The Enlightenment remains widely associated with the rise of scientific progress and the loss of religious faith, a dual tendency that is thought to have contributed to the disenchantment of the world. In her wide-ranging and richly illustrated book, Tili Boon Cuillé questions the accuracy of this narrative by investigating the fate of the marvelous in the age of reason. Exploring the affinities between the natural sciences and the fine arts, Cuillé examines the representation of natural phenomena—whether harmonious or discordant—in natural history, painting, opera, and the novel from Buffon and Rameau to Ossian and Staël. She demonstrates that philosophical, artistic, and emotional responses to the "spectacle of nature" in eighteenth-century France included wonder, enthusiasm, melancholy, and the "sentiment of divinity." These "passions of the soul," traditionally associated with religion and considered antithetical to enlightenment, were linked to the faculties of reason, imagination, and memory that structured Diderot's Encyclopédie and to contemporary theorizations of the sublime. As Cuillé reveals, the marvelous was not eradicated but instead preserved through the establishment and reform of major French cultural institutions dedicated to science, art, religion, and folklore that were designed to inform, enchant, and persuade. This book has been made possible in part by the National Endowment for the Humanities: Exploring the human endeavor.
From the outset, French opera generated an enormous diversity of literature, familiarity with which greatly enhances our understanding of this unique art form. Yet relatively little of that literature is available in English, despite an upsurge of interest in the Lully-Rameau period during the past two decades. This book presents a wide-ranging and informative picture of the organization and evolution of French Baroque opera, its aims and aspirations, its strengths and weaknesses. Drawing on official documents, theoretical writings, letters, diaries, dictionary entries, contemporary reviews and commentaries, it provides an often entertaining insight into Lully’s once-proud Royal Academy of Music and the colourful characters who surrounded it. The translated passages are set in context, and readers are directed to further scholarly and critical writings in English. Readers will find this new, updated edition easier to use with its revised and expanded translations, supplementary explanatory content and new illustrations.
Cynthia Verba's book explores the story of music's role in the French Enlightenment, focusing on dramatic expression in the musical tragedies of the composer-theorist Jean-Philippe Rameau. She reveals how his music achieves its highly moving effects through an interplay between rational design, especially tonal design, and the portrayal of feeling and how this results in a more nuanced portrayal of the heroine. Offering a new approach to understanding Rameau's role in the Enlightenment, Verba illuminates important aspects of the theory-practice relationship and shows how his music embraced Enlightenment values. At the heart of the study are three scene types that occur in all of Rameau's tragedies: confession of forbidden love, intense conflict and conflict resolution. In tracing changes in Rameau's treatment of these, Verba finds that while he maintained an allegiance to the traditional French operatic model, he constantly adapted it to accommodate his more enlightened views on musical expression.
"Prompted by controversial views of the composer-theorist Jean-Philippe Rameau, the leading figures of the French Enlightenment engaged in a vigorous philosophical debate about the nature of music. Their dialogue was one of extraordinary depth and richness, and dealth with some of the most fundamental issues of the French Enlightenment. In the newly revised edition of 'Music and the French Enlightenment', Cynthia Verba updates this fascinating story with the prolific scholarship that has emerged since the book was first published." -- rear cover.