Jean Jacques Rousseau.

Readers of "Friedrich Melchior Grimm (revisited)"*(footnote 1) are perhaps aware of certain, recently added, footnotes and modifications therein seriously affecting the french philosopher's true identity and fame!

Because (hold your breath please):

Rousseau was but another alias of comte de Saint Germain*(2)...

....ie Gioachino Cocchi, aka Augustin Henry Cochin, Melchior Grimm, Willibald Christ. Gluck, Marquis de Chastellux, Bricaire de La Dixmerie, Dupin de Franceuil, Carl Ludwig Cocceji, Alexander Serg.Stroganov, Ser. Saltycov, Nikolay Saltycov*(4), possibly Peter Sem. Solticof, Alessandro Cosimo Collini (Voltaire’s secretary)..abbe Raynal, baron von Gleichen, baron von Holbach, Dr Helvetius (see "Abbe Raynal" in next thread) …..

....and “Rousseau”!

Method used to reach this conclusion:

With Rousseau’s talents- common with the other aliases of Saint Germain (music, botany, philosophy)-his writings concerning Mme D’Epinay’s relations with Grimm and his “falsity of character” as initial indications, Rousseau’s whereabouts were added to the detailed mastertimeline, as mentioned in above thread, including relevant data of all other aliases:

Rousseau’s presences and absences (basicaly Paris, London, Italy and USA -in the making) fully coincide with those of other aliases with the exception of Collini (whose book on Voltaire, “Mon séjour auprès de Voltaire et lettres inédites que m'écrivit”- including letter xchange, is "suspect of slight*(3) misinformation", just like Rousseau's "Confessions" and other books on "Saint Germain" and his aliases!).

Well aware of my finds gravity and significance, I really wish to openly debate the issue (Rousseau’s identity only, NOT the relevant implications) and kindly invite members or other readers of this site with sufficient interest and skill, to declare their willingless to defend “old” Rousseau*(5) and, if needed, also call any “outside assistance”, preferably French cousins or friends.

Cheers.

Relevant posts by undersigned:

http://www.online-literature.com/for...ad.php?t=15023 (On Poe,Saint Germain,Cocchi-Cocchini-Cochin-Caussin de Perceval etc)
http://www.online-literature.com/for...ad.php?t=35779 (On Melchior Grimm, Dupin de Franceuil, Stroganov, Chastellux, Gluck)
http://forum.alexanderpalace.org/ind...?topic=11715.0(On Alexander Serg.Stroganov, La Dixmerie)
http://forum.wordreference.com/showt...15#post5787715 (On La Dixmerie)
http://www.sfcv.org/2007/06/05/at-lo...2/#comment-547 (On Gluck) *(6)

*1 Currently in # 4 of about 140,000 Google results for "Melchior Grimm".
*2 Cocchi aka Saint Germain,Gluck, Grimm and Rousseau inspired Leroux to produce "The phantom of the opera" early 20th century.
"They" -alltogether-will certainly "haunt" opera to eternity, there is however specific evidence as well: "Don Juan triumphant" points to Gluck's "Don Giovanni"-defined presently as a "ballet"-produced in Vienna 1761, ie early in Gluck's reformation period (1761-67), ie Leroux expresses a wish for his triumphant return . The phantom's persian companion-guard points furthermore to the "Gullistan" (Persia) history of the family, including our hero's Nikita "K" ancestor, himself as well as his grandson (Stroganov) who spent sometime in Persia.
*3: On June 12 (1756) Collini leaves allegedly Voltaire's service (Geneva-Delices). However Augustin Henry Cochin's first Paris (Epinay) record is dated June 2nd of same year.
*4:Nikolai Saltykov, Paul I's tutor for a time , succeeds Potemkin in the Russian war ministry in 1791 and as from 1802becomes head minister of Russia. One should add here "L.H.Nicolay", also Paul I's tutor (1769) and a poet, whose biography at http://en.wikipedia.org/wiki/Ludwig_...ch_von_Nicolai seems rather "incomplete".
Also see: http://www.flickr.com/photos/simon-f...6541790/page2/ (L.H Nicolay's memorial, a "knight's temple", propably Saint Germain's, at Monrepos,Viborg, Carelia, near St Petersburg. )
*5. Rousseau's "lettre sur la musique francaise", just read(late February 09), clearly demonstrates that the author is the same person as Gioachino Cocchi. (The same conclusion is also to be reached via Diderot's: "Jacques le fataliste et son maitre" and "Rameau's nephew".)
*6: As from early March, 09, the article on Gluck (by classical music professor M.Zwiebach) has been removed, possibly because of yourstruly's relative comments on Gluck's true identity.

...for promptly moving this post* to its proper place (unlike "Two works by Poe.Announcement!" still** lost in the jungle)

:yawnb:

*currently in #234 of about 1,990,000 google results for "Jean Jacques Rousseau".
**Has found it's place today, thanks!

Below "Rousseau's" portrait -as Alexander Serg.Stroganov-in 1805: At the time he has propably completed his-Collini's- “Mon séjour auprès de Voltaire" as the architectural plan he holds indicates. He looks quite well for his age (93) and- his role in- the recent "loss" of his son Tszar Paul I of Russia.

http://www.artnet.com/Artists/LotDet...2FCE4C85B0B114

Err... what in the hell are you talking about...

Are you trying to start a conversation or terminate a monologue?

...said Figaro.

Uno alla volta, per carità!

Etienne’s preciously brief contribution and subsequent gracefull withdrawal are well understood:

Rousseau’s philosophy, a cornerstone of “western modern thought”, is considered - by the French in particular-sacred, as such the suggestion that “something is wrong with their Asterix” is equivalent to- and sure to create the same spontaneous reaction as-trying to rid Obelix of his heavy “Menir”.

However…

As all know Obelix would never abandon his Menir or his endangered spiritual mentor Asterix in the field of battle (being by design* inseparable)..

...unless…..

…Obelix, on second thoughts, realizes that his opponent is none other than Asterix himself-indulged in selfcriticism-in which case Obelix is truly at a loss, lets go of his Menir and runs to the woods for cover……

Asterix then follows, leaving the worthless Menir behind…..


THE END**

*Apparently, Rene "Goscinny" had his own "menir" to bear(!).

**Of further research interest, a "G.V.Kozitsky, membre de L'Academie de sciences de Saint Petersburg, 1768-1775" translator of the french Encyclopedia during Catherine's reign (See Les traductions de l'Encyclopédie du XVIIIe siècle : quelle fut leur influence ? Frank A. Kafker, Recherches sur Diderot et sur l’Encyclopédie, Année 1992 Volume 12 Numéro 12 pp. 165-173) also described as Catherine's personal secretary (see http://www.usc.edu/dept/las/sll/ml_p...arokov_800.pdf).
It seems that, while "Kozitsky" was in control of affairs in Saint Petersburg , field marshal "P.S.Saltycov", ie the elder brother Cocceji, controls Moscow.
Checking the mastertimeline, Kozitsky is, most propably, another face of Cocchi-Saint Germain. Sumarokov's letters to Catherine regarding his affair with "La Belmontia" ended up in the hands of Grimm! (Correspondence literaire).

The list of Saint Germain's aliases is endless: Abbe Raynal has just been included. Relative study will soon follow in another thread herein.

Αντώνης Εμμ.Κοκκίνης έγραψε

Rousseau's commentary on Gluck's Orpheo and Alceste provide further conclusive proof on the common identity of the two men.

Further to the title (the Petit Faiseur's letter to his prete-nom) itself, he choses to end his commentary as follows:

Croyez-moi, mon cher prête-nom, ne nous brouillons jamais ensemble, car sans moi vous êtes nul. Je suis complaisant, vous le savez;je ne me refuse jamais au travail que vous désirez, quand vous vous donnez la peine de m'appeler et le temps de m'attendre : mais ne tentez jamais rien sans moi dans aucun genre ; ne vous mêlez jamais de l'impromptu en quoi que ce soit, si vous ne voulez gâter en un instant, par votre ineptie, tout ce que j'ai fait jusqu'ici pour vous donner l'air d'un homme pensant.

Removing, in this fashion, "Gluck's" veil, he is not simply just telling us that the composer was his frontman or creation:

He, the philosophe, selecting to "die" and to pass his "ring"-or wisdom stone-to the musician who will survive him, is inviting us, practically forcing us, to interpret these said decisions and actions within the timeframe and the historical events he was an instrument of and, mainly, to ask ourselves, today, how justified, qualified, how sincere we are to judge him.

For, if he lied with regard to his identity, if the man did not follow the philosophe, so did "we" who, aware of his specific writings*, decided it was for "our best interest" to look the other way, never truly understand them or recognize them for what they are, never listen to him, avoid and hide him** and his-utterly revolting (he was a revolutionist afterall) -Truth.


*Thanking http://www.taieb.net for publishing online, June 2008, Rousseau’s commentaries on Gluck’s Orpheo and Alceste, first read March 29 and
http://gallica.bnf.fr/ark:/12148/bpt...%AAte-nom.f168, first read today April the 10th, 2009

**Among other relative evidence, the most striking perhaps is the darkness covering "Rousseau's" last "host" at Ermenoville, the mysterious gardener "Marquis de Girardin" whose biography is nowhere to be found.

re Leroux's am "Persian", "grandson Stroganov", must instead read "grandson Saltykov", ie Alexis Saltykov (grandson of "Serge/Nikolai Saltycov", ie our hero who among his many other aliases also used "Stroganov" and "Saltykov" both).

Quoting Wikipedia
...his early days are somewhat of a mystery. He grew up in St Petersburg and at the age of eighteen joined the diplomatic services with the Russian State Board (Collegium) for Foreign Affairs in Moscow. By the age of 23 he was with the Russian Foreign Service, first in Constantinople, then in Athens, later in London, Florence, Rome, and Teheran.[3] In 1840 Alexis retired and moved to Paris where he planned his voyages to India. He ended up making two voyages there (1841-43 and 1844-46), and achieving the sobriquet 'The Indian' from the Russian and French aristocracy. In 1849 he published a selection of his letters in French accompanied by his drawings , which became very well known in Europe "Lettres sur L’Inde". Paris,1848). In 1851 the book was translated into Russian and became an instant success: it truly enraptured the Russian reading public [4]. The drawings were published separately in London in 1859 as "Drawings on the Spot".

This thread by Yanni is consistent with the findings of my own research on the career of Mozart. (Mozart was patronised by Baron Grimm from an early date).

The Voltaire/Grimm/Rousseau relationship is endlessly fascinating.

If Mozart did not write the music of "his" Figaro's Marriage, Beaumarchais Nozzes of Figaro were prose only and, if Figaro was Rousseau, ie Cocchi, Gluck and Chastellux ("elsewhere" 1781-1783) , then out pops the question for all musicologists to anwer: Whodoneit?

http://www.online-literature.com/for...d.php?p=770786