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 Encyclopaedia, 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,
i. 336, 337;
final break with Diderot, i. 336;
antecedents of hi