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La Rochefoucauld, expressing a commonplace with the penetrative terseness that made him a master of the apophthegm, pronounced it "not to be enough to have great qualities: a man must have the economy of them." Or, as another writer says: "Empire in this world belongs not so much to wits, to talents, and to industry, as to a certain skilful economy and to the continual management that a man has the art of applying to all his other gifts."[18] Notwithstanding the peril that haunts superlative propositions, we are inclined to say that Diderot is the most striking illustration of this that the history of letters or speculation has to furnish. If there are many who have missed the mark which they or kindly intimates thought them certain of attaining, this is mostly not for want of economy, but for want of the great qualities which were imputed to them by mistake. To be mediocre, to be sterile, to be futile, are the three fatal endings of many superbly announced potentialities. Such an end nearly always comes of exaggerated faculty, rather than of bad administration of natural gifts. 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. He put on no airs of pretended resignation to inferior production, with bursting hints of the vast superiorities that unfriendly circumstance locked up within him. Yet on one occasion, and only on one, so far as evidence remains, he indulged a natural regret. "And so," he wrote when revising the last sheets of the Encyclopædia (July 25, 1765), "in eight or ten days I shall see the end of an undertaking that has occupied me for twenty years; that has not made my fortune by a long way; that has exposed me many a time to the risk of having to quit my country or lose my freedom; and that has consumed a life that I might have made both more useful and more glorious. The sacrifice of talent to need would be less common, if it were only a question of self. One could easily resolve rather to drink water and eat dry crusts and follow the bidding of one's genius in a garret. But for a woman and for children, what can one not resolve? If I sought to make myself of some account in their eyes, I would not say—I have worked thirty years for you: I would say—I have for you renounced for thirty years the vocation of my nature; I have preferred to renounce my tastes in doing what was useful for you, instead of what was agreeable to myself. That is your real obligation to me, and of that you never think."[19]

It is a question, nevertheless, whether Diderot would have achieved masterpieces, even if the pressure of housekeeping had never driven him to seek bread where he could find it. Indeed it is hardly a question. His genius was spacious and original, but it was too dispersive, too facile of diversion, too little disciplined, for the prolonged effort of combination which is indispensable to the greater constructions whether of philosophy or art. The excellent talent of economy and administration had been denied him; that thrift of faculty, which accumulates store and force for concentrated occasions. He was not encyclopædic by accident, nor merely from external necessity. The quality of rapid movement, impetuous fancy, versatile idea, which he traced to the climate of his birthplace, marked him from the first for an encyclopædic or some such task. His interest was nearly as promptly and vehemently kindled in one subject as in another; he was always boldly tentative, always fresh and vigorous in suggestion, always instant in search. But this multiplicity of active excitements—and with Diderot every interest rose to the warmth of excitement—was even more hostile to masterpieces than were the exigencies of a livelihood. It was not unpardonable in a moment of exhaustion and chagrin to fancy that he had offered up the treasures of his genius to the dull gods of the hearth. But if he had been childless and unwedded, the result would have been the same. He is the munificent prodigal of letters, always believing his substance inexhaustible, never placing a limit to his fancies nor a bound to his outlay. "It is not they who rob me of my life," he wrote; "it is I who give it to them. And what can I do better than accord a portion of it to him who esteems me enough to solicit such a gift? I shall get no praise for it, 'tis true, either now while I am here, nor when I shall exist no longer; but I shall esteem myself for it, and people will love me all the better for it. 'Tis no bad exchange, that of benevolence, against a celebrity that one does not always win, and that nobody wins without a drawback. I have never once regretted the time that I have given to others; I can scarcely say as much for; the time that I have used for myself."[20] Remembering how uniformly men of letters take themselves somewhat too seriously, we may be sorry that this unique figure among them, who was in other respects constituted to be so considerable and so effective, did not take himself seriously enough.

Apart from his moral inaptitude for the monumental achievements of authorship, Diderot was endowed with the gifts of the talker rather than with those of the writer. Like Dr. Johnson, he was a great converser rather than the author of great books. If we turn to his writings, we are at some loss to understand the secret of his reputation. They are too often declamatory, ill-compacted, broken by frequent apostrophes, ungainly, dislocated, and rambling. He has been described by a consummate judge as the most German of all the French. And his style is deeply marked by that want of feeling for the exquisite, that dulness of edge, that bluntness of stroke, which is the common note of all German literature, save a little of the very highest. In conversation we do not insist on constant precision of phrase, nor on elaborate sustension of argument. Apostrophe is made natural by the semi-dramatic quality of the situation. Even vehement hyperbole, which is nearly always a disfigurement in written prose, may become impressive or delightful, when it harmonises with the voice, the glance, the gesture of a fervid and exuberant converser. Hence Diderot's personality invested his talk, as happened in the case of Johnson and of Coleridge, with an imposing interest and a power of inspiration which we should never comprehend from the mere perusal of his writings.

His admirers declared his head to be the ideal head of an Aristotle or a Plato. His brow was wide, lofty, open, gently rounded. The arch of the eyebrow was full of delicacy; the nose of masculine beauty; the habitual expression of the eyes kindly and sympathetic, but as he grew heated in talk, they sparkled like fire; the curves of the mouth bespoke an interesting mixture of finesse, grace, and geniality. His bearing was nonchalant enough, but there was naturally in the carriage of his head, especially when he talked with action, much dignity, energy, and nobleness. It seemed as if enthusiasm were the natural condition for his voice, for his spirit, for every feature. He was only truly Diderot when his thoughts had transported him beyond himself. His ideas were stronger than himself; they swept him along without the power either to stay or to guide their movement. "When I recall Diderot," wrote one of his friends, "the immense variety of his ideas, the amazing multiplicity of his knowledge, the rapid flight, the warmth, the impetuous tumult of his imagination, all the charm and all the disorder of his conversation, I venture to liken his character to nature herself, exactly as he used to conceive her—rich, fertile, abounding in germs of every sort, gentle and fierce, simple and majestic, worthy and sublime, but without any dominating principle, without a master and without a God."[21] Grétry, the musical composer, declares that Diderot was one of the rare men who had the art of blowing the spark of genius into flame; the first impulses stirred by his glowing imagination were of inspiration divine.[22]

Marmontel warns us that he who only knows Diderot in his writings, does not know him at all. We should have listened to his persuasive eloquence, and seen his face aglow with the fire of enthusiasm. It was when he grew animated in talk, and let all the abundance of his ideas flow freely from the source, that he became truly ravishing. In his writings, says Marmontel with obvious truth, he never had the art of forming a whole, and this was because that first process of arranging everything in its place was too slow and too tiresome for him. The want of ensemble vanished in the free and varied course of conversation.[23]

We have to remember then that Diderot was in this respect of the Socratic type, though he was unlike Socrates, in being the disseminator of positive and constructive ideas. His personality exerted a decisive force and influence. In reading the testimony of his friends, we think of the young Aristides saying to Socrates: "I always made progress whenever I was in your neighbourhood, even if I were only in the same house, without being in the same room; but my advancement was greater if I were in the same room with you, and greater still if I could keep my eyes fixed upon you."[24] It has been well said that Diderot, like Socrates, had about him a something dæmonic. He was possessed, and so had the first secret of possessing others. But then to reach excellence in literature, one must also have self-possession; a double current of impulse and deliberation; a free stream of ideas spontaneously obeying a sense or order, harmony, and form. Eloquence in the informal discourse of the parlour or the country walk did not mean in Diderot's case the empty fluency and nugatory emphasis of the ordinary talker of reputation. It must have been both pregnant and copious; declamatory in form, but fresh and substantial in matter; excursive in arrangement, but forcible and pointed in intention. No doubt, if he was a sage, he was sometimes a sage in a frenzy. He would wind up a peroration by dashing his nightcap passionately against the wall, by way of clencher to the argument. Yet this impetuosity, this turn for declamation, did not hinder his talk from being directly instructive. Younger men of the most various type, from Morellet down to Joubert, men quite competent to detect mere bombast or ardent vagueness, were held captive by the cogency of his understanding. His writings have none of this compulsion. We see the flame, but through a veil of interfused smoke. The expression is not obscure, but it is awkward; not exactly prolix, but heavy, overcharged, and opaque. 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.

Diderot's knowledge of our language now did him good service. One of the details of the method by which he taught himself English is curious. Instead of using an Anglo-French dictionary, he always used one in Anglo-Latin. The sense of a Latin or Greek word, he said, is better established, more surely fixed, more definite, less liable to capricious peculiarities of convention, than the vernacular words which the whim or ignorance of the lexicographer may choose. The reader composes his own vocabulary, and gains both correctness and energy.[25] However this may be, his knowledge of English was more accurate than is possessed by most French writers of our own day. Diderot's first work for the booksellers after his marriage seems to have been a translation in three volumes of Stanyan's History of Greece. For this, to the amazement of his wife, he got a hundred crowns. About the same time (1745) he published Principles of Moral Philosophy, or an Essay of Mr. S. on Merit and Virtue. The initial stands for Shaftesbury, and the book translated was his Inquiry concerning Virtue and Merit.

Towards the same time, again, Diderot probably made acquaintance with Madame de Puisieux, of whom it has been said with too patent humour that she was without either the virtue or the merit on which her admirer had just been declaiming. We are told that it was her need of money which inspired him with his first original work. As his daughter's memoir, from which the tale comes, is swarming with blunders, this may not be more true than some of her other statements. All that we know of Diderot's sense and sincerity entitles him to the benefit of the doubt. The Philosophical Thoughts (1746) are a continuation of the vein of the annotations on the Essay. He is said to have thrown these reflections together between Good Friday and Easter Sunday. Nor is there anything incredible in such rapid production, when we remember the sweeping impetuosity with which he flung himself into all that he undertook. The Thoughts are evidently the fruits of long meditation, and the literary arrangement of them may well have been an easy task. They are a robuster development of the scepticism which was the less important side of Shaftesbury. The parliament of Paris ordered the book to be burnt along with some others (July 7, 1746), partly because they were heterodox, partly because the practice of publishing books without official leave was gaining an unprecedented height of license.[26] This was Diderot's first experience of that hand of authority, which was for thirty years to surround him with mortification and torment. But the disapproval of authority did not check the circulation or influence of the Thoughts. They were translated into German and Italian, and were honoured by a shower of hostile criticism. In France they were often reprinted, and even in our own day they are said not wholly to have lost their vogue as a short manual of scepticism.[27]

The historians of literature too often write as if a book were the cause or the controlling force of controversies in which it is really only a symbol, or a proclamation of feelings already in men's minds. We should never occupy ourselves in tracing the thread of a set of opinions, without trying to recognise the movement of living men and concrete circumstance that accompanied and caused the progress of thought. In watching how the beacon-fire flamed from height to height—

φάος δε τηέπομπον ουκ ηναίνετο

φρορα, προσαιθρίζουσα πόμπιμονφλόγα—

we should not forget that its source and reference lie in action, in the motion and stirring of confused hosts and multitudes of men. A book, after all, is only the mouthpiece of its author, and the author being human is moved and drawn by the events that occur under his eye. It was not merely because Bacon and Hobbes and Locke had written certain books, that Voltaire and Diderot became free-thinkers and assailed the church. "So long," it has been said, "as a Bossuet, a Fénelon, an Arnauld, a Nicole, were alive, Bayle made few proselytes; the elevation of Dubois and its consequences multiplied unbelievers and indifferents."[28]

The force of speculative literature always hangs on practical opportuneness. The economic evils of monasticism, the increasing flagrancy and grossness of superstition, the aggressive factiousness of the ecclesiastics, the cruelty of bigoted tribunals—these things disgusted and wearied the more enlightened spirits, and the English philosophy only held out an inspiring intellectual alternative.[29]

Nor was it accident that drew Diderot's attention to Shaftesbury, rather than to any other of our writers. That author's essay on Enthusiasm had been suggested by the extravagances of the French prophets, poor fanatics from the Cevennes, who had fled to London after the revocation of the edict of Nantes, and whose paroxysms of religious hysteria at length brought them into trouble with the authorities (1707). Paris saw an outbreak of the same kind of ecstasy, though on a much more formidable scale, among the Jansenist fanatics, from 1727 down to 1758, or later. Some of the best attested miracles in the whole history of the supernatural were wrought at the tomb of the Jansenist deacon, Paris.[30] The works of faith exalted multitudes into convulsive transports; men and women underwent the most cruel tortures, in the hope of securing a descent upon them of the divine grace. The sober citizen, whose journal is so useful a guide to domestic events in France from the Regency to the Peace of 1763, tells us the effect of this hideous revival upon public sentiment. People began to see, he says, what they were to think of the miracles of antiquity. The more they went into these matters, whether miracles or prophecies, the more obscurity they discovered in the one, the more doubt about the other. Who could tell that they had not been accredited and established in remote times with as little foundation as what was then passing under men's very eyes? Just in the same way, the violent and prolonged debates, the intrigue, the tergiversation, which attended the acceptance of the famous Bull Unigenitus, taught shrewd observers how it is that religions establish themselves. They also taught how little respect is due in our minds and consciences to the great points which the universal church claims to have decided.[31]

These are the circumstances which explain the rude and vigorous scepticism of Diderot's first performances. And they explain the influence of Shaftesbury over him. Neither Diderot nor his contemporaries were ready at once to plunge into the broader and firmer negation to which they afterwards committed themselves. No doubt some of the politeness which he shows to Christianity, both in the notes to his translation of Shaftesbury, and in his own Philosophic Thoughts, is no more than an ironical deference to established prejudices. The notes to the Essay on Merit and Virtue show that Diderot, like all the other French revolters against established prejudice, had been deeply influenced by the shrewd-witted Montaigne. But the ardour of the disciple pressed objections home with a trenchancy that is very unlike the sage distillations of the master. It was from Shaftesbury, however, that he borrowed common sense as a philosophic principle. Shaftesbury had indirectly drawn it from Locke, and through Hutcheson it became the source and sponsor of the Scottish philosophy of that century. This was a weapon exactly adapted for dealing with a theology that was discredited in the eyes of all cool observers by the hysterical extravagances of one set of religionists, and the factious pretensions of their rivals. And no other weapon was at hand. The historic or critical method of investigation was impossible, for the age did not possess the requisite learning. The indirect attack from the side of physical science was equally impossible. The bearing of Newton's great discovery on the current conceptions of the Creator and the supposed system of the divine government, was not yet fully realised. The other scientific ideas which have since made the old hypothesis less credible, were not at that time even conceived.

Diderot did indeed perceive even so early as this that the controversy was passing from the metaphysicians to the physicists. Though he for the moment misinterpreted the ultimate direction of the effect of experimental discovery, he discerned its potency in the field of theological discussion. "It is not from the hands of the metaphysician," he said, "that atheism has received the weightiest strokes. The sublime meditations of Malebranche and Descartes were less calculated to shake materialism than a single observation of Malpighi's. If this dangerous hypothesis is tottering in our days, it is to experimental physics that such a result is due. It is only in the works of Newton, of Muschenbroek, of Hartzoeker, and of Nieuwentit, that people have found satisfactory proofs of the existence of a being of sovereign intelligence. Thanks to the works of these great men, the world is no longer a god; it is a machine with its cords, its pulleys, its springs, its weights."[32] In other words, Diderot had as yet not made his way beyond the halting-place which has been the favourite goal of English physicists from Newton down to Faraday.[33] Consistent materialism had not yet established itself in his mind. Meanwhile he laid about him with his common sense, just as Voltaire did, though Diderot has more weightiness of manner. If his use of the weapon cannot be regarded as a decisive settlement of the true issues, we have to remember that he himself became aware in a very short time of its inadequateness, and proceeded to the discussion, as we shall presently see, from another side.

The scope of the Philosophical Thoughts, and the attitude of Diderot's mind when they were written, may be shown in a few brief passages. The opening words point to the significance of the new time in one direction, and they are the key-note to Diderot's whole character. "People are for ever declaiming against the passions; they set down to them all the pains that man endures, and quite forget that they are also the source of all his pleasures. It is regarded as an affront to reason if one dares to say a word in favour of its rivals. Yet it is only passions, and strong passions, that can raise the soul to great things. 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 fine design truly in your pietist, to torment himself like a convict in order to desire nothing, love nothing, feel nothing; and he would end by becoming a true monster, if he were to succeed!"[34] Many years afterwards he wrote in the same sense to Madame Voland. "I have ever been the apologist of strong passions; they alone move me. Whether they inspire me with admiration or horror, I feel vehemently. If atrocious deeds that dishonour our nature are due to them, it is by them also that we are borne to the marvellous endeavour that elevates it. The man of mediocre passion lives and dies like the brute." And so forth, until the writer is carried to the perplexing position that "if we were bound to choose between Racine, a bad husband, a bad father, a false friend, and a sublime poet, and Racine, good father, good husband, good friend, and dull worthy man, I hold to the first. Of Racine, the bad man, what remains? Nothing. Of Racine, the man of genius? The work is eternal."[35] Without attempting to solve this problem in casuistry, we recognise Diderot's mood, and the hatred with which it would be sure to inspire him for the starved and mutilated passions of the Christian type. The humility, chastity, obedience, indolent solitude, which had for centuries been glorified by the Church, were monstrous to this vehement and energetic spirit. The church had placed heroism in effacement. Diderot, borne to the other extreme, left out even discipline. To turn from his maxims on the foundation of conduct, to his maxims on opinion. As we have said, his attitude is that of the sceptic:—

What has never been put in question, has not been proved. What people have not examined without prepossessions, they have not examined thoroughly. Scepticism is the touchstone. (§ 31.)

Incredulity is sometimes the vice of a fool, and credulity the defect of a man of intelligence. The latter sees far into the immensity of the Possible; the former scarcely sees anything possible beyond the Actual. Perhaps this is what produces the timidity of the one, and the temerity of the other.

A demi-scepticism is the mark of a feeble understanding. It reveals a pusillanimous reasoner, who suffers himself to be alarmed by consequences; a superstitious creature, who thinks he is honouring God by the fetters which he imposes on his reason; a kind of unbeliever who is afraid of unmasking himself to himself. For if truth has nothing to lose by examination, as is the demi-sceptic's conviction, what does he think in the bottom of his heart of those privileged notions which he fears to sound, and which are placed in one of the recesses of his brain, as in a sanctuary to which he dares not draw nigh? (§ 34.)

Scepticism does not suit everybody. It supposes profound and impartial examination. He who doubts because he does not know the grounds of credibility, is no better than an ignoramus. The true sceptic has counted and weighed the reasons. But it is no light matter to weigh arguments. Who of us knows their value with any nicety? Every mind has its own telescope. An objection that disappears in your eyes, is a colossus in mine: you find an argument trivial that to me is overwhelming. … If then it is so difficult to weigh reasons, and if there are no questions which have not two sides, and nearly always in equal measure, how come we to decide with such rapidity? (§ 24.)

When the pious cry out against scepticism, it seems to me that they do not understand their own interest, or else that they are inconsistent. If it is certain that a true faith to be embraced, and a false faith to be abandoned, need only to be thoroughly known, then surely it must be highly desirable that universal doubt should spread over the surface of the earth, and that all nations should consent to have the truth of their religions examined. Our missionaries would find a good half of their work done for them. (§ 36.)

One thing to be remembered is that Diderot, like Vauvenargues, Voltaire, Condorcet, always had Pascal in his mind when dealing with apologetics. They all recognised in him a thinker with a love of truth, as distinguished from the mere priest, Catholic, Anglican, Brahman, or another. "Pascal," says Diderot, "was upright, but he was timid and inclined to credulity. An elegant writer and a profound reasoner, he would doubtless have enlightened the world, if Providence had not abandoned him to people who sacrificed his talents to their own antipathies. How much to be regretted, that he did not leave to the theologians of his time the task of settling their own differences; that he did not give himself up to the search for truth, without reserve and without the fear of offending God by using all the intelligence that God had given him. How much to be regretted that he took for masters men who were not worthy to be his disciples, and was foolish enough to think Arnauld, De Sacy, and Nicole, better men than himself." (§ 14.) The Philosophic Thoughts are designed for an answer in form to the more famous Thoughts of this champion of popular theology. The first of the following extracts, for instance, recalls a memorable illustration of Pascal's sublime pessimism. A few passages will illustrate sufficiently the line of argument which led the foremost men at the opening of the philosophic revolution to reject the pretensions of Christianity:—

What voices! what cries! what groans! Who is it that has shut up in dungeons all these piteous souls? What crimes have the poor wretches committed? Who condemns them to such torments? The God whom they have offended. Who then is this God? A God full of goodness. But would a God full of goodness take delight in bathing himself in tears? If criminals had to calm the furies of a tyrant, what would they do more? … There are people of whom we ought not to say that they fear God, but that they are horribly afraid of him. … Judging from the picture they paint of the Supreme Being, from his wrath, from the rigour of his vengeance, from certain comparisons expressive of the ratio between those whom he leaves to perish and those to whom he deigns to stretch out a hand, the most upright soul would be tempted to wish that such a being did not exist. (§§ 7–9.)

You present to an unbeliever a volume of writings of which you claim to show him the divinity. But, before going into your proofs, he will be sure to put some questions about your collection. Has it always been the same? Why is it less ample now than it was some centuries ago? By what right have they banished this work or that, which another sect reveres, and preserved this or that, which the other has repudiated? … You only answer all these difficulties by the avowal that the first foundations of the faith are purely human; that the choice between the manuscripts, the restoration of passages, finally the collection, has been made according to rules of criticism. Well, I do not refuse to concede to the divinity of the sacred books a degree of faith proportioned to the certainty of these rules. (§ 59.)

People agree that it is of the last importance to employ none but solid arguments for the defence of a creed. Yet they would gladly persecute those who attempt to cry down the bad arguments. What then, is it not enough to be a Christian? Am I also to be one upon wrong grounds? (§57.)

The less probability a fact has, the more does the testimony of history lose its weight. I should have no difficulty in believing a single honest man who should tell me that the king had just won a complete victory over the allies. But if all Paris were to assure me that a dead man had come to life again, I should not believe a word of it. That a historian should impose upon us, or that a whole people should be mistaken—there is no miracle in that. (§46.)

What is God? A question that we put to children, and that philosophers have much trouble to answer. We know the age at which a child ought to learn to read, to sing, to dance, to begin Latin or geometry. It is only in religion that you take no account of his capacity. He scarcely hears what you say, before he is asked, What is God? It is at the same instant, from the same lips, that he learns that there are ghosts, goblins, were-wolves—and a God. (§25.)

The diversity of religious opinions has led the deists to invent an argument that is perhaps more singular than sound. Cicero, having to prove that the Romans were the most warlike people in the world, adroitly draws this conclusion from the lips of their rivals. Gauls, to whom if to any, do you yield the palm for courage? To the Romans. Parthians, after you, who are the bravest of men? The Romans. Africans, whom would you fear, if you were to fear any? The Romans. Let us interrogate the religionists in this fashion, say the deists. Chinese, what religion would be the best, if your own were not the best? Naturalism. Mussulmans, what faith would you embrace, if you abjured Mahomet? Naturalism. Christians, what is the true religion, if it be not Christianity? Judaism. But you, O Jews, what is the true religion, if Judaism be false? Naturalism. Now those, continues Cicero, to whom the second place is awarded by unanimous consent, and who do not in turn concede the first place to any—it is those who incontestably deserve that place. (§62.)

In all this we notice one constant characteristic of the eighteenth century controversy about revealed religion. The assailant demands of the defender an answer to all the intellectual or logical objections that could possibly be raised by one who had never been a Christian, and who refused to become a Christian until these objections could be met. No account is taken of the mental conditions by which a creed is engendered and limited; nor of the train of historic circumstance which prepares men to receive it. The modern apologist escapes by explaining religion; the apologist of a hundred years ago was required to prove it. The end of such a method was inevitably a negation. The objective propositions of a creed with supernatural pretensions can never be demonstrated from natural or rationalistic premisses. And if they could be so demonstrated, it would only be on grounds that are equally good for some other creeds with the same pretensions. The sceptic was left triumphantly weighing one revealed system against another in an equal balance.[36]

The position of the writer of the Philosophical Thoughts is distinctly theistic. Yet there is at least one striking passage to show how forcibly some of the arguments on the other side impressed him. "I open," says Diderot, "the pages of a celebrated professor, and I read—'Atheists, I concede to you that movement is essential to matter; what conclusion do you draw from that? That the world results from the fortuitous concourse of atoms? You might as well say that Homer's Iliad, or Voltaire's Henriade, is a result of the fortuitous concourse of written characters.' Now for my part, I should be very sorry to use that reasoning to an atheist; the comparison would give him a very easy game to play. According to the laws of the analysis of chances, he would say to me, I ought not to be surprised that a thing comes to pass when it is possible, and the difficulty of the event is compensated by the number of throws. There is a certain number of throws in which I would safely back myself to bring 100,000 sixes at once with 100,000 dice. Whatever the definite number of the letters with which I am invited fortuitously to produce the Iliad, there is a certain definite number of throws which would make the proposal advantageous for me; nay, my advantage would be infinite if the quantity of throws accorded to me were infinite. Now, you grant to me that matter exists from all eternity, and that movement is essential to it. In return for this concession, I will suppose with you that the world has no limits; that the multitude of atoms is infinite, and that this order, which astonishes you, nowhere contradicts itself. Well, from these reciprocal admissions there follows nothing else unless it be this, that the possibility of engendering the universe fortuitously is very small, but that the number of throws is infinite, or in other words, that the difficulty of the event is more than sufficiently compensated by the multitude of the throws. Therefore, if anything ought to be repugnant to reason, it is the supposition that—matter being in motion from all eternity, and there being perhaps in the infinite number of possible combinations an infinite number of admirable arrangements—none of these admirable arrangements would have been met with, out of the infinite multitude of all those which matter successively took on. Therefore the mind ought to be more astonished at the hypothetical duration of chaos."[37] (§ 21.)

In a short continuation of the Philosophical Thoughts entitled On the Sufficiency of Natural Religion, Diderot took the next step, and turned towards that faith which the votaries of each creed allow to be the best after their own. Even here he is still in the atmosphere of negation. He desires no more than to show that revealed religion confers no advantages which are not already secured by natural religion. "The revealed law contains no moral precept which I do not find recommended and practised under the law of nature; therefore it has taught us nothing new upon morality. The revealed law has brought us no new truth; for what is a truth but a proposition referring to an object, conceived in terms which present clear ideas to me, and the connection of which with one another is intelligible to me? Now revealed religion has introduced no such propositions to us. What it has added to the natural law consists of five or six propositions which are not a whit more intelligible to me than if they were expressed in ancient Carthaginian, inasmuch as the ideas represented by the terms, and the connection among these ideas, escape me entirely."[38]

There is no sign in this piece that Diderot had examined the positive grounds of natural religion, or that he was ready with any adequate answer to the argument which Butler had brought forward in the previous decade of the century. We do not see that he is aware as yet of there being as valid objections on his own sceptical principles to the alleged data of naturalistic deism, as to the pretensions of a supernatural religion. He was content with Shaftesbury's position.

Shaftesbury's influence on Diderot was permanent. It did not long remain so full and entire as it was now in the sphere of religious belief, but the traces of it never disappeared from his notions on morals and art. Shaftesbury's cheerfulness and geniality in philosophising were thoroughly sympathetic to Diderot. The optimistic harmony which the English philosopher, coming after Leibnitz, assumed as the starting-point of his ethical and religious ideas, was not only highly congenial to Diderot's sanguine temperament; it was a most attractive way of escape from the disorderly and confused theological wilderness of sin, asceticism, miracle, and the other monkeries. This naturalistic religion may seem a very unsafe and comfortless halting-place to us. But to men who heard of religion only in connection with the Bull Unigenitus and confessional certificates, with some act of intolerance or cruelty, with futile disputes about grace and the Five Propositions, the naturalism which Shaftesbury taught in prose and Pope versified was like the dawn after the foulness of night. Those who wished to soften the inhuman rigour of the criminal procedure of the time[39] used to appeal from customary ordinances and written laws to the law natural. The law natural was announced to have preceded any law of human devising. In the same way, those who wished to disperse the darkness of unintelligible dogmas and degraded ecclesiastical usages, appealed to the simplicity, light, and purity of that natural religion which was supposed to have been overlaid and depraved by the special superstitions of the different communities of the world.

"Pope's Essay on Man," wrote Voltaire after his return from England (1728), "seems to me the finest didactic poem, the most useful, the most sublime, that was ever written in any tongue. 'Tis true the whole substance of it is to be found in Shaftesbury's Characteristics, and I do not know why Pope gives all the honour of it to Bolingbroke, without saying a word of the celebrated Shaftesbury, the pupil of Locke."[40] 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. Diderot held to this idea throughout, as we shall see. That he did so explains a kind of phraseology about virtue and morality in his letters to Madame Voland and elsewhere, which would otherwise sound disagreeably like cant. Finally, Shaftesbury's peculiar attribution of beauty to morality, his reference of ethical matters to a kind of taste, the tolerably equal importance attributed by him to a sense of beauty and to the moral sense, all impressed Diderot with a mark that was not effaced. In the text of the Inquiry the author pronounces it a childish affectation in the eyes of any man who weighs things maturely to deny that there is in moral beings, just as in corporeal objects, a true and essential beauty, a real sublime. The eagerness with which Diderot seized on this idea from the first, is shown in the declamatory foot-note which he here appends to his original.[41] It was the source, by a process of inverted application, of that ethical colouring in his criticisms on art which made them so new and so interesting, because it carried æsthetic beyond technicalities, and associated it with the real impulses and circumstances of human life.[42]

One of Diderot's writings composed about our present date (1747), the Promenade du Sceptique, did not see the light until after his death. His daughter tells us that a police agent came one day to the house, and proceeded to search the author's room. He found a manuscript, said, "Good, that is what I am looking for," thrust it into his pocket, and went away. Diderot did his best to recover his piece, but never succeeded.[43] A copy of it came into the hands of Naigeon, and it seems to have been retained by Malesherbes, the director of the press, out of goodwill to the author. If it had been printed, it would certainly have cost him a sojourn in Vincennes.

We have at first some difficulty in realising how he police could know the contents of an obscure author's desk. For one thing we have to remember that Paris, though it had been enormously increased in the days of Law and the System (1719–20), was still of a comparatively manageable size. In 1720, though the population of the whole realm was only fourteen or fifteen millions, that of Paris had reached no less a figure than a million and a half. After the explosion of the System, its artificial expansion naturally came to an end. By the middle of the century the highest estimate of the population does not make it much more than eight hundred thousand.[44] This, unlike the socially unwholesome and monstrous agglomerations of Paris or London in our own time, was a population over which police supervision might be made tolerably effective. It was more like a very large provincial town. Again, the inhabitants were marked off into groups or worlds with a definiteness that is now no longer possible. One-fifth of the population, for instance, consisted of domestic servants.[45] There were between twenty-eight and thirty thousand professional beggars.[46] The legal circle was large, and was deeply engrossed by its own interests and troubles. The world of authorship, though extremely noisy and profoundly important, still made only a small group. One effect of a censorship is to produce much gossip and whispering about suspected productions before they see the light, and these whispers let the police into as many secrets as they choose to know.

In Diderot's case, his unsuspecting good-nature to all comers made his affairs accessible enough. His house was the resort of all the starving hacks in Paris, and he has left us more than one graphic picture of the literary drudge of that time. He writes, for instance, about a poor devil to whom he had given a manuscript to copy. "The time for which he had promised it to me expired, and as my man did not appear, I became uneasy, and started in search of him. I found him in a hole about as big as my fist, almost pitch-dark, without the smallest scrap of curtain or hanging to cover the nakedness of his walls, a couple of straw-bottomed chairs, a truckle-bed with a quilt riddled by the moths, a box in the corner of the chimney and rags of every sort stuck upon it, a small tin lamp to which a bottle served as support, and on a shelf some dozen first-rate books. I sat talking there for three-quarters of an hour. My man was as bare as a worm, lean, black, dry, but perfectly serene. He said nothing, but munched his crust of bread with good appetite, and bestowed a caress from time to time on his beloved, on the miserable bedstead that took up two-thirds of his room. If I had never learnt before that happiness resides in the soul, my Epictetus of Hyacinth Street would have taught it me right thoroughly."[47]

The history of one of these ragged clients is to our point. "Among those," he wrote to Madame Voland,[48] "whom chance and misery sent to my address was one Glénat, who knew mathematics, wrote a good hand, and was in want of bread. I did all I could to extricate him from his embarrassments. I went begging for customers for him on every side. If he came at meal-times, i would not let him go; if he lacked shoes, I gave him them; now and then I slipped a shilling into his hands as well. he had the air of the worthiest man in the world, and he even bore his neediness with a certain gaiety that used to amuse me. I was fond of chatting with him; he seemed to set little store by fortune, fame, and most of the other things that charm or dazzle us in life. Seven or eight days ago Damilaville wrote to send this man to him, for one of his friends who had a manuscript for him to copy. I send him; the manuscript is entrusted to him—a work on religion and government. i do not know how it came about, but that manuscript is now in the hands of the lieutenant of police. Damilaville gives me word of this. I hasten to my friend Glénat, to warn him to count no more upon me. 'And why am I not to count upon you?' 'Because you are a marked man. The police have their eyes upon you and 'tis impossible to send work to you.' 'But, my dear sir, there's no risk, so long as you entrust nothing reprehensible to my hands. The police only come here when they scent game. I cannot tell how they do it, but they are never mistaken.' 'Ah well, I at any rate know how it is, and you have let me see much more in the the matter than I ever expected to learn from you,' and with that I turn my back on my rascal." Diderot having occasion to visit the lieutenant of police, introduced the matter, and could not withhold an energetic remonstrance against such an odious abuse of a man's kindness of heart, as the introduction of spies to his fireside. M. de Sartine laughed and Diderot took his leave, vowing that all the wretches who should come to him for the future, with cuffs dirty and torn, with holes in their stockings and holes in their shoes, with hair all unkempt, in shabby overcoats with many rents, or scanty black suits with starting seams, with all the tones and looks of distressed worth, would henceforth seem to him no better than police emissaries and scoundrels set to spy on him. The vow, we may be sure, was soon forgotten, but the story shows how seriously in one respect the man of letters in France was worse off than his brother in England.

The world would have suffered no irreparable loss if the police had thrown the Sceptic's Walk into the fire. It is an allegory designed to contrast the life of religion, the life of philosophy, and the life of sensual pleasure. Of all forms of composition, an allegory most depends for its success upon the rapidity of the writer's eye for new felicities. Accuracy, verisimilitude, sustention, count for nothing in comparison with imaginative adroitness and variety. Bunyan had such an eye, and so, with infinitely more vivacity, had Voltaire. Diderot had not the deep sincerity or realism of conviction of the one; nor had he the inimitable power of throwing himself into a fancy, that was possessed by the other. He was the least agile, the least felicitous, the least ready, of composers. His allegory of the avenue of thorns, the avenue of chestnut-trees, and the avenue of flowers, is an allegory, unskilful, obvious, poor, and not any more amusing than if it's matter had been set forth without any attempt at fanciful decoration. The blinded saints among the thorns, and the voluptuous sinners among the flowers, are rather mechanical figures. The translation into the dialect required by the allegorical situation, of a sceptic's aversion for gross superstition on the one hand, and for gross hedonism on the other, is forced and wooden. The most interesting of the three sections is the second, containing a discussion in which the respective parts are taken by a deist, a pantheist, a subjective idealist, a sceptic, and an atheist. The allegory falls into the background, and we have a plain statement of some of the objections that may be made by the sceptical atheist both to revelation and to natural religion. A starry sky calls forth the usual glorification of the maker of so much beauty. "That is all imagination," rejoins the atheist. "It is mere presumption. We have before us an unknown machine, on which certain observations have been made. Ignorant people who have only examined a single wheel of it, of which they hardly know more than a tooth or two, form conjectures upon the way in which their cogs fit in with a hundred thousand other wheels. And then to finish like artisans, they label the work with the name of it's author."

The defender justifies this by the argument from a repeater-watch, of which Paley and others have made so much use. We at once ascribe the structure and movement of a repeater-watch to intelligent creation. "No—things are not equal," says the atheist. "You are comparing a finished work, whose origin and manufacture we know, to an infinite piece of complexity, whose beginnings, whose present condition, and whose end are all alike unknown, and about whose author you have nothing better than guesses."

But does not its structure announce an author? "No; you do not see who nor what he is. Who told you that the order you admire here belies itself nowhere else? Are you allowed to conclude from a point in space to infinite space? You pile a vast piece of ground with earth-heaps thrown here or there by chance, but among which the worm and the ant find convenient dwelling-places enough. What would you think of these insects, if, reasoning after your fashion, they fell into raptures over the intelligence of the gardener who had arranged all these materials so delightfully for their convenience?"[49]

In this rudimentary form the chief speaker presses some of the objections to optimistic deism from the point of view of the fixed limitations, the inevitable relativity, of human knowledge. This kind of objection had been more pithily expressed by Pascal long before, in the famous article of his Thoughts, on the difficulty of demonstrating the existence of a deity by light of nature.[50] Diderot's argument does not extend to dogmatic denial. It only shows that the deist is exposed to an attack from the same sceptical armoury from which he had drawn his own weapons for attacking revelation. It is impossible to tell how far Diderot went at this moment. The trenchancy with which his atheist urges his reasoning, proves that the writer was fully alive to its force. On the other hand, the atheist is left in the midst of a catastrophe. On his return home, he finds his children murdered, his house pillaged, and his wife carried off. And we are told that he could not complain on his own principles.

If the absence of witnesses allowed the robber to commit his crime with impunity, why should he not? Again, there is a passage in which the writer seems to be speaking his own opinions. An interlocutor maintains the importance of keeping the people in bondage to certain prejudices. "What prejudices? If a man once admits the existence of a God, the reality of moral good and evil, the immortality of the soul, future rewards and punishments, what need has he of prejudices? Supposing him initiated in all the mysteries of transubstantiation, consubstantiation, the Trinity, hypostatical union, predestination, incarnation, and the rest, will he be any the better citizen?"[51]

In truth, Diderot's mind was at this time floating in an atmosphere of rationalistic negation, and the moral of his piece, as he hints, points first to the extravagance of Catholicism, next to the vanity of the pleasures of the world, and lastly, to the unfathomable uncertainty of philosophy. Still, we may discern a significant leaning towards the theory of the eternity of matter, which has arranged itself and assumed variety of form by virtue of its inherent quality of motion.[52]

It is a characteristic and displeasing mark of the time that Diderot in the midst of these serious speculations, should have set himself (1748) to the composition of a story in the kind which the author of the Sofa had made highly popular. The mechanism of this deplorable piece is more grossly disgusting—I mean æsthetically, not morally—than anything to be found elsewhere in the too voluminous library of impure literature. The idea would seem to have been borrowed from one of the old Fabliaux.[53] But what is tolerable in the quaint and naïf verse of the twelfth or thirteenth century, becomes shocking when deliberately rendered by a grave man into bald unblushing prose of the eighteenth. The humour, the rich sparkle, the wit, the merry gaillardise, have all vanished; we are left with the vapid dregs of an obscene anachronism. Mr. Carlyle, who knows how to be manly in these matters, and affects none of the hypocritical airs of our conventional criticism, yet has not more energetically than truly pronounced this "the beastliest of all past, present, or future dull novels." As "the next mortal creature, even a Reviewer, again compelled to glance into that book," I have felt the propriety of our humorist's injunction to such a one, "to bathe himself in running water, put on change of raiment, and be unclean until the even." Diderot himself, as might have been expected, soon had the grace to repent him of this shameful book, and could never hear it mentioned without a very lively embarrassment.[54]

As I have said before,[55] it was such books as this, as Crébillon's novels, as Duclos's Confessions du Comte

X., and the dissoluteness of manners indicated by them, which invested Rousseau's New Heloïsa (1761) with its delightful and irresistible fascinations. Having pointed out elsewhere the significance of the licentiousness from which the philosophic party did not escape untainted,[56] I need not here do more than make two short remarks. First, the corruption which had seized the court after the death of Lewis XIV. in the course of a few years had reached the middle class in the town. The loosening of social fibre, caused by the insenate speculation at the time of Law, no doubt furthered the spread of demoralisation. Second, the reaction against the Church involved among its other elements a passionate contempt for all asceticism. This happened to fall in with the general relaxation of morals that followed Lewis's gloomy rigour. Consequently even men of pure life, like Condorcet, carried the theoretical protest against asceticism so far as to vindicate the practical immorality of the time. This is one of those enormous drawbacks that people seldom take into account when they are enumerating the blessings of superstition. Mediæval superstition had produced some advantages, but now came the set-off. Durable morality had been associated with a transitory religious faith. The faith fell into intellectual discredit, and sexual morality shared its decline for a short season. This must always be the natural consequence of building sound ethics on the shifting sands and rotting foundations of theology.

Such literature as these tales of Diderot's, was the mirror both of the ordinary practical sentiment and the philosophic theory. A nation pays dearly for one of those outbreaks, when they happen to stamp themselves in a literary form that endures. There are those who hold that Louvet's Faublas is to this day a powerful agent in the depravation of the youth of France. Diderot, however, had not the most characteristic virtues of French writing; he was no master in the art of the naïf, nor in delicate malice, nor in sprightly cynicism. His book, consequently, has not lived, and we need not waste more words upon it. Chaque esprit a sa lie, wrote one who for a while had sat at Diderot's feet;[57] and we may dismiss this tale as the lees of Diderot's strong, careless, sensualised understanding. He was afterwards the author of a work, La Religieuse, on which the superficial critic may easily pour out the vials of affected wrath. There, however, he was executing a profound pathological study in a serious spirit. If the subject is horrible, we have to blame the composition of human character, or the mischievousness of a human institution. La Religieuse is no continuation of the vein of defilement which began and ended with the story of 1748—a story which is one among so many illustrations of Guizot's saying about the eighteenth century, that it was the most tempting and seductive of all centuries, for it promised full satisfaction at once to all the greatnesses of humanity and to all its weaknesses. Hettner quotes a passage from the minor writings of Niebuhr, in which the historian compares Diderot with Petronius, as having both of them been honest and well-intentioned men, who in shameless times were carried towards cynicism by their deep contempt for the prevailing vice. "If Diderot were alive now," says Niebuhr, "and if Petronius had only lived in the fourth instead of the third century, then the painting of obscenity would have been odious to them, and the inducement to it infinitely smaller."[58] There is no trace in Diderot of this deep contempt for the viciousness of his time. All that can be said is that he did not escape it in his earlier years, in spite of the natural wholesomeness and rectitude of his character.

It is worthy of remark that the dissoluteness of the middle portion of the century was not associated with the cynical and contemptuous view about women that usually goes with relaxed morality. There was a more or less distinct consciousness of a truth which has ever since grown into clearer prominence with the advance of thought since the Revolution. It is that the sphere and destiny of women are among the three or four foremost questions in social improvement. This is now perceived on all sides, profound as are the differences of opinion upon the proper solution of the problem. A hundred years ago this perception was vague and indefinite, but there was an unmistakable apprehension that the Catholic ideal of womanhood was no more adequate to the facts of life, than Catholic views about science, or property, or labour, or political order and authority.

Diderot has left some curious and striking reflections upon the fate and character of women. He gives no signs of feeling after social reorganisation; he only speaks as one brooding in uneasy meditation over a very mournful perplexity. There is no sentimentalising, after the fashion of Jean Jacques. He does not neglect the plain physical facts, about which it is so difficult in an age of morbid reserve to speak with freedom, yet about which it is fatal to be silent. He indulged in none of those mischievous flatteries of women, which satisfy narrow observers, or coxcombs, or the uxorious. "Never forget," he said, "that for lack of reflection and principles, nothing penetrates down to a certain profoundness of conviction in the understanding of women. The ideas of justice, virtue, vice, goodness, badness, float on the surface of their souls. They have preserved self-love and personal interest with all the energy of nature. Although more civilized than we are outwardly, they have remained true savages inwardly. … It is in the passion of love, the access of jealousy, the transports of maternal tenderness, the instants of superstition, the way in which they show epidemic and popular notions, that women amaze us; fair as the seraphin of Klopstock, terrible as the fiends of Milton. … The distractions of a busy and contentious life break up our passions. A woman, on the contrary, broods over her passions; they are a fixed point on which her idleness or the frivolity of her duties holds her attention fast. … Impenetrable in dissimulation, cruel in vengeance, tenacious in their designs, without scruples about the means of success, animated by a deep and secret hatred against the despotism of man—it seems as if there were among them a sort of league, such as exists among the priests of all nations. … The symbol of women in general is that of the Apocalypse, on the front of which is inscribed Mystery. … If we have more reason than women have, they have far more instinct than we have."[59] All this was said in no bitterness, but in the spirit of the strong observer.

Cynical bitterness is as misplaced as frivolous adulation. Diderot had a deep pity for women. Their physical weaknesses moved him to compassion. To these are added the burden of their maternal function, and the burden of unequal laws. "The moment which shall deliver the girl from subjection to her parents is come; her imagination opens to a future thronged by chimæras; her heart swims in secret delight. Rejoice while thou canst, luckless creature! Time would have weakened the tyranny that thou hast left; time will strengthen the tyranny that awaits thee. They choose a husband for her. She becomes a mother. It is in anguish, at the peril of their lives, at the cost of their charms, often to the damage of their health, that they give birth to their little ones. The organs that mark their sex are subject to two incurable maladies. There is, perhaps, no joy comparable to that of the mother as she looks on her first-born; but the moment is dearly bought. Time advances, beauty passes; there come the years of neglect, of spleen, of weariness. 'Tis in pain that Nature disposes them for maternity; in pain and illness, dangerous and prolonged, she brings maternity to its close. What is a woman after that? Neglected by her husband, left by her children, a nullity in society, then piety becomes her one and last resource. In nearly every part of the world, the cruelty of the civil laws against women is added to the cruelty of Nature. They have been treated like weak-minded children. There is no sort of vexation which, among civilised peoples, man cannot inflict upon woman with impunity."[60]

The thought went no further, in Diderot's mind, than this pathetic ejaculation. He left it to the next generation, to Condorcet and others, to attack the problem practically; effectively to assert the true theory that we must look to social emancipation in women, and moral discipline in men, to redress the physical disadvantages. Meanwhile Diderot deserves credit for treating the position and character of women in a civilised society with a sense of reality; and for throwing aside those faded gallantries of poetic and literary convention, that screen a broad and dolorous gulf.