flat, and a table of the other.  I got out some paper and my writing-desk, and arranged some dozen books that I had by way of library.  In short I made myself so comfortable, that, with the exception of curtains and windows, I was nearly as well off in this absolutely naked lazaretto as in my lodgings in Paris.  My meals were served with much pomp; two grenadiers, with bayonets at their musket-ends, escorted them; the staircase was my dining-room, the landing did for table and the lower step for a seat, and when my dinner was served, they rang a little bell as they withdrew, to warn me to seat myself at table.  Between my meals, when I was neither writing nor reading, nor busy with my furnishing, I went for a walk in the Protestant graveyard, or mounted into a lantern which looked out on to the port, and whence I could see the ships sailing in and out.  I passed a fortnight in this way, and I could have spent the whole three weeks of the quarantine without feeling an instant’s weariness."[115]

These are the occasions when we catch glimpses of the true Rousseau; but his residence in Venice was on the whole one of his few really sociable periods.  He made friends and kept them, and there was even a certain gaiety in his life.  He used to tell people their fortunes in a way that an earlier century would have counted unholy.[116] He rarely sought pleasure in those of her haunts for which the Queen of the Adriatic had a guilty renown, but he has left one singular anecdote, showing the degree to which profound sensibility is capable of doing the moralist’s work in a man, and how a stroke of sympathetic imagination may keep one from sin more effectually than an ethical precept.[117] It is pleasanter to think of him as working at the formation of that musical taste which ten years afterwards led him to amaze the Parisians by proving that French melody was a hollow idea born of national self-delusion.  A Venetian experiment, whose evidence in the special controversy is less weighty perhaps than Rousseau supposed, was among the facts which persuaded him that Italian is the language of music.  An Armenian who had never heard any music was invited to listen first of all to a French monologue, and then to an air of Galuppi’s.  Rousseau observed in the Armenian more surprise than pleasure during the performance of the French piece.  The first notes of the Italian were no sooner struck, than his eyes and whole expression softened; he was enchanted, surrendered his whole soul to the ravishing impressions of the music, and could never again be induced to listen to the performance of any French air.[118]

More important than this was the circumstance that the sight of the defects of the government of the Venetian Republic first drew his mind to political speculation, and suggested to him the composition of a book that was to be called Institutions Politiques.[119] The work, as thus designed and named, was never written, but the idea of it, after many years of meditation, ripened first in the Discourse on Inequality, and then in the Social Contract.