''Pygmalion'' is the most influential dramatic work by

Jean-Jacques Rousseau Jean-Jacques Rousseau (, ; ; 28 June 1712 – 2 July 1778) was a Republic of Geneva, Genevan philosopher (''philosophes, philosophe''), writer, and composer. His political philosophy influenced the progress of the Age of Enlightenment through ...

, other than his opera '' Le devin du village''. Though now rarely performed, it was one of the first ever

melodrama A melodrama is a Drama, dramatic work in which plot, typically sensationalized for a strong emotional appeal, takes precedence over detailed characterization. Melodrama is "an exaggerated version of drama". Melodramas typically concentrate on ...

s (that is, a play consisting of

pantomime Pantomime (; informally panto) is a type of musical comedy stage production designed for family entertainment, generally combining gender-crossing actors and topical humour with a story more or less based on a well-known fairy tale, fable or ...

gestures and the spoken word, both with a musical accompaniment). It is formed of spoken monodrama with instrumental musical interludes and thus can be credited with spreading a new theatrical genre, especially in German-speaking areas of Europe. He wrote it in 1762, with music by Horace Coignet. It was first performed at the Hôtel de Ville, Lyon, in 1770. The work is considered a turning point for its author, who also wrote ''

The Social Contract ''The Social Contract'', originally published as ''On the Social Contract; or, Principles of Political Right'' (), is a 1762 French-language book by the Republic of Geneva, Genevan philosopher Jean-Jacques Rousseau. The book theorizes about how ...

'' that same year.

History

Rousseau probably wrote his text in 1762, but hesitated to put on a production of it, complaining of his lack of skill (in Pygmalion's case in life-giving, in Rousseau's in music-writing). The merchant and amateur composer Horace Coignet allowed him to realise it by writing a score and an overture, and the complete work was put on by amateurs in the town hall in

Lyon Lyon (Franco-Provençal: ''Liyon'') is a city in France. It is located at the confluence of the rivers Rhône and Saône, to the northwest of the French Alps, southeast of Paris, north of Marseille, southwest of Geneva, Switzerland, north ...

in private rooms. As with his one-act opera '' Le devin du village'' (1752), Rousseau modelled the production on the Parisian ' Théâtre de la foire'. Without Rousseau's consent, affirmed by the uniqueness of the premiere and the truth of the statue's first interpreter, the play remained in the repertory of the Comédie-Française for about five years in his own 1775 version.

Motivation

During the creation of the sculpture without divine help, music plays a crucial role, just as Rousseau had planned. The inclusion of music seems to have been more important than the type of music included, since the composition of the musical numbers was not nearly as ambitious as in his ballet-opera ''Les muses galantes'' (1745). This shows a change of intention in the use of music – the music no longer complains of its inevitable fading away, but is instead a sign of the statue coming to life, as a cipher for the imagination of the viewer.

Analysis

The tale of the sculptor Pygmalion, who unhappily falls in love with one of his own sculptures until the goddess

Venus Venus is the second planet from the Sun. It is often called Earth's "twin" or "sister" planet for having almost the same size and mass, and the closest orbit to Earth's. While both are rocky planets, Venus has an atmosphere much thicker ...

takes pity on him and brings the sculpture to life, stems from

Ovid Publius Ovidius Naso (; 20 March 43 BC – AD 17/18), known in English as Ovid ( ), was a Augustan literature (ancient Rome), Roman poet who lived during the reign of Augustus. He was a younger contemporary of Virgil and Horace, with whom he i ...

's ''

Metamorphoses The ''Metamorphoses'' (, , ) is a Latin Narrative poetry, narrative poem from 8 Common Era, CE by the Ancient Rome, Roman poet Ovid. It is considered his ''Masterpiece, magnum opus''. The poem chronicles the history of the world from its Cre ...

''. The myth remained taboo during the Middle Ages, when any talk of

idolatry Idolatry is the worship of an idol as though it were a deity. In Abrahamic religions (namely Judaism, Samaritanism, Christianity, Islam, and the Baháʼí Faith) idolatry connotes the worship of something or someone other than the Abrahamic ...

was forbidden, but from the

Renaissance The Renaissance ( , ) is a Periodization, period of history and a European cultural movement covering the 15th and 16th centuries. It marked the transition from the Middle Ages to modernity and was characterized by an effort to revive and sur ...

onwards it was adapted in various forms. During the

Baroque The Baroque ( , , ) is a Western Style (visual arts), style of Baroque architecture, architecture, Baroque music, music, Baroque dance, dance, Baroque painting, painting, Baroque sculpture, sculpture, poetry, and other arts that flourished from ...

it provided the plot for several

ballet Ballet () is a type of performance dance that originated during the Italian Renaissance in the fifteenth century and later developed into a concert dance form in France and Russia. It has since become a widespread and highly technical form of ...

s. All the adaptations and ballets showed the futility and hopelessness of Pygmalion's efforts to give the sculpture life and his problem as being solved by divine

grace Grace may refer to: Places United States * Grace, Idaho, a city * Grace (CTA station), Chicago Transit Authority's Howard Line, Illinois * Little Goose Creek (Kentucky), location of Grace post office * Grace, Carroll County, Missouri, an uni ...

, making Pygmalion an important symbol of

vanitas ''Vanitas'' is a genre of symbolizing the temporality, transience of life, the futility of pleasure, and the certainty of death, and thus the vanity of ambition and all worldly desires. The paintings involved still life imagery of transitory i ...

. Rousseau's version seems to be the first where Pygmalion brings his perfect image to life without divine help – 'Galathée' (Galatea) comes to life at the last stroke of his chisel, beginning to speak and recognising her creator as her mirror image. She touches herself and says "me", then touches another sculpture and says "not me", and finally Pygmalion and says "Me again". This dialogue with her mirror image is genuine dialogue, reversing the vanitas motif. Importantly, Pygmalion is shown as swearing eternal fidelity to his sculpture, rather than as a collector of sculptures or women. In

Jean-Philippe Rameau Jean-Philippe Rameau (; ; – ) was a French composer and music theory, music theorist. Regarded as one of the most important French composers and music theorists of the 18th century, he replaced Jean-Baptiste Lully as the dominant composer of ...

's opera ''Pigmalion'' (1748), from which Rousseau worked hard to differ, the main character is always fixated on the image of the unfaithful lover, drawing on a long tradition of portraying Pygmalion as a misogynist. In the opera, the statue is not brought to life by the artist but by

Cupid In classical mythology, Cupid ( , meaning "passionate desire") is the god of desire, erotic love, attraction and affection. He is often portrayed as the son of the love goddess Venus and the god of war Mars. He is also known as Amor (Latin: ...

's help. 1762 also saw the composition of the libretto for

Gluck Christoph Willibald ( Ritter von) Gluck (; ; 2 July 1714 – 15 November 1787) was a composer of Italian and French opera in the early classical period. Born in the Upper Palatinate and raised in Bohemia, both part of the Holy Roman Empire at ...

's opera '' Orfeo ed Euridice'', premiered later that year, in which Orpheus gives his dead wife Eurydice life through song, instead of losing faith in the gods. Unlike ''Pygmalion'', the opera still insists on divine intervention to give life, again via Eros, who intervenes to rescue her and bring her back to life after Orpheus turns around and condemns her back to death. Even so, ''Orfeo'' and ''Pygmalion'' both demonstrate the 1760s theme of an apparent failure by overturning an artist's success, which arose again around the time of

Beethoven Ludwig van Beethoven (baptised 17 December 177026 March 1827) was a German composer and pianist. He is one of the most revered figures in the history of Western music; his works rank among the most performed of the classical music repertoire ...

and then held sway until the

First World War World War I or the First World War (28 July 1914 – 11 November 1918), also known as the Great War, was a World war, global conflict between two coalitions: the Allies of World War I, Allies (or Entente) and the Central Powers. Fighting to ...

(it can also be seen in Strauss's '' Also sprach Zarathustra'').

References

*Annegret Dinter: ''Der Pygmalion-Stoff in der europäischen Literatur.'' Heidelberg: Winter 1979. *

Carl Dahlhaus Carl Dahlhaus (10 June 1928 – 13 March 1989) was a German musicologist who was among the leading postwar musicologists of the mid to late 20th-century. #Selected bibliography, A prolific scholar, he had broad interests though his research foc ...

, Sieghart Döhring (ed.): ''Pipers Enzyklopädie des Musiktheaters'', vol. 5, Munich: Piper 1994, pp. 464f. *Milovan Stanic, "Pygmalion révolutionnaire", in: ''Revue d’esthétique'', 17:1990, pp. 79–96. {{Authority control 1762 operas 1762 plays French-language operas Operas French plays Melodramas Monodrama Plays based on Metamorphoses Works by Jean-Jacques Rousseau Operas based on Metamorphoses Works based on Pygmalion from Ovid's Metamorphoses