Art and Love in the Confessions of Jean-Jacques Rousseau

There are few scholars who have not despaired of settling the controversies that relate to Jean-Jacques Rousseau. Well known during his lifetime, these disputes have become legends which obscure the real ambiguities of his existence and achievement. In this respect, Rousseau belongs to the family of Montaigne and Gide, whose lengthy confessions have rarely been judged in an unbiased manner. It is, to be sure, the very purpose of such avowals to preclude indifference, and, in the case of Rousseau, there is little sense in trying to evade the haunting and problematical implications of his autobiography. The man and artist must first be approached not only for the sake of their respective importance, but also because the Discourses , the Social Contract , and the Emile are transpositions and solutions of their inner conflicts. At present, there is agreement on at least this one point, and many philosophers and critics have sought to find the principle which would reveal the true motives of a man who swore to tell the truth. However, few of their commentaries on the Confessions and the Rêveries du promeneur solitaire envisage the fundamental question of the autobiographical genre itself, namely: How does the great autobiographer succeed in making credible and convincing the story of his life, and what are the stylistic means by which he imposes this vision on others?