whether it have insensibly undergone a change of nature, it is equally imprudent to touch it: if it is the same, it must be respected, and if it has degenerated, that is due to the force of time and circumstance, and human sagacity is powerless." Rousseau points to France, asking his readers to judge the peril of once moving by an election the enormous masses comprising the French monarchy; and in another place, after a wise general remark on the futility of political machinery without men of a certain character, he illustrates it by this scornful question: When you see all Paris in a ferment about the rank of a dancer or a wit, and the affairs of the academy or the opera making everybody forget the interest of the ruler and the glory of the nation, what can you hope from bringing political affairs close to such a people, and removing them from the court to the town?[261] Indeed, there is perhaps not one of these pages which Burke might not well have owned.[262]
A violent and prolonged crisis followed this not entirely unsuccessful effort after sober and laborious meditation. Rousseau was now to find that if society has its perils, so too has solitude, and that if there is evil in frivolous complaisance for the puppet-work of a world that is only a little serious, so there is evil in a passionate tenderness for phantoms of an imaginary world that is not serious at all. To the pure or stoical soul the solitude of the forest is strength, but then the imagination must know the yoke. Rousseau's imagination, in no way of the strongest either as receptive or inventive, was the free accomplice of his sensations. The undisciplined force of animal sensibility gradually rose within him, like a slowly welling flood. The spectacle does not either brighten or fortify the student's mind, yet if there are such states, it is right that those who care to speak of human nature should have an opportunity of knowing its less glorious parts. They may be presumed to exist, though in less violent degree, in many people whom we meet in the street and at the table, and there can be nothing but danger in allowing ourselves to be so narrowed by our own virtuousness, viciousness being conventionally banished to the remoter region of the third person, as to forget the presence of "the brute brain within the man's." In Rousseau's case, at any rate, it was no wicked broth nor magic potion that "confused the chemic labour of the blood," but the too potent wine of the joyful beauty of nature herself, working misery in a mental structure that no educating care nor envelope of circumstance had ever hardened against her intoxication. Most of us are protected against this subtle debauch of sensuous egoism by a cool organisation, while even those who are born with senses and appetites of great strength and keenness, are guarded by accumulated discipline of all kinds from without, especially by the necessity for active industry which brings the most exaggerated native sensibility into balance. It is the constant and rigorous social parade which keeps the eager regiment of the senses from making furious rout. Rousseau had just repudiated all social obligation, and he had never gone through external discipline. He was at an age when passion that has never been broken in has the beak of the bald vulture, tearing and gnawing a man; but its first approach is in fair shapes.
Wandering and dreaming "in the sweetest season of the year, in the month of June, under the fresh groves, with the song of the nightingale and the soft murmuring of the brooks in his ear," he began to wonder restlessly why he had never tasted in their plenitude the vivid sentiments which he was conscious of possessing in reserve, or any of that intoxicating delight which he felt potentially existent in his soul. Why had he been created with faculties so exquisite, to be left thus unused and unfruitful? The feeling of his own quality, with this of a certain injustice and waste superadded, brought warm tears which he loved to let flow. Visions of the past, from girl playmates of his youth down to the Venetian courtesan, thronged in fluttering tumult into his brain. He saw himself surrounded by a seraglio of houris whom he had known, until his blood was all aflame and his head in a whirl. His imagination was kindled into deadly activity. "The impossibility of reaching to the real beings plunged me into the land of chimera; and seeing nothing actual that rose to the height of my delirium, I nourished it in an ideal world, which my creative imagination had soon peopled with beings after my heart's desire. In my continual ecstasies, I made myself drunk with torrents of the most delicious sentiments that ever entered the heart of man. Forgetting absolutely the whole human race, I invented for myself societies of perfect creatures, as heavenly for their virtues as their beauties; sure, tender, faithful friends, such as I never found in our nether world. I had such a passion for haunting this empyrean with all its charming objects, that I passed hours and days in it without counting them as they went by; and losing recollection of everything else, I had hardly swallowed a morsel in hot haste, before I began to burn to run off in search of my beloved groves. If, when I was ready to start for the enchanted world, I saw unhappy mortals coming to detain me on the dull earth, I could neither moderate nor hide my spleen, and, no longer master over myself, I used to give them greeting so rough that it might well be called brutal."[263]
This terrific malady was something of a very different kind from the tranquil sensuousness of the days in Savoy, when the blood was young, and life was not complicated with memories, and the sweet freshness of nature made existence enough. Then his supreme expansion had been attended with a kind of divine repose, and had found edifying voice in devout acknowledgment in the exhilaration of the morning air of the goodness and bounty of a beneficent master. In this later and more pitiable time the beneficent master hid himself, and creation was only not a blank because it was veiled by troops of sirens not in the flesh. Nature without the association of some living human object, like Madame de Warens, was a poison to Rousseau, until the advancing years which slowly brought decay of sensual force thus brought the antidote. At our present point we see one stricken with an ugly disease. It was almost mercy when he was laid up with a sharp attack of the more painful, but far less absorbing and frightful disorder, to which Rousseau was subject all his life long. It gave pause to what he misnames his angelic loves. "Besides that one can hardly think of love when suffering anguish, my imagination, which is animated by the country and under the trees, languishes and dies in a room and under roof-beams." This interval he employed with some magnanimity, in vindicating the ways and economy of Providence, in the letter to Voltaire which we shall presently examine. The moment he could get out of doors again into the forest, the transport returned, but this time accompanied with an active effort in the creative faculties of his mind to bring the natural relief to these over-wrought paroxysms of sensual imagination. He soothed his emotions by associating them with the life of personages whom he invented, and by introducing into them that play and movement and changing relation which prevented them from bringing his days to an end in malodorous fever. The egoism of persistent invention and composition was at least better than the egoism of mere unreflecting ecstasy in the charm of natural objects, and took off something from the violent excess of sensuous force. His thought became absorbed in two female figures, one dark and the other fair, one sage and the other yielding, one gentle and the other quick, analogous in character but different, not handsome but animated by cheerfulness and feeling. To one of these he gave a lover, to whom the other was a tender friend. He planted them all, after much deliberation and some changes, on the shores of his beloved lake at Vevay, the spot where his benefactress was born, and which he always thought the richest and loveliest in all Europe.
This vicarious or reflected egoism, accompanied as it was by a certain amount of productive energy, seemed to mark a return to a sort of moral convalescence. He walked about the groves with pencil and tablets, assigning this or that thought or expression to one or other of the three companions of his fancy. When the bad weather set in, and he was confined to the house (the winter of 1756-7), he tried to resume his ordinary indoor labour, the copying of music and the compilation of his Musical Dictionary. To his amazement he found that this was no longer possible. The fever of that literary composition of which he had always such dread had strong possession of him. He could see nothing on any side but the three figures and the objects about them made beautiful by his imagination. Though he tried hard to dismiss them, his resistance was vain, and he set himself to bringing some order into his thoughts "so as to produce a kind of romance." We have a glimpse of his mental state in the odd detail, that he could not bear to write his romance on anything but the very finest paper with gilt edges; that the powder with which he dried the ink was of azure and sparkling silver; and that he tied up the quires with delicate blue riband.[264] The distance from all this to the state of nature is obviously very great indeed. It must not be supposed that he forgot his older part as Cato, Brutus, and the other Plutarchians. "My great embarrassment," he says honestly, "was that I should belie myself so clearly and thoroughly. After the severe principles I had just been laying down with so much bustle, after the austere maxims I had preached so energetically, after so many biting invectives against the effeminate books that breathed love and soft delights, could anything be imagined more shocking, more unlooked-for, than to see me inscribe myself with my own hand among the very authors on whose books I had heaped this harsh censure? I felt this inconsequence in all its force, I taxed myself with it, I blushed over it, and was overcome with mortification; but nothing could restore me to reason."[265] He adds that perhaps on the whole the composition of the New Heloïsa was turning his madness to the best account. That may be true, but does not all this make the bitter denunciation, in the Letter to D'Alembert, of love and of all who make its representation a considerable element in literature or the drama, at the very time when he was composing one of the most dangerously attractive romances of his century, a rather indecent piece of invective? We may forgive inconsistency when it is only between two of a man's theories, or two self-concerning parts of his conduct, but hardly when it takes the form of reviling in others what the reviler indulgently permits to himself.
We are more edified by the energy with which Rousseau refused connivance with the public outrages on morality perpetrated by a patron. M. d'Epinay went to pay him a visit at the Hermitage, taking with him two ladies with whom his relations were less than equivocal, and for whom among other things he had given Rousseau music to copy. "They were curious to see the eccentric man," as M. d'Epinay afterwards told his scandalised wife, for it was in the manners of the day on no account to parade even the most notorious of these unblessed connections. "He was walking in front of the door; he saw me first; he advanced cap in hand; he saw the ladies; he saluted us, put on his cap, turned his back, and stalked off as fast as he could. Can anything be more mad?"[266] In the miserable and intricate tangle of falsity, weakness, sensuality, and quarrel, which make up this chapter in Rousseau's life, we are glad of even one trait of masculine robustness. We should perhaps be still more glad if the unwedded Theresa were not visible in the background of this scene of high morals.
II.
The New Heloïsa was not to be completed without a further extension of morbid experience of a still more burning kind than the sufferings of compressed passion. The feverish torment of mere visions of the air swarming impalpable in all his veins, was replaced when the earth again began to live and the sap to stir in plants, by the more concentred fire of a consuming passion for one who was no dryad nor figure of a dream. In the spring of 1757 he received a visit from Madame d'Houdetot, the sister-in-law of Madame d'Epinay.[267] Her husband had gone to the war (we are in the year of Rossbach), and so had her lover, Saint Lambert, whose passion had been so fatal to Voltaire's Marquise du Châtelet eight years before. She rode over in man's guise to the Hermitage from a house not very far off, where she was to pass her retreat during the absence of her two natural protectors. Rousseau had seen her before on various occasions; she had been to the Hermitage the previous year, and had partaken of its host's homely fare.[268] But the time was not ripe; the force of a temptation is not from without but within. Much, too, depended with our hermit on the temperature; one who would have been a very ordinary mortal to him in cold and rain, might grow to Aphrodite herself in days when the sun shone hot and the air was aromatic. His fancy was suddenly struck with the romantic guise of the female cavalier, and this was the first onset of a veritable intoxication, which many men have felt, but which no man before or since ever invited the world to hear the story of. He may truly say that after the first interview with her in this disastrous spring, he was as one who had thirstily drained a poisoned bowl. A sort of palsy struck him. He lay weeping in his bed at night, and on days when he did not see the sorceress he wept in the woods.[269] He talked to himself for hours, and was of a black humour to his house-mates. When approaching the object of this deadly fascination, his whole organisation seemed to be dissolved. He walked in a dream that filled him with a sense of sickly torture, commixed with sicklier delight.