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II. Diderot's Thought (by G. Lanson).

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apart Encyclopedia, Diderot is hardly less significant in the eighteenth century, Voltaire and Rousseau. Before Rousseau, Voltaire and when everything was still bound by prejudice, vanity, worldly ambitions, Diderot had openly declared the man of nature. And here is what nature was for him.

She was - she was at least early on - atheism. God is not in nature. There can be, and there is nothing to do with him. The world is a vast pool where an infinite number of balls roll, intersect, collide, forming an intricate network of movements required, which never run out. But morality? She will not suffer. "Do not you think you can be born so happily found great pleasure in doing good? - I think. - That may have received an excellent education that strengthens the natural tendency to charity? - Certainly. - And that in a later age, the experience has convinced us that on the whole, it is better for his happiness in this world, be an honest man a knave? "Instinct, education and experience: that which is sufficient for morality. Be virtuous to get to heaven, God is lend to small-time , and the trouble is that the lender gives stuffed crocodiles, not good species, for the virtue of vestries is to go to Mass, not to touch the sacred vessels, love comes after the next. Religion, which punishes more sacrilegious than adultery is immoral, it leaves for practices, remain all the corruption of the world. It is a source of crime, fanaticism, war, torture, etc.. : It's too expensive to buy a foundation of morality, which founds nothing at all. God exists or not, if it exists, it does not exist in nature, we do not take them into account. There is no for us, if we say a few imprudent not there at all, there is not much wrong with that. A fine day out of life, we were face to face with him in his world, well, God is not bad enough for hell we want to have it denied, when we had no reason to think so.

Nature, secondly, for Diderot, the opposite of society. All evils, the vices of man, come from the company that invented religion, power, distinctions, hierarchy, wealth, that is to say oppression of some, the tyranny of others, corruption and misery for everyone - especially who invented morality. Because that is the characteristic of Diderot: boldly, bluntly, sometimes cynical, often profound, he attacks morality. It is a social institution, especially its hateful hypocritical compulsion exerted by it: the name of morality, we instructed children to refrain some legitimate pleasures that result from natural functions.

is the naturalism of Rabelais, one of Panurge and Friar John, who reappears in Diderot, in these people he has chosen and conformed to his ideal, in Rameau's Nephew and Jacques the fatalist . It deletes all the virtues, Christian, Stoic, even mundane, who did report that the individual, and are based on respect for oneself. Chastity, modesty, sobriety, reserve, dignity, sincerity, that all this nonsense, prejudice and inconvenience of society. Scruples, the delicacy of the means are absurd grimaces when one is assured of its intention, and we know the good: see the curious dialogue Is it good? Is it bad ? one of the masterpieces of Diderot. What then is virtue? It is in one word: it is charitable. All that is useful to humanity is: everything that is harmful to humanity is evil, which is neither good nor harm anyone is indifferent, that I lie, I get drunk, or worse, that 'important, if these acts have no effect, without fatal extensions outside? And if in my lie, or my drunkenness, it leaves a good for someone, I'm being a liar or drunkard. The nature of Diderot saved the vices which degrade, poor, independent, generous, without lust and without platitudes, he is honest enough to come to a kind of morality with his instinct. It is based on respect, worship of nature, that is to say phenomena because it is only the collection. So can he help admiring, almost loving this great burst of natural energy, appetites, offered by the nephew of Rameau: he falls in agreement with him that "the important point is that you and I are, and we are you and me all go elsewhere as he can. "

Nature, finally, for Diderot, is science. He designed the method, directions, results. But the word nature is determined to Diderot in a very modern sense. He sees no more this inner nature that the seventeenth century especially studied, which Descartes believed life more secure and easier than knowledge of external nature. All his impulses, to him, from without, his philosophy and that of his time, told him that all his ideas came to him through his senses: it is natural that the external nature, and science that apply , are the object of his study. By the middle of the century, he announced, although recklessly, that the reign mathematics is finished, but he announced, by a sure divination that the reign of natural science will begin. Physiology, physics is that side of it is inviting young people, rather emphatically, but her gesture highlights quack ideas learned. Diderot with the relationship between philosophy and science seems to be reversed: the philosophy renounces impose its systems and expects their discoveries to extract a general conception of the universe. The philosophy of Diderot, in his characteristic parts is really a philosophy of nature: it derives from Leibniz, it is these principles of reason, less action, continuity, that the scientific study of inorganic and organic world and it constantly assumed, and it was he who first, before Helvetius, Holbach before, puts the man in nature, and reduces science legal natural sciences.

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III. The art of Diderot (by G. Lanson).

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 .