The Confessions of Jean Jacques Rousseau — CompleteRousseau, Jean-Jacques
Philosophy
The Confessions of Jean Jacques Rousseau — Complete
Rousseau, Jean-Jacques
Authors, French -- 18th century -- Biography; Rousseau, Jean-Jacques, 1712-1778
These subjects of music and opera still engaged my attention during
my convalescence, but my ideas were less energetic. Long and frequent
meditations, and which were often involuntary, and made such an
impression upon my mind that I resolved to attempt both words and music.
This was not the first time I had undertaken so difficult a task.
Whilst I was at Chambery I had composed an opera entitled ‘Iphis and
Anaxarete’, which I had the good sense to throw into the fire. At Lyons
I had composed another, entitled ‘La Decouverte du Nouveau Monde’,
which, after having read it to M. Bordes, the Abbes Malby, Trublet, and
others, had met the same fate, notwithstanding I had set the prologue
and the first act to music, and although David, after examining the
composition, had told me there were passages in it worthy of Buononcini.
Before I began the work I took time to consider of my plan. In a heroic
ballet I proposed three different subjects, in three acts, detached
from each other, set to music of a different character, taking for each
subject the amours of a poet. I entitled this opera Les Muses Galantes.
My first act, in music strongly characterized, was Tasso; the second in
tender harmony, Ovid; and the third, entitled Anacreon, was to partake
of the gayety of the dithyrambus. I tried my skill on the first act, and
applied to it with an ardor which, for the first time, made me feel the
delightful sensation produced by the creative power of composition. One
evening, as I entered the opera, feeling myself strongly incited and
overpowered by my ideas, I put my money again into my pocket, returned
to my apartment, locked the door, and, having close drawn all the
curtains, that every ray of light might be excluded, I went to bed,
abandoning myself entirely to this musical and poetical ‘oestrum’, and
in seven or eight hours rapidly composed the greatest part of an act. I
can truly say my love for the Princess of Ferrara (for I was Tasso for
the moment) and my noble and lofty sentiment with respect to her unjust
brother, procured me a night a hundred times more delicious than one
passed in the arms of the princess would have been. In the morning but
a very little of what I had done remained in my head, but this little,
almost effaced by sleep and lassitude, still sufficiently evinced the
energy of the pieces of which it was the scattered remains.
Public-domain text, read in full here on John Shaqi.
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