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The reception to Emile was one where individuals saw the work as a critique of society and a condemnation of traditional means of education. They were right. Rousseau...
Rousseau's contemporary and philosophical rival Voltaire was critical of Emile as a whole, but admired the section in the book which had led to it being banned (the section titled "Profession of Faith of the Savoyard Vicar").
- Overview
- Formative years
- Controversy with Rameau
Jean-Jacques Rousseau was born on June 28, 1712.
When did Jean-Jacques Rousseau die?
Jean-Jacques Rousseau died on July 2, 1778.
What did Jean-Jacques Rousseau write?
Jean-Jacques Rousseau wrote the philosophical treatises A Discourse on the Origins of Inequality (1755) and The Social Contract (1762); the novels Julie; or, The New Eloise (1761) and Émile; or, On Education (1762); and the autobiographical Confessions (1782–1789), among other works.
Why is Jean-Jacques Rousseau famous?
Rousseau’s mother died in childbirth, and he was brought up by his father, who taught him to believe that the city of his birth was a republic as splendid as Sparta or ancient Rome. Rousseau senior had an equally glorious image of his own importance; after marrying above his modest station as a watchmaker, he got into trouble with the civil authorities by brandishing the sword that his upper-class pretentions prompted him to wear, and he had to leave Geneva to avoid imprisonment. Rousseau, the son, then lived for six years as a poor relation in his mother’s family, patronized and humiliated, until he, too, at the age of 16, fled from Geneva to live the life of an adventurer and a Roman Catholic convert in the kingdoms of Sardinia and France.
Rousseau was fortunate in finding in the province of Savoy a benefactor, the baroness de Warens, who provided him with a refuge in her home and employed him as her steward. She also furthered his education to such a degree that the boy who had arrived on her doorstep as a stammering apprentice who had never been to school developed into a philosopher, a scholar, and a musician.
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Mme de Warens, who thus transformed the adventurer into a philosopher, was herself an adventuress—a Swiss convert to Catholicism who had stripped her husband of his money before fleeing to Savoy with the gardener’s son to set herself up as a Catholic missionary specializing in the conversion of young male Protestants. Her morals distressed Rousseau, even when he became her lover. But she was a woman of taste, intelligence, and energy, who brought out in Rousseau just the talents that were needed to conquer Paris at a time when Voltaire had made radical ideas fashionable.
Rousseau reached Paris when he was 30 and was lucky enough to meet another young man from the provinces seeking literary fame in the capital, Denis Diderot. The two soon became immensely successful as the centre of a group of intellectuals—or philosophes—who gathered round the great French Encyclopédie, of which Diderot was appointed editor. The Encyclopédie was an important organ of radical and anticlerical opinion, and its contributors were as much reforming and even iconoclastic pamphleteers as they were philosophers. Rousseau, the most original of them all in his thinking and the most forceful and eloquent in his style of writing, was soon also the most conspicuous. He wrote music as well as prose, and one of his operas, Le Devin du village (1752; “The Village Soothsayer”), attracted so much admiration from the king (Louis XV) and the court that he might have enjoyed an easy life as a fashionable composer, but something in his Calvinist blood rejected that type of worldly glory. Indeed, at the age of 37 Rousseau had what he called an “illumination” while walking to Vincennes to visit Diderot, who had been imprisoned there because of his irreligious writings. In the Confessions (1782–89), which he wrote late in life, Rousseau says that it came to him then in a “terrible flash” that modern progress had corrupted people instead of improving them. He went on to write his first important work, a prize essay for the Academy of Dijon entitled Discours sur les sciences et les arts (1750; A Discourse on the Sciences and the Arts), in which he argues that the history of human life on earth has been a history of decay.
The arrival of an Italian opera company in Paris in 1752 to perform works of opera buffa (comic opera) by Giovanni Battista Pergolesi, Alessandro Scarlatti, Leonardo Vinci, and other such composers suddenly divided the French music-loving public into two excited camps, supporters of the new Italian opera and supporters of the traditional French opera. The philosophes of the Encyclopédie—Jean Le Rond d’Alembert, Diderot, and Paul-Henri Dietrich, baron d’Holbach among them—entered the fray as champions of Italian music, but Rousseau, who had arranged for the publication of Pergolesi’s music in Paris and who knew more about the subject than most Frenchmen after the months he had spent visiting the opera houses of Venice during his time as secretary to the French ambassador to the doge in 1743–44, emerged as the most-forceful and effective combatant. He was the only one to direct his fire squarely at the leading living exponent of French operatic music, Jean-Philippe Rameau.
Rousseau and Rameau must at that time have seemed unevenly matched in a controversy about music. Rameau, already in his 70th year, was not only a prolific and successful composer but was also, as the author of the celebrated Traité de l’harmonie (1722; Treatise on Harmony) and other technical works, Europe’s leading musicologist. Rousseau, by contrast, was 30 years younger, a newcomer to music, with no professional training and only one successful opera to his credit. His scheme for a new notation for music had been rejected by the Academy of Sciences, and most of his musical entries for Diderot’s Encyclopédie were as yet unpublished. Yet the dispute was not only musical but also philosophical, and Rameau was confronted with a more-formidable adversary than he had realized. Rousseau built his case for the superiority of Italian music over French on the principle that melody must have priority over harmony, whereas Rameau based his on the assertion that harmony must have priority over melody. By pleading for melody, Rousseau introduced what later came to be recognized as a characteristic idea of Romanticism, namely, that in art the free expression of the creative spirit is more important than strict adherence to formal rules and traditional procedures. By pleading for harmony, Rameau reaffirmed the first principle of French Classicism, namely, that conformity to rationally intelligible rules is a necessary condition of art, the aim of which is to impose order on the chaos of human experience.
Sep 27, 2010 · On his father’s exile from the city to avoid arrest, Jean-Jacques was put in the care of a pastor at nearby Bossey and subsequently apprenticed to an engraver. Rousseau left the city the age of sixteen and came under the influence of a Roman Catholic convert noblewoman, Francoise-Louise de la Tour, Baronne de Warens.
Like the Social Contract, the Emile was immediately banned by Paris authorities, which prompted Rousseau to flee France. The major point of controversy in the Emile was not in his philosophy of education per se, however.
Abstract. Rousseau's mission as an author was to make his readers see what he saw in his philosophical “illumination,” yet his task is a paradoxical one, for he must persuade his readers that they are deceived by what they see before their own eyes and must learn to see anew.
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Dec 9, 2023 · Rousseau never received any formal education and did not receive guidance from his parents because his mother died right after he was born, and Rousseau’s dad left a few years later to stay out of trouble with the law, which interrupted the education that Rousseau was receiving (Damrosch, 2007; Rousseau, 1782/1953; Wokler, 2001).
