ii. 128.

[305] P. 258. See also p. 146.

[306] Pp. 282, 336, etc.

[307] _Corr._, i. 386. June 1757.

[308] _Conf._, ix. 355. For Madame d'Epinay's equally credible
version, assigning all the stiffness and arrogance to Rousseau, see
_Mem._, ii. 355-358. Saint Lambert refers to the momentary
reconciliation in his letter to Rousseau of Nov. 21 (Streckeisen, i.
418), repeating what he had said before (p. 417), that Grimm always
spoke of Mm in amicable terms, though complaining of Rousseau's
injustice.

[309] _Conf._, ix. 372.

[310] _Corr._, i. 404-416. Oct 19, 1757.

[311] Grimm to Diderot, in Madame d'Epinay's _Mem._ ii. 386. Nov. 3,
1757.

[312] D'Epinay, ii. 387. Nov. 3.

[313] _Corr._, i. 425. Nov. 8. _Ib._ 426.

[314] Streckeisen-Moultou, i. 381-383.

[315] _Ib._ 387. Many years after, Rousseau told Bernardin de St.
Pierre (_Oeuv._, xii. 57) that one of the reasons which made him leave
the Hermitage was the indiscretion of friends who insisted on sending
him letters by some conveyance that cost 4 francs, when it might
equally well have been sent for as many sous.

[316] The sources of all this are in the following places. _Corr._, i.
416. Oct. 29. Streckeisen, i. 349. Nov. 12. _Conf._, ix. 377. _Corr._,
i. 427. Nov. 23. _Conf._, ix. 381. Dec. 1. _Ib._, ix. 383. Dec. 17.

[317] Diderot to Grimm; D'Epinay, ii. 397. Diderot's _Oeuv._, xix.
446. See also 449 and 210.

CHAPTER VIII.

MUSIC.

Simplification has already been used by us as the key-word to Rousseau's
aims and influence. The scheme of musical notation with which he came to
try his fortune in Paris in 1741, his published vindication of it, and
his musical compositions afterwards all fall under this term. Each of
them was a plea for the extrication of the simple from the cumbrousness
of elaborated pedantry, and for a return to nature from the unmeaning
devices of false art. And all tended alike in the popular direction,
towards the extension of enjoyment among the common people, and the
glorification of their simple lives and moods, in the art designed for
the great.

The Village Soothsayer was one of the group of works which marked a
revolution in the history of French music, by putting an end to the
tyrannical tradition of Lulli and Rameau, and preparing the way through
a middle stage of freshness, simplicity, naturalism, up to the noble
severity of Gluck (1714-1787). This great composer, though a Bohemian by
birth, found his