La Nouvelle Héloïse ’,

SVEC

41 (1966), and by James F. Jones, in

La Nouvelle Héloïse: Rousseau and Utopia (Geneva, 1977). Jones, in turn, offers a commentary on Rousseau’s most distressed work, described as particularly inspired by his stay in England, in

Rousseau’s 'Dialogues’: An Interpretive Essay (Geneva, 1991). Françoise Barguillet, in

Rousseau ou l’illusion passionnée: Les rêveries du promeneur solitaire (Paris, 1991), and Marc Eigeldinger, in

Jean-Jacques Rousseau et la réalité de l’imaginaire (Neuchâtel, 1962), address mainly the overarching form and specific imagery, respectively, of Rousseau’s last major work, the

Rêveries , while Marcel Raymond, in

Jean-Jacques Rousseau: La quête de soi et la rêverie (Paris, 1986), investigates that text’s illuminations of Rousseau’s character.

Despite a rapidly growing number of treatments of particular themes within and around his philosophy of music, there is still much scope for original research in this field, and room for a major study of Rousseau’s ideas on music as a whole, to supplant Albert Jansen’s formidable

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