Writing beautiful melodies is not enough, they have to successfully imitate language itself. However, on 17 Octoberthe Senate of Bern ordered Rousseau to leave the island and all Bernese territory within fifteen days.
If, for instance, this person put up a fence, and the world at large then turned around, pulled down the fence, and then began to tear that person limb from limb, then the law of property would be meaningless.
What happens here is a sort of exchange: over time, language experiences a diminishment of passion, feelings and harmonic intonation, and it receives—in exchange—clarity, exactitude and rationality.
The creation of music has not stayed still for the likes of Rousseau. Sound, Rousseau argues, is embodied and moral in nature, and it therefore needs to be understood in relation to its initial function in expressing passion.
With that food the administrative class are able to create another class: enforcers. To paraphrase Will Durant, Rousseau, with almost no formal education, abandoned early by his father, wandering incessantly from place to place, setting himself as an enemy of the dominant currents of thought and art of the time, the avowed antagonist both of Rameau, the foremost composer, and Voltaire and Diderot, the foremost writers—this Rousseau nevertheless managed to become the decisive influence on the next century.
Like any modern self-psychoanalyzer, Rousseau traces his personality to formative events in his childhood—quite unusual at the time, I believe. Isaac's sister had married Suzanne's brother eight years earlier, after she had become pregnant and they had been chastised by the Consistory. This focus on music and numbers was eventually superseded by Kantian aesthetics and a focus on the work concept, Rehding contends, ideas that have made an emphasis on counting in relation to music seem profoundly alien.