philosophy, and disdain the homage that people would eagerly pay them in any society that they would honour with their presence."[247] One of the soundest social observers of the time was undoubtedly Duclos.  His Considerations on the Manners of the Century, which was published in 1751, abounds in admirable criticism.  He makes two remarks with which we may close our chapter.  “The relaxation of morals does not prevent people from being very loud in praise of honour and virtue; those who have least of them know very well how much they are concerned in other people having them.”  Again, “The French,” he said, “are the only people among whom it is possible for morals to be depraved, without either the heart being corrupted, or their courage being weakened.”

CHAPTER VII.

THE STAGE.

There is at first something incredible in the account given by some thinkers of Diderot, as the greatest genius of the eighteenth century; and perhaps an adjustment of such nice degrees of comparison among the high men of the world is at no time very profitable.  What is intended by these thoroughgoing panegyrists is that Diderot placed himself at the point of view whence, more comprehensively than was possible from any other, he discerned the long course and the many bearings, the complex faces and the large ramifications, of the huge movement of his day.  He seized the great transition at every point, and grasped all the threads that were to be inwoven into the pattern of the new time.

Diderot is in a thousand respects one of the most unsatisfactory of men and of writers.  Yet it is hard to deny that to whatever quarter he turned, he caught the rising illumination and was shone upon by the spirit of the coming day.  It was no copious and overflowing radiance, but they were the beams of the dawn.  Hence, what he has to say, and we shall soon see how much he said, about the two great arts of painting and the drama, though it is fragmentary, though it is insufficient, yet points, as all the rest of his thoughts pointed, along the lines that the best minds of the western world have since traversed.  He would, in the old metaphysical language, have called the direction of it a turning to Nature, but if we translate this into more positive terms, just as we have said that the Encyclopaedia was a glorification of pacific industry and of civil justice, so we may say that his whole theory of the drama was a glorification of private virtues and domestic life.  And the definite rise of civil justice and industry over feudal privilege and a life of war, and again the elevation of domestic virtue into the place formerly held by patriotic devotion, are the two great sides of a single movement.[248] It is quite true that Diderot and the French of that day had only a glimpse of the promised land in art and poetry.  The whole moral energy of the generation after Diderot was drawn inevitably into the strong current of social action.  The freshly kindled torch of dramatic art passed for nearly half a century to the country of Lessing and Goethe.