Rameau's Imaginary Monsters: Knowledge, Theory, and Chromaticism in Hippolyte et Aricie Author(s): Charles Dill Source: Journal of the American Musicological Society, Vol. 55, No. 3 (Winter 2002), pp. 433- 476 Published by: University of California Press on behalf of the American Musicological Society Stable URL: http://www.jstor.org/stable/10.1525/jams.2002.55.3.433 . Accessed: 04/09/2014 11:26 Your use of the JSTOR archive indicates your acceptance of the Terms & Conditions of Use, available at . http://www.jstor.org/page/info/about/policies/terms.jsp . JSTOR is a not-for-profit service that helps scholars, researchers, and students discover, use, and build upon a wide range of content in a trusted digital archive. We use information technology and tools to increase productivity and facilitate new forms of scholarship. For more information about JSTOR, please contact
[email protected]. University of California Press and American Musicological Society are collaborating with JSTOR to digitize, preserve and extend access to Journal of the American Musicological Society. http://www.jstor.org This content downloaded from 128.104.46.206 on Thu, 4 Sep 2014 11:26:08 AM All use subject to JSTOR Terms and Conditions Rameau's Imaginary Monsters: Knowledge, Theory, and Chromaticism in Hippolyte etAricie CHARLES DILL dialectic existed at the heart of Enlightenment thought, a tension that sutured instrumentalreason into place by offering the image of its irra- JL A1tional other. Embedded within the rationalorder of encyclopedicen- terpriseslay the threat posed by superstition,both religious and unlettered; contained and controlled by the solid foundations of social contractswas the disturbing image of chaos, evoked musically by Jean-FeryRebel and Franz Joseph Haydn, and among the nobly formed figures of humankind and nature there lurked deformity and aberration,there lurked the monster.