Jean-Jacques Rousseau
Schriftsteller und Philosoph, 1712-1778
Jean-Jacques Rousseau war ein französischsprachiger Genfer Schriftsteller, Philosoph, Pädagoge, Naturforscher und Komponist der Aufklärung. Rousseau hatte großen Einfluss auf die Pädagogik und die politische Theorie des späten 18. sowie des 19. und 20. Jahrhunderts in ganz Europa. Er war ein wichtiger Wegbereiter der Französischen Revolution. Sein Werk ist unlösbarer Bestandteil der französischen und europäischen Literatur- und Geistesgeschichte. Sein Aufruf „Zurück zur Natur“ hat viele Wissenschaftler geprägt und spätere Gegenbewegungen zur Industrialisierung ausgelöst.
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philosopher (1712-1778). 2 autograph manuscripts. No place, ca. 1745 to 1750. 2½ pp. and 6 pp. in-4 (255 x 190 mm) written on the right side of the sheets with unrelated title page "Extraits de L'Antiquité expliquée". In brown linen case.
12.500 €
(79894)
Excerpts from three books pointing to Rousseau's time as the private secretary to the famous salonnière Louise Marie Madeleine Fontaine, called Madame Dupin (1706–1799). 1) Excerpt of a manuscript on the life of Isabella de Valois, Queen of England by Jean Froissart printed in Bernard de Montfaucon's "Monuments de la monarchie française" (1729) and from Charles Baunier's "Recueil historique, chronologique et topographique des abbayes de France" (1729) concerning the reception of a bishop by the abbess of Notre Dame aux Nonnaines in Troyes.
2) Excerpt from "The life of Pope Sixtus the fifth" by the protestant historian Grégorio Leti with examples of Sixtus' harsh punishments in cases related to the honor of women. – When Jean-Jacques Rousseau was introduced to Madame Dupin in 1743 he was immediately drawn to the salonnière who was famed for her beauty, wit and intelligence. Although the infatuated Rousseau had to be discouraged from making unrequested advances to her, Madame Dupin employed the young philosopher as her private secretary and tutor for her son Jacques-Armand in 1745. During his employment Rousseau was mainly occupied with research for Madame Dupin's magisterial work "On the equality of men and women" and the transcription of her dictation. The excerpts at hand were part of Madame Dupin's highly ambitious project. The manuscript of this pioneering text on women's rights comprises almost 2000 pages organized in 47 chapters but was never to be published. Despite an often difficult relationship with Madame Dupin, Rousseau remained on friendly terms with the family after his discharge in 1751 and received some financial support later on. In his posthumously published "Confessions", he prizes Madame Dupin's charme and beauty. Concerning the question of the role of women in society and women's rights Rosseau held contrarian views to his employer as laid down in "Émile, ou De l'éducation" and other important works..
philosopher (1712-1778). Autograph manuscript. 4to. 1/2 p. Stained.
1.800 €
(89522)
Reading note taken from l'Histoire de l'Allemagne du père Joseph Barre (1748), volume 4, p. 325, as stated by Rousseau, who wrote this note at the time of the publication of Barre's book, while he was working with his patron Madame Dupin on a work On the Equality of Men and Women, which was never published. This note relates to the 11th century. „L'Empereur Henri étant entré sur les terres de la Comtesse Mathilde et les ayant abandonnées au pillage, la comtesse, ou plus tôt, dit le P. Barre, le Duc Welf son mari, vint à la rencontre des Imperiaux et gagna contre eux une grande bataille dans la plaine Sorbaria“.
philosopher (1712-1778). Eigenhändiges Musikmanuskript. ohne Ort und Datum. Quer-Folio. 2 pp.
12.500 €
(91816)
Niederschrift in Rousseaus Hand von einer Komposition von Johann Chrstian Bach (1772) aus der Oper Temistocle auf ein Libretto von Pietro Metastasio „Nulla risolvo nulla risolva e perdo e perdo il padre in tanto“.
Genevan philosopher and writer (1712-1778). Autograph letter signed „Renou“. [Monquin]. 8vo. 1 p. Light marginal stains on one edge.
9.500 €
(94968)
To Marquis de BEFFROY, governor of Bourgoin; [In August 1768, Rousseau, under the pseudonym Renou, found refuge in Bourgoin; it was there that he married Thérèse Levasseur on August 30.] “Having returned two days ago from a short trip, I have been waiting until now without success for the moment to go and thank you and Madame la Marquise for the honor of your remembrance and your kindnesses both for Madame Renou and for me. I will not delay, Sir, in fulfilling this duty with the most genuine eagerness.” The botanist adds in a postscript: “I was unable to uproot the Ornithogales although I worked for it, but during my trip I was given a bulb of the Fly Orchid which I hope you will be kind enough to give a small spot in your garden.”.
French philosopher and writer (1712-1778). Autograph musical manuscript signed (with his initials, "E.59 JJR. cop"). No place. Oblong folio. Title page and 19 pp. score. Sewn.
18.000 €
(92324/BN61415)
A musical manuscript entitled "Che faro Senza Euridice, Aria del Sigr. Ferdinando Bertoni", each page comprising ten staves traced by hand in a pale ink. The musical notes for the aria are attractively penned in a darker ink for two parts violin ("Violini"), two parts oboe ("Oboe"), two parts horn ("Corni"), two parts viola ("Viole") and the voice part ("Orfeo") with lyrics penned in Rousseau's hand, the indications of movement ("Andantino", "Presto", "Andno" etc.), as well as the indications of intensity and nuance, all penned in red ink.
Each measure is divided in the middle by a very light vertical pencil line. With four blank pages of staves at the conclusion, the whole tied with a small pale blue ribbon. An elegant manuscript which still retains Rousseau's light pencil annotation ("19 p. a 8S - 7L12") at the head of the title-page, indicating the price charged for this copy. - Ferdinando Bertoni (1725-1813) was an Italian composer and organist who composed 70 operas, all of which fell into oblivion with the exception of "Orfeo", which was first performed in Venice in 1776. The work was based on the same libretto for the work of Christoph Willibald Gluck entitled "Orfeo ed Euridice". The aria Rousseau copied is the most famous one of the opera; in the third act, Orfeo mourns the loss of Euridice ("Che faro senza Euridice"). - In his autobiographical work "Confessions", Volume VIII, Rousseau recounted how, in 1751, he ceased working for Dupin de Francueil and started working as a professional music copyist in order to provide a consistent and reliable source of income. In September 1770 he resumed his work as a music copyist and practiced it until 1777, charging ten sols per page. Rousseau's work as a music copyist has been described as remarkable for its beauty and reliability. - Some very light, minor staining and foxing throughout, a few small pinholes to the title-page, and one page with a small area of paper loss to the lower right corner, only very minimally affecting the manuscript..
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P.A.
Autograph ist nicht mehr verfügbar
Note de lecture pour l’ouvrage sur l’histoire des femmes auquel Rousseau travailla entre 1747 et 1749 pour le compte de Madame DUPIN. « C’est en mémoire d’Héloïse, savante en langue grecque que les religieuses du Paraclet ont accoutumé de faire l’office en grec le jour de la Pentecôte. » La référence de cette citation est notée en marge.
Autograph letter signed ("JJRousseau").
Autograph ist nicht mehr verfügbar
To Mr. Mussard, in French, informing him that Rousseau's play "Narcissus" is to be performed the following day and urging him not to tell anyone: "I make good my promise, Sir, in notifying you that we are giving tomorrow, Monday, the first and probably only showing of Narcissus. If you definitely want to see it, I advise you to come here tomorrow, and if you are as indifferent to its fate as I am, I advise you not to come. In any event, I urge you to keep it secret. Messrs. de Gauffecourt, d'Holbach, Grimm, you, and La Noue are alone in my confidence; the others only have suspicions that should not be confirmed [...]". Rousseau's play "Narcissus: or The Self-Admired" was performed only twice during the author's lifetime: in Paris, on December 18, 1752, and again on the 20th. - Vertical and horizontal closed tears across entire sheet (without loss), backed, inlaid, small hole at center vertical fold from seal, faint scattered staining.
Eigenh. Brief m. U.
Autograph ist nicht mehr verfügbar
An Louise-Marie-Madelaine Dupin: „[…] Je vous remercie, Madame, avec bien de la reconnaissance de vos bontés et de votre souvenir. Sans savoir quel est le sujet de votre procès je serai dans l'inquiétude jusqu'à ce que j'apprenne quelle en est la décision. Pour éviter de la fatigue à vos domestiques, vous pouvez si vous voulez bien me tirer de peine me faire écrire un mot par la poste. Quant à l'Ecrit dont vous voulez bien vous souvenir, Madame, s'il peut vous amuser dans un quart d'heure d'ennui, il aura été bien mieux employé que je n'avais espéré. En vous rappelant la respectable mémoire d'un homme de bien qui vous honorait, puisse ce même écrit vous faire songer quelquefois à un autre homme inférieur à lui dans toute autre chose excepté dans son respect et dans ses sentiments pour vous. […]“ - Madame Dupin heiratete 1722 den zwanzig Jahre älteren Claude Dupin, später Verwalter der königlichen Krongüter. Mit dem Reichtum ihres Mannes und mit ihren sozialen Talenten gelang es Louise Dupin, einen einflussreichen und geachteten Literarischen Salon zu etablieren, in dem sie die führenden Aufklärer Frankreichs zu versammeln wusste, u.a. Voltaire, Montesquieu und Buffon. Für die Erziehung ihres Sohnes engagierte sie Anfang der 1740er Jahre einen jungen Mann, Jean-Jacques Rousseau, der später auch zuweilen ihr Sekretär war. In seinen ab 1782 postum erschienenen „Confessions“ setzte Rousseau Louise Dupin und ihren beiden Schwestern ein Denkmal; Louise bezeichnete er als die Schönste unter ihnen.