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Updated: June 26, 2025
As he sat gnawed by pain, with surgical instruments on his table, and sombre thoughts of suicide in his head, the ray of a little episode of romance shone in incongruously upon the scene. Two ladies in Paris, absorbed in the New Heloïsa, like all the women of the time, identified themselves with the Julie and the Claire of the novel that none could resist.
Closely connected with the vigorous attempt to fascinate his public with the charm of a serene, joyful, and ordered house, is the restoration of marriage in the New Heloïsa to a rank among high and honourable obligations, and its representation as the best support of an equable life of right conduct and fruitful harmonious emotion.
The New Heloïsa could not openly circulate in France so long as it contained the words, "I would rather be the wife of a charcoal-burner than the mistress of a king." The last word was altered to "prince," and then Rousseau was warned that he would offend the Prince de Conti and Madame de Boufflers.
And so we have to distinguish the external conditions under which a book like the New Heloïsa is produced, from the living qualities in the author which gave the external conditions their hold upon him, and turned their development in one direction rather than another.
These incidents in the case of the New Heloïsa we know; the sensuous communion with nature in her summer mood in the woods of Montmorency, the long hours and days of solitary expansion, the despairing passion for the too sage Julie of actual experience. But the power of these impressions from without depended on secrets of conformation within.
In trying to appreciate the meaning of the New Heloïsa and its popularity, it is well to think of it as a delineation of love, in connection not only with such a book as the Pucelle, where there is at least wit, but with a story like Duclos's, which all ladies both read and were not in the least ashamed to acknowledge that they had read; or still worse, such an abomination as Diderot's first stories; or a story like Laclos's, which came a generation later, and with its infinite briskness and devilry carried the tradition of artistic impurity to as vigorous a manifestation as it is capable of reaching.
In Lord Edward's famous letter on suicide in the New Heloïsa, while denying in forcible terms the right of ending one's days merely to escape from intolerable mental distress, he admits that inasmuch as physical disorders only grow incessantly worse, violent and incurable bodily pain may be an excuse for a man making away with himself; he ceases to be a human being before dying, and in putting an end to his life he only completes his release from a body that embarrasses him, and contains his soul no longer.
On the other hand, the eyes of Rousseau's admirers were opened to many things not noticed before. The real woods received their appropriate worship. The novel of Jean Jacques combined with the exhortations of the economists to turn the attention of the educated classes to rural matters. The life led by the model couple in the "New Heloisa" is one of humdrum, conscientious respectability.
There are other admirable landscapes in the New Heloïsa, though not too many of them, and the minute and careful way in which Rousseau made their features real to himself, is accidentally shown in his urgent prayer for exactitude in the engraving of the striking scene where Saint Preux and Julie visit the monuments of their old love for one another.
French critics tell us that no one now reads the New Heloïsa in France except deliberate students of the works of Rousseau, and certainly few in this generation read it in our own country.
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