Rousseau Part 14

Grimm, after remarking on the singularity of a demonstration of the impossibility of setting melody to French words on the part of a writer who had just produced the Village Soothsayer, informs us that the letter created a furious uproar, and set all Paris in a blaze. He had himself taken the side of the Italians in an amusing piece of pleasantry, which became a sort of cla.s.sic model for similar facetiousness in other controversies of the century. The French, as he said, forgive everything in favour of what makes them laugh, but Rousseau talked reason and demolished the pretensions of French music with great sounding strokes as of an axe.[322] Rousseau expected to be a.s.sa.s.sinated, and gravely a.s.sures us that there was a plot to that effect, as well as a design to put him in the Bastille. This we may fairly surmise to have been a fiction of his own imagination, and the only real punishment that overtook him was the loss of his right to free admission to the Opera.

After what he had said of the intolerable horrors of French music, the directors of the theatre can hardly be accused of vindictiveness in releasing him from them.[323] Some twenty years after (1774), when Paris was torn asunder by the violence of the two great factions of the Gluckists and Piccinists, Rousseau retracted his opinion as to the impossibility of wedding melody to French words.[324] He went as often as he could to hear the works both of Gretri and Gluck, and _Orfeo_ delighted him, while the _Fausse magie_ of the former moved him to say to the composer, "Your music stirs sweet sensations to which I thought my heart had long been closed."[325] This being so, and life being as brief as art is long, we need not further examine the controversy. It may be worth adding that Rousseau wrote some of the articles on music for the Encyclopaedia, and that in 1767 he published a not inconsiderable Musical Dictionary of his own.

His scheme of a new musical notation and the principles on which he defended it are worth attention, because some of the ideas are now accepted as the base of a well-known and growing system of musical instruction. The aim of the scheme, let us say to begin with, was at once practical and popular; to reduce the difficulty of learning music to the lowest possible point, and so to bring the most delightful of the arts within the reach of the largest possible number of people. Hence, although he maintains the fitness of his scheme for instrumental as well as vocal performances, it is clearly the latter which he has most at heart, evidently for the reason that this is the kind of music most accessible to the thousands, and it was always the thousands of whom Rousseau thought. This is the true distinction of music, it is for the people; and the best musical notation is that which best enables persons to sing at sight. The difficulty of the old notation had come practically before him as a teacher. The quant.i.ty of details which the pupil was forced to commit to memory before being able to sing from the open book, struck him then as the chief obstacle to anything like facility in performance, and without some of this facility he rightly felt that music must remain a luxury for the few. So genuine was his interest in the matter, that he was not very careful to fight for the originality of his own scheme. Our present musical signs, he said, are so imperfect and so inconvenient that it is no wonder that several persons have tried to re-cast or amend them; nor is it any wonder that some of them should have hit upon the same device in selecting the signs most natural and proper, such as numerical figures. As much, however, depends on the way of dealing with these figures, as with their adoption, and here he submitted that his own plan was as novel as it was advantageous.[326] Thus we have to bear in mind that Rousseau's scheme was above all things a practical device, contrived for making the teaching and the learning of musical elements an easier process.[327]

The chief element of the project consists in the subst.i.tution of a relative series of notes or symbols in place of an absolute series. In the common notation any given note, say the A of the treble clef, is uniformly represented by the same symbol, namely, the position of second s.p.a.ce in the clef, whatever key it may belong to. Rousseau, insisting on the varying quality impressed on any tone of a given pitch by the key-note of the scale to which it belongs, protested against the same name being given to the tone, however the quality of it might vary. Thus Re or D, which is the second tone in the key of C, ought, according to him, to have a different name when found as the fifth in the key of G, and in every case the name should at once indicate the interval of a tone from its key-note. His mode of effecting this change is as follows.

The names _ut, re_, and the rest, are kept for the fixed order of the tones, C, D, E, and the rest. The key of a piece is shown by prefixing one of these symbols, and this determines the absolute quality of the melody as to pitch. That settled, every tone is expressed by a number bearing a relation to the key-note. This tonic note is represented by one, the other six tones of the scale are expressed by the numbers from two to seven. In the popular Tonic Sol-Fa notation, which corresponds so closely to Rousseau's in principle, the key-note is always styled Do, and the other symbols, _mi_, _la_, and the rest, indicate at once the relative position of these tones in their particular key or scale. Here the old names were preserved as being easily sung; Rousseau selected numbers because he supposed that they best expressed the generation of the sounds.[328]

Rousseau attempted to find a theoretic base for this symbolic establishment of the relational quality of tones, and he dimly guessed that the order of the harmonics or upper tones of a given tonic would furnish a principle for forming the familiar major scale,[329] but his knowledge of the order was faulty. He was perhaps groping after the idea by which Professor Helmholtz has accounted for the various mental effects of the several intervals in a key--namely, the degree of natural affinity, measured by means of the upper tones, existing between the given tone and its tonic. Apart from this, however, the practical value of his ideas in instruction in singing is clearly shown by the circ.u.mstance that at any given time many thousands of young children are now being taught to read melody in the Sol-Fa notation in a few weeks.

This shows how right Rousseau was in continually declaring the ease of hitting a particular tone, when the relative position of the tone in respect to the key-note is clearly manifested. A singer in trying to hit the tone is compelled to measure the interval between it and the preceding tone, and the simplest and easiest mode of doing this is to a.s.sociate every tone with the tonics, thus const.i.tuting it a term of a relation with this fundamental tone.

Rousseau made a mistake when he supposed that his ideas were just as applicable to instrumental as they were to vocal music. The requirements of the singer are not those of the player. To a performer on the piano, who has to light rapidly and simultaneously on a number of tones, or to a violinist who has to leap through several octaves with great rapidity, the most urgent need is that of a definite and fixed mark, by which the absolute pitch of each successive tone may be at once recognised.

Neither of these has any time to think about the melodious relation of the tones; it is quite as much as they can do to find their place on the key-board or the string. Rousseau's scheme, or any similar one, fails to supply the clear and obvious index to pitch supplied by the old system.

Old Rameau pointed this out to Rousseau when the scheme was laid before him, and Rousseau admitted that the objection was decisive,[330] though his admission was not practically deterrent.

His device for expressing change of octave by means of points would render the rapid seizing of a particular tone by the performer still more difficult, and it is strange that he should have preferred this to the other plan suggested, of indicating height of octave by visible place above or below a horizontal line. Again, his attempt to simplify the many varieties of musical time by reducing them all to the two modes of double and triple time, though laudable enough, yet implies an imperfect recognition of the full meaning of time, by omitting all reference to the distribution of accent and to the average time value of the tones in a particular movement.

FOOTNOTES:

[318] Quoted in Martin's _Hist. de France_, xvi. 158.

[319] _Conf._, viii. 197. Grimm, _Corr. Lit._, i. 27.

[320] _Lettre sur la Musique Francaise_, 178, etc., 187.

[321] P. 197.

[322] _Corr. Lit._, i. 92. His own piece was _Le pet.i.t prophete de Boehmischbroda_, the style of which will be seen in a subsequent footnote.

[323] He was burnt in effigy by the musicians of the Opera. Grimm, _Corr. Lit._, i. 113.

[324] This is Turgot's opinion on the controversy (Letter to Caillard, _Oeuv._, ii. 827):--"Tous avez donc vu Jean-Jacques; la musique est un excellent pa.s.se-port aupres de lui. Quant a l'impossibilite de faire de la musique francaise, je ne puis y croire, et votre raison ne me parait pas bonne; car il n'est point vrai que l'essence de la langue francaise est d'etre sans accent. Point de conversation animee sans beaucoup d'accent; mais l'accent est libre et determine seulement par l'affection de celui qui parle, sans etre fixe par des conventions sur certaines syllabes, quoique nous ayons aussi dans plusieurs mots des syllabes dominantes qui seules peuvent etre accentuees."

[325] Musset-Pathay, i. 289.

[326] Preface to _Dissertation sur la Musique Moderne_, pp. 32, 33.

[327] I am indebted to Mr. James Sully, M.A., for furnishing me with notes on a technical subject with which I have too little acquaintance.

[328] _Dissertation_, p. 42.

[329] P. 52.

[330] _Conf._, vii. 18, 19. Also _Dissertation_, pp. 74, 75.

CHAPTER IX.

VOLTAIRE AND D'ALEMBERT.

Everybody in the full tide of the eighteenth century had something to do with Voltaire, from serious personages like Frederick the Great and Turgot, down to the sorriest poetaster who sent his verses to be corrected or bepraised. Rousseau's debt to him in the days of his unformed youth we have already seen, as well as the courtesies with which they approached one another, when Richelieu employed the struggling musician to make some modifications in the great man's unconsidered court-piece. Neither of them then dreamed that their two names were destined to form the great literary ant.i.thesis of the century. In the ten years that elapsed between their first interchange of letters and their first fit of coldness, it must have been tolerably clear to either of them, if either of them gave thought to the matter, that their dissidence was increasing and likely to increase. Their methods were different, their training different, their points of view different, and above all these things, their temperaments were different by a whole heaven's breadth.

A great number of excellent and pointed half-truths have been uttered by various persons in ill.u.s.tration of all these contrasts. The philosophy of Voltaire, for instance, is declared to be that of the happy, while Rousseau is the philosopher of the unhappy. Voltaire steals away their faith from those who doubt, while Rousseau strikes doubt into the mind of the unbeliever. The gaiety of the one saddens, while the sadness of the other consoles. If we pa.s.s from the marked divergence in tendencies, which is imperfectly hinted at in such sayings as these, to the divergence between them in all the fundamental conditions of intellectual and moral life, then the variation which divided the revolutionary stream into two channels, flowing broadly apart through unlike regions and climates down to the great sea, is intelligible enough. Voltaire was the arch-representative of all those elements in contemporary thought, its curiosity, irreverence, intrepidity, vivaciousness, rationality, to which, as we have so often had to say, Rousseau's temperament and his Genevese spirit made him profoundly antipathetic. Voltaire was the great high priest, robed in the dazzling vestments of poetry and philosophy and history, of that very religion of knowledge and art which Rousseau declared to be the destroyer of the felicity of men. The glitter has faded away from Voltaire's philosophic raiment since those days, and his laurel bough lies a little leafless.

Still this can never make us forget that he was in his day and generation one of the sovereign emanc.i.p.ators, because he awoke one dormant set of energies, just as Rousseau presently came to awake another set. Each was a power, not merely by virtue of some singular preeminence of understanding or mysterious unshared insight of his own, but for a far deeper reason. No partial and one-sided direction can permanently satisfy the manifold aspirations and faculties of the human mind in the great average of common men, and it is the common average of men to whom exceptional thinkers speak, whom they influence, and by whom they are in turn influenced, depressed, or buoyed up, just as a painter or a dramatist is affected. Voltaire's mental const.i.tution made him eagerly objective, a seeker of true things, quivering for action, admirably sympathetic with all life and movement, a spirit restlessly traversing the whole world. Rousseau, far different from this, saw in himself a reflected microcosm of the outer world, and was content to take that instead of the outer world, and as its truest version. He made his own moods the premisses from which he deduced a system of life for humanity, and so far as humanity has shared his moods or some parts of them, his system was true, and has been accepted. To him the bustle of the outer world was only a hindrance to that process of self-absorption which was his way of interpreting life. Accessible only to interests of emotion and sense, he was saved from intellectual sterility, and made eloquent, by the vehemence of his emotion and the fire of his senses. He was a master example of sensibility, as Voltaire was a master example of clear-eyed penetration.

This must not be taken for a rigid piece of mutually exclusive division, for the edges of character are not cut exactly sharp, as words are.

Especially when any type is intense, it seems to meet and touch its opposite. Just as Voltaire's piercing activity and soundness of intelligence made him one of the humanest of men, so Rousseau's emotional susceptibility endowed him with the gift of a vision that carried far into the social depths. It was a very early criticism on the pair, that Voltaire wrote on more subjects, but that Rousseau was the more profound. In truth one was hardly much more profound than the other. Rousseau had the sonorousness of speech which popular confusion of thought is apt to identify with depth. And he had seriousness. If profundity means the quality of seeing to the heart of subjects, Rousseau had in a general way rather less of it than the shrewd-witted crusher of the Infamous. What the distinction really amounts to is that Rousseau had a strong feeling for certain very important aspects of human life, which Voltaire thought very little about, or never thought about at all, and that while Voltaire was concerned with poetry, history, literature, and the more ridiculous parts of the religious superst.i.tion of his time, Rousseau thought about social justice and duty and G.o.d and the spiritual consciousness of men, with a certain attempt at thoroughness and system. As for the substance of his thinking, as we have already seen in the Discourses, and shall soon have an opportunity of seeing still more clearly, it was often as thin and hollow as if he had belonged to the company of the epigrammatical, who, after all, have far less of a monopoly of shallow thinking than is often supposed. The prime merit of Rousseau, in comparing him with the brilliant chief of the rationalistic school of the time, is his reverence; reverence for moral worth in however obscure intellectual company, for the dignity of human character and the loftiness of duty, for some of those cravings of the human mind after the divine and incommensurable, which may indeed often be content with solutions proved by long time and slow experience to be inadequate, but which are closely bound up with the highest elements of n.o.bleness of soul.

It was this spiritual part of him which made Rousseau a third great power in the century, between the Encyclopaedic party and the Church. He recognised a something in men, which the Encyclopaedists treated as a chimera imposed on the imagination by theologians and others for their own purposes. And he recognised this in a way which did not offend the rational feeling of the times, as the Catholic dogmas offended it. In a word he was religious. In being so, he separated himself from Voltaire and his school, who did pa.s.sably well without religion. Again, he was a puritan. In being this, he was cut off from the intellectually and morally unreformed church, which was then the organ of religion in France. Nor is this all. It was Rousseau, and not the feeble controversialists put up from time to time by the Jesuits and other ecclesiastical bodies, who proved the effective champion of religion, and the only power who could make head against the triumphant onslaught of the Voltaireans. He gave up Christian dogmas and mysteries, and, throwing himself with irresistible ardour upon the emotions in which all religions have their root and their power, he breathed new life into them, he quickened in men a strong desire to have them satisfied, and he beat back the army of emanc.i.p.ators with the loud and incessantly repeated cry that they were not come to deliver the human mind, but to root out all its most glorious and consolatory attributes. This immense achievement accomplished,--the great framework of a faith in G.o.d and immortality and providential government of the world thus preserved, it was an easy thing by and by for the churchmen to come back, and once more unpack and restore to their old places the temporarily discredited paraphernalia of dogma and mystery. How far all this was good or bad for the mental elevation of France and Europe, we shall have a better opportunity of considering presently.

We have now only to glance at the first skirmishes between the religious reactionist, on the one side, and, on the other, the leader of the school who believed that men are better employed in thinking as accurately, and knowing as widely, and living as humanely, as all those difficult processes are possible, than in wearying themselves in futile search after G.o.ds who dwell on inaccessible heights.

Voltaire had acknowledged Rousseau's gift of the second Discourse with his usual shrewd pleasantry: "I have received your new book against the human race, and thank you for it. Never was such cleverness used in the design of making us all stupid. One longs in reading your book to walk on all fours. But as I have lost that habit for more than sixty years, I feel unhappily the impossibility of resuming it. Nor can I embark in search of the savages of Canada, because the maladies to which I am condemned render a European surgeon necessary to me; because war is going on in those regions; and because the example of our actions has made the savages nearly as bad as ourselves. So I content myself with being a very peaceable savage in the solitude which I have chosen near your native place, where you ought to be too." After an extremely inadequate discussion of one or two points in the essay,[331] he concludes:--"I am informed that your health is bad; you ought to come to set it up again in your native air, to enjoy freedom, to drink with me the milk of our cows and browse our gra.s.s."[332] Rousseau replied to all this in a friendly way, recognising Voltaire as his chief, and actually at the very moment when he tells us that the corrupting presence of the arrogant and seductive man at Geneva helped to make the idea of returning to Geneva odious to him, hailing him in such terms as these:--"Sensible of the honour you do my country, I share the grat.i.tude of my fellow-citizens, and hope that it will increase when they have profited by the lessons that you of all men are able to give them.

Embellish the asylum you have chosen; enlighten a people worthy of your instruction; and do you who know so well how to paint virtue and freedom, teach us to cherish them in our walls."[333]

Within a year, however, the bright sky became a little clouded. In 1756 Voltaire published one of the most sincere, energetic, and pa.s.sionate pieces to be found in the whole literature of the eighteenth century, his poem on the great earthquake of Lisbon (November 1755). No such word had been heard in Europe since the terrible images in which Pascal had figured the doom of man. It was the reaction of one who had begun life by refuting Pascal with doctrines of cheerfulness drawn from the optimism of Pope and Leibnitz, who had done Pope's Essay on Man (1732-34) into French verse as late as 1751,[334] and whose imagination, already sombred by the triumphant cruelty and superst.i.tion which raged around him, was suddenly struck with horror by a catastrophe which, in a world where whatever is is best, destroyed hundreds of human creatures in the smoking ashes and engulfed wreck of their city. How, he cried, can you persist in talking of the deliberate will of a free and benevolent G.o.d, whose eternal laws necessitated such an appalling climax of misery and injustice as this? Was the disaster retributive? If so, why is Lisbon in ashes, while Paris dances? The enigma is desperate and inscrutable, and the optimist lives in the paradise of the fool. We ask in vain what we are, where we are, whither we go, whence we came. We are tormented atoms on a clod of earth, whom death at last swallows up, and with whom destiny meanwhile makes cruel sport. The past is only a disheartening memory, and if the tomb destroys the thinking creature, how frightful is the present!

Whatever else we may say of Voltaire's poem, it was at least the first sign of the coming reaction of sympathetic imagination against the polished common sense of the great Queen Anne school, which had for more than a quarter of a century such influence in Europe.[335] It is a little odd that Voltaire, the most brilliant and versatile branch of this stock, should have broken so energetically away from it, and that he should have done so, shows how open and how strong was the feeling in him for reality and actual circ.u.mstance.

Rousseau was amazed that a man overwhelmed as Voltaire was with prosperity and glory, should declaim against the miseries of this life and p.r.o.nounce that all is evil and vanity. "Voltaire in seeming always to believe in G.o.d, never really believed in anybody but the devil, since his pretended G.o.d is a maleficent being who according to him finds all his pleasure in working mischief. The absurdity of this doctrine is especially revolting in a man crowned with good things of every sort, and who from the midst of his own happiness tries to fill his fellow-creatures with despair, by the cruel and terrible image of the serious calamities from which he is himself free."[336]

As if any doctrine could be more revolting than this which Rousseau so quietly takes for granted, that if it is well with me and I am free from calamities, then there must needs be a beneficent ruler of the universe, and the calamities of all the rest of the world, if by chance they catch the fortunate man's eye, count for nothing in our estimate of the method of the supposed divine government. It is hard to imagine a more execrable emotion than the complacent religiosity of the prosperous.

Voltaire is more admirable in nothing than in the ardent humanity and far-spreading lively sympathy with which he interested himself in all the world's fortunes, and felt the catastrophe of Lisbon as profoundly as if the Geneva at his gates had been destroyed. He relished his own prosperity keenly enough, but his prosperity became ashes in his mouth when he heard of distress or wrong, and he did not rest until he had moved heaven and earth to soothe the distress and repair the wrong. It was his impatience in the face of the evils of the time which wrung from him this desperate cry, and it is precisely because these evils did not touch him in his own person, that he merits the greater honour for the surpa.s.sing energy and sincerity of his feeling for them.

Rousseau, however, whose biographer has no such stories to tell as those of Calas and La Barre, Sirven and Lally, but only tales of a maiden wrongfully accused of theft, and a friend left senseless on the pavement of a strange town, and a benefactress abandoned to the cruelty of her fate, still was moved in the midst of his erotic visions in the forest of Montmorency to speak a jealous word in vindication of the divine government of our world. For him at any rate life was then warm and the day bright and the earth very fair, and he lauded his G.o.ds accordingly.

It was his very sensuousness, as we are so often saying, that made him religious. The optimism which Voltaire wished to destroy was to him a sovereign element of comfort. "Pope's poem," he says, "softens my misfortunes and inclines me to patience, while yours sharpens all my pains, excites me to murmuring, and reduces me to despair. Pope and Leibnitz exhort me to resignation by declaring calamities to be a necessary effect of the nature and const.i.tution of the universe. You cry, Suffer for ever, unhappy wretch; if there be a G.o.d who created thee, he could have stayed thy pains if he would: hope for no end to them, for there is no reason to be discerned for thy existence, except to suffer and to perish."[337] Rousseau then proceeds to argue the matter, but he says nothing really to the point which Pope had not said before, and said far more effectively. He begins, however, originally enough by a triumphant reference to his own great theme of the superiority of the natural over the civil state. Moral evil is our own work, the result of our liberty; so are most of our physical evils, except death, and that is mostly an evil only from the preparations that we make for it. Take the case of Lisbon. Was it nature who collected the twenty thousand houses, all seven stories high? If the people of Lisbon had been dispersed over the face of the country, as wild tribes are, they would have fled at the first shock, and they would have been seen the next day twenty leagues away, as gay as if nothing had happened. And how many of them perished in the attempt to rescue clothes or papers or money? Is it not true that the person of a man is now, thanks to civilisation, the least part of himself, and is hardly worth saving after loss of the rest? Again, there are some events which lose much of their horror when we look at them closely. A premature death is not always a real evil and may be a relative good; of the people crushed to death under the ruins of Lisbon, many no doubt thus escaped still worse calamities. And is it worse to be killed swiftly than to await death in prolonged anguish?[338]

The good of the whole is to be sought before the good of the part.

Although the whole material universe ought not to be dearer to its Creator than a single thinking and feeling being, yet the system of the universe which produces, preserves, and perpetuates all thinking and feeling beings, ought to be dearer to him than any one of them, and he may, notwithstanding his goodness, or rather by reason of his goodness, sacrifice something of the happiness of individuals to the preservation of the whole. "That the dead body of a man should feed worms or wolves or plants is not, I admit, a compensation for the death of such a man; but if in the system of this universe, it is necessary for the preservation of the human race that there should be a circulation of substance between men, animals, vegetables, then the particular mishap of an individual contributes to the general good. I die, I am eaten by worms; but my children, my brothers, will live as I have lived; my body enriches the earth of which they will consume the fruits; and so I do, by the order of nature and for all men, what Codrus, Curtius, the Decii, and a thousand others, did of their own free will for a small part of men." (p. 305.)

All this is no doubt very well said, and we are bound to accept it as true doctrine. Although, however, it may make resignation easier by explaining the nature of evil, it does not touch the point of Voltaire's outburst, which is that evil exists, and exists in shapes which it is a mere mockery to a.s.sociate with the omnipotence of a benevolent controller of the world's forces. According to Rousseau, if we go to the root of what he means, there is no such thing as evil, though much that to our narrow and impatient sight has the look of it. This may be true if we use that fatal word in an arbitrary and unreal sense, for the avoidable, the consequent without antecedent, or antecedent without consequent. If we consent to talk in this way, and only are careful to define terms so that there is no doubt as to their meaning, it is hardly deniable that evil is a mere word and not a reality, and whatever is is indeed right and best, because no better is within our reach. Voltaire, however, like the man of sense that he was, exclaimed that at any rate relatively to us poor creatures the existence of pain, suffering, waste, whether caused or uncaused, whether in accordance with stern immutable law or mere divine caprice, is a most indisputable reality: from our point of view it is a cruel puerility to cry out at every calamity and every iniquity that all is well in the best of possible worlds, and to sing hymns of praise and glory to the goodness and mercy of a being of supreme might, who planted us in this evil state and keeps us in it.

Voltaire's is no perfect philosophy; indeed it is not a philosophy at all, but a pa.s.sionate e.j.a.c.u.l.a.t.i.o.n; but it is perfect in comparison with a cut and dried system like this of Rousseau's, which rests on a mocking juggle with phrases, and the subst.i.tution by dexterous sleight of hand of one definition for another.

Rousseau really gives up the battle, by confessing frankly that the matter is beyond the light of reason, and that, "if the theist only founds his sentiment on probabilities, the atheist with still less precision only founds his on the alternative possibilities." The objections on both sides are insoluble, because they turn on things of which men can have no veritable idea; "yet I believe in G.o.d as strongly as I believe any other truth, because believing and not believing are the last things in the world that depend on me." So be it. But why take the trouble to argue in favour of one side of an avowedly insoluble question? It was precisely because he felt that the objections on both sides cannot be answered, that Voltaire, hastily or not, cried out that he faced the horrors of such a catastrophe as the Lisbon earthquake without a glimpse of consolation. The upshot of Rousseau's remonstrance only amounted to this, that he could not furnish one with any consolation out of the armoury of reason, that he himself found this consolation, but in a way that did not at all depend upon his own effort or will, and was therefore as incommunicable as the advantage of having a large appet.i.te or being six feet high. The reader of Rousseau becomes accustomed to this way of dealing with subjects of discussion. We see him using his reason as adroitly as he knows how for three-fourths of the debate, and then he suddenly flings himself back with a triumphant kind of weariness into the buoyant waters of emotion and sentiment. "You sir, who are a poet," once said Madame d'Epinay to Saint Lambert, "will agree with me that the existence of a Being, eternal, all powerful, and of sovereign intelligence, is at any rate the germ of the finest enthusiasm."[339] To take this position and cleave to it may be very well, but why spoil its dignity and repose by an unmeaning and superfluous flourish of the weapons of the reasoner?

With the same hasty change of direction Rousseau says the true question is not whether each of us suffers or not, but whether it is good that the universe should be, and whether our misfortunes were inevitable in its const.i.tution. Then within a dozen lines he admits that there can be no direct proof either way; we must content ourselves with settling it by means of inference from the perfections of G.o.d. Of course, it is clear that in the first place what Rousseau calls the true question consists of two quite distinct questions. Is the universe in its present ordering on the whole good relatively either to men, or to all sentient creatures? Next was evil an inevitable element in that ordering? Second, this way of putting it does not in the least advance the case against Voltaire, who insisted that no fine phrases ought to hide from us the dreadful power and crushing reality of evil and the desolate plight in which we are left. This is no exhaustive thought, but a deep cry of anguish at the dark lot of men, and of just indignation against the philosophy which to creatures asking for bread gave the brightly polished stone of sentimental theism. Rousseau urged that Voltaire robbed men of their only solace. What Voltaire really did urge was that the solace derived from the attribution of humanity and justice to the Supreme Being, and from the metaphysical account of evil, rests on too narrow a base either to cover the facts, or to be a true solace to any man who thinks and observes. He ought to have gone on, if it had only been possible in those times, to persuade his readers that there is no solace attainable, except that of an energetic fort.i.tude, and that we do best to go into life not in a softly lined silken robe, but with a sharp sword and armour thrice tempered. As between himself and Rousseau, he saw much the more keenly of the two, and this was because he approached the matter from the side of the facts, while the latter approached it from the side of his own mental comfort and the preconceptions involved in it.

The most curious part of this curious letter is the conclusion, where Rousseau, loosely wandering from his theme, separates Voltaire from the philosopher, and beseeches him to draw up a moral code or profession of civil faith that should contain positively the social maxims that everybody should be bound to admit, and negatively the intolerant maxims that everybody should be forced to reject as seditious. Every religion in accord with the code should be allowed, and every religion out of accord with it proscribed, or a man might be free to have no other religion but the code itself.

Voltaire was much too clear-headed a person to take any notice of nonsense like this. Rousseau's letter remained unanswered, nor is there any reason to suppose that Voltaire ever got through it, though Rousseau chose to think that _Candide_ (1759) was meant for a reply to him.[340]

He is careful to tell us that he never read that incomparable satire, for which one would be disposed to pity any one except Rousseau, whose appreciation of wit, if not of humour also, was probably more deficient than in any man who ever lived, either in Geneva or any other country fashioned after Genevan guise. Rousseau's next letter to Voltaire was four years later, and by that time the alienation which had no definitely avowed cause, and can be marked by no special date, had become complete. "I hate you, in fact," he concluded, "since you have so willed it; but I hate you like a man still worthier to have loved you, if you had willed it. Of all the sentiments with which my heart was full towards you, there only remains the admiration that we cannot refuse to your fine genius, and love for your writings. If there is nothing in you which I can honour but your talents, that is no fault of mine."[341] We know that Voltaire did not take reproach with serenity, and he behaved with bitter violence towards Rousseau in circ.u.mstances when silence would have been both more magnanimous and more humane. Rousseau occasionally, though not very often, retaliated in the same vein.[342]

On the whole his judgment of Voltaire, when calmly given, was not meant to be unkind. "Voltaire's first impulse," he said, "is to be good; it is reflection that makes him bad."[343] Tronchin had said in the same way that Voltaire's heart was the dupe of his understanding. Rousseau is always trying to like him, he always recognises him as the first man of the time, and he subscribed his mite for the erection of a statue to him. It was the satire and mockery in Voltaire which irritated Rousseau more than the doctrines or denial of doctrine which they cloaked; in his eyes sarcasm was always the veritable dialect of the evil power. It says something for the sincerity of his efforts after equitable judgment, that he should have had the patience to discern some of the fundamental merit of the most remorseless and effective mocker that ever made superst.i.tion look mean, and its doctors ridiculous.