During the 1750s and 60s, Rousseau formulated perhaps the most influential philosophical and political arguments for sentimentality and the tableau. Against the claim of early capitalist ideologues that society was no more than a rational balance of individuals’ material ‘interests’, Rousseau imagined the mythical origin of society as a theatrical scene or musical performance, in which self-regard or vanity (amour-propre) competed with sympathy and tenderness towards others. The balance between these could be tipped away from individualism through the persuasive power of sentimental music and drama, shaping public opinion by absorbing audiences in its affecting tableaux. This vision proved its political effectiveness in eighteenth-century opéra comique and nineteenth-century Romantic melodrama. On the other hand, Rousseau’s denial of rights over public sentimental feeling to women, though contested, in the long run weakened sentimentality by making it into a private, domestic commodity – as shown by the history of another genre Rousseau inaugurated, the romance.