The following Dialogue was originally intended as a Preface to Eloisa; but its form and length permitting me to prefix to that Work only a few extracts from it, I now publish it entire, in hopes that it will be found to contain some useful hints concerning Romances in general. Besides, I thought it proper to wait till the Book had taken its chance, before I discussed its inconveniences and advantages, being unwilling either to injure the Bookseller, or supplicate the indulgence of the Public.
The following Account of this Work is taken from the Journal des Sçavans for June 1761, Printed at Paris.
This work is a strange, but memorable monument of the eloquence of the passions, the charms of virtue, and the force of imagination. Unfeeling spirits may, as long as they please, remark and exaggerate the faults of which the author does not scruple to accuse himself in his two most singular prefaces; they may arraign him for frequent want of taste, call his stile unequal and incorrect, his sentiments too refined, and his paradoxes inexplicable; they may complain that his notes are ludicrous and misplaced, as they frequently break in upon a tender sentiment, a pathetic situation, and that in general they are nothing more than an anticipated parody on the objections, whether just or groundless, which the author seems to expect from certain critics; they may even attempt to undermine the foundation of the work, and accuse the author of cold prolixity in his description of the peace and happiness of Clarens, after the violent agitation of those grand movements by which it is preceded; they may be shocked with the useless and abortive passion of Clara for St. Preux, the negotiation begun concerning their marriage, the impenetrable, obscure, and consequently uninteresting amours of Lord B—— in Italy; they may think the author extravagant in the general choice of his events; but whatever may be the present and future judgment of the public,
Ut cumque ferent ea facta minores,
Vincet Amor.
What heart can be unaffected with the dangers, the misfortunes, the weakness, and the virtues of Eloisa? Who can possibly be insensible to the ardor of her lover, the vigilant, active, and impatient friendship of Clara, the noble and encouraging protection of Lord B——, the unshaken wisdom of Wolmar, and all these characters moved by the most extraordinary springs? Who can resist those torrents of pathetic language which penetrate the inmost soul, and so tyrannically command our tears; those master-strokes of simplicity which open the recesses of the human heart, and excite the pleasure of weeping sensibility? How can we help admiring his talent of giving life to every object, of transporting the reader in the middle of the scene, and engaging him as a party in every action, by the happy choice of incidents, and if I may be allowed the expression, by the use of words the most identical to the things intended to be described? Can there be a reader who is not enamoured of the soul of Eloisa? Can there be a reader who does not feel the loss of her as if she were his own, and who does not join in the general mourning at Clarens, and the despair of Clara on the death of her friend?
A common author would have satisfied himself with giving us, once for all, a beautiful picture of his heroine, in which he would have shewn us, in one general point of view, the accomplishment of every duty, and the expansion of every sentiment, by loading our imagination with all the particular applications of this virtuous principle to every single event. Mr. Rousseau, on the contrary, in one continued adion, always before our eyes, displays his Eloisa fulfilling without study, and without the least confusion, all the duties of a wife, a friend, a daughter, a mother, and mistress of a family; so that we behold her constantly employed in these several situations, without confounding the rights of any of them; without favouring one at the expense of the other. He does not relate her actions, but makes her perform them in our sight, and by that means renders those things real, which in recital would appear hyperbolical, romantic, and incredible.
In the great number of different pictures which the author has here collected, whether he paints the respectable simplicity of Valesian manners, the brilliant corruption of great cities, the restricted impatience of expecting love, the wildness of despair, or the pathetic regret of a generous passion after an extraordinary sacrifice; whether, in the interesting scene of Meillerie, he displays all the eloquence of genius, and every tender emotion of the heart; whether excited by the plausibility of logic he collects his whole strength to destroy the sophisms of false honour; whether Virtue herself thunders with her respectable and sublime voice against the crime of suicide justified by eloquence; we always find his manner properly adapted both to the subject and to the speaker, which renders the illusion compleat.
Almost every trial which the soul can experience is represented either in the principal or accessory situations, or in the reflections. In short, the human soul is here penetrated and displayed in every point of view; so that every sensible heart may be certain of beholding itself in this mirror.
The nature and form of this work will not allow of a regular extract. It consists entirely of a gradual unfolding of ideas and sensations which admit of no analysis, and which can be pursued only in the work itself. The author in the catastrophe imitates the happy artifice of the artist who painted the sacrifice of Iphigenia. Eloisa dies; they weep round her ashes. The author paints this universal grief; he paints the silent but sincere affliction of her husband, the affecting stupor of the father, the extravagant sorrow of her friend: and now the despair of her lover remains to be described; but that was inexpressible: the author wisely draws a veil before him, and leaves the rest to our imagination.
The picture of Eloisa dying can be compared only to the scene of Alcestes expiring, in Euripides.
Upon the whole, it were needless to say how much this work deserves to be read, since the eagerness of the Public hath already sufficiently prevented us. We cannot better express our approbation of a performance in which even vice itself breathes an air of virtue, than in the words of Eloisa, who in speaking of Lord B—— says, was there ever a man without faults who possessed great virtues? And in like manner we ask, whether there was ever a work without blemish which might boast of such penetrating and sublime beauties?
Eloisa