The Confessions by Jean-Jacques Rousseau (recommended ebook reader .txt) 📖

He had long insisted upon the virtue of the waters of Passy, that they were proper in my case, and recommended me to come to his house to drink them. To withdraw myself from the tumult of the city, I at length consented, and went to pass eight or ten days at Passy, which, on account of my being in the country, were of more service to me than the waters I drank during my stay there. Mussard played the violincello, and was passionately found of Italian music. This was the subject of a long conversation we had one evening after supper, particularly the ‘opera-buffe’ we had both seen in Italy, and with which we were highly delighted. My sleep having forsaken me in the night, I considered in what manner it would be possible to give in France an idea of this kind of drama. The ‘Amours de Ragonde’ did not in the least resemble it.

In the morning, whilst I took my walk and drank the waters, I hastily threw together a few couplets to which I adapted such airs as occurred to me at the moments. I scribbled over what I had composed, in a kind of vaulted saloon at the end of the garden, and at tea. I could not refrain from showing the airs to Mussard and to Mademoiselle du Vernois, his ‘gouvernante’, who was a very good and amiable girl. Three pieces of composition I had sketched out were the first monologue: ‘J’ai perdu mon serviteur;’—the air of the Devin; ‘L’amour croit s’il s’inquiete;’ and the last duo: ‘A jamais, Colin, je t’engage, etc.’ I was so far from thinking it worth while to continue what I had begun, that, had it not been for the applause and encouragement I received from both Mussard and Mademoiselle, I should have throw n my papers into the fire and thought no more of their contents, as I had frequently done by things of much the same merit; but I was so animated by the encomiums I received, that in six days, my drama, excepting a few couplets, was written. The music also was so far sketched out, that all I had further to do to it after my return from Paris, was to compose a little of the recitative, and to add the middle parts, the whole of which I finished with so much rapidity, that in three weeks my work was ready for representation. The only thing now wanting, was the divertissement, which was not composed until a long time afterwards.

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 rehearsed without mentioning the author. That I might not discover myself, I did not go to the rehearsal, and the ‘Petits violons’, [Rebel and Frauneur, who, when they were very young, went together from house to house playing on the violin, were so called.]

by whom it was directed, knew not who the author was until after a general plaudit had borne the testimony of the work. 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 operahouse 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 pass, 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 assumed 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 passed, described the author, and related what he had said and done; but what astonished me most in this long narrative, given with as much assurance 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 coxcomb; 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 passed 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 embarrassment 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 spacious, 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