Chapter 48

his own opinion of it, i. 138, 139; influence of Plato upon him, i. 146; second Discourse, i. 154; his "State of Nature," i. 159; no evidence for it, i. 172; influence of Montesquieu on him, i. 183; inconsistency of his views, i. 124; influence of Geneva upon him, i. 187, 188; his disgust at Parisian philosophers, i. 191, 192; the two sides of his character, i. 193; associates in Paris, i. 193; his income, i. 196, 197, _n._; post of cashier, i. 196; throws it up, i. 197, 198; determines to earn his living by copying music, i. 198, 199; change of manners, i. 201; dislike of the manners of his time, i. 202, 203; assumption of a seeming cynicism, i. 206; Grimm's rebuke of it, i. 206; Rousseau's protest against atheism, i. 208, 209; composes a musical interlude, the Village Soothsayer, i. 212; his nervousness loses him the chance of a pension, i. 213; his moral simplicity, i. 214, 215; revisits Geneva, i. 216; re-conversion to Protestantism, i. 220; his friends at Geneva, i. 227; their effect upon him, i. 227; returns to Paris, i. 227; the Hermitage offered him by Madame d'Epinay, i. 229, 230 (and _ib. n._); retires to it against the protests of his friends, i. 231; his love of nature, i. 234, 235, 236; first days at the Hermitage, i. 237; rural delirium, i. 237; dislike of society, i. 242; literary scheme, i. 242, 243; remarks on Saint Pierre, i. 246; violent mental crisis, i. 247; employs his illness in writing to Voltaire on Providence, i. 250, 251; his intolerance of vice in others, i. 254; acquaintance with Madame de Houdetot, i. 255-269; source of his irritability, i. 270, 271; blind enthusiasm of his admirers, i. 273, also _ib. n._; quarrels with Diderot, i. 275; Grimm's account of them, i. 276; quarrels with Madame d'Epinay, i. 276, 288; relations with Grimm, i. 279; want of sympathy between the two, i. 279; declines to accompany Madame d'Epinay to Geneva, i. 285; quarrels with Grimm, i. 285; leaves the Hermitage, i. 289, 290; aims in music, i. 291; letter on French music, i. 293, 294; writes on music in the Encyclopædia, i. 296; his Musical Dictionary, i. 296; scheme and principles of his new musical notation, i. 269; explained, i. 298, 299; its practical value, i. 299; his mistake, i. 300; minor objections, i. 300; his temperament and Genevan spirit, i. 303; compared with Voltaire, i. 304, 305; had a more spiritual element than Voltaire, i. 306; its influence in France, i. 307; early relations with Voltaire, i. 308; letter to him on his poem on the earthquake at Lisbon, i. 312, 313, 314; reasons in a circle, i. 316; continuation of argument against Voltaire, i. 316, 317; curious notion about religion, i. 317; quarrels with Voltaire, i. 318, 319; denounces him as a "trumpet of impiety," i. 320, _n._; letter to D'Alembert on Stage Plays, i. 321; true answer to his theory, i. 323, 324; contrasts Paris and Geneva, i. 327, 328; his patriotism, i. 329, 330, 331; censure of love as a poetic theme, i. 334, 335; on Social Position of Women, i. 335; Voltaire and D'Alembert's criticism on his Letter on Stage Plays,