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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.
Yet in spite of Grimm's most just remonstrance, the lavish profusion always went on as before. There was one man, and only one man, for whose perverse and intractable spirit Diderot's most friendly patience, helpfulness, and devotion, were no match.
Such dramas as Voltaire's Tancred, Diderot's Le Père de Famille, were given under her patronage and discussed in her salon; after the performance she entertained all the friends at supper.
Among Diderot's other visitors was Madame de Puisieux. One day she came clad in gay apparel, bound for a merry-making at a neighbouring village. Diderot, conceiving jealous doubts of her fidelity, received assurance that she would be solitary and companionless at the feast, thinking mournfully of her persecuted philosopher lying in prison.
In 1769 it was reproduced, and, according to Diderot's own account, with enthusiasm. "There was a frightful crowd," he says, "and people hardly remember such a success. I was surprised at it myself. My friends are at the height of exultation. My daughter came home intoxicated with wonder and delight."
Still more true is it that Diderot invented German criticism. Diderot's thoughts on the stage, besides his completed plays, and a number of fragmentary scenes, are contained principally in the Paradox on the Player, a short treatise on Dramatic Poetry, and three dialogues appended to The Natural Son. On the plays a very few words will suffice.
Macdonald puts forward that they were the outcome of a false and malicious conspiracy to blast the reputation of Rousseau then we must admit that she is right, and that all our general 'psychological' considerations as to Diderot's reputation in the world must be disregarded. But, before we come to this conclusion, how careful must we be to examine every other possible explanation of Mrs.
Duty, in that day, to people of quality, meant the observance of certain fixed conventions: the correct stepping of a moral minuet; as an inner obligation, as a voluntary tribute to Diderot's "divinity on earth," it had hardly yet drawn breath.
Yet if Diderot had read the Tatler, he would certainly have referred to the story in No. 55, how William Jones of Newington, born blind, was brought to sight at the age of twenty a story told in a manner after Diderot's own heart. It is proper in this place to mention a short philosophic piece which Diderot wrote in 1751, his Letter on the Deaf and Dumb for the Use of those who Hear and Talk.
We have already said so much of the great and important group of articles on arts and trades, that it is unnecessary to add anything further as to Diderot's particular share in them.
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