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POLITICS AND THE ARTS
parently commonplace ways. Sometimes moeurs appears to mean either the one or the other exclusively, but the relation is always there. 4. Diderot. Rousseau thus announces publicly his break with his old friend. s. "Though thou drawest a sword at thy friend, yet despair not; for there may be a retUrning. If thou hast opened thy mouth against thy friend, fear not; for there may be a reconciliation: except for upbraiding, or pride, or disclosing of secrets, or a treacherous wound: for these things every friend will depart." 6. Cf. Appendix, pp. 145-148. 7. Socinianism was a Christian sect closely allied with the development of Unitarianism. It took its name from its founder, Fausto Sozino, an Italian of the sixteenth century who lived in Poland for a long time, where his movement had great strength. It was popular throughout Europe and was accepted by many Protestant churches. Socinianism was anti-trinitarian and held that reason is the sole and final authority in the interpretation of the scriptUre. It further denied eternal punishments. Calvin had condemned the doctrine, so that the imputation in d'Alembert's article was both a daring interpretation of the doctrine of Geneva's pastors and one which was likely to be dangerous for them. 8. The parenthetical statement first appeared in the corrections to the first edition and disappeared in the edition of 1782. 9. Rousseau means Instruction Chrerienne (Geneva, 1752), by Jacob Vernet. 10. This declaration can be found in the appendices of both the Fontaine and BruneI editions. II. David Hume. 12. The French word here translated by theatre is spectacle and has a much broader and richer meaning than the word theatre would imply. It is literally anything that one goes to see, and hence entertainment in general. Unfortunately, to translate spectacle in a more general way would render its specific sense of theatre unintelligible in English. But the reader should keep the other connotations in mind, for Rousseau does not limit himself to a discussion of the theatre narrowly conceived, but is investigating the moral effects and correctness of all the pleasures of the eyes and ears with particular reference to their most sophisticated form, the drama. For this purpose the French word is propitious in that its more specific meaning can always be broadened to include its generic sense, and hence the drama can be compared to other forms of entertainment. The very word spectacle recalls the general problem, while the word theatre does not. Most generally spectacle has been translated by theatre, but where impossible, entertainment has been used. Spectacle is the word used by Rousseau in the title of the work. 13. See note 9. 14. Galanterie is not an exact equivalent of gallantry as commonly used in English, where it today almost exclusively implies valor. The French implies attentiveness to ladies and can thus be a vice in Rousseau's view. The two usages have their common source in chivalry, when knights performed valorous deeds out of love for fair ladies. The French took the side of love and the English that of bravery in their development of the word. No satisfactory English equivalent can be found for the French, and, all in all, gal-
