The stir which the Julie communicated to the affections in so many ways, marked progress, but in all the elements of reason she was the most perilous of reactionaries. So hard it is with the human mind, constituted as it is, to march forward a space further to the light, without making some fresh swerve obliquely towards old darkness. The great effusion of natural sentiment was in the air before the New Heloïsa appeared, to condense and turn it into definite channels. One beautiful character, Vauven argues (1715-1747), had begun to teach the culture of emotional instinct in some sayings of exquisite sweetness and moderation, as that "Great thoughts come from the heart." But he came too soon, and, alas for us all, he died young, and he made no mark. Moderation never can make a mark in the epochs when men are beginning to feel the urgent spirit of a new time. Diderot strove with more powerful efforts, in the midst of all his herculean labours for the acquisition and ordering of knowledge, in the same direction towards the great outer world of nature, and towards the great inner world of nature in the human breast. His criticisms on the paintings of each year, mediocre as the paintings were, are admirable even now for their richness and freshness. If Diderot had been endowed with emotional tenacity, as he was with tenacity of understanding and of purpose, the student of the eighteenth century would probably have been spared the not perfectly agreeable task of threading a way along the sinuosities of the character and work of Rousseau. But Rousseau had what Diderot lacked--sustained ecstatic moods, and fervid trances; his literary gesture was so commanding, his apparel so glistening, his voice so rich in long-drawn notes of plangent vibration. His words are the words of a prophet; a prophet, it is understood, who had lived in Paris, and belonged to the eighteenth century, and wrote in French instead of Hebrew. The mischief of his work lay in this, that he raised feeling, now passionate, now quietest, into the supreme place which it was to occupy alone, and not on an equal throne and in equal alliance with understanding. Instead of supplementing reason, he placed emotion as its substitute. And he made this evil doctrine come from the lips of a fictitious character, who stimulated fancy and fascinated imagination. Voltaire laughed at the _baisers âcres_ of Madame de Wolmar, and declared that a criticism of the Marquis of Ximénès had crushed the wretched romance.[50] But Madame de Wolmar was so far from crushed, that she turned the flood of feeling which her own charms, passion, remorse, and conversion had raised, in a direction that Voltaire abhorred, and abhorred in vain.