ever bubbling in man's breast, and for which their nice society provides no issue!--woman of the court is familiar with love as then practiced, simply a preference, often only a pastime, mere gallantry of which the exquisite polish poorly conceals the shallowness, coldness and, occasionally, wickedness; in short, adventures, amusements and personages as described by Crébillion jr. One evening, about to go out to the opera ball, she finds the "Nouvelle Heloïse" on her toilet-table; it is not surprising that she keeps her horses and footmen waiting from hour to hour, and that at four o'clock in the morning she orders the horses to be unharnessed, and then passes the rest of the night in reading, and that she is stifled with her tears; for the first time in her life she finds a man that loves[4139]. In like manner if you would comprehend the success of "Emile," call to mind the children we have described, the embroidered, gilded, dressed-up, powdered little gentlemen, decked with sword and sash, carrying the chapeau under the arm, bowing, presenting the hand, rehearsing fine attitudes before a mirror, repeating prepared compliments, pretty little puppets in which everything is the work of the tailor, the hairdresser, the preceptor and the dancing-master; alongside of these, little ladies of six years, still more artificial, bound up in whalebone, harnessed in a heavy skirt composed of hair and a girdle of iron, supporting a head-dress two feet in height, so many veritable dolls to which rouge is applied, and with which a mother amuses herself each morning for an hour and then consigns them to her maids for the rest of the day[4140]. This mother reads "Emile." It is not surprising that she immediately strips the poor little thing, and determines to nurse her next child herself.--It is through these contrasts that Rousseau is strong. He revealed the dawn to people who never got up until noon, the landscape to eyes that had thus far rested only on palaces and drawing-rooms, a natural garden to men who had never promenaded outside of clipped shrubs and rectilinear borders, the country, the family, the people, simple and endearing pleasures, to townsmen made weary by social avidity, by the excesses and complications of luxury, by the uniform comedy which, in the glare of hundreds of lighted candles, they played night after night in their own and in the homes of others[4141]. An audience thus disposed makes no clear distinction between pomp and sincerity, between sentiment and sentimentality. They follow their author as one who makes a revelation, as a prophet, even to the end of his ideal world, much more through his exaggerations than through his discoveries, as far on the road to error as on the pathway of truth.