Rousseau and the epic of the confessions, from Susanne Bernard to Penelope: a heroic myth of the legacy of a sensitive heart

Abstract

In the Confessions, there are many elements that corroborate traits of the epic, including the striking presence of the virtuous female figure Penelope in his autobiography and in his novel. Of course, with other elements, presenting the model of telling about oneself. It places some conflicts of the Homeric world alongside his own lifestyle, evidenced in the similar traits that Rousseau brings to his memoirs. Even without using arguments, we perceive a narrative with plot, action, characters, and feelings, as there is an attempt to align his personal novel with classical doctrine, but without the support of an existing literary parallel; therefore, a modern and original attempt to present a new style. Thus, the intention is to present some important moments from the Confessions where the author refers to Homer's epic, mainly through Penelope, when retracing the genesis and structure of his philosophical novel, Julie, or The New Heloise, but also some moments where the author refers to the Odyssey in The New Heloise itself, when recounting Julie's virtuosity in comparison to illustrious female characters of the Western tradition, such as Penelope, and in Emile, when referring to the song of the Sirens. Although these are only suggestions, since at no point does Jean-Jacques explicitly state this intention, nor does he outline a theory about it, nor does he directly apply the epic formula. It is quite true that the differences appear more than the similarities; however, the author uses classic moments from the events of the Odyssey, adapting and recalling these events to his purpose based on some aspects of his "epic plot," using the style and scenes of the epic in a modern formula like that of an autobiography, which he perceives as a great vein of modernity. Perhaps, he was simply a writer who intended to use some epic characteristics as a real basis for a new genre that was being created, revealing how far he was from the epic world he so admired. And, since the novel was a frowned-upon genre in the 18th century, Rousseau probably saw in autobiography a possibility and decided to evoke, at times, the prestige of the epic, as this would help to win over readers for his first confessional attempt at this genre, a less prejudiced interest on the part of men of letters. An attempt to place this type of work under the guise of an ancient and venerated genre, like the epic.