France -- Civilization; France -- Politics and government; France -- Social life and customs
These are the great literary powers of the century. With inferior
successes, and through various combinations, the elements which
contributed to the formation of the leading talents also form the
secondary talents, like those below Rousseau,--Bernardin de St. Pierre,
Raynal, Thomas, Marmontel, Mably, Florian, Dupaty, Mercier, Madame de
Staël; and below Voltaire,--the lively and piquant intellects of Duclos,
Piron, Galiani, President Des Brosses, Rivarol, Champfort, and to speak
with precision, all other talents. Whenever a vein of talent, however
meager, peers forth above the ground it is for the propagation and
carrying forward of the new doctrine; scarcely can we find two or three
little streams that run in a contrary direction, like the journal of
Freron, a comedy by Palissot, or a satire by Gilbert. Philosophy winds
through and overflows all channels public and private, through manuals
of impiety, like the "Théologies portatives," and in the lascivious
novels circulated secretly, through epigrams and songs, through daily
novelties, through the amusements of fairs,[4142] and the harangues of
the Academy, through tragedy and the opera, from the beginning to the
end of the century, from the "OEdipe" of Voltaire, to the "Tarare" of
Beaumarchais. It seems as if there was nothing else in the world. At
least it is found everywhere and it floods all literary efforts;
nobody cares whether it deforms them, content in making them serve as
a conduit. In 1763, in the tragedy of Manco-Capac[4143] the "principal
part," writes a contemporary, "is that of a savage who utters in verse
all that we have read, scattered through 'Emile' and the 'Contrat
Social,' concerning kings, liberty, the rights of man and the inequality
of conditions." This virtuous savage saves a king's son over whom a
high-priest raises a poniard, and then, designating the high-priest and
himself by turns, he cries,
"Behold the civilized man; here is the savage man!"
At this line the applause breaks forth, and the success of the piece is
such that it is demanded at Versailles and played before the court.
Public-domain text, read in full here on John Shaqi.
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