The Confessions of J. J. Rousseau Part 22

My imagination was so warmed by the composition of this work that I had the strongest desire to hear it performed, and would have given anything to have seen and heard the whole in the manner I should have chosen, which would have been that of Lully, who is said to have had 'Armide'

performed for himself only. As it was not possible I should hear the performance unaccompanied by the public, I could not see the effect of my piece without getting it received at the opera. Unfortunately it was quite a new species of composition, to which the ears of the public were not accustomed; and besides the ill success of the 'Muses Gallantes' gave too much reason to fear for the Devin, if I presented it in my own name.

Duclos relieved me from this difficulty, and engaged to get the piece rehea.r.s.ed without mentioning the author. That I might not discover myself, I did not go to the rehearsal, and the 'Pet.i.ts violons', by whom it was directed, knew not who the author was until after a general plaudit had borne the testimony of the work.

[Rebel and Frauneur, who, when they were very young, went together from house to house playing on the violin, were so called.]

Everybody present was so delighted with it, that, on the next day, nothing else was spoken of in the different companies. M. de Cury, Intendant des Menus, who was present at the rehearsal, demanded the piece to have it performed at court. Duclos, who knew my intentions, and thought I should be less master of my work at the court than at Paris, refused to give it. Cury claimed it authoratively. Duclos persisted in his refusal, and the dispute between them was carried to such a length, that one day they would have gone out from the opera-house together had they not been separated. M. de Cury applied to me, and I referred him to Duclos. This made it necessary to return to the latter. The Duke d'Aumont interfered; and at length Duclos thought proper to yield to authority, and the piece was given to be played at Fontainebleau.

The part to which I had been most attentive, and in which I had kept at the greatest distance from the common track, was the recitative. Mine was accented in a manner entirely new, and accompanied the utterance of the word. The directors dared not suffer this horrid innovation to pa.s.s, lest it should shock the ears of persons who never judge for themselves.

Another recitative was proposed by Francueil and Jelyotte, to which I consented; but refused at the same time to have anything to do with it myself.

When everything was ready and the day of performance fixed, a proposition was made me to go to Fontainebleau, that I might at least be at the last rehearsal. I went with Mademoiselle Fel, Grimm, and I think the Abbe Raynal, in one of the stages to the court. The rehearsal was tolerable: I was more satisfied with it than I expected to have been. The orchestra was numerous, composed of the orchestras of the opera and the king's band. Jelyotte played Colin, Mademoiselle Fel, Colette, Cuvillier the Devin: the choruses were those of the opera. I said but little; Jelyotte had prepared everything; I was unwilling either to approve of or censure what he had done; and notwithstanding I had a.s.sumed the air of an old Roman, I was, in the midst of so many people, as bashful as a schoolboy.

The next morning, the day of performance, I went to breakfast at the coffee-house 'du grand commun', where I found a great number of people.

The rehearsal of the preceding evening, and the difficulty of getting into the theatre, were the subjects of conversation. An officer present said he entered with the greatest ease, gave a long account of what had pa.s.sed, described the author, and related what he had said and done; but what astonished me most in this long narrative, given with as much a.s.surance as simplicity, was that it did not contain a syllable of truth.

It was clear to me that he who spoke so positively of the rehearsal had not been at it, because, without knowing him, he had before his eyes that author whom he said he had seen and examined so minutely. However, what was more singular still in this scene, was its effect upon me. The officer was a man rather in years, he had nothing of the appearance of a c.o.xcomb; his features appeared to announce a man of merit; and his cross of Saint Louis, an officer of long standing. He interested me: notwithstanding his impudence. Whilst he uttered his lies, I blushed, looked down, and was upon thorns; I, for some time, endeavored within myself to find the means of believing him to be in an involuntary error.

At length, trembling lest some person should know me, and by this means confound him, I hastily drank my chocolate, without saying a word, and, holding down my head, I pa.s.sed before him, got out of the coffee-house as soon as possible, whilst the company were making their remarks upon the relation that had been given. I was no sooner in the street than I was in a perspiration, and had anybody known and named me before I left the room, I am certain all the shame and embarra.s.sment of a guilty person would have appeared in my countenance, proceeding from what I felt the poor man would have had to have suffered had his lie been discovered.

I come to one of the critical moments of my life, in which it is difficult to do anything more than to relate, because it is almost impossible that even narrative should not carry with it the marks of censure or apology. I will, however, endeavor to relate how and upon what motives I acted, with out adding either approbation or censure.

I was on that day in the same careless undress as usual, with a long beard and wig badly combed. Considering this want of decency as an act of courage, I entered the theatre wherein the king, queen, the royal family, and the whole court were to enter immediately after. I was conducted to a box by M. de Cury, and which belonged to him. It was very s.p.a.cious, upon the stage and opposite to a lesser, but more elevated one, in which the king sat with Madam de Pompadour.

As I was surrounded by women, and the only man in front of the box, I had no doubt of my having been placed there purposely to be exposed to view.

As soon as the theatre was lighted up, finding I was in the midst of people all extremely well dressed, I began to be less at my ease, and asked myself if I was in my place? whether or not I was properly dressed? After a few minutes of inquietude: "Yes," replied I, with an intrepidity which perhaps proceeded more from the impossibility of retracting than the force of all my reasoning, "I am in my place, because I am going to see my own piece performed, to which I have been invited, for which reason only I am come here; and after all, no person has a greater right than I have to reap the fruit of my labor and talents; I am dressed as usual, neither better nor worse; and if I once begin to subject myself to public opinion, I shall shortly become a slave to it in everything. To be always consistent with myself, I ought not to blush, in any place whatever, at being dressed in a manner suitable to the state I have chosen. My exterior appearance is simple, but neither dirty nor slovenly; nor is a beard either of these in itself, because it is given us by nature, and according to time, place and custom, is sometimes an ornament. People think I am ridiculous, nay, even absurd; but what signifies this to me? I ought to know how to bear censure and ridicule, provided I do not deserve them." After this little soliloquy I became so firm that, had it been necessary, I could have been intrepid. But whether it was the effect of the presence of his majesty, or the natural disposition of those about me, I perceived nothing but what was civil and obliging in the curiosity of which I was the object. This so much affected me that I began to be uneasy for myself, and the fate of my piece; fearing I should efface the favorable prejudices which seemed to lead to nothing but applause. I was armed against raillery; but, so far overcome, by the flattering and obliging treatment I had not expected, that I trembled like a child when the performance was begun.

I had soon sufficient reason to be encouraged. The piece was very ill played with respect to the actors, but the musical part was well sung and executed. During the first scene, which was really of a delightful simplicity, I heard in the boxes a murmur of surprise and applause, which, relative to pieces of the same kind, had never yet happened. The fermentation was soon increased to such a degree as to be perceptible through the whole audience, and of which, to speak--after the manner of Montesquieu--the effect was augmented by itself. In the scene between the two good little folks, this effect was complete. There is no clapping of hands before the king; therefore everything was heard, which was advantageous to the author and the piece. I heard about me a whispering of women, who appeared as beautiful as angels. They said to each other in a low voice: "This is charming: That is ravishing: There is not a sound which does not go to the heart." The pleasure of giving this emotion to so many amiable persons moved me to tears; and these I could not contain in the first duo, when I remarked that I was not the only person who wept. I collected myself for a moment, on recollecting the concert of M. de Treitorens. This reminiscence had the effect of the slave who held the crown over the head of the general who triumphed, but my reflection was short, and I soon abandoned myself without interruption to the pleasure of enjoying my success. However, I am certain the voluptuousness of the s.e.x was more predominant than the vanity of the author, and had none but men been present, I certainly should not have had the incessant desire I felt of catching on my lips the delicious tears I had caused to flow. I have known pieces excite more lively admiration, but I never saw so complete, delightful, and affecting an intoxication of the senses reign, during a whole representation, especially at court, and at a first performance. They who saw this must recollect it, for it has never yet been equalled.

The same evening the Duke d' Aumont sent to desire me to be at the palace the next day at eleven o'clock, when he would present me to the king.

M. de Cury, who delivered me the message, added that he thought a pension was intended, and that his majesty wished to announce it to me himself.

Will it be believed that the night of so brilliant a day was for me a night of anguish and perplexity? My first idea, after that of being presented, was that of my frequently wanting to retire; this had made me suffer very considerably at the theatre, and might torment me the next day when I should be in the gallery, or in the king's apartment, amongst all the great, waiting for the pa.s.sing of his majesty. My infirmity was the princ.i.p.al cause which prevented me from mixing in polite companies, and enjoying the conversation of the fair. The idea alone of the situation in which this want might place me, was sufficient to produce it to such a degree as to make me faint away, or to recur to means to which, in my opinion, death was much preferable. None but persons who are acquainted with this situation can judge of the horror which being exposed to the risk of it inspires.

I then supposed myself before the king, presented to his majesty, who deigned to stop and speak to me. In this situation, justness of expression and presence of mind were peculiarly necessary in answering.

Would my timidity which disconcerts me in presence of any stranger whatever, have been shaken off in presence of the King of France; or would it have suffered me instantly to make choice of proper expressions?

I wished, without laying aside the austere manner I had adopted, to show myself sensible of the honor done me by so great a monarch, and in a handsome and merited eulogium to convey some great and useful truth.

I could not prepare a suitable answer without exactly knowing what his majesty was to say to me; and had this been the case, I was certain that, in his presence, I should not recollect a word of what I had previously meditated. "What," said I, "will become of me in this moment, and before the whole court, if, in my confusion, any of my stupid expressions should escape me?" This danger alarmed and terrified me. I trembled to such a degree that at all events I was determined not to expose myself to it.

I lost, it is true, the pension which in some measure was offered me; but I at the same time exempted myself from the yoke it would have imposed.

Adieu, truth, liberty, and courage! How should I afterwards have dared to speak of disinterestedness and independence? Had I received the pension I must either have become a flatterer or remained silent; and, moreover, who would have insured to me the payment of it! What steps should I have been under the necessity of taking! How many people must I have solicited! I should have had more trouble and anxious cares in preserving than in doing without it. Therefore, I thought I acted according to my principles by refusing, and sacrificing appearances to reality. I communicated my resolution to Grimm, who said nothing against it. To others I alleged my ill state of health, and left the court in the morning.

My departure made some noise, and was generally condemned. My reasons could not be known to everybody, it was therefore easy to accuse me of foolish pride, and thus not irritate the jealousy of such as felt they would not have acted as I had done. The next day Jelyotte wrote me a note, in which he stated the success of my piece, and the pleasure it had afforded the king. "All day long," said he, "his majesty sings, with the worst voice in his kingdom: 'J'ai perdu mon serviteur: J'ai perdu tout mon bonheur.'" He likewise added, that in a fortnight the Devin was to be performed a second time; which confirmed in the eyes of the public the complete success of the first.

Two days afterwards, about nine o'clock in the evening, as I was going to sup with Madam D'Epinay, I perceived a hackney-coach pa.s.s by the door.

Somebody within made a sign to me to approach. I did so, and got into it, and found the person to be Diderot. He spoke of the pension with more warmth than, upon such a subject, I should have expected from a philosopher. He did not blame me for having been unwilling to be presented to the king, but severely reproached me with my indifference about the pension. He observed that although on my own account I might be disinterested, I ought not to be so on that of Madam Va.s.seur and her daughter; that it was my duty to seize every means of providing for their subsistence; and that as, after all, it could not be said I had refused the pension, he maintained I ought, since the king seemed disposed to grant it to me, to solicit and obtain it by one means or another.

Although I was obliged to him for his good wishes, I could not relish his maxims, which produced a warm dispute, the first I ever had with him.

All our disputes were of this kind, he prescribing to me what he pretended I ought to do, and I defending myself because I was of a different opinion.

It was late when we parted. I would have taken him to supper at Madam d'

Epinay's, but he refused to go; and, notwithstanding all the efforts which at different times the desire of uniting those I love induced me to make, to prevail upon him to see her, even that of conducting her to his door which he kept shut against us, he constantly refused to do it, and never spoke of her but with the utmost contempt. It was not until after I had quarrelled with both that they became acquainted and that he began to speak honorably of her.

From this time Diderot and Grimm seemed to have undertaken to alienate from me the governesses, by giving them to understand that if they were not in easy circ.u.mstances the fault was my own, and that they never would be so with me. They endeavored to prevail on them to leave me, promising them the privilege for retailing salt, a snuff shop, and I know not what other advantages by means of the influence of Madam d' Epinay. They likewise wished to gain over Duclos and d'Holback, but the former constantly refused their proposals. I had at the time some intimation of what was going forward, but I was not fully acquainted with the whole until long afterwards; and I frequently had reason to lament the effects of the blind and indiscreet zeal of my friends, who, in my ill state of health, striving to reduce me to the most melancholy solitude, endeavored, as they imagined, to render me happy by the means which, of all others, were the most proper to make me miserable.

In the carnival following the conclusion of the year 1753, the Devin was performed at Paris, and in this interval I had sufficient time to compose the overture and divertiss.e.m.e.nt. This divertiss.e.m.e.nt, such as it stands engraved, was to be in action from the beginning to the end, and in a continued subject, which in my opinion, afforded very agreeable representations. But when I proposed this idea at the opera-house, n.o.body would so much as hearken to me, and I was obliged to tack together music and dances in the usual manner: on this account the divertiss.e.m.e.nt, although full of charming ideas which do not diminish the beauty of scenes, succeeded but very middlingly. I suppressed the recitative of Jelyotte, and subst.i.tuted my own, such as I had first composed it, and as it is now engraved; and this recitative a little after the French manner, I confess, drawled out, instead of p.r.o.nounced by the actors, far from shocking the ears of any person, equally succeeded with the airs, and seemed in the judgment of the public to possess as much musical merit.

I dedicated my piece to Duclos, who had given it his protection, and declared it should be my only dedication. I have, however, with his consent, written a second; but he must have thought himself more honored by the exception, than if I had not written a dedication to any person.

I could relate many anecdotes concerning this piece, but things of greater importance prevent me from entering into a detail of them at present. I shall perhaps resume the subject in a supplement. There is however one which I cannot omit, as it relates to the greater part of what is to follow. I one day examined the music of D'Holbach, in his closet. After having looked over many different kinds, he said, showing me a collection of pieces for the harpsichord: "These were composed for me; they are full of taste and harmony, and unknown to everybody but myself. You ought to make a selection from them for your divertiss.e.m.e.nt." Having in my head more subjects of airs and symphonies than I could make use of, I was not the least anxious to have any of his.

However, he pressed me so much, that, from a motive of complaisance, I chose a Pastoral, which I abridged and converted into a trio, for the entry of the companions of Colette. Some months afterwards, and whilst the Devin still continued to be performed, going into Grimms I found several people about his harpsichord, whence he hastily rose on my arrival. As I accidently looked toward his music stand, I there saw the same collection of the Baron d'Holback, opened precisely at the piece he had prevailed upon me to take, a.s.suring me at the same time that it should never go out of his hands. Some time afterwards, I again saw the collection open on the harpischord of M. d'Papinay, one day when he gave a little concert. Neither Grimm, nor anybody else, ever spoke to me of the air, and my reason for mentioning it here is that some time afterwards, a rumor was spread that I was not the author of Devin.

As I never made a great progress in the practical part, I am persuaded that had it not been for my dictionary of music, it would in the end have been said I did not understand composition.

Sometime before the 'Devin du Village' was performed, a company of Italian Bouffons had arrived at Paris, and were ordered to perform at the opera-house, without the effect they would produce there being foreseen.

Although they were detestable, and the orchestra, at that time very ignorant, mutilated at will the pieces they gave, they did the French opera an injury that will never be repaired. The comparison of these two kinds of music, heard the same evening in the same theatre, opened the ears of the French; n.o.body could endure their languid music after the marked and lively accents of Italian composition; and the moment the Bouffons had done, everybody went away. The managers were obliged to change the order of representation, and let the performance of the Bouffons be the last. 'Egle Pigmalion' and 'le Sylphe' were successively given: nothing could bear the comparison. The 'Devin du Village' was the only piece that did it, and this was still relished after 'la Serva Padroma'. When I composed my interlude, my head was filled with these pieces, and they gave me the first idea of it: I was, however, far from imagining they would one day be pa.s.sed in review by the side of my composition. Had I been a plagiarist, how many pilferings would have been manifest, and what care would have been taken to point them out to the public! But I had done nothing of the kind. All attempts to discover any such thing were fruitless: nothing was found in my music which led to the recollection of that of any other person; and my whole composition compared with the pretended original, was found to be as new as the musical characters I had invented. Had Mondonville or Rameau undergone the same ordeal, they would have lost much of their substance.

The Bouffons acquired for Italian music very warm partisans. All Paris was divided into two parties, the violence of which was greater than if an affair of state or religion had been in question. One of them, the most powerful and numerous, composed of the great, of men of fortune, and the ladies, supported French music; the other, more lively and haughty, and fuller of enthusiasm, was composed of real connoisseurs, and men of talents, and genius. This little group a.s.sembled at the opera-house, under the box belonging to the queen. The other party filled up the rest of the pit and the theatre; but the heads were mostly a.s.sembled under the box of his majesty. Hence the party names of Coin du Roi, Coin de la Reine,--[King's corner,--Queen's corner.]--then in great celebrity.

The dispute, as it became more animated, produced several pamphlets.

The king's corner aimed at pleasantry; it was laughed at by the 'Pet.i.t Prophete'. It attempted to reason; the 'Lettre sur la Musique Francoise'

refuted its reasoning. These two little productions, the former of which was by Grimm, the latter by myself, are the only ones which have outlived the quarrel; all the rest are long since forgotten.

But the Pet.i.t Prophete, which, notwithstanding all I could say, was for a long time attributed to me, was considered as a pleasantry, and did not produce the least inconvenience to the author: whereas the letter on music was taken seriously, and incensed against me the whole nation, which thought itself offended by this attack on its music. The description of the incredible effect of this pamphlet would be worthy of the pen of Tacitus. The great quarrel between the parliament and the clergy was then at its height. The parliament had just been exiled; the fermentation was general; everything announced an approaching insurrection. The pamphlet appeared: from that moment every other quarrel was forgotten; the perilous state of French music was the only thing by which the attention of the public was engaged, and the only insurrection was against myself. This was so general that it has never since been totally calmed. At court, the bastile or banishment was absolutely determined on, and a 'lettre de cachet' would have been issued had not M. de Voyer set forth in the most forcible manner that such a step would be ridiculous. Were I to say this pamphlet probably prevented a revolution, the reader would imagine I was in a dream. It is, however, a fact, the truth of which all Paris can attest, it being no more than fifteen years since the date of this singular fact. Although no attempts were made on my liberty, I suffered numerous insults; and even my life was in danger. The musicians of the opera orchestra humanely resolved to murder me as I went out of the theatre. Of this I received information; but the only effect it produced on me was to make me more a.s.siduously attend the opera; and I did not learn, until a considerable time afterwards, that M. Ancelot, officer in the mousquetaires, and who had a friendship for me, had prevented the effect of this conspiracy by giving me an escort, which, unknown to myself, accompanied me until I was out of danger. The direction of the opera-house had just been given to the hotel de ville. The first exploit performed by the Prevot des Marchands, was to take from me my freedom of the theatre, and this in the most uncivil manner possible. Admission was publicly refused me on my presenting myself, so that I was obliged to take a ticket that I might not that evening have the mortification to return as I had come. This injustice was the more shameful, as the only price I had set on my piece when I gave it to the managers was a perpetual freedom of the house; for although this was a right, common to every author, and which I enjoyed under a double t.i.tle, I expressly stipulated for it in presence of M.

Duclos. It is true, the treasurer brought me fifty louis, for which I had not asked; but, besides the smallness of the sum, compared with that which, according to the rule, established in such cases, was due to me, this payment had nothing in common with the right of entry formerly granted, and which was entirely independent of it. There was in this behavior such a complication of iniquity and brutality, that the public, notwithstanding its animosity against me, which was then at its highest, was universally shocked at it, and many persons who insulted me the preceding evening, the next day exclaimed in the open theatre, that it was shameful thus to deprive an author of his right of entry; and particularly one who had so well deserved it, and was ent.i.tled to claim it for himself and another person. So true is the Italian proverb: Ogn' un ama la giustizia in cosa d altrui.--[Every one loves justice in the affairs of another.]

In this situation the only thing I had to do was to demand my work, since the price I had agreed to receive for it was refused me. For this purpose I wrote to M. d'Argenson, who had the department of the opera.

I likewise enclosed to him a memoir which was unanswerable; but this, as well as my letter, was ineffectual, and I received no answer to either.

The silence of that unjust man hurt me extremely, and did not contribute to increase the very moderate good opinion I always had of his character and abilities. It was in this manner the managers kept my piece while they deprived me of that for which I had given it them. From the weak to the strong, such an act would be a theft: from the strong to the weak, it is nothing more than an appropriation of property, without a right.

With respect to the pecuniary advantages of the work, although it did not produce me a fourth part of the sum it would have done to any other.

person, they were considerable enough to enable me to subsist several years, and to make amends for the ill success of copying, which went on but very slowly. I received a hundred louis from the king; fifty from Madam de Pompadour, for the performance at Bellevue, where she herself played the part of Colin; fifty from the opera; and five hundred livres from p.i.s.sot, for the engraving; so that this interlude, which cost me no more than five or six weeks' application, produced, notwithstanding the ill treatment I received from the managers and my stupidity at court, almost as much money as my 'Emilius', which had cost me twenty years'

meditation, and three years' labor. But I paid dearly for the pecuniary ease I received from the piece, by the infinite vexations it brought upon me. It was the germ of the secret jealousies which did not appear until a long time afterwards. After its success I did not remark, either in Grimm, Diderot, or any of the men of letters, with whom I was acquainted, the same cordiality and frankness, nor that pleasure in seeing me, I had previously experienced. The moment I appeared at the baron's, the conversation was no longer general; the company divided into small parties; whispered into each other's ears; and I remained alone, without knowing to whom to address myself. I endured for a long time this mortifying neglect; and, perceiving that Madam d'Holbach, who was mild and amiable, still received me well, I bore with the vulgarity of her husband as long as it was possible. But he one day attacked me without reason or pretence, and with such brutality, in presence of Diderot, who said not a word, and Margency, who since that time has often told me how much he admired the moderation and mildness of my answers, that, at length driven from his house, by this unworthy treatment, I took leave with a resolution never to enter it again. This did not, however, prevent me from speaking honorably of him and his house, whilst he continually expressed himself relative to me in the most insulting terms, calling me that 'pet.i.t cuistre': the little college pedant, or servitor in a college, without, however, being able to charge me with having done either to himself or any person to whom he was attached the most trifling injury. In this manner he verified my fears and predictions, I am of opinion my pretended friends would have pardoned me for having written books, and even excellent ones, because this merit was not foreign to themselves; but that they could not forgive my writing an opera, nor the brilliant success it had; because there was not one amongst them capable of the same, nor in a situation to aspire to like honors. Duclos, the only person superior to jealousy, seemed to become more attached to me: he introduced me to Mademoiselle Quinault, in whose house I received polite attention, and civility to as great an extreme, as I had found a want of it in that of M. d'Holbach.

Whilst the performance of the 'Devin du Village' was continued at the opera-house, the author of it had an advantageous negotiation with the managers of the French comedy. Not having, during seven or eight years, been able to get my 'Narcissis' performed at the Italian theatre, I had, by the bad performance in French of the actors, become disgusted with it, and should rather have had my piece received at the French theatre than by them. I mentioned this to La None, the comedian, with whom I had become acquainted, and who, as everybody knows, was a man of merit and an author. He was pleased with the piece, and promised to get it performed without suffering the name of the author to be known; and in the meantime procured me the freedom of the theatre, which was extremely agreeable to me, for I always preferred it to the two others. The piece was favorably received, and without the author's name being mentioned; but I have reason to believe it was known to the actors and actresses, and many other persons. Mademoiselles Gauffin and Grandval played the amorous parts; and although the whole performance was, in my opinion, injudicious, the piece could not be said to be absolutely ill played.

The indulgence of the public, for which I felt grat.i.tude, surprised me; the audience had the patience to listen to it from the beginning to the end, and to permit a second representation without showing the least sign of disapprobation. For my part, I was so wearied with the first, that I could not hold out to the end; and the moment I left the theatre, I went into the Cafe de Procope, where I found Boissi, and others of my acquaintance, who had probably been as much fatigued as myself. I there humbly or haughtily avowed myself the author of the piece, judging it as everybody else had done. This public avowal of an author of a piece which had not succeeded, was much admired, and was by no means painful to myself. My self-love was flattered by the courage with which I made it: and I am of opinion, that, on this occasion, there was more pride in speaking, than there would have been foolish shame in being silent.

However, as it was certain the piece, although insipid in the performance would bear to be read, I had it printed: and in the preface, which is one of the best things I ever wrote, I began to make my principles more public than I had before done.

I soon had an opportunity to explain them entirely in a work of the greatest importance: for it was, I think, this year, 1753, that the programma of the Academy of Dijon upon the 'Origin of the Inequality of Mankind' made its appearance. Struck with this great question, I was surprised the academy had dared to propose it: but since it had shown sufficient courage to do it, I thought I might venture to treat it, and immediately undertook the discussion.

That I might consider this grand subject more at my ease, I went to St.

Germain for seven or eight days with Theresa, our hostess, who was a good kind of woman, and one of her friends. I consider this walk as one of the most agreeable ones I ever took. The weather was very fine. These good women took upon themselves all the care and expense. Theresa amused herself with them; and I, free from all domestic concerns, diverted myself, without restraint, at the hours of dinner and supper. All the rest of the day wandering in the forest, I sought for and found there the image of the primitive ages of which I boldly traced the history. I confounded the pitiful lies of men; I dared to unveil their nature; to follow the progress of time, and the things by which it has been disfigured; and comparing the man of art with the natural man, to show them, in their pretended improvement, the real source of all their misery. My mind, elevated by these contemplations, ascended to the Divinity, and thence, seeing my fellow creatures follow in the blind track of their prejudices that of their errors and misfortunes, I cried out to them, in a feeble voice, which they could not hear: "Madmen! know that all your evils proceed from yourselves!"

From these meditations resulted the discourse on Inequality, a work more to the taste of Diderot than any of my other writings, and in which his advice was of the greatest service to me.

[At the time I wrote this, I had not the least suspicion of the grand conspiracy of Diderot and Grimm. otherwise I should easily.

have discovered how much the former abused my confidence, by giving to my writings that severity and melancholy which were not to be found in them from the moments he ceased to direct me. The pa.s.sage of the philosopher, who argues with himself, and stops his ears against the complaints of a man in distress, is after his manner: and he gave me others still more extraordinary; which I could never resolve to make use of. But, attributing, this melancholy to that he had acquired in the dungeon of Vincennes, and of which there is a very sufficient dose in his Clairoal, I never once suspected the least unfriendly dealing. ]

It was, however, understood but by few readers, and not one of these would ever speak of it. I had written it to become a compet.i.tor for the premium, and sent it away fully persuaded it would not obtain it; well convinced it was not for productions of this nature that academies were founded.

This excursion and this occupation enlivened my spirits and was of service to my health. Several years before, tormented by my disorder, I had entirely given myself up to the care of physicians, who, without alleviating my sufferings, exhausted my strength and destroyed my const.i.tution. At my return from St. Germain, I found myself stronger and perceived my health to be improved. I followed this indication, and determined to cure myself or die without the aid of physicians and medicine. I bade them forever adieu, and lived from day to day, keeping close when I found myself indisposed, and going abroad the moment I had sufficient strength to do it. The manner of living in Paris amidst people of pretensions was so little to my liking; the cabals of men of letters, their little candor in their writings, and the air of importance they gave themselves in the world, were so odious to me; I found so little mildness, openness of heart and frankness in the intercourse even of my friends; that, disgusted with this life of tumult, I began ardently to wish to reside in the country, and not perceiving that my occupation permitted me to do it, I went to pa.s.s there all the time I had to spare.

For several months I went after dinner to walk alone in the Bois de Boulogne, meditating on subjects for future works, and not returning until evening.

Gauffecourt, with whom I was at that time extremely intimate, being on account of his employment obliged to go to Geneva, proposed to me the journey, to which I consented. The state of my health was such as to require the care of the governess; it was therefore decided she should accompany us, and that her mother should remain in the house. After thus having made our arrangements, we set off on the first of June, 1754.

This was the period when at the age of forty-two, I for the first time in my life felt a diminution of my natural confidence to which I had abandoned myself without reserve or inconvenience. We had a private carriage, in which with the same horses we travelled very slowly.

I frequently got out and walked. We had scarcely performed half our journey when Theresa showed the greatest uneasiness at being left in the carriage with Gauffecourt, and when, notwithstanding her remonstrances, I would get out as usual, she insisted upon doing the same, and walking with me. I chid her for this caprice, and so strongly opposed it, that at length she found herself obliged to declare to me the cause whence it proceeded. I thought I was in a dream; my astonishment was beyond expression, when I learned that my friend M. de Gauffecourt, upwards of sixty years of age, crippled by the gout, impotent and exhausted by pleasures, had, since our departure, incessantly endeavored to corrupt a person who belonged to his friend, and was no longer young nor handsome, by the most base and shameful means, such as presenting to her a purse, attempting to inflame her imagination by the reading of an abominable book, and by the sight of infamous figures, with which it was filled.