Emile - Jean-Jacques Rousseau (english novels for beginners txt) 📗

opinion may be moderate, where pleasure rather than vanity is queen; where this is not so, fashion stifles taste, and we seek what gives distinction rather than delight.

In the latter case it is no longer true that good taste is the taste of the majority. Why is this? Because the purpose is different.

Then the crowd has no longer any opinion of its own, it only follows the judgment of those who are supposed to know more about it; its approval is bestowed not on what is good, but on what they have already approved. At any time let every man have his own opinion, and what is most pleasing in itself will always secure most votes.

Every beauty that is to be found in the works of man is imitated.

All the true models of taste are to be found in nature. The further we get from the master, the worse are our pictures. Then it is that we find our models in what we ourselves like, and the beauty of fancy, subject to caprice and to authority, is nothing but what is pleasing to our leaders.

Those leaders are the artists, the wealthy, and the great, and they themselves follow the lead of self-interest or pride. Some to display their wealth, others to profit by it, they seek eagerly for new ways of spending it. This is how luxury acquires its power and makes us love what is rare and costly; this so-called beauty consists, not in following nature, but in disobeying her. Hence luxury and bad taste are inseparable. Wherever taste is lavish, it is bad.

Taste, good or bad, takes its shape especially in the intercourse between the two sexes; the cultivation of taste is a necessary consequence of this form of society. But when enjoyment is easily obtained, and the desire to please becomes lukewarm, taste must degenerate; and this is, in my opinion, one of the best reasons why good taste implies good morals.

Consult the women’s opinions in bodily matters, in all that concerns the senses; consult the men in matters of morality and all that concerns the understanding. When women are what they ought to be, they will keep to what they can understand, and their judgment will be right; but since they have set themselves up as judges of literature, since they have begun to criticise books and to make them with might and main, they are altogether astray. Authors who take the advice of blue-stockings will always be ill-advised; gallants who consult them about their clothes will always be absurdly dressed.

I shall presently have an opportunity of speaking of the real talents of the female sex, the way to cultivate these talents, and the matters in regard to which their decisions should receive attention.

These are the elementary considerations which I shall lay down as principles when I discuss with Emile this matter which is by no means indifferent to him in his present inquiries. And to whom should it be a matter of indifference? To know what people may find pleasant or unpleasant is not only necessary to any one who requires their help, it is still more necessary to any one who would help them; you must please them if you would do them service; and the art of writing is no idle pursuit if it is used to make men hear the truth.

If in order to cultivate my pupil’s taste, I were compelled to choose between a country where this form of culture has not yet arisen and those in which it has already degenerated, I would progress backwards; I would begin his survey with the latter and end with the former. My reason for this choice is, that taste becomes corrupted through excessive delicacy, which makes it sensitive to things which most men do not perceive; this delicacy leads to a spirit of discussion, for the more subtle is our discrimination of things the more things there are for us. This subtlety increases the delicacy and decreases the uniformity of our touch. So there are as many tastes as there are people. In disputes as to our preferences, philosophy and knowledge are enlarged, and thus we learn to think.

It is only men accustomed to plenty of society who are capable of very delicate observations, for these observations do not occur to us till the last, and people who are unused to all sorts of society exhaust their attention in the consideration of the more conspicuous features. There is perhaps no civilised place upon earth where the common taste is so bad as in Paris. Yet it is in this capital that good taste is cultivated, and it seems that few books make any impression in Europe whose authors have not studied in Paris. Those who think it is enough to read our books are mistaken; there is more to be learnt from the conversation of authors than from their books; and it is not from the authors that we learn most. It is the spirit of social life which develops a thinking mind, and carries the eye as far as it can reach. If you have a spark of genius, go and spend a year in Paris; you will soon be all that you are capable of becoming, or you will never be good for anything at all.

One may learn to think in places where bad taste rules supreme; but we must not think like those whose taste is bad, and it is very difficult to avoid this if we spend much time among them. We must use their efforts to perfect the machinery of judgment, but we must be careful not to make the same use of it. I shall take care not to polish Emile’s judgment so far as to transform it, and when he has acquired discernment enough to feel and compare the varied tastes of men, I shall lead him to fix his own taste upon simpler matters.

I will go still further in order to keep his taste pure and wholesome.

In the tumult of dissipation I shall find opportunities for useful conversation with him; and while these conversations are always about things in which he takes a delight, I shall take care to make them as amusing as they are instructive. Now is the time to read pleasant books; now is the time to teach him to analyse speech and to appreciate all the beauties of eloquence and diction. It is a small matter to learn languages, they are less useful than people think; but the study of languages leads us on to that of grammar in general. We must learn Latin if we would have a thorough knowledge of French; these two languages must be studied and compared if we would understand the rules of the art of speaking.

There is, moreover, a certain simplicity of taste which goes straight to the heart; and this is only to be found in the classics. In oratory, poetry, and every kind of literature, Emile will find the classical authors as he found them in history, full of matter and sober in their judgment. The authors of our own time, on the contrary, say little and talk much. To take their judgment as our constant law is not the way to form our own judgment. These differences of taste make themselves felt in all that is left of classical times and even on their tombs. Our monuments are covered with praises, theirs recorded facts.

“Sta, viator; heroem calcas.”

If I had found this epitaph on an ancient monument, I should at once have guessed it was modern; for there is nothing so common among us as heroes, but among the ancients they were rare. Instead of saying a man was a hero, they would have said what he had done to gain that name. With the epitaph of this hero compare that of the effeminate Sardanapalus—

“Tarsus and Anchiales I built in a day, and now I am dead.”

Which do you think says most? Our inflated monumental style is only fit to trumpet forth the praises of pygmies. The ancients showed men as they were, and it was plain that they were men indeed. Xenophon did honour to the memory of some warriors who were slain by treason during the retreat of the Ten Thousand. “They died,” said he, “without stain in war and in love.” That is all, but think how full was the heart of the author of this short and simple elegy.

Woe to him who fails to perceive its charm. The following words were engraved on a tomb at Thermopylae—

“Go, Traveller, tell Sparta that here we fell in obedience to her laws.”

It is pretty clear that this was not the work of the Academy of Inscriptions.

If I am not mistaken, the attention of my pupil, who sets so small value upon words, will be directed in the first place to these differences, and they will affect his choice in his reading. He will be carried away by the manly eloquence of Demosthenes, and will say, “This is an orator;” but when he reads Cicero, he will say, “This is a lawyer.”

Speaking generally Emile will have more taste for the books of the ancients than for our own, just because they were the first, and therefore the ancients are nearer to nature and their genius is more distinct. Whatever La Motte and the Abbe Terrasson may say, there is no real advance in human reason, for what we gain in one direction we lose in another; for all minds start from the same point, and as the time spent in learning what others have thought is so much time lost in learning to think for ourselves, we have more acquired knowledge and less vigour of mind. Our minds like our arms are accustomed to use tools for everything, and to do nothing for themselves. Fontenelle used to say that all these disputes as to the ancients and the moderns came to this—Were the trees in former times taller than they are now. If agriculture had changed, it would be worth our while to ask this question.

After I have led Emile to the sources of pure literature, I will also show him the channels into the reservoirs of modern compilers; journals, translations, dictionaries, he shall cast a glance at them all, and then leave them for ever. To amuse him he shall hear the chatter of the academies; I will draw his attention to the fast that every member of them is worth more by himself than he is as a member of the society; he will then draw his own conclusions as to the utility of these fine institutions.

I take him to the theatre to study taste, not morals; for in the theatre above all taste is revealed to those who can think. Lay aside precepts and morality, I should say; this is not the place to study them. The stage is not made for truth; its object is to flatter and amuse: there is no place where one can learn so completely the art of pleasing and of interesting the human heart. The study of plays leads to the study of poetry; both have the same end in view. If he has the least glimmering of taste for poetry, how eagerly will he study the languages of the poets, Greek, Latin, and Italian! These studies will afford him unlimited amusement and will be none the less valuable; they will be a delight to him at an age and in circumstances when the heart finds so great a charm in every kind of beauty which affects it. Picture to yourself on the one hand Emile, on the other some young rascal from college, reading the fourth book of the Aeneid, or Tibollus, or the Banquet of Plato: what a difference between them! What stirs the heart of