"Diderot" redirects here. For the lunar impact crater, see Diderot (crater).
Denis Diderot (French: [dəni did(ə)ʁo]; 5 October 1713 – 31 July 1784) was a French philosopher, art critic, and writer, best known for serving as co-founder, chief editor, and contributor to the Encyclopédie along with Jean le Rond d'Alembert. He was a prominent figure during the Enlightenment.
Diderot's literary reputation during his lifetime rested primarily on his plays and his contributions to the Encyclopédie; many of his most important works, including Jacques the Fatalist, Rameau's Nephew, Paradox of the Actor, and D'Alembert's Dream, were published only after his death.
Denis Diderot was born in Langres, Champagne. His parents were Didier Diderot (1685–1759) a cutler, maître coutelier, and his wife Angélique Vigneron (1677–1748). Three of five siblings survived to adulthood, Denise Diderot (1715–1797) and their youngest brother Pierre-Didier Diderot (1722–1787), and finally their sister Angélique Diderot (1720–1749). According to Arthur McCandless Wilson, Denis Diderot greatly admired his sister Denise, sometimes referring to her as "a female Socrates".
Diderot began his formal education at a Jesuit collège in Langres, and earned a Master of Arts degree in philosophy in 1732. He then entered the Collège d'Harcourt of the University of Paris. He abandoned the idea of entering the clergy and decided instead to study at the Paris Law Faculty. His study of law was short-lived however and, in 1734, Diderot decided to become a writer. Because of his refusal to enter one of the learned professions, he was disowned by his father, and for the next ten years he lived a bohemian existence.
In 1742, he befriended Jean-Jacques Rousseau. In 1743, he further alienated his father by marrying Antoinette Champion (1710–1796), a devout Roman Catholic. The match was considered inappropriate due to Champion's low social standing, poor education, fatherless status, and lack of a dowry. She was about three years older than Diderot. The marriage, in October 1743, produced one surviving child, a girl. Her name was Angélique, named after both Diderot's dead mother and sister. The death of his sister, a nun, in her convent may have affected Diderot's opinion of religion. She is assumed to have been the inspiration for his novel about a nun, La Religieuse, in which he depicts a woman who is forced to enter a convent where she suffers at the hands of the other nuns in the community.
Diderot had affairs with Mlle. Babuti (who would marry Greuze), Madeleine de Puisieux, Sophie Volland and Mme de Maux. His letters to Sophie Volland are known for their candor and are regarded to be "among the literary treasures of the eighteenth century".
Though his work was broad as well as rigorous, it did not bring Diderot riches. He secured none of the posts that were occasionally given to needy men of letters; he could not even obtain the bare official recognition of merit that was implied by being chosen a member of the Académie française. When the time came for him to provide a dowry for his daughter, he saw no alternative than to sell his library. When Empress Catherine II of Russia heard of his financial troubles she commissioned an agent in Paris to buy the library. She then requested that the philosopher retain the books in Paris until she required them, and act as her librarian with a yearly salary. Between October 1773 and March 1774, the sick Diderot spent a few months at the empress's court in Saint Petersburg.
Diderot died of pulmonary thrombosis in Paris on 31 July 1784, and was buried in the city's Église Saint-Roch. His heirs sent his vast library to Catherine II, who had it deposited at the National Library of Russia. He has several times been denied burial in the Panthéon with other French notables. The French government considered memorializing him in this fashion on the 300th anniversary of his birth (October 2013), but the idea was apparently shelved.
Diderot's earliest works included a translation of Temple Stanyan's History of Greece (1743); with two colleagues, François-Vincent Toussaint and Marc-Antoine Eidous, he produced a translation of Robert James's Medicinal Dictionary (1746–1748). In 1745, he published a translation of Shaftesbury's Inquiry Concerning Virtue and Merit, to which he had added his own "reflections".
Main article: Philosophical Thoughts
In 1746, Diderot wrote his first original work: the Philosophical Thoughts (French:Pensées philosophiques). In this book, Diderot argued for a reconciliation of reason with feeling so as to establish harmony. According to Diderot, without feeling there is a detrimental effect on virtue, and no possibility of creating sublime work. However, since feeling without discipline can be destructive, reason was necessary to control feeling.
At the time Diderot wrote this book he was a deist. Hence there is a defense of deism in this book, and some arguments against atheism. The book also contains criticism of Christianity.
The Skeptic's Walk
Main article: The Skeptic's Walk
In 1747, Diderot wrote The Skeptic's Walk (French:Promenade du sceptique) in which a deist, an atheist, and a pantheist have a dialogue on the nature of divinity. The deist gives the argument from design. The atheist says that the universe is better explained by physics, chemistry, matter, and motion. The pantheist says that the cosmic unity of mind and matter, which are co-eternal and comprise the universe, is God. This work remained unpublished till 1830. The local police—warned by the priests of another attack on Christianity—either seized the manuscript, or authorities forced Diderot give an undertaking that he would not publish this work, according to different versions of what happened.
The Indiscreet Jewels
Main article: The Indiscreet Jewels
In 1748, Diderot needed to raise money on short notice. He had become a father through his wife, and his mistress Mme. de Puisieux was making financial demands from him. At this time, Diderot had stated to Mme. de Puisieux that writing a novel was a trivial task, whereupon she challenged him to write a novel. In response, Diderot wrote his novel The Indiscreet Jewels (French:Les bijoux indiscrets). The book is about the magical ring of a Sultan which induces any woman's "discreet jewels"[note 1] to confess their sexual experiences when the ring is pointed at them. In all, the ring is pointed at thirty different women in the book—usually at a dinner or a social meeting—with the Sultan typically being visible to the woman. However, since the ring has the additional property of making its owner invisible when required, a few of the sexual experiences recounted are through direct observation with the Sultan making himself invisible and placing his person in the unsuspecting woman's boudoir.
Besides the bawdiness there are several digressions into philosophy, music, and literature in the book. In one such philosophical digression, the Sultan has a dream in which he sees a child named "Experiment" growing bigger and stronger till it demolishes an ancient temple named "Hypothesis". The book proved to be lucrative for Diderot even though it could only be sold clandestinely. It is Diderot's most published work.
The book is believed to be an imitation of Le Sopha.
Diderot would keep writing on science in a desultory way all his life. The scientific work of which he was most proud was Memoires sur differents sujets de mathematique (1748). This work contains original ideas on acoustics, tension, air resistance, and "a project for a new organ" which could be played by all. Some of Diderot's scientific works were applauded by contemporary publications of his time like The Gentleman's Magazine, the Journal des savants; and the Jesuit publication Journal de Trevoux, which invited more such work: "on the part of a man as clever and able as M. Diderot seems to be, of whom we should also observe that his style is as elegant, trenchant, and unaffected as it is lively and ingenious."
Letter on the Blind
Diderot's celebrated Letter on the Blind (Lettre sur les aveugles à l'usage de ceux qui voient) (1749) introduced him to the world as an original thinker. The subject is a discussion of the interrelation between man's reason and the knowledge acquired through perception (the five senses). The title of his book also evoked some ironic doubt about who exactly were "the blind" under discussion. In the essay, blind English mathematician Nicholas Saunderson argues that, since knowledge derives from the senses, mathematics is the only form of knowledge that both he and a sighted person can agree on. It is suggested that the blind could be taught to read through their sense of touch. (A later essay, Lettre sur les sourds et muets, considered the case of a similar deprivation in the deaf and mute.) According to Jonathan Israel, what makes the Lettre sur les aveugles so remarkable, however, is its distinct, if undeveloped, presentation of the theory of variation and natural selection.
This powerful essay, for which La Mettrie expressed warm appreciation in 1751, revolves around a remarkable deathbed scene in which a dying blind philosopher, Saunderson, rejects the arguments of a deist clergyman who endeavours to win him round to a belief in a providential God during his last hours. Saunderson's arguments are those of a neo-SpinozistNaturalist and fatalist, using a sophisticated notion of the self-generation and natural evolution of species without Creation or supernatural intervention. The notion of "thinking matter" is upheld and the "argument from design" discarded (following La Mettrie) as hollow and unconvincing. The work appeared anonymously in Paris in June 1749, and was vigorously suppressed by the authorities. Diderot, who had been under police surveillance since 1747, was swiftly identified as the author, had his manuscripts confiscated, and was imprisoned for some months, under a lettre de cachet, on the outskirts of Paris, in the dungeons at Vincennes where he was visited almost daily by Rousseau, at the time his closest and most assiduous ally.
Voltaire wrote an enthusiastic letter to Diderot commending the Lettre and stating that he had held Diderot in high regard for a long time to which Diderot had sent a warm response. Soon after this, Diderot was arrested.
Science historian Conway Zirkle has written that Diderot was an early evolutionary thinker and noted that his passage that described natural selection was "so clear and accurate that it almost seems that we would be forced to accept his conclusions as a logical necessity even in the absence of the evidence collected since his time."
Incarceration and release
Angered by public resentment over the Peace of Aix-la-Chapelle, the government started incarcerating many of its critics. It was decided at this time to rein in Diderot. On 23 July 1749, the governor of the Vincennes fortress instructed the police to incarcerate Diderot, and the next day he was arrested and placed in solitary confinement in the Vincennes. He had been permitted to retain one book that he had in his possession at the time of his arrest, Paradise Lost, which he read during his incarceration. He wrote notes and annotations on the book, using a toothpick as a pen, and ink that he made by scraping slate from the walls and mixing it with wine.
In August 1749, Mme du Chatelet, presumably at Voltaire's behest, wrote to the governor of Vincennes, who was her kinsman, pleading that Diderot be lodged more comfortably while jailed. The governor then offered Diderot access to the great halls of the Vincennes castle and the freedom to receive books and visitors providing he would write a document of submission. On 13 August 1749, Diderot wrote to the governor:
I admit to you...that the Pensees, the Bijoux, and the Lettre sur les aveugles are debaucheries of the mind that escaped from me; but I can...promise you on my honor (and I do have honor) that they will be the last, and that they are the only ones...As for those who have taken part in the publication of these works, nothing will be hidden from you. I shall depose verbally, in the depths[secrecy] of your heart, the names both of the publishers and the printers.
On 20 August, Diderot was lodged in a comfortable room in the Vincennes, allowed to meet visitors, and to walk in the gardens of the Vincennes. On 23 August, Diderot signed another letter promising to never leave the Vincennes without permission. On 3 November 1749, Diderot was released from the Vincennes. Subsequently, in 1750, he released the prospectus for the Encyclopédie.
Main article: Encyclopédie
André le Breton, a bookseller and printer, approached Diderot with a project for the publication of a translation of Ephraim Chambers' Cyclopaedia, or Universal Dictionary of Arts and Sciences into French, first undertaken by the Englishman John Mills, and followed by the German Gottfried Sellius. Diderot accepted the proposal, and transformed it. He persuaded Le Breton to publish a new work, which would consolidate ideas and knowledge from the Republic of Letters. The publishers found capital for a larger enterprise than they had first planned. Jean le Rond d'Alembert was persuaded to become Diderot's colleague, and permission was procured from the government.
In 1750 an elaborate prospectus announced the project, and in 1751 the first volume was published. This work was unorthodox and advanced for the time. Diderot stated that "An encyclopedia ought to make good the failure to execute such a project hitherto, and should encompass not only the fields already covered by the academies, but each and every branch of human knowledge." Comprehensive knowledge will give "the power to change men's common way of thinking." The work combined scholarship with information on trades. Diderot emphasized the abundance of knowledge within each subject area. Everyone would benefit from these insights.
Diderot's work, however, was mired in controversy from the beginning; the project was suspended by the courts in 1752. Just as the second volume was completed accusations arose, regarding seditious content, concerning the editor's entries on religion and natural law. Diderot was detained and his house was searched for manuscripts for subsequent articles. But the search proved fruitless as no manuscripts could be found. They were hidden in the house of an unlikely confederate—Chretien de Lamoignon Malesherbes, the very official who ordered the search. Although Malesherbes was a staunch absolutist—loyal to the monarchy—he was sympathetic to the literary project. Along with his support, and that of other well-placed influential confederates, the project resumed. Diderot returned to his efforts only to be constantly embroiled in controversy.
These twenty years were to Diderot not merely a time of incessant drudgery, but harassing persecution and desertion of friends. The ecclesiastical party detested the Encyclopédie, in which they saw a rising stronghold for their philosophic enemies. By 1757 they could endure it no longer. The subscribers had grown from 2,000 to 4,000, a measure of the growth of the work in popular influence and power. The Encyclopédie threatened the governing social classes of France (aristocracy) because it took for granted the justice of religious tolerance, freedom of thought, and the value of science and industry. It asserted the doctrine that the main concern of the nation's government ought to be the nation's common people. It was believed that the Encyclopédie was the work of an organized band of conspirators against society, and that the dangerous ideas they held were made truly formidable by their open publication. In 1759, the Encyclopédie was formally suppressed. The decree did not stop the work, which went on, but its difficulties increased by the necessity of being clandestine. Jean le Rond d'Alembert withdrew from the enterprise and other powerful colleagues, including Anne Robert Jacques Turgot, Baron de Laune, declined to contribute further to a book which had acquired a bad reputation.
Diderot was left to finish the task as best he could. He wrote several hundred articles, some very slight, but many of them laborious, comprehensive, and long. He damaged his eyesight correcting proofs and editing the manuscripts of less competent contributors. He spent his days at workshops, mastering manufacturing processes, and his nights writing what he had learned during the day. He was incessantly harassed by threats of police raids. The last copies of the first volume were issued in 1765.
In 1764, when his immense work was drawing to an end, he encountered a crowning mortification: he discovered that the bookseller, Le Breton, fearing the government's displeasure, had struck out from the proof sheets, after they had left Diderot's hands, all passages that he considered too dangerous. "He and his printing-house overseer," writes Furbank, "had worked in complete secrecy, and had moreover deliberately destroyed the author's original manuscript so that the damage could not be repaired." The monument to which Diderot had given the labor of twenty long and oppressive years was irreparably mutilated and defaced. It was 12 years, in 1772, before the subscribers received the final 28 folio volumes of the Encyclopédie, ou dictionnaire raisonné des sciences, des arts et des métiers since the first volume had been published.
Although the Encyclopédie was Diderot's most monumental product, he was the author of many other works that sowed nearly every intellectual field with new and creative ideas. Diderot's writing ranges from a graceful trifle like the Regrets sur ma vieille robe de chambre (Regrets for my Old Dressing Gown) up to the heady D'Alembert's Dream (Le Rêve de d'Alembert) (composed 1769), a philosophical dialogue in which he plunges into the depths of the controversy as to the ultimate constitution of matter and the meaning of life.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 in its challenge to the conventional novel's structure and content.
The dialogue Rameau's Nephew (French: Le Neveu de Rameau) is a "farce-tragedy" reminiscent of the Satires of Horace, a favorite classical author of Diderot's whose lines "Vertumnis, quotquot sunt, natus iniquis" ("A man born when every single Vertumnus was out of sorts") appear as epigraph. According to Nicholas Cronk, Rameau's Nephew is "arguably the greatest work of the French Enlightenment's greatest writer."
Diderot's intention in writing the dialogue—whether as a satire on contemporary manners, a reduction of the theory of self-interest to an absurdity, the application of irony to the ethics of ordinary convention, a mere setting for a discussion about music, or a vigorous dramatic sketch of a parasite and a human original—is disputed. In political terms it explores "the bipolarisation of the social classes under absolute monarchy," and insofar as its protagonist demonstrates how the servant often manipulates the master, Le Neveu de Rameau can be seen to anticipate Hegel's master–slave dialectic.
The narrator in the book recounts a conversation with Jean-François Rameau, nephew of the famous Jean-Philippe Rameau. The nephew composes and teaches music with some success but feels disadvantaged by his name and is jealous of his uncle. Eventually he sinks into an indolent and debauched state. After his wife's death, he loses all self-esteem and his brusque manners result in him being ostracized by former friends. A character profile of the nephew is now sketched by Diderot: a man who was once wealthy and comfortable with a pretty wife, who is now living in poverty and decadence, shunned by his friends. And yet this man retains enough of his past to analyze his despondency philosophically and maintains his sense of humor. Essentially he believes in nothing—not in religion, nor in morality; nor in the Roussean view about nature being better than civilization since in his opinion every species in nature consumes one another. He views the same process at work in the economic world where men consume each other through the legal system. The wise man, according to the nephew, will consequently practice hedonism:
Hurrah for wisdom and philosophy!--the wisdom of Solomon: to drink good wines, gorge on choice foods, tumble pretty women, sleep on downy beds; outside of that, all is vanity.
The dialogue ends with Diderot calling the nephew a wastrel, a coward, and a glutton devoid of spiritual values to which the nephew replies: "I believe you are right."
The publication history of the Nephew is circuitous. Written in 1761, Diderot never saw the work through to publication during his lifetime, and apparently did not even share it with his friends. After Diderot's death, a copy of the text reached Schiller, who gave it to Goethe, who, in 1805, translated the work into German. Goethe's translation entered France, and was retranslated into French in 1821. Another copy of the text was published in 1823, but it had been expurgated by Diderot's daughter prior to publication. The original manuscript was only found in 1891.
Diderot's most intimate friend was the philologistFriedrich Melchior Grimm. They were brought together by their friend in common at that time, Jean-Jacques Rousseau. In 1753, Grimm began writing a newsletter, the La Correspondance littéraire, philosophique et critique, which he would send to various high personages in Europe.
In 1759, Grimm asked Diderot to report on the biennial art exhibitions in the Louvre for the Correspondance. Diderot reported on the Salons between 1759 and 1771 and again in 1775 and 1781. Diderot's reports would become "the most celebrated contributions to La Correspondance."
According to Charles Augustin Sainte-Beuve, Diderot's reports 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".
Diderot had appended an Essai sur la peinture to his report on the 1765 Salon in which he expressed his views on artistic beauty. Goethe described the Essai sur la peinture as "a magnificent work; it speaks even more usefully to the poet than to the painter, though for the painter too it is a torch of blazing illumination".
Jean-Baptiste Greuze (1725–1805) was Diderot's favorite contemporary artist. Diderot appreciated Greuze's sentimentality, and more particularly Greuze's portrayals of his wife who had once been Diderot's mistress.
Diderot 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. Diderot introduced the concept of the fourth wall, the imaginary "wall" at the front of the stage in a traditional three-walled box set in a proscenium theatre, through which the audience sees the action in the world of the play.
Diderot and Catherine the Great
Journey to Russia
When the Russian Empress Catherine the Great heard that Diderot was in need of money, she arranged to buy his library and appoint him caretaker of it until his death, at a salary of 1,000 livres per year. She even paid him 25 years salary in advance. Although Diderot hated traveling, he was obliged to visit her.
On 9 October 1773, he reached St. Petersburg, met Catherine the next day and they had several discussions on various subjects. During his five-month stay at her court, he met her almost every day. During these conversations, he would later state, they spoke 'man to man'.[note 2] He would occasionally make his point by slapping her thighs. In a letter to Madame Geoffrin, Catherine wrote:
Your Diderot is an extraordinary man. I emerge from interviews with him with my thighs bruised and quite black. I have been obliged to put a table between us to protect myself and my members.
One of the topics discussed was Diderot's ideas about how to transform Russia into a utopia. In a letter to Comte de Ségur, the Empress wrote that if she followed Diderot's advice, chaos would ensue in her kingdom.
Back in France
When returning, Diderot asked the Empress for 1,500 rubles as reimbursement for his trip. She gave him 3,000 rubles, an expensive ring, and an officer to escort him back to Paris. He would write a eulogy in her honor on reaching Paris.
In July 1784, upon hearing that Diderot was in poor health, Catherine arranged for him to move into a luxurious suite in the Rue de Richelieu. Diderot died two weeks after moving there—on 31 July 1784.
Among Diderot's last works were notes "On the Instructions of her Imperial Majesty...for the Drawing up of Laws". This commentary on Russia included replies to some arguments Catherine had made in the Nakaz. Diderot wrote that Catherine was certainly despotic, due to circumstances and training, but was not inherently tyrannical. Thus, if she wished to destroy despotism in Russia, she should abdicate her throne and destroy anyone who tries to revive the monarchy. She should publicly declare that "there is no true sovereign other than the nation, and there can be no true legislator other than the people." She should create a new Russian legal code establishing an independent legal framework and starting with the text: "We the people, and we the sovereign of this people, swear conjointly these laws, by which we are judged equally." In the Nakaz, Catherine had written: "It is for legislation to follow the spirit of the nation." Diderot's rebuttal stated that it is for legislation to make the spirit of the nation. For instance, he argued, it is not appropriate to make public executions unnecessarily horrific.
Ultimately, Diderot decided not to send these notes to Catherine; however, they were delivered to her with his other papers after he died. When she read them, she was furious and commented that they were an incoherent gibberish devoid of prudence, insight, and verisimilitude.
In his youth, Diderot was originally a follower of Voltaire and his deistAnglomanie, but gradually moved away from this line of thought towards materialism and atheism, a move which was finally realised in 1747 in the philosophical debate in the second part of his The Skeptic's Walk (1747). He was "a philosopher in whom all the contradictions of the time struggle with one another"(Rosenkranz).
In his 1754 book On the interpretation of Nature, Diderot expounded on his views about Nature, evolution, materialism, mathematics, and experimental science. It is speculated that Diderot may have contributed to his friend Baron d'Holbach's 1770 book The System of Nature. Diderot had enthusiastically endorsed the book stating that:
What I like is a philosophy clear, definite, and frank, such as you have in the System of Nature. The author is not an atheist on one page and a deist on another. His philosophy is all of one piece.
In conceiving the Encyclopedie, Diderot had thought of the work as a fight on behalf of posterity and had expressed confidence that posterity would be grateful for his effort. According to Diderot, "posterity is for the philosopher what the 'other world' is for the man of religion."
Appreciation and influence
Marmontel and Henri Meister commented on the great pleasure of having intellectual conversations with Diderot.Morellet, a regular attendee at D'Holbach's salon, wrote: "It is there that I heard...Diderot treat questions of philosophy, art, or literature, and by his wealth of expression, fluency, and inspired appearance, hold our attention for a long stretch of time." Diderot's contemporary, and rival, Jean Jacques Rousseau wrote in his Confessions that after a few centuries Diderot would be accorded as much respect by posterity as was given to Plato and Aristotle. In Germany, Goethe, Schiller, and Lessing expressed admiration for Diderot's writings, Goethe pronouncing Diderot's Rameau's Nephew to be "the classical work of an outstanding man."
In the next century, Diderot was admired by Balzac, Delacroix, Stendhal, Zola, and Schopenhauer. According to Comte, Diderot was the foremost intellectual in an exciting age. Historian Michelet described him as "the true Prometheus" and stated that Diderot's ideas would continue to remain influential long into the future. Marx chose Diderot as his "favourite prose-writer."
Otis Fellows and Norman Torrey have described Diderot as "the most interesting and provocative figure of the French eighteenth century."
In 1993, American writer Cathleen Schine published Rameau's Niece, a satire of academic life in New York that took as its premise a woman's research into an (imagined) 18th-century pornographic parody of Diderot's Rameau's Nephew. The book was praised by Michiko Kakutani in the New York Times as "a nimble philosophical satire of the academic mind" and "an enchanting comedy of modern manners."
French author Eric-Emmanuel Schmitt wrote a play titled Le Libertin (The Libertine) which imagines a day in Diderot's life including a fictional sitting for a woman painter which becomes sexually charged but is interrupted by the demands of editing the Encyclopédie. It was first staged at Paris' Théâtre Montparnasse in 1997 starring Bernard Giraudeau as Diderot and Christiane Cohendy as Madame Therbouche and was well received by critics.
In 2013, the tricentennial of Diderot's birth, his hometown of Langres held a series of events in his honor and produced an audio tour of the town highlighting places that were part of Diderot's past, including the remains of the convent where his sister Angélique took her vows. On 6 October 2013, a museum of the Enlightenment focusing on Diderot's contributions to the movement, the Maison des Lumières Denis Diderot, was inaugurated in Langres.
- Essai sur le mérite et la vertu, written by Shaftesbury French translation and annotation by Diderot (1745)
- Philosophical Thoughts, essay (1746)
- La Promenade du sceptique (1747)
- The Indiscreet Jewels, novel (1748)
- Lettre sur les aveugles à l'usage de ceux qui voient (1749)
- Encyclopédie, (1750–1765)
- Lettre sur les sourds et muets (1751)
- Pensées sur l'interprétation de la nature, essai (1751)
- "Systeme de la Nature," (1754)
- Le Fils naturel (1757)
- Entretiens sur le Fils naturel (1757)
- Le père de famille (1758)
- Discours sur la poesie dramatique (1758)
- Salons, critique d'art (1759–1781)
- La Religieuse, Roman (1760; revised in 1770 and in the early 1780s; the novel was first published as a volume posthumously in 1796).
- Le neveu de Rameau, dialogue (1763).
- Lettre sur le commerce de la librairie (1763)
- Mystification ou l’histoire des portraits (1768)
- Entretien entre D'Alembert et Diderot (1769)
- Le rêve de D'Alembert, dialogue (1769)
- Suite de l'entretien entre D'Alembert et Diderot (1769)
- Paradoxe sur le comédien (written between 1770 and 1778; first published posthumously in 1830)
- Apologie de l'abbé Galiani (1770)
- Principes philosophiques sur la matière et le mouvement, essai (1770)
- Entretien d'un père avec ses enfants (1771)
- Jacques le fataliste et son maître, novel (1771–1778)
- Ceci n'est pas un conte, story (1772)
- Madame de La Carlière, short story and moral fable, (1772)
- Supplément au voyage de Bougainville (1772)
- Histoire philosophique et politique des deux Indes, in collaboration with Raynal (1772–1781)
- Voyage en Hollande (1773)
- Éléments de physiologie (1773–1774)
- Réfutation d'Helvétius (1774)
- Observations sur le Nakaz (1774)
- Essai sur les règnes de Claude et de Néron (1778)
- Est-il Bon? Est-il méchant? (1781)
- Lettre apologétique de l'abbé Raynal à Monsieur Grimm (1781)
- Aux insurgents d'Amérique (1782)
- ^Will Durant (1965). The Story of Civilization Volume 9:The Age of Voltaire. Simon&Schuster. p. 650.
- ^Pickering, Mary (2009). Auguste Comte: Volume 3: An Intellectual Biography. Cambridge University Press. pp. 216, 304. ISBN 978-0-521-11914-6.
- ^Norman Hampson. The Enlightenment. 1968. Harmondsworth: Penguin, 1982. p. 128
- ^Will Durant (1965). The Story of Civilization Volume 9:The Age of Voltaire. Simon&Schuster. pp. 678–79.
- ^Arthur M. Wilson. Diderot: The Testing Years, 1713–1759. New York: Oxford University Press, 1957, p. 14 
- ^ abcArthur Wilson, Diderot (New York: Oxford, 1972).
- ^Will Durant (1965). The Story of Civilization Volume 9: The Age of Voltaire. Simon&Schuster. pp. 675–76.
- ^Will Durant (1965). The Story of Civilization Volume 9:The Age of Voltaire. Simon&Schuster. p. 675.
- ^ abcdefghi One or more of the preceding sentences incorporates text from a publication now in the public domain: Morley, John (1911). "Diderot, Denis". In Chisholm, Hugh. Encyclopædia Britannica. 8 (11th ed.). Cambridge University Press. pp. 204–06.
- ^Verzaal, Elly (25 October 2013). "Diderot op de Kneuterdijk (1)" [Diderot on Kneuterdijk (1)] (in Dutch). National Library of the Netherlands. Archived from the original on 21 October 2014.
- ^Bijou is a slang word meaning the vagina.
- ^Diderot later narrated the following conversation as having taken place:
Catherine:"You have a hot head, and I have one too. We interrupt each other, we do not hear what the other one says, and so we say stupid things." Diderot:"With this difference, that when I interrupt your Majesty, I commit a great impertinence."Catherine: "No, between men there is no such thing as impertinence."
Regrets for my Old Dressing Gown, or
A warning to those who have more taste than fortune
Source: Oeuvres Complètes, Vol IV. Paris, Garnier Fréres, 1875;
Translated: for marxists.org by Mitchell Abidor;
CopyLeft: Creative Commons (Attribute & ShareAlike) marxists.org 2005.
Why didn’t I keep it? It was used to me and I was used to it. It molded all the folds of my body without inhibiting it; I was picturesque and handsome. The other one is stiff, and starchy, makes me look stodgy. There was no need to which its kindness didn’t loan itself, for indigence is almost always officious. If a book was covered in dust, one of its panels was there to wipe it off. If thickened ink refused to flow in my quill, it presented its flank. Traced in long black lines, one could see the services it had rendered me. These long lines announce the litterateur, the writer, the man who works. I now have the air of a rich good for nothing. No one knows who I am.
In its shelter I feared neither the clumsiness of a valet, nor my own, neither the explosion of fire nor the spilling of water. I was the absolute master of my old robe. I have become the slave of the new one.
The dragon that guarded the golden fleece was no more worried than I am. Care envelopes me.
The infatuated old man who turns himself over to the whims , to the mercies of a young girl says, from morning to night; where is my good, my old housekeeper? What demon obsessed me the day I chased her away for this one! And then he cries, he sighs.
I don’t cry, I don’t sigh, but every moment I say: Cursed be he who invented the art of putting a price on common material by tinting it scarlet. Cursed be the precious garment that I revere. Where is my old, my humble, my comfortable rag of common cloth?
My friends, keep your old friends. My friends, fear the touch of wealth. Let my example teach you a lesson. Poverty has its freedoms; opulence has its obstacles.
O Diogenes! How you would laugh if you saw your disciple beneath Aristipius’ luxurious mantle! O Aristipius, this luxurious mantle was paid for by many low acts. What a difference between your soft, crawling, effeminate life and the free and firm life of the rag-wearing cynic. I left behind the barrel in which I ruled in order to serve a tyrant.
But that’s not all, my friend. Lend an ear to the ravages of luxury, the results of a consistent luxury.
My old robe was one with the other rags that surrounded me. A straw chair, a wooden table, a rug from Bergamo, a wood plank that held up a few books, a few smoky prints without frames, hung by its corners on that tapestry. Between these prints three or four suspended plasters formed, along with my old robe, the most harmonious indigence.
All is now discordant. No more coordination, no more unity, no more beauty.
A new, sterile housekeeper who succeeds to a presbytery, the wife who enters the house of a widower, the minister who replaces a disgraced minister, the Molinist prelate who takes over the diocese of a Jansenist prelate cause no more trouble than the scarlet intruder has caused in my household.
I can bear the sight of a peasant woman without disgust. That piece of simple cloth that covers her head, the hair that sparsely falls across her cheeks, those tattered rags that half cover her, that poor short petticoat that doesn’t cover half her legs, her naked feet covered with muck cannot wound me. It is the image of a state I respect; its the ensemble of the of the lack of grace of a necessary and unfortunate condition for which I have pity. But my stomach turns and, despite the perfumed atmosphere that follows her, I distance myself, I turn my gaze away from that courtisan whose coiffure a points d'angleterre, torn sleeves, filthy silk stockings and worn shoes show me the poverty of the day combined with the opulence of the previous evening.
Such would have been my domicile, if the imperious scarlet hadn’t set everything to march in unison with it.
I saw the Bergamo cede the wall to which it had so long been attached to the damascene hanging.
Two prints not without merit: The Chute de la Manne dans le Desert by Poussin and Esther devant Assuerus of the same painter; the one shamefully chased away by an old man by Rubens was the sad Esther; The falling manna was dissipated by a Tempest by Vernet.
The straw chair was relegated to the antechamber by a leather chair.
Homer, Virgil, Horace,and Cicero relieved the weak fir bending under their mass and have been closed in in an inlaid armoire, an asylum more worthy of them than of me.
A large mirror took over the mantle of my fireplace.
Those two lovely molds that I owed to Falconet’s friendship, and which he repaired himself, were moved away by a crouching Venus. Modern clay broken by antique bronze.
The wooden table was still fighting in the field, sheltered by a mass of pamphlets and papers piled up any which way, and which it appeared would protect it from the injuries that threatened it. One day it met its destiny, and despite my laziness the pamphlets and papers put themselves away in a precious bureau.
Evil instinct of the convenient! Delicate and ruinous tact, sublime taste that changes, moves, builds and overturns; that empties the coffers of the fathers; that leaves daughters without a dowry, the sons without an education; that makes so many beautiful things and great evils. You who substituted in my house the fatal and precious desk for the wooden table: it is you who ruins nations, it is you who will perhaps one day take my effects to the Pont Saint-Michel where will be heard the hoarse voice of a certified auctioneer saying: Twenty louis for a crouching Venus.
The space that remained between the tablet of this desk and the Tempest by Vernet, which is above it, made for a void disagreeable to the eye. This void was filled by a clock. And what a clock! A clock a la geoffrin; a clock whose the gold contrasts with the bronze.
There was a vacant corner next to my window. This corner asked for a writing desk, which it obtained.
Another unpleasant void between the tablet of the writing desk and the lovely head by Rubens was filled by two La Grenées.
Here is a Magdeleine by the same artist; there is a sketch either by Vien or Machy, for I also went in for sketches. And it was thus that the edifying repair of a philosopher transformed itself into the scandalous cabinet of a publican. In addition, I insult national poverty.
All that remains of my original mediocrity is a rug of selvage. I can feel that this pitiful rug doesn’t go well with my newfound luxury. But I swore and I swear, like the peasant transferred from his hut to a palace who keeps his sabots, that Denis the philosopher will never walk upon a masterpiece of la Savonnier. When in the morning, covered in my sumptuous scarlet, I enter my office I lower my gaze and I see my old rug of selvage. It reminds me of my beginnings and pride is stopped at the entryway to my heart.
No my friend, no, I have not been corrupted. My door is always open to the needy who address themselves to me; they find me as affable as ever. I listen to them, I give them advice, I assist them, I feel for them. My soul has not been hardened, my head has not gotten too big. My back is good and round, just as before. There’s the same honesty, the same sensitivity. My luxury is brand new and the poison has not yet acted. But who knows what will happen with time? What can be expected of he who has forgotten his wife and his daughter, who has run up debts, who has ceased to be a spouse and father and who, instead of depositing a useful sum deep in a faithful coffer...
Oh holy prophet! Raise you hands to the heavens and pray for a friend in peril. Say to God: If you see in your eternal decrees that riches are corrupting the heart of Denis, don’t spare the masterpieces he idolizes. Destroy them and return him to his original poverty. And I, on my side, will say to the heavens: Oh God! I resign myself to the prayer of the holy prophet and to your will. I abandon everything to you. Take back everything, everything except the Vernet! It’s not the artist, it is you who made it. Respect your own work and that of friendship.
See that lighthouse, see the adjacent tower that rises to the right. See the old tree that the winds have torn. How beautiful that masse is. Above that obscure masse, see the rocks covered in verdure. It is thus that your powerful hand formed them. It is thus that your beneficent hand has carpeted them. See that uneven terrace that descends from the foot of the rocks to the sea. It is the very image of the degradation you have permitted time to exercise on those things of the world that are the most solid. Would your sun have lighted it otherwise? God, if you annihilate that work of art it will be said that you are a jealous God. Have pity on the unfortunates spread out on these banks. Is it not enough for you to have shown them the depths of the abyss? Did you save them only to destroy them? Listen to the prayer of this man who thanks you. Aid in the efforts of he who gathers together the sad remains of his fortune. Close your ear to the imprecations of this madman. Alas, he promised himself such advantageous returns, he had contemplated rest and retirement. He was on his last voyage. A hundred times along the way he calculated on his fingers the size of his fortune and had arranged for its use. And now all of his hopes have vanished; he has barely enough to cover his naked limbs. Be touched by the tenderness of these two spouses. Look at the terror that you have inspired in that woman. She offers you thanks for the evil you did not do her. Nevertheless, her child, too young to know to what peril you exposed it, he, his father and his mother, takes care of the faithful companion of his voyage: he is attaching the collar of his dog. Spare the innocent. Look at that mother freshly escaped from the waters with her spouse: it is not for herself that she is trembling, it is for her child. See how she squeezes it to her breast, how she kisses it. O God, recognize the waters you have created. Recognize them, both when your breath moves them and when your hand calms them. Recognize the black clouds that you gathered and that it pleased you to scatter. Already they are separating, they are moving away; already the light of the day star is reborn on the face of the waters. I foresee calm on that red horizon. How far it is, the horizon! It doesn’t end with the sea. The sky descends beneath it and seems to turn around the globe. Finish lighting up the sky; finish rendering tranquility to the sea. Allow those seamen to put their shipwrecked boat back to sea. Assist in their labor, give them strength and leave me this painting. leave it to me, like the rod with which you will punish the vain. It is already the case that it is no longer i that people visit, that people come to listen to: it is Vernet they come to admire in my house. The painter has humiliated the philosopher.
Oh my friend, the beautiful Vernet I own! The subject is the end of a storm without a harmful catastrophe. The seas are still agitated, the sky covered in clouds; the sailors are busy on their sunken boat, the inhabitants come running from the nearby mountains. How much spirit this painter has! He needed but a small number of principal figures to render all the circumstances of the moment he chose. How true this scene is! With what lightness, ease and vigor it is all painted. I want to keep this testimony of his friendship. I want my son-in-law to transmit it to his children, his children to theirs, and these latter to those that will be born of them.
If only you saw the beauty of the whole of this piece, how everything there is harmonious, how the effects work together, how everything is brought out without effort or affectation. How those mountains on the right are wrapped in vapor. How beautiful those rocks and superimposed edifices are. How picturesque that tree is and the lighting on that terrace. How the light there fades away, how its figures are laid out: true, active, natural, living. How interesting they are, the force with which they are painted. The purity with which they are drawn, how they stand out from the background. The enormous breadth of that space, the verisimilitude of those waters. Those clouds, the sky, that horizon! Here the background is deprived of light, while the foreground is lit up, unlike the usual technique. Come see my Vernet, but don’t take it from me!
With time all debts will be paid, remorse will be calmed and I will have pure joy. Don’t fear that the mad desire to stock up beautiful things has taken control of me. The friends I had I sill have, and their number hasn’t grown. I have Lais but Lais doesn’t have me. Happy in her arms, I am ready to cede her to she who I'll love and who she'll make happier than me. And I want to tell you a secret: that Lais, who it cost others so much to buy, cost me nothing.