John Morley

“ He hails the oppressors of his life, the priests and the parliaments, with a pungency that is exhilarating, and winds up with a description of the intolerant as one who forgets that a man is his fellow, and for holding a different opinion, treats him like a ravening brute; as one who sacrifices the spirit and precepts of his religion to his pride; as the rash fool who thinks that the arch can only be upheld by his hands; as a man who is generally without religion, and to whom it comes easier to have zeal than morals. Every page of the Encyclopædia was, in fact, a plea for toleration. ”

“ Nobody was more exquisitely sensible than Diderot to the charm of loitering over books, "over those authors," as he said, "who ravish us from ourselves, in whose hands nature has placed a fairy wand, with which they no sooner touch us, than straightway we forget the evils of life, the darkness lifts from our souls, and we are reconciled to existence." [201] The musing suggestiveness of reading when we read only for reading's sake, and not for reproduction nor direct use, was as delightful to our laborious drudge as to others, but he could indulge himself with little of this sweet idleness. ”

“ In all that Diderot writes upon his magnificent undertaking, we are struck by his singular union of common sense with elevation, of simplicity with grasp, of suppleness with strength, of modesty with hopeful confidence. On occasions that would have tempted a man of less sincerity and less seriousness to bombast and inflation, his sense of the unavoidable imperfections of so vast a work always makes itself felt through his pride in its lofty aim and beneficent design. The weight of the burden steadied him, and the anxiety of the honest and laborious craftsman mastered the impulses of rhetoric. ”

“ Diderot not only did not write comedy in such a style; but he does not even so much as show consciousness that any difference exists between one kind of prose and another. The blurred phrases and clipped sentences of what Diderot would have called Nature, that is to say of real life, are intolerable on the stage. Even he felt this, for his characters, though their dialogue is without wit or finish, are still dull and tame of speech, in a different way from that in which the people whom we may meet are dull and tame. There is an art of a kind, though of an extremely vapid kind. ”

“ Yet Diderot had the perspicacity to discern the drawbacks to such a revolution in the conditions of social climate. "Commerce, like enlightenment, lessens ferocity, but also, just as enlightenment takes away the enthusiasm of self-esteem, so perhaps commerce takes away the enthusiasm of virtue. It gradually extinguishes the spirit of magnanimous disinterestedness, and replaces it by that of hard justice. By turning men's minds rather to use than beauty, to prudence rather than to greatness, it may be that it injures the strength, the generosity, the nobleness of manners." ”

“ Is it not surprising that a man of Diderot's speculative boldness and power should have failed to rise from the mechanical arrangement of thought and knowledge, up to some higher and more commanding conception of the relation between himself in the eighteenth century, or ourselves in the nineteenth, and all those great systems of thought, method, and belief, which in various epochs and over different spaces of the globe have given to men working answers to the questions that their leading spirits were moved to put to themselves and to the iron universe around them? ”

“ I have sometimes amused myself with this kind of metaphysical anatomy; and I found that of all the senses, the eye was the most superficial; the ear, the proudest; smell, the most voluptuous; taste, the most superstitious and the most inconstant; touch, the profoundest and the most of a philosopher. It would be amusing to get together a society, each member of which should have no more than one sense; there can be no doubt that they would all treat one another as out of their wits. ”

“ Rameau is not crudely analysed as a vile type: he is searched as exemplifying on a prodigious scale elements of character that lie furtively in the depths of characters that are not vile. It seems as if Diderot unconsciously anticipated that terrible, that woful, that desolating saying,—There is in every man and woman something which, if you knew it, would make you hate them. Rameau is not all parasite. He is your brother and mine, a product from the same rudimentary factors of mental composition, a figure cast equally with ourselves in one of the countless moulds of the huge social foundry. ”

“ The illustrative plates to which Diderot gave the most laborious attention for a period of almost thirty years, are not only remarkable for their copiousness, their clearness, their finish—and in all these respects they are truly admirable—but they strike us even more by the semi-poetic feeling that transforms the mere representation of a process into an animated scene of human life, stirring the sympathy and touching the imagination of the onlooker as by something dramatic. ”

“ He made his own dramatic experiment, he thought little enough of it; and he was wholly above the hateful vice of sourly disparaging competitors, whether dead or living. He knew that he was himself no master, but he was manly enough to admire anybody who was nearer to mastery. He was full of unaffected delight at Sedaine's busy and pleasing little comedy, The Philosopher without knowing it; it was so simple without being stiff, so eloquent without the shadow of effort or rhetoric. After seeing it, Diderot ran off to the author to embrace him, with many tears of joyful sympathy and gratitude. ”

“ The Paradox on the Player is one of the very few of Diderot's pieces of which we can say that, besides containing vigorous thought, it has real finish in point of literary form. There is not the flat tone, the heavy stroke, the loose shamble, that give a certain stamp of commonness to so many of his most elaborate discussions. In the Paradox the thoughts seem to fall with rapidity and precision into their right places; they are direct; they are not overloaded with qualifications; their clear delivery is not choked by a throng of asides and casual ejaculations. ”

“ He is aware, on the testimony of others, that we know objects by sight as he knows them by touch; he can form no other notion. He is aware, again, that a man cannot see his own face, though he can touch it. Sight, then, he concludes, is a sort of touch, which only extends to objects different from our own visage, and remote from us. Now touch only conveys to him the idea of relief. A mirror, therefore, must be a machine which sets us in relief out of ourselves. How many philosophers, cries Diderot, have employed less subtlety to reach notions just as untrue? ”

“ Sober passions produce only the commonplace. Deadened passions degrade men of extraordinary quality. Constraint annihilates the greatness and energy of nature. See that tree; 'tis to the luxury of its branches that you owe the freshness and the wide-spreading breadth of its shade, which you may enjoy till winter comes to despoil it of its leafy tresses. An end to all excellence in poetry, in painting, in music, as soon as superstition has once wrought upon human temperament the effect of old age! It is the very climax of madness to propose to oneself the ruin of the passions. ”

“ A play is to be criticised as a play, not merely as a poem. The whole structure of a piece depends on the fact that it is to be acted; its striking moments must be great dramatic, not merely beautiful poetic, moments. They must have the intensity of pitch by which the effect of action exceeds the effect of narrative. This intensity is made almost infinitely variable with the variations in the actor's mastery of his art.
Diderot, who threw so penetrating a glance into every subject that he touched, even if it were no more than a glance, has left a number of excellent remarks on histrionics. ”

“ The ordinary philosophers who meditate too much, or rather who meditate to wrong purpose, are as surly and arrogant to all the world as great people are to those whom they do not think their equals; they flee men, and men avoid them. But our philosopher who knows how to divide himself between retreat and the commerce of men is full of humanity. Civil society is, so to say, a divinity for him on the earth; he honours it by his probity, by an exact attention to his duties, and by a sincere desire not to be a useless or an embarrassing member of it. ”

“ Why shall we not introduce man into our work in the same place which he holds in the universe? Why shall we not make him a common centre? Is there in infinite space any other point from which we can with greater advantage draw those immense lines that we propose to extend to all other points? What a vivid and softening reaction must result between man and the beings by whom he is surrounded ...Man is the single term from which we ought to set out, and to which we ought to trace all back, if we would please, interest, touch, even in the most arid reflections and the driest details. ”

“ The ground of this enthusiastic appreciation of the English naturalism was not merely that it made morality independent of religion, which Shaftesbury took great pains to do. It also identified religion with all that is beautiful and harmonious in the universal scheme. It surrounded the new faith with a pure and lofty poetry, that enabled it to confront the old on more than equal terms of dignity and elevation. Shaftesbury, and Diderot after him, ennobled human nature by placing the principle of virtue, the sense of goodness, within the breast of man. ”

“ They are equally well fitted for too many things; they are too busy in looking, in recognising, and in imitating, to be violently affected within themselves. Sensibility is hardly the quality of a great genius. He will have justice; but he will practise it without reaping all the sweetness of it. It is not his heart, but his head, that does it all. Well, then, what I insist upon, says Diderot, is that it is extreme sensibility that makes mediocre actors; it is mediocre sensibility that makes bad actors; and it is the absolute want of sensibility that prepares actors who shall be sublime. ”

“ It has often been told how Diderot himself used to visit the workshops, to watch the men at work, to put a thousand questions, to sit down at the loom, to have the machine pulled to pieces and set together again before his eyes, to slave like any apprentice, and to do bad work, in order, as he says, to be able to instruct others how to do good work. That was no movement of empty rhetoric which made him cry out for the Encyclopædia to become a sanctuary in which human knowledge might find shelter against time and revolutions. ”

“ In Diderot were splendid talents. It was the art of prudent stewardship that lay beyond his reach. Hence this singular fact, that he perhaps alone in literature has left a name of almost the first eminence, and impressed his greatness upon men of the strongest and most different intelligence, and yet never produced a masterpiece; many a fine page, as Marmontel said, but no one fine work.
No man that ever wrote was more wholly free from that unquiet self-consciousness which too often makes literary genius pitiful or odious in the flesh. ”

“ What Diderot conceived himself really to have done, was to have sketched and constituted a new species in the great dramatic kingdom. Every one knows, he said, that there is tragedy and that there is comedy, but we have to learn that there is room in nature and the art of the stage for a third division, namely, the genre sérieux, a kind of comedy that has for its object virtue and the duties of man. Why should the writer of comedy confine his work to what is vicious or ridiculous in men? Why should not the duties of men furnish the dramatist with as ample material as their vices? ”

“ In the French classic he found none of these merits. He found none of that truth which is the only secret of pleasing and touching us; none of that simple and natural movement which is the only path to perfect and unbroken illusion. The dialogue is all emphasis, wit, glitter; all a thousand leagues away from nature. Instead of artificially giving to their characters esprit at every point, poets ought to place them in such situations as will give it to them. Where in the world did men and women ever speak as we declaim? Why should princes and kings walk differently from any man who walks well? ”

“ The true interest of all these details about a mere book lies in the immense significance of the movement of political ideas and forces to which they belong. The true interest of all history lies in the spectacle which it furnishes of the growth and dissolution, the shock and the transformation, incessantly at work among the great groups of human conceptions. The decree against the Encyclopædia marks the central moment of a collision between two antagonistic conceptions which disputed, and in France still dispute, with one another the shaping and control of institutions. ”

“ Every other man of that day whose writings have delighted and instructed the world since, had begun his career, and more than one of them continued and ended it, as a drudge and a vagabond. Fielding and Collins, Goldsmith and Johnson, in England; Goldoni in Italy; Vauvenargues, Marmontel, Rousseau, in France; Winckelmann and Lessing in Germany, had all alike been doubtful of dinner, and trembled about a night's lodging. They all knew the life of mean hazard, sorry shift, and petty expedient again and again renewed. ”

“ This paradox comes of the equality that I discover among various conditions of life, and in the little difference that I allow, in point of happiness, between the master of the house and the hall-porter. If I am sound in mind and body, if I have worth and a pure conscience, if I know the true from the false, if I avoid evil and do good, if I feel the dignity of my being, if nothing lowers me in my own eyes, then people may call me what they will, My Lord, or Sirrah. To do what is good, to know what is true—that is what distinguishes one man from another ”

“ When Diderot was strongly seized by an idea, outer circumstances were as if they did not exist. He was swept up into the clouds. "Diderot is a good and worthy man," wrote Madame Geoffrin to the King of Poland, "but he has such a bad head, and he is so curiously organised, that he neither sees nor hears what he does see and hear, as the thing really is; he is always like a man who is dreaming, and who thinks all that he has dreamed quite real." ”

“ The terms of life and death have nothing absolute; they only designate the successive states of one and the same being; for him who has been strongly nourished in this philosophy, the urn that contains the ashes of a father, a mother, a husband, a mistress, is truly a touching object. There still remains in it life and warmth; these ashes may perhaps even yet feel our tears and give them response; who knows if the movement that our tears stir, as they water those ashes, is wholly without sensibility? ”

“ It was the first effective introduction into France of these great and fundamental principles; that all knowledge is relative to our intelligence, that thought is not the measure of existence, nor the conceivableness of a proposition the test of its truth, and that our experience is not the limit to the possibilities of things. That is an impatient criticism which dismisses the French philosophers with some light word as radically shallow and impotent. Diderot grasped the doctrine of Relativity in some of the most important and far-reaching of all its bearings. ”

“ Yet Diderot was not of those in whom the feeling for the great effects of nature has something of savagery. He was above all things human, and the human lot was the central source of his innermost meditations. In the midst of gossip is constantly interpolated some passage of fine reflection on life—reflection as sincere, as real, coming as spontaneously from the writer's inmost mood and genuine sentiment, as little tainted either by affectation or by commonness, as ever passed through the mind of a man. ”

“ More than once Voltaire entreated Diderot to finish his work in a foreign country where his hands would be free. "No," said Diderot in a reply of pathetic energy; "to abandon the work is turning our back upon the breach, and to do precisely what the villains who persecute us desire. If you knew with what joy they have learnt D'Alembert's desertion! It is not for us to wait until the government have punished the brigands to whom they have given us up. Is it for us to complain, when they associate with us in their insults men who are so much better than ever we shall be? ”

“ We miss the vivid precision and the high spirits of Voltaire, the glow and the brooding sonorousness of Rousseau, the pomp of Buffon. To Diderot we go not for charm of style, but for a store of fertile ideas, for some striking studies of human life, and for a vigorous and singular personality. ”

“ There is no need therefore to say more about the theory than this, namely, that though the drama is an imitative art, yet besides imitation its effects demand illusion. What, cries Diderot, you do not conceive the effect that would be produced on you by a real scene, with real dresses, with speech in true proportion to the action, with the actions themselves simple, with the very dangers that have made you tremble for your parents, for your friends, for yourselves? No, we answer: reproduction of reality does not move us as a powerful work of imagination moves us. ”

“ The circumstances under which these five-and-thirty volumes were given to the world mark Diderot for one of the few true heroes of literature. They called into play some of the most admirable of human qualities. They required a laboriousness as steady and as prolonged, a wariness as alert, a grasp of plan as firm, a fortitude as patient, unvarying, and unshaken, as men are accustomed to applaud in the engineer who constructs some vast and difficult work, or the commander who directs a hardy and dangerous expedition. ”

“ When we hear of Paris being the centre of European intelligence and literary activity, we may understand that these circular letters of Grimm and Diderot were the machinery by which the light of Paris was diffused among darker lands. It is not too much to say that no contemporary record so intelligent, so independent, so vigorous, so complete, exists of any other remarkable literary epoch. ”