D'Holbach, D'Alembert, David Hume, the Marquis de Mirabeau, Helvetius, and other wits shined, in which circle no genius was acknowledged and no profundity of thought was deemed possible unless allied with those pagan ideas which Saint Augustine had exploded and Pascal had ridiculed. Even while living among these people, Rousseau had all the while a kind of sentimental religiosity which revolted at their ribald scoffing, although he never protested.

He had written some fugitive pieces of music, and had attempted and failed in several slight operettas, composing both music and words; but the work which made Rousseau famous was his essay on a subject propounded in 1749 by the Academy of Dijon: "Has the Progress of Science and the Arts Contributed to Corrupt or to Purify Morals?" This was a strange subject for a literary institution to propound, but one which exactly fitted the genius of Rousseau. The boldness of his paradox - for he maintained the evil effects of science and art- and the brilliancy of his style secured readers, although the essay was crude in argument and false in logic. In his "Confessions" he himself condemns it as the weakest of all his works, although "full of force and fire;" and he adds: "With whatever talent a man may be born, the art of writing is not easily

learned." It has been said that Rousseau got the idea of taking the "off side" of this question from his literary friend Diderot, and that his unexpected success with it was the secret of his life-long career of opposition to all established institutions. This is interesting, but not very authentic.

The next year, his irregular activity having been again stimulated by learning that his essay had gained the premium at Dijon, and by the fact of its great vogue as a published pamphlet, another performance fairly raised Rousseau to the pinnacle of fashion; and this was an opera which he composed, "Le Devin du Village" (The Village Sorcerer), which was performed at Fontainebleau before the Court, and received with unexampled enthusiasm. His profession, so far as he had any, was that of a copyist of music, and his musical taste and facile talents had at last brought him an uncritical recognition.

But Rousseau soon abandoned music for literature. In 1753 he wrote another essay for the Academy of Dijon, on the "Origin of the Inequality of Man," full of still more startling paradoxes than his first, in which he attempted to show, with great felicity of language, the superiority of savage life over civilization.

At the age of forty-two Rousseau revisited Protestant Geneva, abjured in its turn the Catholic faith,

and was offered the post of librarian of the city. But he could not live out of the atmosphere of Paris; nor did he wish to remain under the shadow of Voltaire, living in his villa near the City Gate of Geneva, who had but little admiration for Rousseau, and whose superior social position excited the latter's envy. Yet he professed to hate Paris with its conventionalities and fashions, and sought a quiet retreat where he could more leisurely pursue his studies and enjoy Nature, which he really loved. This was provided for him by an enthusiastic friend, - Madame d'Épinay, in the beautiful valley of Montmorenci, and called "The Hermitage," situated in the grounds of her Château de la Chevrette. Here he lived with his wife and mother-in-law, he himself enjoying the hospitalities of the Château besides, society of a most cultivated kind, also woods, lawns, parks, gardens, all for nothing; the luxuries of civilization, the glories of Nature, and the delights of friendship combined. It was an earthly paradise, given him by enthusiastic admirers of his genius and conversation.

In this retreat, one of the most favored which a poor author ever had, Rousseau, ever craving some outlet for his passionate sentiments, created an ideal object of love. He wrote imaginary letters, dwelling with equal rapture on those he wrote and those he

fancied he received in return, and which he read to his lady friends, after his rambles in the forests and parks, during their reunions at the supper-table. Thus was born the "Nouvelle Héloïse," a novel of immense fame, in which the characters are invested with every earthly attraction, living in voluptuous peace, yet giving vent to those passions which consume the unsatisfied soul. It was the forerunner of "Corinne," "The Sorrows of Werther," "Thaddeus of Warsaw," and all those sentimental romances which amused our grandfathers and grandmothers, but which increased the prejudice of religious people against novels. It was not until Sir Walter Scott arose with his wholesome manliness that the embargo against novels was removed.

The life which Rousseau lived at the Hermitagereveries in the forest, luxurious dinners, and sentimental friendships-led to a passionate love-affair with the Comtesse d'Houdetot, a sister-in-law of his patroness Madame d'Épinay, a woman not only married, but who had another lover besides. The result, of course, was miserable, - jealousies, piques, humiliations, misunderstandings, and the sundering of the ties of friendship, which led to the necessity of another retreat: a real home the wretched man never had. This was furnished, still in the vicinity of Montmorenci, by another aristocratic friend, the

Maréchal de Luxembourg, the fiscal agent of the Prince de Condé. And nothing to me is stranger than that this wandering, morbid, irritable man, without birth or fortune, the father of the wildest revolutionary and democratic doctrines, and always hated both by the Court and the Church, should have found his friends and warmest admirers and patrons in the highest circles of social life. It can be explained only by the singular fascination of his eloquence, and by the extreme stolidity of his worshippers in appreciating his doctrines, and the state of society to which his principles logically led.

In this second retreat Rousseau had the entrée to the palace of the Duke of Luxembourg, where he read to the friends assembled at its banquets his new production, "Emile," a singular treatise on education, not so faulty as his previous works, but still false in many of its principles, especially in regard to religion. This book contained an admirable and powerful impulse away from artificiality and towards naturalness in education, which has exerted an immense influence for good; we shall revert to it later.

A few months before the publication of "Emile," Rousseau had issued "The Social Contract," the most revolutionary of all his works, subversive of all precedents in politics, government, and the organization of society, while also confounding Christianity with