“In Geneva lived Jean-Jacques Rousseau. He too was a rebel, mighty in war. Voltaire was keener, wittier, deeper, greater. Rousseau was more fiery, emotional, passionate. Both were really warriors in the same great cause. From their different places, three miles apart, both sent forth their thunderbolts to wake a sleeping world. When the world awakened and shook itself, churches, thrones, institutions, laws, and customs were buried in the wreck. Some charged the wreck to Voltaire, some to Rousseau.”

Voltaire (1916)

Adopted from Wikiquote. Last update June 3, 2021. History

Help us to complete the source, original and additional information

Do you have more details about the quote "In Geneva lived Jean-Jacques Rousseau. He too was a rebel, mighty in war. Voltaire was keener, wittier, deeper, greater…" by Clarence Darrow?

Clarence Darrow70

American lawyer and leading member of the American Civil Li… 1857–1938

Related quotes

“I shall not ask Jean Jacques Rousseau
If birds confabulate or no.”

William Cowper (1731–1800) (1731–1800) English poet and hymnodist

Pairing Time Anticipated.
Bartlett's Familiar Quotations, 10th ed. (1919)

“Then what explains war among states? Rousseau's answer is really that war occurs because there is nothing to prevent it.”

Kenneth N. Waltz book Man, the State, and War

Source: Man, the State, and War (1959), Chapter VII, Some Implications Of The Third Image, p. 188

“It was part of Rousseau’s vanity that he believed himself incapable of base emotions. ‘I feel too superior to hate.’ ‘I love myself too much to hate anybody.”

Paul Johnson (1928) journalist, historian and speechwriter from England

Intellectuals (1988).

“The view that early humans lived in worlds with little contact outside one's family--Dawkins' ideal conditions for self-interested cooperation to flourish--is difficult to square with what is known about the Late Pleistocene and early Holocene. Like Jean-Jacques Rousseau's philosophers, Dawkins, Huxley, and other biologists seem to have jumped on a faulty time machine, and have journeyed to an imaginary ancestral world.”

Samuel Bowles (1939) American economist

"A Cooperative Species: Human Reciprocity and Its Evolution", Bowles and Gintis

“Jean Jacques Rousseau," he answered, "is nothing but a fool in my eyes when he takes it upon himself to criticise society; he did not understand it, and approached it with the heart of an upstart flunkey…. For all his preaching a Republic and the overthrow of monarchical titles, the upstart is mad with joy if a Duke alters the course of his after-dinner stroll to accompany one of his friends.”

Stendhal book The Red and the Black

J.-J. Rousseau, répondit-il, n'est à mes yeux qu'un sot, lorsqu'il s'avise de juger le grand monde; il ne le comprenait pas, et y portait le cœur d'un laquais parvenu... Tout en prêchant la république et le renversement des dignités monarchiques, ce parvenu est ivre de bonheur, si un duc change la direction de sa promenade après dîner, pour accompagner un de ses amis.
Vol. II, ch. VIII
Le Rouge et le Noir (The Red and the Black) (1830)

“Your description of Troyon and Rousseau, for instance, is lively enough to give me some idea of which of their manners they are done in. There were other paintings from the time of Troyon's municipal pasture that had a certain 'mood' that one would have to call 'dramatic', even though they aren't figure paintings.”

Vincent Van Gogh (1853–1890) Dutch post-Impressionist painter (1853-1890)

In his letter to Theo, from the Hague, c. 11 July 1883 - original manuscript at Van Gogh Museum, location Amsterdam - inv. nos. b322 a-c V/1962, http://vangoghletters.org/vg/letters/let361/letter.html <br class="br">At the exhibition 'Les cent chefs d'oeuvre' at Galerie Georges Petit - in Paris, 1883 there were 9 paintings of Troyon. Vincent had asked Theo in Paris to give him a description of the works at this exhibition. Vincent already appreciated Troyon's painting style, which he knew from his Paris' years at art-gallery Goupil where he worked <br class="br">1880s, 1883

“Rousseau … is aesthetically revolted by the trashiness of what, some twenty years ago, David Riesman called the 'other-directed' personality, which he saw becoming ever-more salient in our society. This is the personality whose whole being is attuned to catch the signals sent out by the consensus of his fellows and by the institutional agencies of the culture, to the extent that he is scarcely a self at all, but, rather, a reiterated impersonation.”

Lionel Trilling book Sincerity and Authenticity

Source: Sincerity and Authenticity (1972), p. 66