The New Héloïse: Analysis of Setting
"The New Héloïse" by Jean-Jacques Rousseau presents a rich exploration of setting, prominently featuring Clarens, a fictional estate that embodies a rational utopia. Located in Switzerland, Clarens is characterized by its isolation from external political and social influences, governed by the benevolent authority of Monsieur de Wolmar. This community is marked by an emphasis on virtue, order, and happiness, presenting an idealized life admired by the middle class. Within this tranquil environment, Julie de Wolmar emerges as a model of marital fidelity, contrasting with her earlier passionate self.
The narrative also includes the D'Etange estate, where Julie's romantic relationship with Saint-Preux begins, highlighting the emotional intensity and complexities of love. In contrast, Paris serves as a backdrop for Rousseau's critique of contemporary French society, showcasing its vices through Saint-Preux’s experiences. Nature plays a significant role throughout the text, shaping the characters' emotional landscapes, as evidenced by pivotal moments occurring in lush natural settings. Ultimately, Clarens undergoes a transformation from a sanctuary of virtue to a site fraught with tension and impending disaster, reflecting the evolving dynamics of love and reason within the narrative.
The New Héloïse: Analysis of Setting
First published:Julie: Ou, La Nouvelle Héloïse, 1761 (Julie: Or, The New Héloïse, 1761)
Type of work: Novel
Type of plot: Philosophical
Time of work: Early eighteenth century
Asterisk denotes entries on real places.
Places Discussed
Clarens
Clarens. Fictional estate of Monsieur de Wolmar, located in Switzerland. Clarens is a rational utopia based on Monsieur de Wolmar’s philosophical ideas. It is isolated and has no political or social connections to any exterior groups or institutions. Wolmar leads the little community assembled there with benevolent paternal authority. Life at Clarens is the ideal life admired by the economically ordered middle class. Order and reasonableness are the bases for all activity and for relationships between people. Clarens is imbued with happiness, order, and peace based on devotion to virtue. The Julie whom the reader meets at Clarens is a different Julie than the passionate young woman of the early parts of the novel. She is a model of virtue and marital fidelity. Julie de Wolmar, wife and mother, is the center of life at Clarens, where there are no disquieting thoughts or happenings. Reason and religion exist in harmony in the little community. Although Wolmar is not a believer, he respects and encourages religious devotion.
Clarens is also a place for healing. It is the scene of Wolmar’s great experiment. In this idyllic setting, where reason and virtue reign supreme, Saint-Preux is to be cured of his passion. The husband, the wife, and the lover are to live in harmony founded on virtue. Reason is to prevail and devotion to virtue is to be the guide. However, Saint-Preux’s presence changes Clarens. Clarens is little by little transformed into the home of not only Julie de Wolmar but also Julie d’Etange. The utopia of reason is no longer viable; it is in danger of collapse. Clarens has been transformed from a place of healing and safety to a place of danger and disaster.
D’Etange estate
D’Etange estate (day-TAHNZH). Fictional place created by Rousseau. It is here that the passionate love affair between Julie and Saint-Preux begins. The family home is also the scene of Julie’s seduction by Saint-Preux and of her marriage to Monsieur de Wolmar.
*Paris
*Paris. France’s capital city is the center of French society. Rousseau found never-ending fault with French manners and morals. Saint-Preux’s sojourn in Paris provides Rousseau with the opportunity to criticize and condemn this lifestyle, which he detested. In Paris, Saint-Preux discovers all sorts of vices and the most dissolute ways of living—the theater, gambling houses, illicit sexual activity. Rousseau devotes a considerable amount of his novel to castigating the French.
Nature settings
Nature settings. Woods, groves, lakes, mountains, gardens. Nature has a powerful effect on the characters. Their emotional states are always heightened by views of the natural world. Julie kisses Saint-Preux for the first time in the grove at the d’Etange estate. Saint-Preux writes in his letters to Julie of his intense pleasure in seeing the mountains.
Lake at Clarens
Lake at Clarens. Saint-Preux is tempted to kill himself and Julie on a sailing excursion. Rousseau foreshadows Julie’s death; she will sacrifice herself to save her son Marcellin from drowning.
Bibliography
Arico, Santo L. Rousseau’s Art of Persuasion in “La Nouvelle Héloïse.” Lanham, Md.: University Press of America, 1994. A study of the novel based upon its rhetorical devices.
Babbitt, Irving. Rousseau and Romanticism. New York: Meridian, 1955. This famous attack on Romantic art and attitudes regards Rousseau as their originator.
Ellis, M. B. “Julie: Ou, La Nouvelle Héloïse”: A Synthesis of Rousseau’s Thought (1749-1759). Toronto: University of Toronto Press, 1949. Compares themes in the novel with ideas appearing in other writings by Rousseau.
Jones, James F., Jr. “La Nouvelle Héloïse”: Rousseau and Utopia. Geneva, Switzerland: Droz, 1977. Concerned primarily with political implications of the novel; interesting for its Swiss perspective.
Miller, Ronald D. The Beautiful Soul: A Study of Eighteenth-Century Idealism as Exemplified by Rousseau’s “La Nouvelle Héloïse” and Goethe’s “Die Leiden des Jungen Werthers.” Harrogate: Duchy Press, 1981. Compares two famous European novels of the eighteenth century with aspects of a common theme.
Pickering, Samuel, Jr. The Moral Tradition in English Fiction, 1785-1850. Hanover, N.H.: Published for Dartmouth College by the University Press of New England, 1976. Documents the opposition to Rousseau and his novel in England.
Stewart, Philip. Half-Told Tales: Dilemmas of Meaning in Three French Novels. Chapel Hill: University of North Carolina Department of Romance Languages, 1987. In English, but primarily for students of French literature.