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).1

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 great 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

1 A troop of comedians had been allowed to play for a short time in Geneva, with many protests, during the mediation of 1738. In 1766, eight years after Rousseau's letter, the government gave permission for the establishment of a theatre in the town. It was burnt down in 1768, and Voltaire spitefully hinted that the catastrophe was the result of design, instigated by Rousseau (Corr., v. 299, April 26, 1768). The theatre was not re-erected until 1783, when the oligarchic party regained the ascendancy and brought back with them the drama, which the democrats in their reign would not permit.

This was the view forced

closest companions of educated man. 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,' 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. 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 He finds four or five rotten staves of Diogenes' himself therein to bark at his friends.

play of his own.

tub, and instals 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.

1 Lettre à J. J. Rousseau, pp. 265–271.

2 Euvres, x. 121.

3 To Thieriot, Sept. 17, 1758. To D'Alembert, Oct. 20, 1761. Ibid., Mar. 19, 1761.

Q

"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 foot-note 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 connexion 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.

CHAPTER X.

MONTMORENCY-THE NEW HELOÏSA.

THE many conditions of intellectual productiveness are still hidden in such profound obscurity, that we are unable to explain why a period of stormy moral agitation seems to be in certain natures the indispensable antecedent of their highest creative effort. Byron is one instance, and Rousseau is another, in which the current of stimulating force made this rapid way from the lower to the higher parts of character, and only expended itself after having traversed the whole range of emotion and faculty, from their meanest, most realistic, most personal forms of exercise, up to the summit of what is lofty and ideal. No man was ever involved in such an odious complication of moral maladies as beset Rousseau in the winter of 1758. Yet within three years of this miserable epoch he had completed not only the New Heloïsa, which is the monument of his fall, but the Social Contract, which was the most influential, and Emilius, which was perhaps the most elevated and spiritual, of all the productions of the prolific genius of France in the eighteenth century. A poor light-hearted Marmontel thought that the secret of Rousseau's success lay in the circumstance that he began to write late, and it is true that no other author, so considerable as Rousseau, waited until the age of fifty for the full vigour of his inspiration. No tale of years, however, could have ripened such fruit without native strength and incommunicable savour. Nor can the

mechanical movement of those better ordered characters which keep the balance of the world even, impart to literature that

peculiar quality, peculiar but not the finest, that comes from experience of the black unlighted abysses of the soul.

The period of actual production was externally calm. The New Heloïsa was completed in 1759, and published in 1761. The Social Contract was published in the spring of 1762, and Emilius a few weeks later. Throughout this period Rousseau was, for the last time in his life, at peace with most of his fellows. Though he never relented from his antipathy to the Holbachians, for the time it slumbered, until a more real and serious persecution than any which he imputed to them, transformed his antipathy into a gloomy frenzy.

The new friends whom he made at Montmorency were among the greatest people in the kingdom. The Duke of Luxembourg (1702-64) was a marshal of France, and as intimate a friend of the king as the king was capable of having. The Maréchale de Luxembourg (1707-87) had been one of the most beautiful, and continued to be one of the most brilliant leaders of the last aristocratic generation that was destined to sport on the slopes of the volcano. The former seems to have been a loyal and homely soul; the latter, restless, imperious, penetrating, unamiable. Their dealings with Rousseau were marked by perfect sincerity and straightforward friendship. They gave him a convenient apartment in a small summer lodge in the park, to which he retreated when he cared for a change from his narrow cottage. He was a constant guest at their table, where he met the highest personages in France. The marshal did not disdain to pay him visits, or to walk with him, or to discuss his private affairs. Unable as ever to shine in conversation, yet eager to show his great friends that they had to do with no common mortal, Rousseau bethought him of reading the New Heloïsa aloud to them. At ten in the morning he used to wait upon the maréchale, and there by her bedside he read the story of the love, the sin, the repentance of Julie, the distraction of Saint Preux, the wisdom of Wolmar, and the sage friendship of Lord Edward, in tones which enchanted her both with his book and its author for all the rest of the day, as all the women in France were so soon to be enchanted.' This, as he expected, amply reconciled her to