Emile, Confessions & The Social Contract (3 Books in One Edition). Jean-Jacques Rousseau

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СКАЧАТЬ when, without any one thinking of them longer than they are heard. As I sometimes took him to dine with Madam de Warrens, he in some measure treated me with respect, and (wishing to render himself agreeable) endeavored to make me fond of these trifles, for which I naturally had such a distaste, that I never in my life read any of them. Unhappily one of these cursed papers happened to be in the waistcoat pocket of a new suit, which I had only worn two or three times to prevent its being seized by the commissioners of the customs. This paper contained an insipid Jansenist parody on that beautiful scene in Racine's Mithridates: I had not read ten lines of it, but by forgetfulness left it in my pocket, and this caused all my necessaries to be confiscated. The commissioners at the head of the inventory of my portmanteau, set a most pompous verbal process, in which it was taken for granted that this most terrible writing came from Geneva for the sole purpose of being printed and distributed in France, and then ran into holy invectives against the enemies of God and the Church, and praised the pious vigilance of those who had prevented the execution of these most infernal machinations. They doubtless found also that my spirits smelt of heresy, for on the strength of this dreadful paper, they were all seized, and from that time I never received any account of my unfortunate portmanteau. The revenue officers whom I applied to for this purpose required so many instructions, informations, certificates, memorials, etc., etc., that, lost a thousand times in the perplexing labyrinth, I was glad to abandon them entirely. I feel a real regret for not having preserved this verbal process from the office of Rousses, for it was a piece calculated to hold a distinguished rank in the collection which is to accompany this Work.

      The loss of my necessities immediately brought me back to Chambery, without having learned anything of the Abbe Blanchard. Reasoning with myself on the events of this journey, and seeing that misfortunes attended all my enterprises, I resolved to attach myself entirely to Madam de Warrens, to share her fortune, and distress myself no longer about future events, which I could not regulate. She received me as if I had brought back treasures, replaced by degrees my little wardrobe, and though this misfortune fell heavy enough on us both, it was forgotten almost as suddenly as it arrived.

      Though this mischance had rather dampened my musical ardor, I did not leave off studying my Rameau, and, by repeated efforts, was at length able to understand it, and to make some little attempts at composition, the success of which encouraged me to proceed. The Count de Bellegrade, son of the Marquis of Antremont, had returned from Dresden after the death of King Augustus. Having long resided at Paris, he was fond of music, and particularly that of Rameau. His brother, the Count of Nangis, played on the violin; the Countess la Tour, their sister, sung tolerably: this rendered music the fashion at Chambery, and a kind of public concert was established there, the direction of which was at first designed for me, but they soon discovered I was not competent to the undertaking, and it was otherwise arranged. Notwithstanding this, I continued writing a number of little pieces, in my own way, and, among others, a cantata, which gained great approbation; it could not, indeed, be called a finished piece, but the airs were written in a style of novelty, and produced a good effect, which was not expected from me. These gentlemen could not believe that, reading music so indifferently, it was possible I should compose any that was passable, and made no doubt that I had taken to myself the credit of some other person's labors. Monsieur de Nangis, wishing to be assured of this, called on me one morning with a cantata of Clerambault's which he had transposed as he said, to suit his voice, and to which another bass was necessary, the transposition having rendered that of Clerambault impracticable. I answered, it required considerable labor, and could not be done on the spot. Being convinced I only sought an excuse, he pressed me to write at least the bass to a recitative: I did so, not well, doubtless, because to attempt anything with success I must have both time and freedom, but I did it at least according to rule, and he being present, could not doubt but I understood the elements of composition. I did not, therefore, lose my scholars, though it hurt my pride that there should be a concert at Chambery in which I was not necessary.

      About this time, peace being concluded, the French army repassed the Alps. Several officers came to visit Madam de Warrens, and among others the Count de Lautrec, Colonel of the regiment of Orleans, since Plenipotentiary of Geneva, and afterwards Marshal of France, to whom she presented me. On her recommendation, he appeared to interest himself greatly in my behalf, promising a great deal, which he never remembered till the last year of his life, when I no longer stood in need of his assistance. The young Marquis of Sennecterre, whose father was then ambassador at Turin, passed through Chambery at the same time, and dined one day at M. de Menthon's, when I happened to be among the guests. After dinner; the discourse turned on music, which the marquis understood extremely well. The opera of 'Jephtha' was then new; he mentioned this piece, it was brought him, and he made me tremble by proposing to execute it between us. He opened the book at that celebrated double chorus,

      La Terra, l'Enfer, le Ciel meme,

       Tout tremble devant le Seigneur!

      [The Earth, and Hell, and Heaven itself,

       tremble before the Lord!]

      He said, "How many parts will you take? I will do these six." I had not yet been accustomed to this trait of French vivacity, and though acquainted with divisions, could not comprehend how one man could undertake to perform six, or even two parts at the same time. Nothing has cost me more trouble in music than to skip lightly from one part to another, and have the eye at once on a whole division. By the manner in which I evaded this trial, he must have been inclined to believe I did not understand music, and perhaps it was to satisfy himself in this particular that he proposed my noting a song for Mademoiselle de Menthon, in such a manner that I could not avoid it. He sang this song, and I wrote from his voice, without giving him much trouble to repeat it. When finished he read my performance, and said (which was very true) that it was very correctly noted. He had observed my embarrassment, and now seemed to enhance the merit of this little success. In reality, I then understood music very well, and only wanted that quickness at first sight which I possess in no one particular, and which is only to be acquired in this art by long and constant practice. Be that as it may, I was fully sensible of his kindness in endeavoring to efface from the minds of others, and even from my own, the embarrassment I had experienced on this occasion. Twelve or fifteen years afterwards, meeting this gentleman at several houses in Paris, I was tempted to make him recollect this anecdote, and show him I still remembered it; but he had lost his sight since that time; I feared to give him pain by recalling to his memory how useful it formerly had been to him, and was therefore silent on that subject.

      I now touch on the moment that binds my past existence to the present, some friendships of that period, prolonged to the present time, being very dear to me, have frequently made me regret that happy obscurity, when those who called themselves my friends were really so; loved me for myself, through pure good will, and not from the vanity of being acquainted with a conspicuous character, perhaps for the secret purpose of finding more occasions to injure him.

      From this time I date my first acquaintance with my old friend Gauffecourt, who, notwithstanding every effort to disunite us, has still remained so.—Still remained so!—No, alas! I have just lost him!—but his affection terminated only with his life—death alone could put a period to our friendship. Monsieur de Gauffecourt was one of the most amiable men that ever existed; it was impossible to see him without affection, or to live with him without feeling a sincere attachment. In my life I never saw features more expressive of goodness and serenity, or that marked more feeling, more understanding, or inspired greater confidence. However reserved one might be, it was impossible even at first sight to avoid being as free with him as if he had been an acquaintance of twenty years; for myself, who find so much difficulty to be at ease among new faces, I was familiar with him in a moment. His manner, accent, and conversation, perfectly suited his features: the sound of his voice was clear, full and musical; it was an agreeable and expressive bass, which satisfied the ear, and sounded full upon the heart. It was impossible to possess a more equal and pleasing vivacity, or more real and unaffected gracefulness, more natural talents, or cultivated with greater taste; join to all these good qualities an affectionate heart, but loving rather too diffusively, and bestowing his favors with too little СКАЧАТЬ