See also:

• JEAN

JEAN See also:

• BAPTISTE

BAPTISTE See also:

• ROUSSEAU, JACQUES (1633-1693)
• JEAN BAPTISTE ROUSSEAU (1671-1741)
• ROUSSEAU, JEAN JACQUES (1712-1778)
• ROUSSEAU, PIERRE ETIENNE THEODORE (1812–1867); French painter of the Barbizon school, was born in Paris on the 15th of April 1812, of a bourgeois family which included one or two artists. At first he received a business training, but soon displayed aptitu

ROUSSEAU (1671-1741)  , See also:

• FRENCH
• FRENCH, DANIEL CHESTER (1850– )
• FRENCH, NICHOLAS (1604-1678)

French poet, was See also:

• BORN, IGNAZ, EDLER VON (1742–1791)

born at See also:

• PARIS
• PARIS (also called ALEXANDROS)
• PARIS, ALEXIS PAULIN (1800-x881)
• PARIS, BRUNO PAULIN GASTON (1839-1903)
• PARIS, FRANCOIS DE (169o-1727)
• PARIS, LOUIS PHILIPPE ALBERT
• PARIS, TREATIES OF (1814-1815)

Paris on the 6th of See also:

• APRIL

April 1671; he died at See also:

• BRUSSELS (Fr. Bruxelles, Flem. Brussel)

Brussels on the 17th of See also:

• MARCH
• MARCH (1) (from Fr. marcher, to walk; the earliest sense in French appears to be " to trample," and the origin has usually been found in the Lat. marcus, hammer; Low Lat. marcare, to hammer; hence to beat the road with the regular tread of a soldier: cf.
• MARCH, AUZIAS (c. "1395-1458)
• MARCH, EARLS OF
• MARCH, FRANCIS ANDREW (1825– )

March 1741 . The son of a shoemaker, he was well educated and See also:

• EARLY
• EARLY, JUBAL ANDERSON (1816-1894)

early gained favour with Boileau, who encouraged him to write . He began with the See also:

• THEATRE (BEarpov, " a place for seeing," from OeacOae)

theatre, for which he had no aptitude . A one-See also:

• ACT (Lat. actus, actum)

act See also:

• COMEDY

comedy, Le Cafe, failed in 1694, and he was not much happier with a more ambitious See also:

• PLAY

play, Le Flatteur (1696), or with the See also:

• OPERA (Italian for " work ")

opera of See also:

• VENUS

Venus et See also:

• ADONIS

Adonis (1697) . He tried in 1700 another comedy, Le Capricieux, which had the same See also:

• FATE

fate . He then went with Tallard as an attache to See also:

• LONDON

London, and, in days when literature still led to high position, seemed likely to achieve success . His misfortunes began with a See also:

• CLUB (connected with " clump ")

club squabble at the Cafe See also:

• LAURENT, FRANCOIS (1810–1887)

Laurent, which was much frequented by See also:

• LITERARY

literary men, and where See also:

• ROUSSEAU, JACQUES (1633-1693)
• ROUSSEAU, JEAN BAPTISTE (1671-1741)
• ROUSSEAU, JEAN JACQUES (1712-1778)
• ROUSSEAU, PIERRE ETIENNE THEODORE (1812–1867); French painter of the Barbizon school, was born in Paris on the 15th of April 1812, of a bourgeois family which included one or two artists. At first he received a business training, but soon displayed aptitu

Rousseau indulged in lampoons on his companions . A shower of libellous and sometimes obscene verses was written by or attributed to him, and at last he was turned out of the cafe . At the same See also:

• TIME (0. Eng. Lima, cf. Icel. timi, Swed. timme, hour, Dan. time; from the root also seen in " tide," properly the time of between the flow and ebb of the sea, cf. O. Eng. getidan, to happen, " even-tide," &c.; it is not directly related to Lat. tempus)
• TIME, MEASUREMENT OF
• TIME, STANDARD

time his poems, as yet only singly printed or in See also:

• MANUSCRIPT

manuscript, acquired him a See also:

• GREAT

great reputation, due to the dearth of genuine lyrical See also:

• POETRY

poetry between See also:

• RACINE
• RACINE, JEAN (1639-1699)
• RACINE, LOUIS (1692-1763)

Racine and See also:

• CHENIER
• CHENIER, ANDRE DE (1762-1794)

Chenier . He had in 17or been made a member of the Academie See also:

• DES

des See also:

• INSCRIPTIONS (from Lat. inscribere, to write upon)

inscriptions; he had been offered, though he had not accepted, profitable places in the See also:

• REVENUE
• REVENUE (0. Fr. revenu, from revenir, to return)

revenue See also:

• DEPARTMENT (Fr. departement, from departir, to separate into parts)

department; he had become a favourite of the libertine but influential coterie of the See also:

• TEMPLE
• TEMPLE, FREDERICK (1821-1902)
• TEMPLE, RICHARD
• TEMPLE, SIR RICHARD, BART
• TEMPLE, SIR WILLIAM, BART

Temple; and in 1710 he presented himself as a See also:

• CANDIDATE

candidate for the Academie francaise . Then began the second See also:

• CHAPTER (a shortened form of chapiter, a word still used in architecture for a capital; derived from O. Fr. chapitre, Lat. capitellum, diminutive of caput, head)

chapter of an extraordinary See also:

• HISTORY

history of the animosities of authors . A copy of verses, more offensive than ever, was handed See also:

• ROUND (O. Fr. rond, Lat. rotundus, the Fr. is the source also of Du. rond; Ger., Swed., Dan. and Nor. rond)

round, and See also:

• GOSSIP (from the O.E. godsibb, i.e. God, and sib, akin, standing in relation to)

gossip maintained that Rousseau was its author .

Legal proceedings of various kinds followed, and Rousseau ascribed the See also:

• LAMPOON

lampoon to See also:

• JOSEPH
• JOSEPH, COMTE DE (1785-1870)
• JOSEPH, FATHER (FRANCOIS LECLERC DU TREMBLAY) (1577-1638)

Joseph Saurin . In 1712 Rousseau was prosecuted for See also:

• DEFAMATION (from the classical Lat. diffamare, to spread abroad an evil report—the English form in de is taken from the Late Lat. defamare)

defamation of See also:

• CHARACTER (Gr. xapareri7p, from xap&crew, to scratch)

character, and, on his non-See also:

• APPEARANCE (from Lat. apparere, to appear)

appearance in See also:

• COURT
• COURT (from the O. Fr. court, Late Lat. cortis, curtis, a popular form of class. Lat. cohors, gen. cohortis; the mod. Fr. form tour is due to the influence of the Lat. curia, the word used in medieval documents to translate " court " in the feudal sense)
• COURT, ANTOINE (1696-176o)

court, was condemned See also:

• PAR (Lat. par, equal)

par contumace to perpetual See also:

• EXILE (Lat. exsilium or exilium, from exsul or exul, which is derived from ex, out of, and the root sal, to go, seen in salire, to leap, consul, &c.; the connexion with solum, soil, country is now generally considered wrong)

exile . He spent the See also:

• REST (O. Eng. rest, reste, bed, cognate with other Teutonic forms, e.g. Ger. Rast, Riiste, rest, and probably Gothic Rasta, league, i.e. resting or stopping place)

rest of his See also:

• LIFE

life in See also:

• FOREIGN

foreign countries except for a clandestine visit to Paris in 1738, refusing to accept the permission to return which was offered him in 1716 because it was not accompanied by See also:

• COMPLETE

complete rehabilitation . See also:

• PRINCE
• PRINCE (Lat. princeps, from primus capio, " I am the first to take "; Ital. principe, Fr. prince)

Prince See also:

• EUGENE

Eugene and then other persons of distinction took him under their See also:

• PROTECTION

protection during his exile, and he printed at See also:

• SOLEURE
• SOLEURE (Ger. Solothurn)

Soleure the first edition of his poetical See also:

• WORKS

works . See also:

• VOLTAIRE, FRANCOIS MARIE AROUET DE (1694–1778)

Voltaire and he met at Brussels in 1722 . Voltaire's Le Pour el le contre is said to have shocked Rousseau, who expressed his sentiments freely . At any See also:

• RATE

rate the latter had thenceforward no fiercer enemy than Voltaire . His See also:

• DEATH

death elicited from Lefranc de See also:

• POMPIGNAN, JEAN JACQUES LEFRANC, MARQUIS DE (1709 1784)

Pompignan an See also:

• ODE (Gr. uiSri, from aei&ew, to sing)

ode of real excellence and perhaps better than anything of Rousseau's own See also:

• WORK

work . That work is divided, roughly speaking, into two contrasted divisions . One consists of formal and partly sacred odes and cantatas of the stiffest character, of which perhaps the Ode d la See also:

• FORTUNE, ROBERT (1813-188o)

fortune is the most famous; the other of brief epigrams, sometimes licentious and always, or almost always, See also:

• ILL

ill-natured . As an epigrammatist Rousseau is only inferior to his friend See also:

• ALEXIS
• ALEXIS, WILLIBALD

Alexis See also:

• PIRON, ALEXIS (1689-1773)

Piron . In the former he stands almost alone .

The frigidity of conventional diction and the disuse of all really lyrical See also:

• RHYTHM (Greek pvBµds, from bap, to flow)

rhythm which characterize his See also:

• PERIOD
• PERIOD (Gr. irepioSos, a going or way round, circuit, aepi, round, and &Sis, way, road)

period do not prevent his odes and cantatas from showing at times true poetical See also:

• FACULTY (through the French, from the Lat. facultas, ability to do anything, from facilis, easy, facere, to do; another form of the word in Lat. facilitas, facility, ease, keeps the original meaning)

faculty, though cramped, and inadequate to explain his extraordinary See also:

• VOGUE, EUGENE MELCHIOR, COMTE DE (1848- )

vogue . Few writers were so frequently reprinted during the 18th See also:

• CENTURY (from Lat. centuria, a division of a hundred men)

century, but even in his own century La Harpe had arrived at a truer estimate of his real value when he said of his poetry: " Le fond n'est qu'un lieu commun See also:

• CHARGE
• CHARGE (through the Fr. from the Late Lat. carricare, to load in a carrus or wagon; cf. " cargo ")

charge de declamations et meme d'idees fausses." Besides the Soleure edition mentioned above Rousseau published another issue of his work in London in 1723 . The See also:

• CHIEF (from Fr. chef, head, Lat. caput)

chief edition since is that of J . A . Amar (5 vols., 1820), preceded by a See also:

• NOTICE

notice of his life . M . A. de Latour published (1869) a useful though not complete edition, with notes and a See also:

• BIOGRAPHICAL

biographical introduction .