Musical notation, Rousseau’s, i. 291;
  his Musical Dictionary, i. 296;
  his notation explained, i. 296-301;
  his system inapplicable to instruments, i. 301.

NAPLES, drunkenness, how regarded in, i. 331.

Narcisse, Rousseau’s condemnation of his own comedy of, i.
     215.

Nature, Rousseau’s love of, i. 234-241; ii. 39;
  state of, Rousseau, Montesquieu, Voltaire, and Hume on, i. 156-158;
  Rousseau’s, in Second Discourse, i. 171-180;
  his starting-point of right, and normal constitution of civil
     society, ii. 124.  See State of Nature.

Necker, ii. 54, 98, n.

Neuchatel, flight to principality of, by Rousseau, ii. 73;
  history of, ii. 73, n.;
  outbreak at, arising from religious controversy, ii. 90;
  preparations for driving Rousseau out of, defeated by Frederick of
     Prussia, ii. 90;
  clergy of, against Rousseau, ii. 106.

New Heloisa, first conception of, i. 250;
  monument of Rousseau’s fall, ii. 1;
  when completed and published, ii. 2;
  read aloud to the Duchess de Luxembourg, ii. 3;
  letter on suicide in, ii. 16;
  effects upon Parisian ladies of reading the, ii. 18, 19;
  criticism on, ii. 20-55;
  his scheme proposed in it, ii. 21;
  its story, ii. 24;
  its purity, contrasted with contemporary and later French
     romances, ii. 24;
  its general effect, ii. 27;
  Rousseau absolutely without humour, ii. 27;
  utter selfishness of hero of, ii. 30;
  its heroine, ii. 30;
  its popularity, ii. 231, 232;
  burlesque on it, ii. 31, n.;
  its vital defect, ii. 35;
  difference between Rousseau, Byron, and others, ii. 42;
  sumptuary details of the story, ii. 44, 45;
  its democratic tendency, ii. 49, 50;
  the bearing of its teaching, ii. 54;
  hindrances to its circulation in France, ii. 57;
  Malesherbes’s low morality as to publishing, ii. 61.

OPTIMISM of Pope and Leibnitz, i. 309-310;
  discussed, ii. 128-130.

Origin of inequality among men, i. 156.  See also Discourses.

PALEY, ii. 191, n.

Palissot, ii. 56.

Paris, Rousseau’s first visit to, i. 61;
  his second, i. 63, 97, 102;
  third visit, i. 106;
  effect in, of his first Discourse, i. 139, n.;
  opinions in, on religion, laws, etc., i. 185;
  “mimic philosophy” there, i. 193;
  society in, in Rousseau’s time, i. 202-211;
  his view of it, i. 210;
  composes there his Muses Galantes, i. 211;
  returns to, from Geneva, i. 228;
  his belief of the unfitness of its people for political affairs,
     i. 246;
  goes to, in 1741, with his scheme of musical notation, i. 291;
  effect there of his letter on music, i. 295;
  Rousseau’s imaginary contrast between, and Geneva, i. 329;
  Emilius ordered to be publicly burnt in,