His art is in harmony with his temperament and his philosophy. I do not mean the execution, often dropped, thrown, the perfection of the work is not meeting little home. I mean his art of art intentions it expresses.
So there will be a first in Diderot naturalistic art, expressive life as it is, beings as seen. Contracted as he was by external nature, he receives, and renders, as mechanically, with a wonderful safety. Read Correspondence and see all these pictures, all these stories it is sown. Read Rameau's Nephew, the masterpiece on more equal than Diderot composed. This eccentric and powerful figure removed with terrain, incredible clarity: Profile, accent, gestures, grimaces, instantaneous changes of tone, posture, the fundamental identity and all forms of mobile disguise, everything is noted in the dizzying dialogue of Diderot. He put much of his, no doubt, and he lent his ideas to the character, I do not think that was a true bohemian Rameau as deep. But with an astonishing instinct of objective art, all that was hers was incorporated into the substance of the original character whose inner vision guided his pen. From that story, he sees ; figures, movements, local and accessories everything is in his eye, just under his pen, and his tale is a series of prints.
But the prints were legends and these legends are romantic: at least Diderot tends to romanticism. Of nature, it respects its most nature, and provided it is and it him, he did the rest do not care. Rameau's Nephew is a happy accident: the subjective also mingles with the objective; the impressions of external nature overlap, intertwine, clinging elk, enthusiasms, the indignation of Denis Diderot, any individuality frantic, noisy, bulky. He already carries within it the seeds of romantic lyricism. Here is the proof in two sentences:
"The lark, the lark, the linnet, the canary chatter and babble as the day is. The sun set, they cram their heads under their wings, and that's asleep. Then the genius takes his lamp and lit it, and the solitary bird, wild, untamed, and sad brown plumage, opens his throat, began his singing sounds the melodious grove and breaks the silence and the darkness of the night. "Do this he Chateaubriand's not already?
"The first oath is made two beings of flesh, it was at the foot of a rock falling into dust, they bore witness to their constancy a sky that is not even a moment; everything happening in them, around them, and they believed their hearts free from vicissitudes. O child! still children! And it is literally two stanzas of Musset. But the most curious is to get this jet lyricism where it occurred in Jacques the Fatalist . In the midst of the realistic story of Madame de la Pommeraye all of a sudden a tear occurs in the bark of the narrative thrust of these five throws feeling hot lines, which no character nor the author assumes the same responsibility, once everything calms down, and two minutes after we Buttons on an enormous prank . That's the inconsistency of Diderot. There's something in his style: analysis, synthesis, idea, sensation, hallucination, realism, romanticism, it is a teeming, which has not always beauty, who at least has often life. 
This leads to another consideration : Diderot's substitution of a new ideal in the classical ideal. And she still does, because he is human nature. Nature does not care about beauty, that men agree to call it. The nature of the concern that has life is what is beautiful, naturally beautiful. Forms of life and activity of life, that is what the artist must work to make: most of these forms will feature, this activity will be more intense, and there will be beauty in be. The character (and not the regularity, the nobility, the generality and Components classic beauty) should be the subject of the imitation of literary expression. That was the direction already Lesage, Marivaux, Prevost had given the novel but never did this new aesthetic emerged as powerfully as in Rameau's Nephew .
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