Although the Encyclopédie was Diderot's monumental piece, he was the author of many other works that sowed nearly every field of intellectual interest with new and creative ideas. He wrote sentimental plays, Le Fils naturel (1757) and Le Père de famille (1758), accompanying them with essays on theatrical theory and practice, including "Les Entretiens sur Le Fils Naturel" (Conversations on The Natural Son), in which he announced the principles of a new drama: the 'serious genre', a realistic midpoint between comedy and tragedy that stood in opposition to the stilted conventions of the classical French stage. His art criticism was also highly influential. Diderot's Essais sur la peinture was described by Johann Wolfgang von Goethe, as "a magnificent work, which speaks even more helpfully to the poet than to the painter, though to the painter too it is as a blazing torch."
Diderot's most intimate friend was the philologist Friedrich Melchior Grimm. They were brought together by their friend in common at that time, Jean-Jacques Rousseau. Grimm wrote newsletters to various high personages in Germany, reporting the happenings of art and literature in Paris, then the intellectual capital of Europe. Diderot helped Grimm between 1759 and 1779, by writing an account of the annual exhibitions of paintings in the Paris Salon. These reports are highly readable pieces of art criticism. According to Charles Augustin Sainte-Beuve, they initiated the French into a new way of laughing, and introduced people to the mystery and purport of colour by ideas. "Before Diderot," Anne Louise Germaine de Staël wrote, "I had never seen anything in pictures except dull and lifeless colours; it was his imagination that gave them relief and life, and it is almost a new sense for which I am indebted to his genius." Jean-Baptiste Greuze was Diderot's favorite contemporary artist. Greuze's most characteristic pictures were the rendering in colour of the same sentiments of domestic virtue and the pathos of common life, which Diderot had attempted to represent upon the stage.
Diderot was above all things interested in the life of individuals. He did not care about the abstract life of the race, but the incidents of individual character, the fortunes of a particular family, the relations of real and concrete motives in this or that special case. He was delighted with the enthusiasm of a born casuist in curious puzzles of right and wrong, and in devising a conflict between the generalities of ethics and the conditions of an ingeniously contrived practical dilemma. Diderot's interest expressed itself in didactic and sympathetic form. However, in two of his most remarkable pieces, this interest is not sympathetic, but ironic. Jacques le fataliste (written in 1773, but not published until 1792 in German and 1796 in French) is similar to Tristram Shandy and The Sentimental Journey. His dialogue Le Neveu de Rameau (Rameau's Nephew) is a "farce-tragedy" reminiscent of the Satires of Horace. A favorite classical author of Diderot's, Horace's words Vertumnis, quotquot sunt, natus iniquis are quoted at the top of the Nephew. Diderot's intention in writing the dialogue is disputed; whether it is merely a satire on contemporary manners, or a reduction of the theory of self-interest to an absurdity, or the application of irony to the ethics of ordinary convention, or a mere setting for a discussion about music, or a vigorous dramatic sketch of a parasite and a human original. Whatever its intent, it is a remarkable conversation, representing an era that held the art of conversation in the highest regard.
The writing and publication history of the Nephew is likewise a bit mysterious. Diderot never saw the work through to publication during his lifetime, but there is every indication it was of continual interest to him. Though the original draft was written in 1761, he made additions to it year after year until his death twenty-three years later. Goethe's translation (1805) was the first introduction of Le Neveu de Rameau to the European public. After executing it, he gave back the original French manuscript to Friedrich Schiller, from whom he had it. No authentic French copy of it appeared until the writer had been dead for forty years (1823). Diderot's miscellaneous pieces range from a graceful trifle like the Regrets sur ma vieille robe de chambre (Regrets for my Old Dressing Gown) up to Le rêve de D'Alembert, where he plunges into the depths of the controversy as to the ultimate constitution of matter and the meaning of life. Diderot was not a coherent and systematic thinker, but rather "a philosopher in whom all the contradictions of the time struggle with one another" (Rosenkranz). He did not develop a comprehensive system of materialism, but he may have made some contributions to the atheistic materialist works of his friend Paul Henri Thiry, baron d'Holbach.
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