LITMIR.BIZ

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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

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