The constant thought of Paris gave Rousseau an admirable occasion of painting two pictures in violent contrast, each as over-coloured as the other by his mixed conceptions of the Plutarchian antique and imaginary pastoral. We forget the depravation of the stage and the ill living of comedians in magnificent descriptions of the manly exercises and cheerful festivities of the free people on the shores of the Lake of Geneva, and in scornful satire on the Parisian seraglios, where some woman assembles a number of men who are more like women than their entertainers. We see on the one side the rude sons of the republic, boxing, wrestling, running, in generous emulation, and on the other the coxcombs of cultivated Paris imprisoned in a drawing-room, "rising up, sitting down, incessantly going and coming to the fire-place, to the window, taking up a screen and putting it down again a hundred times, turning over books, flitting from picture to picture, turning and pirouetting about the room, while the idol stretched motionless on a couch all the time is only alive in her tongue and eyes" (p. 161). If the rough patriots of the Lake are less polished in speech, they are all the weightier in reason; they do not escape by a pleasantry or a compliment; each feeling himself attacked by all the forces of his adversary, he is obliged to employ all his own to defend himself, and this is how a mind acquires strength and precision. There may be here and there a licentious phrase, but there is no ground for alarm in that. It is not the least rude who are always the most pure, and even a rather clownish speech is better than that artificial style in which the two sexes seduce one another, and familiarise themselves decently with vice. 'Tis true our Swiss drinks too much, but after all let us not calumniate even vice; as a rule drinkers are cordial and frank, good, upright, just, loyal, brave, and worthy folk. Wherever people have most abhorrence of drunkenness, be sure they have most reason to fear lest its indiscretion should betray intrigue and treachery. In Switzerland it is almost thought well of, while at Naples they hold it in horror; but at bottom which is the more to be dreaded, the intemperance of the Swiss or the reserve of the Italian? It is hardly surprising to learn that the people of Geneva were as little gratified by this well-meant panegyric on their jollity as they had been by another writer's friendly eulogy on their Socinianism.[352]
The reader who was not moved to turn brute and walk on all fours by the pictures of the state of nature in the Discourses, may find it more difficult to resist the charm of the brotherly festivities and simple pastimes which in the Letter to D'Alembert the patriot holds up to the admiration of his countrymen and the envy of foreigners. The writer is in Sparta, but he tempers his Sparta with a something from Charmettes. Never before was there so attractive a combination of martial austerity with the grace of the idyll. And the interest of these pictures is much more than literary; it is historic also. They were the original version of those great gatherings in the Champ de Mars and strange suppers of fraternity during the progress of the Revolution in Paris, which have amused the cynical ever since, but which pointed to a not unworthy aspiration. The fine gentlemen whom Rousseau did so well to despise had then all fled, and the common people under Rousseauite leaders were doing the best they could to realise on the banks of the Seine the imaginary joymaking and simple fellowship which had been first dreamed of for the banks of Lake Leman, and commended with an eloquence that struck new chords in minds satiated or untouched by the brilliance of mere literature. There was no real state of things in Geneva corresponding to the gracious picture which Rousseau so generously painted, and some of the citizens complained that his account of their social joys was as little deserved as his ingenious vindication of their hearty feeling for barrel or bottle was little founded.[353]
The glorification of love of country did little for the Genevese for whom it was meant, but it penetrated many a soul in the greater nation that lay sunk in helpless indifference to its own ruin. Nowhere else among the writers who are the glory of France at this time, is any serious eulogy of patriotism. Rousseau glows with it, and though he always speaks in connection with Geneva, yet there is in his words a generous breadth and fire which gave them an irresistible contagiousness. There are many passages of this fine persuasive force in the Letter to D'Alembert; perhaps this, referring to the citizens of Geneva who had gone elsewhere in search of fortune, is as good as another. Do you think that the opening of a theatre, he asks, will bring them back to their mother city? No; "each of them must feel that he can never find anywhere else what he has left behind in his own land; an invincible charm must call him back to the spot that he ought never to have quitted; the recollection of their first exercises, their first pleasures, their first sights, must remain deeply graven in their hearts; the soft impressions made in the days of their youth must abide and grow stronger with advancing years, while a thousand others wax dim; in the midst of the pomp of great cities and all their cheerless magnificence, a secret voice must for ever cry in the depth of the wanderer's soul, Ah, where are the games and holidays of my youth? Where is the concord of the townsmen, where the public brotherhood? Where is pure joy and true mirth? Where are peace, freedom, equity? Let us hasten to seek all these. With the heart of a Genevese, with a city as smiling, a landscape as full of delight, a government as just, with pleasures so true and so pure, and all that is needed to be able to relish them, how is it that we do not all adore our birth-land? It was thus in old times that by modest feasts and homely games her citizens were called back by that Sparta which I can never quote often enough as an example for us; thus in Athens in the midst of fine art, thus in Susa in the very bosom of luxury and soft delights, the wearied Spartan sighed after his coarse pastimes and exhausting exercises" (p. 211).[354]
Any reference to this powerfully written, though most sophistical piece, would be imperfect which should omit its slightly virulent onslaught upon women and the passion which women inspire. The modern drama, he said, being too feeble to rise to high themes, has fallen back on love; and on this hint he proceeds to a censure of love as a poetic theme, and a bitter estimate of women as companions for men, which might have pleased Calvin or Knox in his sternest mood. The same eloquence which showed men the superior delights of the state of nature, now shows the superior fitness of the oriental seclusion of women; it makes a sympathetic reader tremble at the want of modesty, purity, and decency, in the part which women are allowed to take by the infatuated men of a modern community.
All this, again, is directed against "that philosophy of a day, which is born and dies in the corner of a city, and would fain stifle the cry of nature and the unanimous voice of the human race" (p. 131). The same intrepid spirits who had brought reason to bear upon the current notions of providence, inspiration, ecclesiastical tradition, and other unlighted spots in the human mind, had perceived that the subjection of women to a secondary place belonged to the same category, and could not any more successfully be defended by reason. Instead of raging against women for their boldness, their frivolousness, and the rest, as our passionate sentimentalist did, the opposite school insisted that all these evils were due to the folly of treating women with gallantry instead of respect, and to the blindness of refusing an equally vigorous and masculine education to those who must be the closest companions of educated man. This was the view forced upon the most rational observers of a society where women were so powerful, and so absolutely unfit by want of intellectual training for the right use of social power. D'Alembert expressed this view in a few pages of forcible pleading in his reply to Rousseau,[355] and some thirty-two years later, when all questions had become political (1790), Condorcet ably extended the same line of argument so as to make it cover the claims of women to all the rights of citizenship.[356] From the nature of the case, however, it is impossible to confute by reason a man who denies that the matter in dispute is within the decision and jurisdiction of reason, and who supposes that his own opinion is placed out of the reach of attack when he declares it to be the unanimous voice of the human race. We may remember that the author of this philippic against love was at the very moment brooding over the New Heloïsa, and was fresh from strange transports at the feet of the Julie whom we know.
The Letter on the Stage was the definite mark of Rousseau's schism from the philosophic congregation. Has Jean Jacques turned a father of the church? asked Voltaire. Deserters who fight against their country ought to be hung. The little flock are falling to devouring one another. This arch-madman, who might have been something, if he would only have been guided by his brethren of the Encyclopædia, takes it into his head to make a band of his own. He writes against the stage, after writing a bad play of his own. He finds four or five rotten staves of Diogenes' tub, and instals himself therein to bark at his friends.[357] D'Alembert was more tolerant, but less clear-sighted. He insisted that the little flock should do its best to heal divisions instead of widening them. Jean Jacques, he said, "is a madman who is very clever, and who is only clever when he is in a fever; it is best therefore neither to cure nor to insult him."
Rousseau made the preface to the Letter on the Stage an occasion for a proclamation of his final breach with Diderot. "I once," he said, "possessed a severe and judicious Aristarchus; I have him no longer, and wish for him no longer." To this he added in a footnote a passage from Ecclesiasticus, to the effect that if you have drawn a sword on a friend there still remains a way open, and if you have spoken cheerless words to him concord is still possible, but malicious reproach and the betrayal of a secret—these things banish friendship beyond return. This was the end of his personal connection with the men whom he always contemptuously called the Holbachians. After 1760 the great stream divided into two; the rationalist and the emotional schools became visibly antipathetic, and the voice of the epoch was no longer single or undistracted.
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