# Charles Palissot *The Philosophes*

**EDITED AND TRANSLATED JESSICA GOODMAN** *ET AL***.**

**OBP**

CHARLES PALISSOT

*LES PHILOSOPHES*

e

Rousseau.

the Enlightenment.

book ebook and OA edi� ons also available

*Cover Design by Anna Gat .*

**OPEN ACCESS**

Charles Palissot

*The Philosophes* 

In 1760, the French playwright Charles Palissot de Montenoy wrote *Les Philosophes* – a scandalous farcical comedy about a group of opportunis� c selfstyled philosophers. *Les Philosophes* emerged in the charged historical context of the pamphlet wars surrounding the publica� on of Diderot and d'Alembert's *Encyclopédie*, and delivered an oblique but acerbic cri� cism of the intellectuals of the eighteenth-century Enlightenment, including the likes of Diderot and

EDITED AND TRANSLATED BY JESSICA GOODMAN *ET AL*.

This book presents the fi rst high-quality English transla� on of the play, including cri� cal apparatus. The transla� on is based on Olivier Ferret's edi� on, and renders the text into iambic pentameter to preserve the character of the original.

This masterful and highly accessible transla� on of *Les Philosophes* opens up this polemical text to a non-specialist audience. It will be a valuable resource to non-Francophone scholars and students working on the philosophical exchanges of

Moreover, this transla� on – the result of a year-long project undertaken by Jessica Goodman with six of her undergraduate French students – expounds the value of collabora� on between scholar and student, and, as such, provides a model for

As with all Open Book publica� ons, this en� re book is available to read for free on the publisher's website. Printed and digital edi� ons, together with supplementary

*Cover image: Follower of Louis de Carmontelle, Gathering in a Salon, Harvard Art Museums/ Fogg Museum, Gif of Therese Kuhn Straus in memory of her husband, Herbert N. Straus, Harvard Class of 1903, Accession No. 1978.54 ©President and Fellows of Harvard College*

digital material, can also be found at www.openbookpublishers.com

Adapta� ons are further provided of Ferret's introduc� on and notes.

other language tutors embarking on transla� on.

## To access digital resources including: blog posts videos online appendices

and to purchase copies of this book in: hardback paperback ebook editions

Go to: **htps://www.openbookpublishers.com/product/1158**

Open Book Publishers is a non-proft independent initiative. We rely on sales and donations to continue publishing high-quality academic works.

## *THE PHILOSOPHES*

## *The Philosophes* by Charles Palissot

*Edited by Jessica Goodman & Olivier Ferret*

*Translated by Jessica Goodman, Caitlin Gray, Felicity Gush, Phoebe Jackson, Nina Ludekens, Rosie Rigby & Lorenzo Edwards-Jones*

https://www.openbookpublishers.com

English translation, Introduction and Notes © 2021 Jessica Goodman. Notes by Olivier Ferret © 2021. English translation © 2021 Caitlin Gray, Felicity Gush, Phoebe Jackson, Nina Ludekens, Rosie Rigby and Lorenzo Edwards-Jones

This work is licensed under a Creative Commons Attribution 4.0 International license (CC BY 4.0). This license allows you to share, copy, distribute and transmit the text; to adapt the text and to make commercial use of the text providing attribution is made to the authors (but not in any way that suggests that they endorse you or your use of the work). Attribution should include the following information:

Charles Palissot, *The Philosophes*. Edited by Jessica Goodman and Olivier Ferret. Translated by Jessica Goodman, Caitlin Gray, Felicity Gush, Phoebe Jackson, Nina Ludekens, Rosie Rigby and Lorenzo Edwards-Jones. Cambridge, UK: Open Book Publishers, 2021, https:// doi.org/10.11647/OBP.0201

In order to access detailed and updated information on the license, please visit, https:// doi.org/10.11647/OBP.0201#copyright

Further details about CC BY licenses are available at, https://creativecommons.org/ licenses/by/4.0/

All external links were active at the time of publication unless otherwise stated and have been archived via the Internet Archive Wayback Machine at https://archive.org/web

Updated digital material and resources associated with this volume are available at https://doi.org/10.11647/OBP.0201#resources

Every efort has been made to identify and contact copyright holders and any omission or error will be corrected if notifcation is made to the publisher.

ISBN Paperback: 9781783749089 ISBN Hardback: 9781783749096 ISBN Digital (PDF): 9781783749102 ISBN Digital ebook (epub): 9781783749119 ISBN Digital ebook (mobi): 9781783749126 ISBN XML: 9781783749133 DOI: 10.11647/OBP.0201

Cover image: Follower of Louis de Carmontelle, *Gathering in a Salon*, Harvard Art Museums/Fogg Museum, Gift of Therese Kuhn Straus in memory of her husband, Herbert N. Straus, Harvard Class of 1903, Accession No. 1978.54. © President and Fellows of Harvard College.

Cover design by Anna Gatti.

## Contents



Jean-Antoine Houdon, terracotta bust of Charles Palissot de Montenoy, 1779. Reading Room of the Bibliothèque Mazarine, Paris. Photo by Marie-Lan Nguyen, Wikimedia, CC 2.0, https://commons.wikimedia.org/wiki/File:Buste\_ de\_Charles\_Palissot\_de\_Montenoy\_par\_Houdon\_Bibliotheque\_Mazarine\_ Paris\_n2.jpg

Charles Palissot de Montenoy was born on 3 January 1730, and lived until the age of eighty-four. Despite his long life, and the publication of at least sixteen plays, poems and treatises, if he is remembered at all today it is for his 1760 play, *Les Philosophes*. This satirical attack on Diderot and the other authors of the *Encyclopédie*, 2 best known for a scene in which a caricature of Jean-Jacques Rousseau enters the stage on all fours eating leaves, was at the centre of a bitter literary and political quarrel in the early 1760s, which resulted in its author losing his protectors and his literary reputation.3

According to his own *Mémoires*, Palissot was destined to enter the church, taking a philosophy degree aged just eleven.4 However, at the age of sixteen he wrote his frst tragedy, and two years later he produced *Zarès*, which was performed at the Comédie-Française in 1751. It was during the production of this play that he frst became closely linked to the Comte de Stainville (later the Duc de Choiseul),5 who as his protector would introduce him to the Princesse de Robecq6 and the Comtesse de

<sup>1</sup> Parts of this introduction are a direct translation (by Jessica Goodman) from Olivier Ferret's *Préface* to his 2002 edition (*La Comédie des Philosophes et autres textes* (Sainte-Étienne: Publications de l'Université de Sainte-Étienne, 2002)), which also contains a number of the 'quarrel' texts. Translations from Ferret are signalled by the use of italics. T.J. Barling's introduction to his 1975 edition (Exeter: University of Exeter Press, 1975) was vital in providing supplementary information about the play's performance and publication.

<sup>2</sup> For an online version of the *Encyclopédie*, see https://encyclopedie.uchicago.edu/. A translation of many articles can be found here: https://quod.lib.umich.edu/d/did/

<sup>3</sup> Gregory S. Brown, *A Field of Honor: Writers, Court Culture, and Public Theater in French Literary Life from Racine to the Revolution* (New York: Columbia University Press, 2005), pp. 168–69.

<sup>4</sup> *Mémoires sur la vie de l'auteur* in *Œuvres de M. Palissot* (Liège: Clément Plomteux, 1777), I, pp. x–xxxix.

<sup>5</sup> Étienne François, Duc de Choiseul (1719–1785), Foreign minister of France between 1758–1761 and 1766–1770.

<sup>6</sup> Anne-Marie de Montmorency-Luxembourg (1729–1760), who became Louis XV's mistress in 1749.

la Marck.7 All three would play signifcant roles in the later story of *Les Philosophes*.

In 1753, Palissot, along with Fréron8 (another signifcant fgure in his later life), was received by the Académie de Nancy. The Académie had been created by King Stanislas,9 the dedicatee of Palissot's incomplete *L'Histoire des rois de Rome* (1753); a text that his biographer, Daniel Delafarge, describes as inspired by the very same contemporary philosophy that Palissot would later critique.10 In the autumn of the following year, his comedy *Les Tuteurs* was successfully performed at the Comédie-Française, and published with a preface dedicated to the Comtesse de la Marck.

## Palissot and the Anti-Philosophes

*The 1760* Les Philosophes *was not Palissot's frst foray into satire. In 1755 he created a scandal with his* Le Cercle ou les originaux*, which brought to the stage of Nancy's main theatre — among other things — an educated woman, an infatuated poet, and Rousseau, the 'philosophe'.* Rousseau appeared under the guise of 'Blaise-Nicodème le Cosmopolite', who is accused of putting forward 'des paradoxes bizarres' (scene viii) to no philosophical end, but solely to make himself a name. The 'cercle' of the title is a group of writers creating an encyclopaedia. The play therefore marked Palissot's frst direct attack on the 'sect' that would be his target in the later play: Diderot and d'Alembert as editors of the *Encyclopédie*, as well as Helvétius, Rousseau, and other exponents of the 'new philosophy' of the period, which claimed to use scientifc method and reason to re-evaluate the dogmatic pronouncements of the past. *Le Cercle* incited a general outcry from the authors of the *Encyclopédie*, as well as demands that Palissot should be expelled from the Nancy Académie. The Princesse de Robecq intervened in Palissot's favour; King Stanislas, on the other

<sup>7</sup> Louise-Marguerite, Comtesse de la Marck (1730–1820), wife of Charles Marie Raymond d'Arenberg (1721–1778), 5th Duke of Arenberg and an Austrian Field Marshal.

<sup>8</sup> Élie-Catherine Fréron (1718–1776), literary critic and author of the *Année littéraire*, continued by his son, Stanislas.

<sup>9</sup> King Stanislas Leszczynski (1677–1766), King of Poland, Duke of Lorraine, and a count of the Holy Roman Empire.

<sup>10</sup> Daniel Delafarge, *La Vie et l'œuvre de Palissot (1730–1814)* (Paris: Hachette, 1912).

hand, was more minded to side with his detractors; with the result that the fnished 1756 edition of the *Histoire des rois de Rome* was no longer dedicated to the King, but instead to the Comtesse de la Marck.

*The reaction of the* encyclopédistes *further stoked Palissot's ire. In 1757, he published his* Petites lettres sur les grands philosophes *(dedicated to the Princesse de Robecq), in which he mocked this 'sect' of wise men, reserving his most scathing attacks for Diderot and his play* Le Fils naturel*, which he critiqued roundly*, in particular accusing it (incorrectly) of being plagiarised from the Italian author Carlo Goldoni.11 Following the publication of the *Petites lettres*, two translations of Goldoni's play appeared, which included false dedications to Madame la Princesse de \*\*\*\*\*\* and Madame la Comtesse de \*\*\*; thinly-veiled references to Palissot's two protectors (who, along with Choiseul, had also recently had to bail Palissot out fnancially). These translations embarrassed both Palissot and his patrons, and — convinced that Diderot was the perpetrator — he made him the central target of his later play.

*Palissot's campaign was taken up by other critics of modern philosophy. In the period 1757–1758, whilst public interest was still occupied with the failed assassination attempt on Louis XV by former soldier and domestic servant Damiens,*<sup>12</sup> *the Abbé Giry of Saint-Cyr*<sup>13</sup> *and the lawyer Moreau*<sup>14</sup> *orchestrated the 'Cacouacs' campaign, which presented the philosophes as a group of irritating barbarians.*15 *The Jansenists also threw in their tuppenceworth: the strongest critiques came from one Abraham Chaumeix,*<sup>16</sup> *who took it upon himself to defend religion from the* Encyclopédie*, frst in his* Préjugés

<sup>11</sup> *Petites lettres sur les grands philosophes*, in *Œuvres*, II, pp. 99–151. On the plagiarism row see Pierre Frantz, 'Un hôte mal attendu: Goldoni, Diderot, Voltaire', *Revue d'histoire du théâtre*, 177 (1993), 55–66.

<sup>12</sup> Robert-François Damiens (1715–1757) was the last person to be executed in France by drawing and quartering, the traditional punishment for regicide. On this attack and its consequences, see Pierre Rétat, ed., *L'Attentat de Damiens. Discours sur l'événement au XVIIIe siècle* (Paris: Editions du CNRS, Lyons).

<sup>13</sup> Joseph Giry Saint-Cyr (1699–1761), clergyman.

<sup>14</sup> Jacob-Nicolas Moreau (1717–1803), lawyer, journalist, and historian.

<sup>15</sup> The frst 'Mémoire sur les Cacouacs' appeared in the journal the *Mercure de France* in October 1757; Moreau took up the campaign again with a 'Nouveau mémoire pour server à l'histoire des Cacouacs', and in the following year Giry de Saint-Cyr published a 'Catéchisme et décisions des cas de conscience à l'usage des Cacouacs'. See edition by Gehradt Stenger, *L'Afaire des Cacouacs: trois pamphlets contre les philosophes des Lumières* (Saint-Étienne: Publications de l'Université de Sainte-Étienne, 2004).

<sup>16</sup> Abraham-Joseph de Chaumeix (1725–1773), critic.

légitimes*, published in 1758–1759, and later, with d'Acquin,*<sup>17</sup> *in a journal entitled the* Censeur hebdomodaire*. Chaumeix's eforts, moreover, were abetted by members of the Paris Parliament, especially the lawyer general Joly de Fleury.*<sup>18</sup> *Following the parliamentary* arrêt *(judgement) of 6 February 1759 that censured Helvetius's* De l'esprit*,* <sup>19</sup> *this many-fronted attack came to head with the publication of a new* arrêt *against the* Encyclopédie *from the State Council of the King. An earlier* arrêt*, on 7 February 1752, had ofcially suppressed the frst two volumes, though without much noticeable efect on the enterprise as a whole; this latest document revoked the publication* privilège *entirely:*

*His Majesty has been informed that the authors of the said work, taking advantage of the indulgence they have thus far received, have produced fve new volumes, which are no less scandalous than the preceding ones, and which have already raised the ire of the public ministers of the parliament. His Majesty has therefore judged, based on these repeated abuses, that it is no longer possible to let the said*  privilège *continue; that the advantages to be gained from a work of this nature for the progress of the sciences and the arts can never outweigh the irreparable damage it does to morals and to religion.*<sup>20</sup>

*The philosophes therefore seemed to be in a difcult position, marked symbolically by the retirement of d'Alembert from the encyclopaedic enterprise.*<sup>21</sup> *At the start of the following year, the quarrel was taken up once again, this time at the Académie Française. Following the death of Maupertuis,*<sup>22</sup> *his vacant seat was taken up on 10 March 1760 by Jean-Jacques Lefranc de Pompignan,*<sup>23</sup> *whose inaugural speech was a diatribe against the philosophes:* 

*If it were true that in the century in which we live, in this century drunk on the spirit of philosophy and on the love of the arts, the abuse of talents, a scorn for* 

<sup>17</sup> Pierre-Louis D' Aquin De Chateau-Lyon (1720–1796), author of the *Siècle littéraire de Louis XV* (1754).

<sup>18</sup> Joseph Omer Joly de Fleury (1715–1810).

<sup>19</sup> Claude Adrien Helvétius (1715–1771), whose *De l'esprit* was published in 1758 — translated into English as *Essays on the Mind* (Bristol: Thoemmes Press, 2000). On the quarrel around the 1758 publication of *De l'esprit*, see David Warner Smith, *Helvétius: A Study in Persecution* (New York: Oxford University Press, 1965).

<sup>20</sup> Arrêt of the State Council of the King, 8 March 1759, p. 1.

<sup>21</sup> On the efects of the revocation of the *Encyclopédie privilège*, see Jacques Proust, *Diderot et l'Encyclopédie* (Paris: Armand-Colin, 1962), pp. 78–79.

<sup>22</sup> Pierre Louis Maupertuis (1698–1759), mathematician and eventual director of the Académie de Sciences.

<sup>23</sup> Jean-Jacques Lefranc, Marquis de Pompignon (1709–1784), author of theatre, poetry, polemics and treatises, among other texts.

*religion, and a hatred of authority were truly the dominant characteristics of our productions, let us not be mistaken, my good sirs, that posterity, that impartial judge of all the centuries, would pronounce its sovereign judgement that we had produced nothing but a false literature and a vain philosophy.*<sup>24</sup>

*Having conducted a brief review of the 'immense number' of 'scandalous pamphlets', of 'insolent verses', of 'frivolous and licentious writings', and of philosophical and historical texts, Pompignan concluded that 'all […] in these books, which are multiplying to infnitude, [carried] the imprint of a depraved literature, of a corrupt morals, of a haughty philosophy, which undermine[d] both the throne and the altar'. This fearless outburst earned the new academician a barrage of criticism: Voltaire set the tone by writing* Les Quand*, which was quickly followed by a whole host of 'monosyllables' in prose and verse, which attacked the impudent Pompignan.*<sup>25</sup>

## The Birth of the Play

The ensuing fracas had still not quietened when, just before Easter 1760, Palissot sent *Les Philosophes* to the actors of the Comédie-Française. The play rehashed the key accusations made in the earlier texts, presenting the philosophes as an exploitative cabal who advocated adherence to their philosophical way of life out of pure self-advancement; a grouping that was quarrelsome and divided until it came to defending the character or works of any one of its number, and that preferred vague ideas of loving 'humanity' over its own kin and countrymen.26 The plot owes much to Molière's *Les Femmes savantes* in particular.27 A group of self-styled 'philosophes' (Dortidius, Théophraste, Valère, and their associate and valet-in-disguise, M. Carondas) inveigle their way into the

<sup>24</sup> J-J. Lefranc de Pompignan, *Discours de reception à l'Académie française*, http://www. academie-francaise.fr/discours-de-reception-et-reponse-de-pierre-cureau-de-lachambre-0

<sup>25</sup> *Les Quand* and the other texts based around the repetition of an opening monosyllable are referenced in pamphlets that appear later, in response to Palissot's play, namely: *Petites Réfexions* (Ferret, pp. 153–57 (p. 155)) and *Les Philosophes de bois* (Ferret, pp. 246–60 (p. 25)).

<sup>26</sup> Delafarge examines how certain lines are almost direct translations into verse of the prose of Palissot's earlier *Le Cercle*, pp. 140–41.

<sup>27</sup> In Molière's play, Philaminte is taken in by Trissotin, a false *bel esprit* who persuades her to promise him marriage to her daughter Henriette, all the while only being after her money. His trickery is revealed, as in *Les Philosophes*, through a letter.

household of the rich widow Cydalise, whom they fatter into believing she is a philosophical genius so that she will allow her only daughter, Rosalie, to marry Valère. Rosalie and her lover Damis, along with their servants Marton and Crispin, expose the philosophes for the frauds that they are, and the play ends with reconciliation between mother and daughter, and love matches between both the two young people and the two servants.

This condemnation of the authors of the *Encyclopédie* was therefore the culmination of a campaign that had been waged for three years; a campaign through which its two constituent camps — philosophes and anti-philosophes — were brought into being.28 Indeed, in his account of the quarrel in his 1762 *Querelles littéraires*, the Abbé Irailh noted: 'Of all the means employed to make a society of writers [the *encyclopédistes*] appear hateful, the most violent was the comedy *Les Philosophes*'.29 *Crucially, its attack took place on the stage of the Comédie-Française, rather than in semi-clandestine pamphlets,* publicly cementing this distinction between the two groups. *Moreover, the political context made it dangerous to call into question the philosophes' respect for the government. Since 1756, France had been engaged in the Seven Years War, and was by this stage in a delicate position following a number of English victories.*<sup>30</sup> *Passions were running high and, as Grimm*<sup>31</sup> *highlighted, 'there is no man in power today who does not regard the progress of philosophy amongst us as the source of all our evils and as the cause of most of the problems France has sufered in recent years.'*

<sup>28</sup> According to d'Aquin, this 'civil war' dated back to 'the strong and insistent speech made by the celebrated M. de Pompignan, in which he so eloquently defended the faith of his fathers and the throne of his masters', but also to 'certain articles published in the *Journal de Trévoux*' (*Le Censeur hebdomodaire*, 5 vols (Utrecht: Dufour, 1760–1795), vol. 3, p. 28). The articles in question were published in January and February 1751 by P. Berthier, following the publication of the prospectus of the *Encyclopédie*, and Diderot responded to them in his *Lettres au R.P. Berthier, Jésuite* (1751).

<sup>29 [</sup>Augustin Simon Irailh], *Querelles littéraires, ou Mémoires pour servir à l'Histoire des révolutions de la République des Lettres, depuis Homère jusqu'à nos jours*, 4 vols (Paris: chez Durand, 1761), IV, p. 151.

<sup>30</sup> The Seven Years' War took place between 1756 and 1763, with the element of the confict involving England and France largely arising from colonial disputes relating to North America.

<sup>31</sup> Friedrich Melchior, Baron von Grimm, contributor to the *Encyclopédie* and editor of the *Correspondance littéraire*, from 1753.

#### *Introduction 7*

*One would think that the reasons that caused us to lose the battles of Rosbach and Minden, and which caused the destruction and the loss of our feets, are fairly clearly evident. But if you consult the general feeling of the Court, you will be told that it is new philosophy that must be blamed for these problems; and that, moreover, it is this philosophy that has extinguished military spirit, blind submission, and all that which formerly produced great men and glorious actions in France.*

*The impact of the performance of Palissot's play seemed, even at the time, to be indissociable from these political considerations:*

*It is of little importance that Palissot has written a bad comedy, attacking people who are to be respected for both their morals and their talents. But the fact that this farce has been performed in the theatre of Corneille, on the authority of the government; that the police — who, in this country, usually pursue satirical works with a relentless severity — have set aside their principles, and let several citizens be insulted by an atrocious satire: all that is very signifcant, and illustrates — quite aside from an overturning of all order and all justice — the type of favour and protection that literature and philosophy can henceforward expect from the government.*<sup>32</sup>

*Soon after the frst performance of* Les Philosophes*, Collé, who could not be accused of any particular partiality towards the* encyclopédistes*, also noted in his Journal that 'this play will go down in history': 'it is the most bitter, bloody, cruel satire that has ever been authorised'.*<sup>33</sup>

*The circumstances of the play's reception by the actors of the French troupe suggest that though it was not strictly a command piece, at the very least there were orders from high up that it should be performed.* Any new play had to be accepted by a secret vote of the company members, all of whom were shareholders in the theatre.34 *According to Collé, 'it was Fréron who* 

<sup>32</sup> *Correspondance littéraire*, 16 vols (Paris: Prault, 1753–1790), IV, pp. 241 (available at https://artf-project.uchicago.edu/content/grimms-correspondancelitt%C3%A9raire).

<sup>33</sup> Charles Collé (1709–1783), dramatist. Indeed, in March 1757 he writes in his journal: 'The *Encyclopédistes* are men whose knowledge is broad; they have wit, method, sound judgment — as long as passion does not enter into things — a good style, even warmth at times, but they do not have that which we call 'genius'; in short, they have invented nothing, they have an unfounded pride, and yet they want to efect a domination and tyranny that will never be accepted in the Republic of Letters, in which no citizen will accept a master.' (*Journal et mémoires de Charles Collé*, 3 vols (Paris: Didot Frères, 1868), II, pp. 166–67).

<sup>34</sup> The Register of the Comédie-Française simply states, on 22 March 1760, that Palissot's play 'was received according to the rules of the ballot to be performed at

*presented and read this play to the troupe, with an audacity that in a less polite century would have been described as impudence. […] He told them that he was bringing them a play, and that it would be useless to deliberate over its reception, since it would be performed in any case in spite of them'. Collé goes on to note that 'however contemptible Fréron may be, he would never have been so confdent without the certainty that he would be backed up: he had authority behind him'.*<sup>35</sup> *Palissot's play was accepted in the absence of frst actress Clairon, who did not hesitate, on her return, to upbraid her colleagues for failing prey to such a villain.*<sup>36</sup> *We might nonetheless wonder, with Collé, that 'the protection accorded to this play', whilst 'very powerful', 'did not dare to declare itself', and instead 'remained hidden':*

*Before the performance, the story went that the play was being performed by order of the Dauphin. Today, the prince said expressly, in public, that he did not know the play; that he had not read it. The Duc de Choiseul, who was equally accused of favouring Palissot, also denied it, as if it were a villainous act: both men are distancing themselves from this shameful protection.*<sup>37</sup>

*However, to question this secrecy would be to forget that it would have been somewhat paradoxical for the Dauphin, whose piety was well known, to declare himself the protector (and by implication the commissioner) of a play, given the immoral light in which the theatre was viewed in the period.*<sup>38</sup> *As for the Duc de Choiseul, his attitude seems to have been born out of political opportunism: though he wrote to Voltaire on 16 June 1760 that he was 'abandoning [Palissot] to the damnation of philosophy and the philosophes, and perhaps even to the whipping that he deserves', he also noted that 'this series of authorial spats' had nonetheless ultimately been 'useful in* 

the opening of the new season' (cited by Delafarge, p. 121).

<sup>35</sup> *Journal*, II, pp. 350–52.

<sup>36</sup> Clair Josèphe Hippolyte Leris, known as La Clairon (1723–1803), Comédie-Française leading actress. On her reaction, as well as other details relating to the performance of the play, see Delafarge, esp. pp. 121–69.

<sup>37</sup> *Journal*, II, pp. 352–53.

<sup>38</sup> See Abbé Proyart's comments on this point: not content with himself refuting the works of the philosophes, 'enemies of God and the State', and with encouraging 'people in power to use all the weapons of the law against them', the Dauphin 'set against them', in the person of Fréron, 'the most inconvenient enemy they could have wished for in this century, who at every encounter encouraged them to expose the poison within their writings' (*Vie du Dauphin* (Paris: Berton, 1777), pp. 56–59).

*serving as a diversion for the Parisian rabble from the real war'; that is, the one happening on the sea, against the English.*<sup>39</sup>

## Performance and Reception

*Palissot's play was a real success, attested by both the enemies and the supporters of the philosophes: its frst performance on 2 May 1760 drew 1439 spectators, and the main actor had to quieten the crowd before the play could begin. Fréron wrote that 'since the foundation of the theatre we have not seen […] such great crowds of people. […] It was a crush, a crowd, a madness like none I have ever known. The works of Corneille, Racine, Molière, Crébillon and Voltaire never drew such attention nor attracted so many spectators nor created so many cabales.'*<sup>40</sup> *D'Acquin said that 'the people laid siege, so to speak, to the doors of the Comédie-Française' and that this play 'excited a curiosity and interest of a level that had never been witnessed, even for the most celebrated dramas'.*<sup>41</sup> *Grimm, meanwhile, stated that 'if the news of a military victory had arrived on the day of the frst performance of* Les Philosophes*, it would have been a loss for the glory of [Lieutenant General] M. de Broglie,*<sup>42</sup> *for no one would have spoken of it'.*<sup>43</sup>

*This is where any consensus breaks down, however. The tone of the reviews that appeared in the periodical press, as well as the frst-hand descriptions given in private correspondence, refect the polarised positions set out in the surrounding pamphlets. D'Acquin celebrated in Palissot 'a comic poet', who could not be ignored by his contemporaries, 'in the context of the growth of irreligion, independence, pride, pomp, betrayal, the confusion of estates, a criminal neglect of those of great talent and a foolish enthusiasm for those of little talent, a general upheaval in the sciences and the arts, which has resulted in certain people gaining an incomprehensible reputation; since, essentially, all manner of other idiocies have reached their peak.'*<sup>44</sup> *Grimm, on the other* 

43 *Correspondance littéraire*, IV, p. 368.

<sup>39</sup> D8983. All letters from/to Voltaire are cited using Besterman's numbering system, which is also searchable in https://www.e-enlightenment.com/index.html. On the Duc de Choiseul, see in particular Renée Pomeau and Christiane Mervaud, eds, *De la Cour au jardin, 1750–1759* (Oxford: Voltaire Foundation, 1991), p. 369.

<sup>40</sup> Elie Cathérine Fréron, *L'Année littéraire, ou, suite des lettres sur quelques écrits de ce temps*, 202 vols (Paris: Lambert, 1754–1790), 1760, III, p. 214.

<sup>41</sup> *Le Censeur hebdomadaire*, II, p. 368

<sup>42</sup> Charles-François de Broglie, Marquis de Rufec (1719–1781), Lieutenant General.

<sup>44</sup> *Le Censeur hebdomadaire*, II, pp. 381–82.

*hand, observed that 'any piquancy to be found in* Les Philosophes *consists in saying that fraud and philosophe are synonyms; in attacking the morals of M. Diderot, M. Helvétius and others; in representing them on stage as criminals and bad citizens, and in making Jean-Jacques Rousseau walk on all fours.' And in sarcastic conclusion: 'however pitiful this play may be in itself, it will go down in history in France, and will prove the truth in the assertion that the most extraordinary events often stem from the most derisory causes.'*<sup>45</sup>

*Collé expressed the view of the middle ground. 'Palissot's play', he wrote, 'makes a strong impression on most people who go to see it.'*

*All the good fathers in the audience applaud it in good faith, and the honest men of the cloth, who attack the government for allowing decent citizens to be portrayed on stage, have nonetheless no compunction in watching the sword of satire fall upon people whose principles — or rather, whose opinions — threaten to turn everything on its head; many people who, without being pious, are still believers, and whom the* encyclopédistes*, in their works, have confused with idiots for this sole reason, believe themselves avenged by the success of this play. The lower classes add further weight to this side of the argument, and think that they are defending the cause of virtue by attacking the new style of philosophy; they do not realise that the pleasure that they fnd in seeing it criticised is nothing but a malignant pleasure that they are made to experience in a mechanical fashion; they do not foresee the cruel consequences, for themselves, of making it normal and acceptable to allow the mockery of good citizens.*<sup>46</sup>

*This sketched sociological analysis of the play's reception provides a counterpoint to the views presented by later pamphlets, which often have recourse to preexisting prejudices.* 

*Critical assessments of the play were most often based on a comparison with the comedies of Molière, an omnipresent reference in the quarrel for Palissot's supporters as much as for his detractors. The Abbé de la Porte,*<sup>47</sup> *for example, having examined the play, could not help commenting on the 'resemblance' of the plot of* Les Philosophes *to those of* Tartufe *(1664) and* Les Femmes savantes *(1672). Extending his references to take in Jean-Baptiste Rousseau, Gresset, and Destouches, he added that 'the outline of* Les Philosophes*' is 'very similar to those of* Le Flatteur*,* Le Méchant*,* L'Ingrat*, and generally* 

<sup>45</sup> *Correspondance littéraire*, IV, pp. 240–41.

<sup>46</sup> *Journal*, II, pp. 357–58.

<sup>47</sup> Joseph de La Porte (1714–1779), priest and *homme de lettres*, who worked with Fréron on the *Année littéraire*.

#### *Introduction 11*

*all character comedies'.*<sup>48</sup> *However, he dismissed the charge of plagiarism that had been put forward by Palissot's enemies, instead evoking the standard characteristics, plots and situations of all such character comedies.*<sup>49</sup> *Collé, for his part, remarked that 'there is no action, except in the third act […] everything happens in conversation, but the characters of the philosophes are quite well captured. […] It must be admitted that they are drawn from nature, albeit with the darkest cunning'.*<sup>50</sup>

*For though no-one denied that Palissot wrote with a certain amount of wit and style,*<sup>51</sup> *the key question, bitterly debated throughout the quarrel, was whether or not he had crossed a line between a form of comedy expected to paint its characters 'from nature', and the portrayal of real people, based on easily identifable original models. On 8 May 1760, Favart wrote that Palissot, by putting on stage 'Diderot, d'Alembert, Rousseau, and all the authors of the*  Encyclopédie*', and by ensuring that he not only 'covered them in ridicule' but also 'made them hateful', 'had renewed in this respect the liberties taken by ancient Greek comedy': 'the century of Aristophanes begins again', he confrmed on 24 June. Echoing 'most of the discussions among the audience by people who pride themselves on their impartiality', Favart related this 'licentiousness' to the clear intention of the author:*

*If he claims to remedy the abuses of philosophy, then he is to be praised for it; but this is not what we can understand from his work; he could have taken a diferent road; he could have made his critique more general in order to make it more useful; the arrows that he launches, which fall with great accuracy upon the people that he wishes to portray, are clearly only fred in order to serve his personal animosity, for which the principles are obscure, but the ends are clear. […] All critics agree that if Mr P\*\* had avoided personalities, and had instead contented himself with an attack on what threatens morality in the works of the*  encyclopédistes*, […] he would have produced a worthy piece.*<sup>52</sup>

<sup>48</sup> Jean-Baptiste Rousseau, *Le Flatteur* (1696), Jean-Baptiste Gresset, *Le Méchant* (1747) and Néricault Destouches, *L'Ingrat* (1712). According to the author of a review in the *Journal encycopédique*, the plot of *Les Philosophes* is 'stolen from the Méchant' (1760, III, p. 129).

<sup>49</sup> *L'Observateur littéraire*, 18 vols (Paris: Duchesne/Lambert, 1758–1761), III (1760), pp. 120–21 and 132.

<sup>50</sup> *Journal*, II, p. 359.

<sup>51</sup> The Count de Durazzo writes to Favart, for example, on 14 June 1760, that though *Les Philosophes* had appeared to him to be 'without invention or interest', it was nonetheless 'written with spirit, and in a good style' (Favart, *Mémoires et correspondance littéraires, dramatiques et anecdotiques de C. S. Favart*, 3 vols (Paris: Léopold Colin, 1808), I, p. 43). Similarly, Voltaire writes to Palissot on 4 June, 'I consider your play well written' (D8958).

<sup>52</sup> *Mémoires*, I, pp. 29, 53 and 37.

*Alongside the reference to 'ancient Greek comedy', especially Aristophanes, which was also found in many of the polemical texts, the play was also reproached for itself being nothing but a defamatory pamphlet. Collé hypothesised that Palissot in fact only wrote what he described explicitly as a 'pamphlet', 'intending to have it printed privately'.*<sup>53</sup> *In this debate, discussion essentially centred around the presence (universally recognised, even by Palissot's supporters) of personal attacks that directly targeted the philosophes. D'Acquin did not deny that 'Palissot, carried away, no doubt, by the fre of composition, or perhaps irritated by particular ideas, allowed certain details into his play that are too identifable, and mean his characters become personalities'.*<sup>54</sup> *Fréron wrote, in a similar vein, that 'most spectators were shocked — and with reason — at the personalities that the author let himself portray, especially at the frst performance'.*<sup>55</sup> *But both journalists added, too, that Palissot modifed these 'personalities' at the second performance. Favart was in agreement, though showed his loyalties to the philosophes' camp when he suggested that 'to cut out [these attacks] entirely he would have had to cut the whole play'.*<sup>56</sup>

*It is important to understand what precisely is meant by this term 'personalities', and examine the exact nature of those that remain in the printed text. Fréron recognised that 'the scene of the bookseller is another one of those satires by the author of the* Philosophes *that could not be ignored': 'he names works, and to name works is to name their authors'.*<sup>57</sup> *But he also added, in Palissot's defence, that 'people use the term 'personalities' for portrayals that are nothing of the sort'. Reporting to Voltaire on the frst performance of* Les Philosophes*, d'Alembert wrote on 6 May 1760: 'Neither of us is attacked personally; the only people mistreated in this way are Helvétius, Diderot, Rousseau, Duclos, Mme Geofrin, and Mlle Clairon, who complained about this infamy'.*<sup>58</sup> *Reading the play, we fnd that though Clairon and Grimm are the target of isolated jibes,*<sup>59</sup> *Diderot is clearly Palissot's main target: the name of the character Dortidius is an anagram of his name, extended by the Latin sufx ('ius') used by Molière to mock his pedants, whilst the name of the young female lead, Rosalie, is taken directly from* Le Fils naturel*. Diderot is also* 

<sup>53</sup> *Journal*, II, p. 351.

<sup>54</sup> *Le Censeur hebdomadaire*, II, p. 369.

<sup>55</sup> *L'Année littéraire*, 1760, III, pp. 217–18.

<sup>56</sup> *Mémoires*, I, p. 47.

<sup>57</sup> *L'Année littéraire*, 1760, III, p. 221. The journalist is referring to III, vi.

<sup>58</sup> D8894.

<sup>59</sup> Clairon is implied by the reference to the supportive actors that the philosophes, on the point of being represented on stage, will have on their side (III, iv), whilst in III, vi, M. Propice mentions Grimm's pamphlet, *Le Petit Prophète de Boehmischbroda*.

#### *Introduction 13*

*easily recognisable, following Fréron's own criteria, in the direct references to his works (not just the play* Le Fils naturel *and its accompanying* Entretiens *(1757), but also the materialist* Les Pensées sur l'interprétation de la nature *(1754), the libertine* Les Bijoux indiscrets *(1748),* La Lettre sur les sourds et muets *(1751), which dealt with language, knowledge acquisition and aesthetics, and his second play,* Le Père de famille *(1758)).*<sup>60</sup> *Rousseau is identifable for the same reason, in the reference to his prize-winning 1754*  Discours sur l'inégalité*, and he is also indirectly represented by the character of Crispin, who claims to be his disciple.*<sup>61</sup> *Duclos is present in the quotation from his* Considérations sur les mœurs *(1751), which is referenced in a note; Delafarge even suggests that he is personally represented by the character of Théophraste.*<sup>62</sup> *Though he is not necessarily directly identifable in Valère, Helvétius is equally the target of numerous attacks, especially in the theft scene (II, i), which puts into action the theory of personal interest set out in* De l'esprit*.* <sup>63</sup> *It is difcult to agree with Collé in his discussion of 'the woman, who represents Helvétius',*<sup>64</sup> *not least because according to Hennin, 'the old Dumesnil', who played the role of Cydalise, 'managed to dress and make herself up exactly like Mme Geofrin, which caused those who knew the woman to laugh a great deal'.*<sup>65</sup> *This apparent identifcation is nonetheless confused by Favart's claim that Palissot 'would not admit to having had the least intention of depicting Mme Geofrin', but rather 'admitted, so I've heard, that he drew* 

<sup>60</sup> Respectively in II, iii; III, iv; II, iii and (for the latter three) III, vi. Delafarge also argues that the character traits Dortidius is said to possess resemble Diderot himself, however this seems to be based on very little direct evidence (pp. 151–52), and Barling suggests the description is nothing like him (p. 75).

<sup>61</sup> The mention of the *Discours* is found in III, vi; Crispin's presentation of a paradoxical philosopher appears in II, vi. Before the performance, rumours were already spreading that Rousseau himself was going to be attacked: Voltaire wrote to Mme d'Epinay on April 25 that 'Préville will play Rousseau, walking on four legs.' (D8874).

<sup>62</sup> Charlos Duclos (1704–1772). See II, iii and Delafarge, pp. 157–58.

<sup>63</sup> II, i. See Delafarge, pp. 158–60 on the possible identifcation between Helvétius and Valère: he claims that Palissot distinguishes the man (known for his generosity) from the author (exponent of the doctrine of self-interest).

<sup>64</sup> *Journal*, II, p. 359.

<sup>65</sup> Pierre Michel Hennin (1728–1807), diplomat and author: letter to his son of 17 May 1760, quoted in the *Correspondance générale* of Helvétius, 15 vols (Oxford: Voltaire Foundation, 1984-), II, p. 277, n. 3. A letter from the abbé Trublet to Formey, written between 28 May and 2 June (D8944) confrms that 'from the second performance […] certain controversial areas were cut, including a line that made too obvious reference to Mme Geofrin, a rich society woman, with close links to the philosophes and other writers.'

*the main features of Cydalise from the Countess de la Marck'*<sup>66</sup> *— who was, of course, his former patron.* 

The frst editions of the text began circulating on 19 May. There were multiple diferent editions that year, with several slight variations. A key area of diference is in Act III, where early editions have no scene v, and in some cases include two scenes vi. T.J. Barling, in his 1975 edition (from which Ferret takes much of his information on textual variants), hypothesises that the scene v introduced from the 1777 edition of the play (included in our edition) was in fact a scene that had been cut by censors from the original version: certainly, its presentation of Doritidius/Diderot as rejoicing in the illness of an acquaintance 'whose dissection I'd have carried out' seems merely gratuitous in plot terms, and calculated purely to discredit the protagonist.67 The total run of the play, comprising fourteen performances, was seen by 12,839 people, including individuals who might traditionally have stayed away from the theatre, such as the clergy.68 *This well-attested success is perhaps less due to any intrinsic aesthetic qualities than to the aura of scandal that surrounded it, whatever the censors may have suppressed.*

## The Pamphlet Quarrel

*Further proof of this scandal is the scale of the controversy set of by the performance of what Barbier termed 'a partisan play',*<sup>69</sup> *testifed by the production in just a few months of the twenty or so texts published in Ferret's edition. In July 1760 Collé wrote: 'The whole of Paris has, these past weeks, been occupied with nothing but the quarrel between the* encyclopédistes *and their enemies; we have seen nothing but pamphlets and printed insults.'*<sup>70</sup> *In May, Favart was already able to note that 'these days, Paris is only concerned with literary quarrels. […] I do not know if literature is gaining anything, but it is* 

<sup>66</sup> *Mémoires*, I, p. 7. According to English Showalter, it makes more sense to see Françoise de Grafgny (1695–1758; novelist and salon hostess) behind the character of Cydalise: see 'Madame a fait un livre: Madame de Grafgny, Palissot et *Les Philosophes'*, in *Recherches sur Diderot et sur l'Encyclopédie*, 23 (1997), 109–25.

<sup>67</sup> Barling, p. xxvii.

<sup>68</sup> Henry Lancaster, *The Comédie-Française (1701–1774)* (Transactions of the American Philosophical Society, 1952), p. 797.

<sup>69</sup> Edmond Barbier, *Journal historique et anecdotique du regne de Louis XV*, 4 vols (J. Renouard et cie, 1847–56), IV, p. 347.

<sup>70</sup> *Journal*, II, p. 367.

*certain that the authors of the pamphlets and the printers of the periodical press are profting'.*<sup>71</sup>

The quarrel texts — comedies, plays in verse, and pamphlets taking on a whole variety of forms, from letters and fctional confessions, to pastiches of biblical 'visions', and texts whose stylistic unity is based on the recurrence of a single monosyllable — ranged from those printed with full *privilège* (the permission to publish accorded by the crown) or performed on the public stage, to those published or circulated illegally. In between was a whole ambiguous set of works printed with 'tacit permission' or 'a sort of permission'. The responses of the philosophes' supporters to Palissot's play display a relatively unifed set of satirical strategies that were already visible in the play itself. The writers take their places in a pre-existing camp, and each camp defnes its opponents in relation to itself, the responses creating and perpetuating a 'myth' of Palissot to rival his own 'myth' of the self-interested, grasping philosophes. Repeated accusations act both as slogans to identify a writer's allegiance, amusing his allies through knowing references, and as rallying cries, inviting the support of the public for his cause.

 In order to ridicule him efectively, Palissot's opponents have to read his work as if he were not himself writing satirically. They have to take his misrepresentation of their ideas seriously, as if he really did believe Rousseau wanted to walk on all fours and eat leaves. He is thus, across the texts, accused of stupidity, jealousy, plagiarism, poor taste, and immorality. The theme of self-interest in particular, so key to Palissot's attacks, is turned back on him, with several pamphlets implying that he had bought the applause of the audience; an implicit reference to the well-known support Fréron had given the play, both in person at the Comédie-Française and in his *Année littéraire*. 72 A further repeated attack — which, like the reference to Fréron, implied inside knowledge on the part of the pamphlets' audience — is the suggestion that the playwright 'prostituted his wife in Nancy and Paris'73 an accusation that recalls Madame de Grafgny's mention in her private writing of 'more

<sup>71</sup> *Mémoires*, I, p. 29.

<sup>72</sup> There was truth in the accusation, since a decade later Fréron was to admit, 'It was I who made his little literary reputation; I who had the play *Les Philosophes*  received [by the troupe]; I, I admit, who had it applauded.' Fréron to Jacob Vernes, 20 October 1771, cited in Jean Balcou, *Fréron contre les philosophes* (Geneva: Droz, 1973), p. 195.

<sup>73</sup> *Les Quand*, in Ferret, pp. 101–06.

stories about him than would be necessary to dishonour fve or six men'.74 *These texts, written in the heat of the quarrel, are naturally ephemeral and occasional in character, and are marked, too, by dramatically varying literary quality.* 

*The literary interest of these quarrel texts lies mostly in their (more or less efective) use of rhetoric, whose success is measured in terms of its action on the reader. It should be remembered, indeed, that these texts were aimed at a public that — as contemporary accounts testify — was easily bored. D'Acquin highlighted, for example, at the end of his review of Poinsinet's* Petit philosophe*, that 'the public is fed up with poetry, plays, pamphlets for and against'. Addressing the combatants in both camps, he proclaimed: 'you are already making them yawn, so just keep on if you want to make them fall asleep entirely'.*<sup>75</sup> *This point doubtless explains the inventiveness — or, at least, the formal diversity — of the most popular texts. The potential for the audience to lose interest explains, too, the importance of laughter, which acts powerfully both to ridicule one's enemies, and to create a bond between the members of a particular faction.*

## Voltaire and Palissot

A particularly complex element of the *Philosophes* quarrel is the role of Voltaire. In the prefatory letter to the frst edition (included below) — which had held up the publication of the play in a censorship battle, and was, according to Favart, 'more insulting than the text itself'76 — Palissot explicitly stated that two philosophers were exempt from his criticism: Montesquieu, who had died in 1755, and Voltaire, 'that rare genius of whom I have only ever spoken with delight, who received me with such kindness in his home'.77 Palissot sent this frst edition to Voltaire himself, having visited the writer in Geneva fve years earlier. In the ensuing correspondence, the older man attempted to persuade the author of *Les Philosophes* to publish a retraction, or at the very least an acknowledgement that the citations from the works he critiqued in his preface were at best out of context, and at worst incorrect.

<sup>74 11</sup> June 1751, cited by Showalter in 'Madame a fait un livre'.

<sup>75</sup> *Le Censeur hebdomadaire*, 1760, III, p. 312.

<sup>76</sup> *Mémoires,* I, p. 47.

<sup>77</sup> See translation of the preface, below.

#### *Introduction 17*

Palissot refused, and tried to apportion the blame elsewhere.78 In July 1760, when the correspondence ended, Palissot published the letters, putting Voltaire in a delicate position: not only had Palissot singled him out for praise, but there was now printed evidence of Voltaire's reasonable responses, which could be viewed by the other philosophes as acceptance of such obsequious fattery.79

Though in his private correspondence Voltaire had nonetheless continued to stress his solidarity with Diderot and the others whom Palissot had attacked, the publication of the letters pushed him into more direct, public action. First, in July 1760, he allowed his play, *L'Écossaise*, to be performed at the Comédie-Française.80 This piece had been circulating in printed form since May, claiming to be the translation of a piece by the brother of the English philosopher David Hume. A story of reunited long-lost families, its villain is a hack journalist named 'Frélon' — an even more thinly-veiled reference to Palissot's friend and supporter Fréron than Palissot's original Dortidius/Diderot creation. Voltaire's access to the public, royally-sanctioned stage of the Comédie-Française (where his bust would twice be crowned with laurels) marked him out among the philosophes, and the performance of the play constituted a very public pinning of his colours to the philosophes' mast.

His second riposte was in print. In September 1760 an anonymous *Recueil de facéties parisiennes* appeared. The volume, containing texts by Morellet, Elie de Beaumont and La Condamine, had been put together by Voltaire, who also contributed a number of his own texts whilst stringently denying any involvement in the enterprise on several occasions, as was his wont.81 The *Receuil* was comprised predominantly of texts relating to the quarrel around Lefranc de Pompignan's admission to the Académie Française, and to the linked quarrel around *Les Philosophes*. Particularly relevant to the latter were an edited, footnoted version of the letters

<sup>78</sup> See *Lettres et réponses de Monsieur Palissot et de Monsieur de Voltaire, avec quelques notes sur la dernière lettre de Monsieur Palissot, etc*, ed. by Kelsey Rubin-Detlev, in *Receuil de facéties parisiennes*, *OCV*, 51a (Oxford: Voltaire Foundation, 2015), pp. 245–340.

<sup>79</sup> See Voltaire's letter to d'Argental on 4 June, in which he states 'je dois craindre qu'on ne me reproche d'être complice de la comédie des *Philosophes*' (D8959).

<sup>80</sup> *L'Ecossaise*, in *Works, 1760, OCV*, 50 (Oxford: Voltaire Foundation, 1986). On the place of the play in the polemic, see Logan Connors, *Dramatic Battles in Eighteethcentury France: Philosophes, Anti-Philosophes and Polemical Theatre* (Oxford: SVEC, 2012), pp. 113–216.

<sup>81</sup> *Receuil*, pp. xix–xxv.

between Palissot and Voltaire, and a re-publication of the very preface that had originally sparked the latter's irritation, with its own preface.82 The preface to the preface repeats many of the critiques already familiar from the other quarrel texts: Voltaire questions Palissot's own literary abilities, and suggests he is motivated by greed and jealous self-interest rather than any high-minded morality. The footnotes systematically refute the claims made about the philosophes' own works. Particularly notable are a sequence that repeats, again and again, 'you lie',83 and the several notes in which Voltaire takes up the question of defnition and factional delimitation that we have already noted as key to the quarrel more broadly. Many of those Palissot attacks, he claims, are not the *encyclopédistes* with whom Voltaire identifes himself, and should not therefore be lumped together in one group.84

## Diderot's Reply?

Voltaire's *Recueil des facéties* referred explicitly to the occasional nature of the texts produced around *Les Philosophes*; including, perhaps, the play itself. They were, said Voltaire, trifes, destined to be forgotten, and published purely for the amusement of the contemporary reader.85 However, *beyond the recurring attacks and defences, and the large helping of bad faith that necessarily shaped their creations, in this quarrel these authors also addressed bigger questions; in particular, that of the line between comedy and personal satire in the theatre. For modern readers, they raise further questions still; notably, the extent to which a Comédie-Française success can or should be reduced to a mere 'occasional' piece — and conversely, how far texts that tradition has set up as 'literary masterpieces' may in fact have an 'occasional' dimension.*

Key to the latter point is Diderot's *Neveu de Rameau*. This complex novel-satire-dialogue has presented an endless puzzle to both readers and critics since its posthumous publication in 1805.86 At times, Diderot's

<sup>82</sup> *Lettre du Sieur Palissot, auteur de la comédie des 'Philosophes', au public, pour servir de préface à la pièce*, ed. by Jessica Goodman, in *Receuil*, pp. 221–44.

<sup>83</sup> *Lettre*, pp. 240–41.

<sup>84</sup> *Lettre*, p. 229.

<sup>85 &#</sup>x27;Préface' to the *Facéties*, ed. by Diana Guiragossian-Carr, in *Receuil*, pp. 341–50.

<sup>86</sup> The text was initially published in German translation by Goethe, then translated back into French and published in 1821 by de Saur and Saint-Geniès. The frst

own core beliefs in the value of encyclopaedic knowledge and education are called into question, whilst despite the apparent adoption of position indicated by the presence of a character called 'Moi/Me' interrogating a third-person 'Lui/Him', neither of the two characters can be said consistently to ventriloquise the author's voice; each being privileged or criticised in turn. Two centuries of critics have attempted to 'solve' this puzzle, trying to integrate the apparently disparate aspects of the text's philosophy, but far from reaching a consensus, each new analysis has only added to the complexity by demonstrating the strength of evidence for each new theory.87

Yet the text's very frst critic, Goethe, identifed its main focus as a very simple one: namely, to ridicule the anti-philosophes who had made such mercilessly personal attacks on Diderot over the *Encyclopédie*; in particular, Palissot. In his 1805 German translation, the frst edition of the work to be published, the explanatory notes for the reader include entries on Palissot and *Les Philosophes*, which Goethe had watched as a child.88 Goethe devotes lengthy discussion to the position of Diderot's text in the quarrel we have thus far outlined. Diderot, Goethe wrote, 'uses all the powers of his mind to depict the fatterers and parasites in the full extent of their depravity, in no way sparing their patrons. At the same time the author is concerned to classify his literary enemies as precisely the same kind of hypocrites and fatterers'.89

Though to read *Le Neveu* as nothing but personal satire is severely reductive, it is nonetheless revealing to consider why Goethe was so convinced in this statement. The personal element of Diderot's text is easily discernable: Palissot's name appears twenty-three times in the text, as one of the group of parasites that fawn over a banker and his actress wife, with whom the eponymous Neveu (Lui/Him) is associated. These

published version based on the French manuscript was the 1823 Brière edition. See *Rameau's Nephew / Le Neveu de Rameau. A Multi-Media Bilingual Edition*, ed. by Marian Hobson, trans. by Kate E. Tunstall and Caroline Warman, 2nd edition (Cambridge: Open Book Publishers, 2016), http://www.doi.org/10.11647/OBP.0098

<sup>87</sup> See amongst others Jean Starobinski, 'Diogène dans Le Neveu de Rameau', *Stanford French Review*, 8.8 (1984), 147–65, and Donal O'Gorman, *Diderot the Satirist* (Toronto: University of Toronto Press, 1971).

<sup>88</sup> See James Schmidt, 'The Fool's Truth: Diderot, Goethe, and Hegel', *Journal of the History of Ideas*, 57.4 (1996), esp. 625–28.

<sup>89</sup> Goethe's notes to his translation of *Rameaus Nefe*, in *Goethes Werke*, XXV, cited in translation by Schmidt in 'The Fool's Truth', p. 628.

are self-interested, mediocre men who live only from the exploitation of others, and who, signifcantly, are characterised as spending their lives in petty disputes, forming and breaking alliances, each with his own view of what is right or wrong. In a ranking of the most 'sublime' wrongdoers of the age, Palissot is placed a respectable second.90

To a certain degree Lui also directly represents both Palissot as an individual, and the whole anti-philosophes camp. Many of the accusations made of Palissot elsewhere in the quarrel pamphlets fnd parallels in Lui's character. Most strikingly, our lasting image of Lui is of his tears at the end of *Le Neveu* over the death of his 'dear other half', from whom he drew such lucrative proft. O'Gorman argues that this is a direct echo of the similar accusations made against Palissot in *Les Quand* (see above).91 Lui is jealous of geniuses and scornful of all philosophers, he is driven purely by self-interest, and his special task is to fatter his mistress in private and to express unequivocal support in public, a feature that recalls the charges of Fréron's sycophantic public fattery of *Les Philosophes*. Moreover, Diderot incorporates not only the attacks but also the language of the pamphlets. Particularly notable is the animalistic vocabulary, frst present in *Les Philosophes* with the mention of Dortidius and his companions as 'wolves',92 and reprised both in *Les Quand*, which accuses Palissot of plotting with 'people of that species' and *Les Originaux*, which dismisses 'these species of men'93. In *Le Neveu de Rameau* the motif is extended: the parasites are repeatedly referred to as both 'species' and 'beasts'. Here, though, they are merely examples of a much deeper problem: 'In nature, all species prey on each other; in society, people of all stations prey on each other too. We're forever passing sentence on each other without the law being involved.'94

For a whole host of reasons, not least the complexity of the title character, a straightforward identifcation is fawed. The attacks made in Diderot's work are generalised and nuanced; moreover, it was not published in his lifetime, and there are no records of its ever having been read by a third party: it could therefore have no hope of either correcting Diderot's enemy or winning support for Diderot's position.

<sup>90</sup> *Rameau's Nephew*, p. 68.

<sup>91</sup> O'Gorman, *Diderot the Satirist*, p. 40.

<sup>92</sup> I, ii.

<sup>93</sup> *Les Originaux*, in Ferret, pp. 226–45, I, vi.

<sup>94</sup> *Rameau's Nephew*, p. 42.

The occasional nature of personal satire implies it needs to appear in the moment if it is to have any impact, and Diderot's words, found decades later, lose their sting and immediate signifcance when the subjects are long dead. With this in mind, it would also seem misguided to argue that Diderot in fact entered fully into the spirit of his contemporaries' titfor-tat exchange, holding out to take posthumous revenge and become, in the fnal words of the text, 'he who laughs last'. Nonetheless, that the critic closest to the time of the quarrel, Goethe, was particularly sensitised to this element, recognising the text as holding a place in the factional tradition, reveals how clear these similarities must have been in the period, and even the lack of publication cannot negate this fact. And perhaps particularly signifcant here is Diderot's awareness of the mechanics of factional quarrelling, demonstrated by the naming of his characters Moi and Lui.95 Just as Palissot defned his enemies 'les philosophes', creating himself as an 'anti-philosophe' in the process, so Moi and Lui can only be defned in relation to one another, the one creating the other by his very existence.

*In shedding light on Diderot's text, and most notably on the dimension of combat present within it,* Les Philosophes *and its surrounding pamphlets illustrate a conception of literature as analysed by Sartre: if 'a book has its most absolute truth in its own time', if 'it is an emanation of intersubjectivity, a living embodiment of the rage, the hatred or the love between those who produced it and those who receive it', then 'to write for one's time is not to refect it passively. It is to wish to maintain or change it, and therefore to go beyond it, into the future; and it is this efort to change it that situates us most profoundly within it.'*<sup>96</sup>

## The Translation Project

Indeed, it is the occasional nature of this play, paradoxically, that motivates this translation project. Critics, both contemporary and modern, have frequently questioned the intrinsic literary and dramatic quality of the text itself, and these misgivings might suggest that a translation is at

<sup>95</sup> Marian Hobson, 'Déictique, dialectique dans le *Neveu de Rameau*', in *Etudes sur* Le Neveu de Rameau *et* Le Paradoxe sur le comédien, *Cahiers Textuels*, 11 (1992), ed. by George Benrekassa, Marc Bufat and Pierre Chartier, p. 11, p. 16.

<sup>96</sup> Originally published in the review *Die Umschau* in 1946; reproduced in *Le Monde*, 16–17 April 2000, p. 15.

best pointless, and at worst, the artifcial perpetuation of a text that is barely remembered in its original language.97 However, its function as the way into this wider literary quarrel changes things. This text, in a recognisable dramatic format, with a plot and characters that seem (all too) familiar to us, is not only the keystone of the *encyclopédistes'* quarrel, but also perhaps its most accessible component, and thus opens up the whole episode to a broader audience. Moreover, the online editions published by Open Book Publishers allow us to extend its accessibility further. This is, as we have argued, a text that is part of a much bigger whole; a text, furthermore, that is full of references to texts and people that an Anglophone, non-specialist audience is likely to fnd of-putting or opaque. The ability to jump quickly to further information makes it immediately more legible, whilst the addition of links to the various quarrel texts where available (in their original form) allows the more specialist reader to follow the network of textual production in all its multiplications and ramifcations. On a similar note, a fnal motivation for adopting this format was the existence of a bilingual edition of *Le Neveu de Rameau* in this very same series, wonderfully translated by Caroline Warman and Kate Tunstall. The links between Palissot's text and the infnitely more complex production by Diderot can now be tracked by an Anglophone audience.

The translation was a collaborative project, undertaken across the course of second-year language classes at St Catherine's College, Oxford, in 2017–2018. Taking our cue from the multi-handed *Encyclopédie*, rather than the combative quarrel texts, we approached the project in a spirit of co-operation and mutual support. In the early stages, the six students and I sketched out the challenges of this group project (length, consistency, early modern French, verse), and set out a plan. The edition from which we worked was Olivier Ferret's 2002 edition, based on the 1760 edition. All textual variants from later editions recorded in his footnotes have been omitted in order to avoid debates over the sorts of variants that could and could not be translated: the aim is an accessible translation, rather than a fully worked scholarly edition.98 The only exception is the extra scene v, discussed above, since that is substantial enough to produce a coherent translation.

<sup>97</sup> See, for example, Delafarge, pp. 135–37.

<sup>98</sup> Ferret (pp. 82–85) also includes variants from the prompt's manuscript.

Our translation uses iambic pentameter, without rhyme, in place of the French Alexandrines. This decision was taken to preserve the somewhat clichéd feel of the original without forcing the English too much. The highly specifc context of the play's production posed some challenges. Even as early as the 1782 edition, Palissot notes that the references in the bookseller scene (III, vi) have become unrecognizable for a contemporary audience: a translation across 250 years and into a diferent language necessarily increases this alienation several hundredfold. Our decision, then, was not to attempt a full cultural translation in which the references were as familiar to our readers as the original jibes were to the 1760 audience: such a translation would have been a wholly diferent text, and would have lost the key interest, for us, of this project; namely, its status as a way into the larger quarrel of which it forms a part. Instead, the translation maintains its specifc setting and references, whilst extensive footnoting situates individuals and their works in the cultural landscape of mid-eighteenth-century Paris. We therefore retain the phrase 'philosophes', where possible, rather than translating it as 'philosophers', since the word had (and retains) a very specifc charge in French. Similarly, characters and books referenced retain their French names and titles, and the odd use of 'Monsieur' or 'Madame', recalls to the reader the setting in a Parisian *salon*. The language used shifts between the formal and informal, refecting the theme of role-playing: Marton, Crispin and the young lovers speak straightforwardly and pragmatically to one another, as — for the most part — do the so-called philosophes amongst themselves (refecting their use of 'tu' in the original French); however, Cydalise takes on a more high-fown tone, as do the philosophes when they are trying to impress her.

The method we followed, though basic, might be of use to others wishing to take on similar projects; especially at a moment (2020-21) when online collaborative work is more common and more necessary due to social distancing. We worked through the play chronologically. Individuals translated sections and saved them in a shared Google Drive folder. These sections were read and commented upon by the rest of the group, using the comment function to make suggestions or insert queries regarding vocabulary, rhythm, synonyms, lost sense, etc. In class time, varying pairs of students worked through these annotated sections, responding to questions, looking for better alternatives, and adding further annotations where necessary. Undertaking this editing in class time allowed students to share particularly difcult issues, and allowed me to monitor discussion and model diferent approaches to translation challenges (moving between verb/noun/adjective forms of words; shifting comic or rhythmic elements elsewhere in a sentence; exploring diferent sentence breaks; fnding culturally appropriate alternatives). This could be approximated online by having diferent breakout rooms open on a video chat programme whilst the students worked on the translation. Finally, we all individually read through the text as a whole, making further annotations, which we used to refne and fnalize the translation.

We hope that the publication will serve as a useful tool for colleagues teaching the text within Oxford and beyond. But it can also serve as a model of how a student translation project can be combined with a tutor's research interests to produce an output that is useful for a broader audience; involving the student in the move from the traditional 'lone scholar' model towards the team-based sort of project that is becoming increasingly common in Humanities research. Colleagues elsewhere are bound to know of similar un-translated texts in their own felds, to which the same model could be applied. By defnition, such texts are likely to be the less canonical, more 'marginal' texts: such a project then also ofers the opportunity to engage students (both here, and studying literature in translation elsewhere) in more unusual literary output; opening up the curriculum beyond the traditional authors and genres.

Title pages of Charles Palissot de Montenoy, *Les philosophes, comédie*. Paris: Chez Duchesne, 1760. Edition-Originale.com, https://www.edition-originale. com/fr/livres-anciens-1455-1820/editions-originales/palissot-de-montenoyles-philosophes-comedie-ensemble-1760-27447

## Letter by Mr Palissot, Author of the Comedy *The Philosophes*, to Serve as a Preface to the Play1

*You whom Corneille, Racine and Molière always respected, and who should not have expected to see yourselves insulted in prefaces by a sect of new men who have provoked neither any respect nor any surprise: you who are free from self-interest, from prejudice, from hatred, and to whom I owe so much gratitude, allow me to put to you the views*<sup>2</sup>  *that guided me in the preparation of the work that you have had the indulgence to applaud.*

*Certain people, humiliated by the encouragement with which you deigned to honour me, not daring to attack your support directly,*<sup>3</sup>  *instead raised cries of libel and malice. I felt it necessary to justify myself against these reproaches, so alien to my sentiments and to my heart. I address my apologia to you. Read and judge.*<sup>4</sup>

An imperious sect, formed in the shadows of an enterprise which could have been the glory of our century,5 exercised its rigorous despotism over science, literature, art and morality. Armed with the fre of philosophy, its members infamed the minds of the people rather than shedding light therein: they attacked religion, laws and morals; they preached pyrrhonism6 and independence, and at the same time as denouncing all authority, themselves imposed a universal tyrrany. It was not enough for them pompously to publish their opinions; rather, they declared war on anyone who did not bow to their idols. The *Encyclopédie*, a work that should have been the glory of the nation, became its shame; but from its very ashes were born a number of converts who, purporting to be men of character, inspired in women ideas of anarchy and materialism.7

The most detestable maxims of Hobbes and Spinoza and the most republican ideas appeared everywhere in their writing and speech.

True philosophers, ministers of religion, true citizens; indeed, all honest men trembled at the audacious dogmas they put forward against divinity and supreme authority. Some complained that the might of the Church and the sword of the law struck only the weakest blows against them; but these were whispers rather then true complaints, for no-one dared raise their voice.

These new philosophers thought themselves the masters of renown: they handed out reputations and artistic accolades on a whim, but no-one had a chance of receiving their attentions unless they too were part of the sect. Indeed, this malady was so widespread, it had so efectively made its way into every area of life, that a whole part of the nation was caught up in it,8 thinking only according to what these oracles prescribed.

The only means left to cut these powerful people down to size was to attack them with ridicule before the eyes of an assembled public: this was to return theatre to its original purpose,9 and it might be said that it was a moderate response only to take up such arms against their excesses.

But for this task a soul was required that was sufciently courageous; sufciently infamed (if I dare say it) by the love of public good, so as not to be afraid of either obstacles or dangers. I did not shy away from all that might be attempted to bring my name into disrepute; I forsaw the malicious use that would be made of the portraits contained in the play of individuals whose talent and morals I repect, though I might not adopt their philosophical systems.10 Had I been capable of remaining under any illusions in this regard, I would have been disabused of them even before the frst performance of *Les Pbilosophes*, when I saw discussed in public extracts from my play which only ever existed in the imagination of those who attributed them to me.11

When I saw it claimed in writing that I attacked that rare genius, of whom I have only ever spoken with delight,12 who received me with such kindness in his home when I went to pay him my respects and admiration, and who has since often honoured me with letters that I shall keep safe for all my life.

When, moreover, I saw that I was being accused of not even having spared the illustrious Montesquieu, these so-called wise men fattering themselves by the implication that there was no immense gulf separating them from these great men. Though these famous geniuses who have enlightened their century may at times have forgotten themselves through human weakness, this group of philosophers, who have only imitated them in their faults, have no right to make any sort of comparison with them.

What I would never have anticipated, however, is that people would afect to have forgotten all of the models that authorise my choice of subject and the manner in which I have treated it: that they would be unable to remember that Molière mocked in the theatre the Hôtel de Rambouillet,13 Cotin, Ménage,14 the court, the devout and doctors;15 that even Racine put the magistrature on stage.16

Moreover, convinced that the truly philosophical action of a good citizen is to have the courage to pull his country out of dangerous errors, and to sacrifce everything to this glory, I could not be held back by any personal considerations; not even the fear of the pamphlets in which I knew I would be attacked, and to which I shall never respond. I must rely for my defence on all those who still believe in the respect of authority, in natural feeling, in ancient morals.17 I will simply observe that the most hateful recriminations will never prove anything either against my play, or in favour of the false philosophers, but will on the contrary give me the satisfaction of seeing honest men join me in my scorn.

In response to the charges of malice made against me, I will simply employ these judicious and remarkable words of M. Diderot: 'I know that people speak thus of works in which authors have let loose all their indignation: *This is horrible! People must not be treated so harshly! These are terrible insults that should not be published*, and other similar claims that have been made across time about all those works in which idiocy and evil are painted in the strongest colours, and which we read today with the greatest pleasure. Let us explain this contradiction in our judgements. At the moment at which these formidable productions were published, *all villains were alarmed, and feared for themselves*. The more a man was full of vice, the more vociferously he complained. He objected to the satire based on the age, the rank, the dignity of the person attacked; on hundreds of *those little feeting considerations, which lose their importance day by day, and which evaporate before a century has passed*. Passing circumstances are forgotten, posterity sees nothing but folly, ridicule, vice and evil, covered in ignominy, and *rejoices in this as* 

*an act of justice*… It is only reprehensible weakness that prevents us from demonstrating towards baseness, envy, and duplicity, that strong and profound hatred *that all honest men should feel*.'18

In the light of such decisively authoritative words, I would therefore be justifed in making no apology: but there are some delicate and honest souls, whose errors deserve some indulgence, who are troubled by the word 'malice'; not always taking the time to consider whether its application is just. It is for their sake that I will add this question, which seems to me apt to calm them regarding any pleasure that they may have taken in my comedy.

Who is really evil: he who devotes himself to the defence of legitimate authority and of the most sacred bonds of society, or those men who,19 impatiently struggling against all restraints, the enemies of all power, dare to publish what follows?

'Between animal and man there is no real *division*. Animals have a soul capable of all the mental operations carried out by man: conceiving and assembling ideas, and drawing from them a just consequence.' (*Interprétation de la Nature*, page 35.)20

'Our soul is made of the same ingredients and the same fabric as that of animals.' (*L'Homme plante*, page 31.)21

'It has been demonstrated by a thousand irrefutable proofs that there is only one life, and one happiness, and that the proud monarch dies completely, just like the modest subject and the loyal dog.' (*Discours sur la vie heureuse*, page 34 and 35.)22

'That which pleases the body is the sole route to happiness.' (*Discours sur la vie heureuse*, page 6.)23

'The pleasures of the senses can inspire in us all sorts of feelings and virtues.'24

'Physical sensibility and personal interest are the authors of all justice.'

'Probity is nothing but the habit of undertaking useful actions, and must necessarily be founded in personal interest.'25

'The idea of virtue is not by any means absolute, nor independent of circumstances.'

'Virtue and truth are beings that are only worthy insomuch as they serve those who possess them.' (*Discours sur la vie heureuse*, page 106.)26

'Neither vice nor virtue, moral good nor evil, justice nor injustice exist in themselves: everything is arbitrary and constructed by the hand of man.' (*Discours sur la vie heureuse*, page 11.)27

'The inequality of conditions is a barbaric law: no natural subjection into which man is born with respect *to his father, or to his prince*, has ever been regarded as a bond that obliges him, without his own consent.' ('Discours préliminaire' of the *Dictionnaire encyclopédique.*)28

'A child is not born as the subject of any country or any government; when he reaches the age of reason he is free to choose the government under which he wishes to live, and to become part of the political body that pleases him the best.' (*Dictionnaire encyclopédique*, art. 'Government', vol. VII, page 789.)

'Nothing is capable of submitting man to any power on earth but his own consent.' (*ibid.*)29

'A tacit consent binds us to the laws of the government under which we enjoy the beneft of holding certain possessions, but if our obligation begins with those possessions, it ends with our enjoyment of them.' (*ibid.* page 791.)

'Governments can dissolve when the legislative and executive powers act with force beyond the authority that has been accorded to them.' *(ibid*.)30

'It is only thanks to the weak and ignorant state into which they are born that children fnd themselves naturally subject to their fathers and mothers.' (*ibid.* art. 'Child', vol. V, p. 652.)31

'A son owes his father no gratitude for having brought him into this world.' (*Les Mœurs*, page 59.)32

'Filial love is very susceptible to exemptions.' (*Les Mœurs*, page 459.)33

'The best way to free oneself from the innopportune nature of desires is to follow them.' (*Les Mœurs*, page 75.)34

'In order to be happy, it is neccessary to stife any remorse: useless in advance of a crime, it is no more useful once the crime has been carried out. Good philosophy would do itself a disservice if it were to occupy itself with such irritating reminiscences, or dwell on such old prejudices.' (*Discours sur la vie heureuse*, p. 63.)35

The fear of raising ire in my readers makes me lay down my pen, and prevents me from looking through the *Pensées philosophiques* and *L'Interprétation de la Nature*. 36

## *The Philosophes*

## Characters

Cydalise

Rosalie (Cydalise's daughter)

Damis (Rosalie's lover)

Valère, philosophe

Théophraste, philosophe

Dortidius, philosophe

Marton (servant)

Crispin (valet)

M. Propice (bookseller)

M. Carondas

*The play takes place in Paris, in Cydalise's house.*

## **ACT I**

SCENE I

DAMIS, MARTON

DAMIS No, I shall never recover from this shock A promised match thus rudely broken of! 37

MARTON All's changed, I say.

DAMIS

How so?

MARTON

You're but a guard.

Madame won't make a match with such as you. She seeks a husband cut from diferent cloth A man, in short, who is a philosophe.38

DAMIS What can you mean, Marton?

MARTON

You seem surprised;

But out of sight, you drifted out of mind. In three short months, this house has been transformed: Three more, perhaps, and all will shift again. Once more in highest favour you will stand; 'Til then, you have no claim. The verdict's in: Though you were sure that you would soon be wed, The prize goes to the philosophe instead.

DAMIS Alas, that all should thus have changed so fast!

#### MARTON

Monsieur, all women fckle creatures are.39 As seasons change, so Cydalise does too, Each feeting fancy grips her heart anew. At times she's giddy, overcome with joy, Yet then she's solemn, sulking like a child; A scandalous seductress, fancy free, Then prudish, chaste, and virtuous as a nun. Her nights are spent at balls, then church by day, With scholars one moment, bufoons the next.40 'Twas once her way. But now the time has come For fner morals, for a wiser tone. Madame her household has of late reformed. Now naught but reason governs all our acts. First banished from her home was vulgar jest: The usurer's delight, the common fare; Now dining here we barely raise a smile. Yet if we yawn, at least it is with wit. Instead of merry vaudevilles and verse, We must endure the music of the wise; Those long and arduous tunes our only joy. But our true strength, Monsieur, in reason lies. Though once we spoke of worldly politics, In metaphysics all is now subsumed.41

#### DAMIS

The image that you paint is strange indeed, But you're the artist, and I'll trust your brush To paint Madame. But what of Rosalie?

#### MARTON

Why she grows bored, just as we all do, Sir.

#### DAMIS

And has her heart surrendered to my foe?

#### MARTON

Her heart's still yours, for love has held it safe Against your rival, and his daring plans. Your fate, though, in a mother's hands doth lie; A woman so bewitched I see no hope. Please pardon me these words. I speak things plain.

#### DAMIS

She was my friend; I trust this has not changed…

#### MARTON

Great wit, Monsieur, is all that she admires. A malady unknown among the young But common at her age. But still, with time, Perhaps to wisdom she could be recalled If only there were someone who could fght And play upon such progress as she's made. Myself, I hoped, back when this all began; But now the ills to come are all too clear. Between us…

#### DAMIS

What?

#### MARTON

Madame has writ a book.

## DAMIS Good god!

MARTON

Anonymous; and now in press.

## DAMIS Some kind of pamphlet?

MARTON

No: a handsome tome.

#### DAMIS

I hope and pray she won't reveal her name. But among those wits our Mistress holds so dear, Is none so frank, so apt to speak the truth, To spare her from the shame of her mistakes: Enlighten her?

#### MARTON

 They play her for a fool: They strive as one to fatter her, you know; Your rival most of all. He knows her tastes, And more than just applaud her fancy words Parades her wit before like-minded men, Those practised fatterers and charlatans, In raptures to be part of her salon, To bring their errors into it, to vaunt Their power over credulous *esprits*, Whose hides must toughen against their taunts and jibes.

DAMIS And they are, so you say, philosophers?

#### MARTON

Yes, though they give themselves much greater airs. The city's full of them. To charm Madame, To pull on every heartstring that she has, They've taken on positions in her house. When they advise, inspired by reason's light,

Whatever they pronounce, Madame delights. Yet from among their number I suspect The 'secretary', received by her as wise, Is nothing but a schemer and a crook, Deceiving her to carry out some plan. But in the end, I will expose the truth.

#### DAMIS

What has he done for you to scorn him so?

MARTON Else I'm mistaken, or it is your foe Who's had him taken on to serve his ends.

DAMIS What man is he?

#### MARTON

 A rogue, who virtue feigns; Yet native of Pézenas, so they say, His pompous title: 'Monsieur Carondas'. Known for his mind, or that is what he claims His speech replete with Greek and scholar's terms; Outlandish jargon, and at every turn, He references great erudites of old.42

DAMIS, *laughing*. Ha, ha, ha, ha.

#### MARTON

The portrait's true to life.

#### DAMIS

This Monsieur Carondas sounds like bad news. But with your help and that of Crispin too…

MARTON What? Crispin, here?

DAMIS

Indeed, ma'am, it is so.

And I intend to join the pair of you: I hope that you will swear to serve me well.

MARTON Leave it to me, I'll put Crispin to work.

DAMIS I'll count on you.

MARTON

Oh Sir, I hope you do!

I'll wage a war against philosophy.

DAMIS The greatest joys of life I'll owe to thee. But… just one thing

## MARTON

I know just what you'll say.

Hold fast, Monsieur, by ardour you're forewarned:

Your love arrives!

#### SCENE II

#### ROSALIE, MARTON, DAMIS

#### DAMIS

 After three months away Returning to you, full of love and hope To claim what was once promised, in deep faith, I fnd now that a foe, in jealous spite, Dares rob me of the only prize I crave.43 That against me, with your mother he conspires. Ah me! At least console my hopeless heart.

#### ROSALIE

Think you my own to be more blithe than yours? I watch these drastic turns with dreadful pain; Like you I sufer, but I love you still. At least in this I may retain some hope. Who could oppose two souls, so intertwined? My mother loved you. Maybe at your sight, Some fondness may return to her cold heart. A heart over which I used to hold more power. Now you, Damis, must try to move this stone; That with the happy union I seek, My mother's love I'll also owe to you.

#### MARTON

Fine words, but mark, that plan will come to naught.

## ROSALIE Let me be wrong.

MARTON

Through hard combat alone

Can Cydalise to good sense be returned.

## DAMIS

Yet we might try, perhaps, our little scheme.

#### MARTON

Yes; sighs and tears, that's just the way to go! Oh, how philosophy inures the heart.

#### ROSALIE

Why, that is a surprise! But if Maman Has promised me forever to Valère; If this grand plan is truly so advanced, Why until now has it not been announced? What yet could hold her back?

#### MARTON

I'd be most vexed.

She has not yet invited the notaire, It's true; the witnesses are not yet come, Indeed; a few formalities remain, I grant you that; perhaps the day has not Been quite established yet in certainty; That I'll admit. But does she not embrace How publicly he worships all your charms? And are you not at all times drawn to his? But no; I was quite wrong; it's naught, in truth.

ROSALIE Mercy! Must you disturb me so Marton?

MARTON 'Twas just a dream.

DAMIS

Marton…

Mere idle talk.

A childish tale.

DAMIS

Marton.

MARTON

A vision; false;

Absurd.

ROSALIE

But Marton…

MARTON

Feverish, frenzied, mad.

A great illusion.

ROSALIE

Yet in truth, Marton,

This cruel tomfoolery becomes you not.

MARTON

Ma'am, I was wrong.

ROSALIE, *making as if to leave.* Don't follow!

DAMIS, *stopping her.*

Rosalie.

ROSALIE No Sir, it's far too much.

DAMIS

Please stay, I pray.

#### MARTON

Ah! Now you've lost your temper? Just as well. But let us reason. Tell me, if you please, Was such deceit required? I know that doubt Can cause us to discount our dreaded fears. To shy from danger's natural enough, If only to avoid a tiresome weight. I'd be the frst to hide from you the truth, To close my eyes to such a blinding light, If not for my concern, which makes me speak. Forgive me, but you lovers are quite mad, First calm, and then despairing without cause, A happy balance never to be found; When cool sangfroid's a better guide by far Than love, which is a blindfold on your eyes.

DAMIS Now that is real philosophy, indeed!

#### MARTON

Live amongst wolves and you will learn to howl, Or so the proverb goes. And it is true. Philosophy's a plague upon this house. But let us put aside these solemn thoughts, (*To Rosalie*)

Let's make our peace. With no bad blood from you? Can you promise me this?

ROSALIE

Of course, I swear

#### MARTON

I swear to have your interests at heart. You Sir, who unperturbed in mind and soul Would spend your days with eyes set on Madame, Must now retreat, and promptly would be best. Beware that it's broad daylight in this house, We risk at every moment being caught, But Cydalise must see you frst of all, Before you plan for other rendez-vous.

#### DAMIS

Wholeheartedly I'll follow your command. My happiness I shall entrust to you. My darling one, adieu, my Rosalie!

SCENE III

MARTON, ROSALIE

MARTON Have strength! To languish will not help your cause. With frmness you may overcome your grief.44

ROSALIE If you could feel my hatred for Valère!

MARTON Damis has left, it's true. But you must speak To Cydalise as soon as time allows. For if you love him, her consent you'll need Or so I do suppose.

ROSALIE

Indeed.

## MARTON

Young girls

Do naught, you know, without their parents' say, So go the rules. And so you have to voice Hate for the one, and for the other, love.

ROSALIE Of course!

MARTON

And can your spirit thus stand frm?

ROSALIE Without a doubt Marton.

MARTON, *cunningly.*

I hear her come.

ROSALIE, *scared.*

Ah! Marton…

MARTON

Well! That's not the best of starts.

Most promising…

ROSALIE

 Why must you scare me so? When it's required, my love will give me strength.

MARTON, *mimicking her.* Your love! Oh yes, you'll both do very well… I'll wager that, in such a fustered state, A word let slip by chance…

ROSALIE

No, you will see.

#### MARTON

It's not love's place to save you from despair; Love is too maladroit. Think of your hate; That is the sentiment that must prevail, Your hatred must take hold, direct your soul. I do not know if love, which I revere, Is truly of all passions the most dear; It's really naught but weakness and self-doubt. Whilst hatred stems from ardour, drive, and fre. Where one destroys, the other animates, And in a female heart more natural is. You're yet to know this sentiment, it seems. May you then taste it, only for today. I love Crispin and for Valère I feel… But it's a game no more, your mother's here.

## ROSALIE Will you support me?

MARTON

Yes.

SCENE IV

#### CYDALISE, ROSALIE, MARTON

## CYDALISE

Be gone, Marton.

Go, take my keys; lock Plato safe away.

His world of ideal forms has dulled my mind.

I sought l'*Encylopédie*, it was gone.

That book shall leave my cabinet no more

(*To Rosalie*)

Please stay; I wish to speak with you alone.

(*To Marton*)

Leave us, Marton.

MARTON, *to Rosalie.*

Hold frm, and prove your worth.

CYDALISE Do as I say.

#### SCENE V

#### CYDALISE, ROSALIE

#### CYDALISE

 You are both fair and wise, My Rosalie, I've always held you dear. Now let's see if you merit such esteem. To vulgar sentiment I'll give no weight: To love so biased, shallow, à la mode That's born, they say, from blood shared 'twixt our veins, And yet, in truth, is nothing but sweet lies; Mere weakness…

#### ROSALIE

What's that? Mother Nature's voice,

That sacred link, so touching and so pure, That early duty, that frst, august bond? (I can't describe that which I feel so well,) Is all forgot? Does my poor mother's heart Today pour scorn on this most holy trait? Remember, pray, the love that once you felt; Which reasoning on too much has caused to fade.

#### CYDALISE

I fell, as many do, for those vain dreams; Led like our forebears by mere common sense. Though blind and credulous, I was content, Machine-like, following the common herd. Now I begin to feel, to think, to know. And if I love you now, 'tis as a *Being*. But you should know that any other soul Would have an even smaller claim than thine.

#### ROSALIE

You tear my heart to shreds. But please, Maman, Allow me at your knees to plead my case: Ask what is rightly mine, and kinder words. Why untie all the bonds which held us close, Of which my trembling and my tears stand proof?

#### CYDALISE, *slightly moved*.

Poor girl! … to err for you is full of charms! I pity you. But follow reason's path. The fashion for such puerile love has passed. I see your claim to own a mother's heart But elevate it; if to you I'm dear, If I some rights over you can also claim It's not down to the chance that brought your birth.

#### ROSALIE

I cannot bear to hear these loathsome words An insult to us both, a horrid slur. Think you that I'd so easily forget? My very life, I owe it all to you.

#### CYDALISE

I took great care to guide your girlish mind And that, indeed, deserves your love and thanks; The worthy object of my dearest hopes. To teach you thought, that's all that I desire. Imagine how much joy in genius lies: In opening your eyes to reason's light; Dispelling all the fog that clouds your mind, And freeing it from judgment's evil yoke. That art of life known only to the wise, Of which I've now experienced the joys,

That day of reason, scattering its rays: My dear, my love wants you to know it too. Your marriage to dear Damis was agreed; My head and heart by minor gains were led: Questions of fortune, and a trial to end All pointed to your union, it seemed. This is indeed how most things come about; But now, today, I break those vulgar ties, Damis has good sense, honour, virtue too. The least the world requires, it must be said; Not all young men are destined for great heights. And some respect we owe him, it is true. For you, my child, I want another spouse: One much more ftting, worthy of your mind. Valère can please, he knows how to seduce, But more than love you, he will teach you too. So yes; he is the object of my choice.

#### ROSALIE

Have you forgot that Damis once did have The blessing of my father, and yourself?

#### CYDALISE

Your father! True, I hardly thought of him. Always the pleasant voice of power. Ha! The Earth's most narrow-minded soul to date. A talentless and impotent machine, A man of habit, mired in routine, Who seemed to think of nothing much at all, Apart from that which made up his estate, And hundreds other trivial things beside. A champion of antiquated thought,

His morals primitive; and he allied The rank of his dark robes with bourgeois tone. He never spoke without due solemn weight, Preoccupied at all times with the law, Yet out of court relapsing into sin; Like Dandin,45 keen to judge at every turn. But now he's dead, let's let him rest in peace.

ROSALIE Please, Maman!

#### CYDALISE

 What! And would you take his part? A father is, all said and done, a man, I'm justifed to speak about his faults.

#### ROSALIE

If that's what your philosophy will teach, Why, then, I shall renounce it, here and now. Enlightened, I would stand to lose so much, I state the truth. Permit me, please, I beg, To speak to you in favour of Damis; Recall your former kindness, for your child.

#### CYDALISE.

No, Valère is the partner that I choose, Tonight you shall become husband and wife; A union that will enrich your life. And as for your disdain for reason's light: You must, as I have, rid yourself of scorn. With time and reason, you will fnd a cure. You're at an age where life is just begun; Where all yet seems unclear; but read my book. It teaches of the mind and of good sense; Of passions, laws and of good governance, Of virtue, morals, habits, etiquette; Of peoples civilised and wild in turn; The disorder that we see, order beneath, Of happiness, that's both ideal and true. Therein I show the theory of all things, The secret ties that link cause and efect; I've written just for you a thoughtful text, A chapter on 'Your duties, as they stand'. A treatise, in encyclopedic form That Valère swears shows genius and wit. You'll be delighted with so fne a spouse. One day you'll see how much I've done for you You'll thank me for it. Now, my dear, adieu, See that you do my bidding.

SCENE VI

ROSALIE, MARTON

ROSALIE, *without seeing Marton.* Oh, such pain! Oh what to do? Ah me! It's you, Marton.

MARTON Indeed, and I heard all. But she's quite mad! What lunacy!

ROSALIE

I'll die.

MARTON

Oh, quite the jest.

You, die? You silly girl; that's out of style.

Even in novels it's no longer done.

ROSALIE

But then…

MARTON

 Now calm your nerves, engage your mind. Had you not, after all, foreseen this trial?

ROSALIE That does not help my stricken, shaking state.

MARTON Have you so little faith in all my plans?

ROSALIE Oh Marton!

MARTON

Calm yourself, please, frst of all.

If your desires are met, pray, tell me dear What will your anxious worrying have done?

#### ROSALIE

Well yes, if you succeed, but if you don't?

#### MARTON

You'll cry as much as you could wish, my love; And I'll cry with you, never say a word; But 'til that moment, why not raise a smile? In any case, a laugh is always good, And when plans go awry we need it more. Well that's my view, at least. Why, sorrow's vain, And trying too; my nature's quite opposed. I think we should not dwell on it at all, And when we seek out pity, we are wrong. So let us plan instead some happy ruse, Come, follow, see if wise philosophy However strong its merits, can this day Hold out against Marton, Crispin, and love.

## **ACT II**

SCENE I

VALÈRE, M. CARONDAS

VALÈRE Frontin!

M. CARONDAS

 No good shall come of that damned name, I've told you so. What if, by some malchance Before Madame you should address me thus? Frontin! For a savant? I should think not. One lapse in your attention's all we need, And our philosophy is overturned.

VALÈRE

Of course.

#### M. CARONDAS

 We must, at all costs, both abstain From our more usual tone, for — so you say — By nature's right all men most equal are, And I, though Frontin, am in fact your peer.

VALÈRE Indeed, this is my sentiment, I swear.

M. CARONDAS And I myself wholeheartedly concur. For I have always thought the law was wrong; And Cydalise in one great chapter proves, Convincingly, I think…

#### VALÈRE

You trust the view

Of someone who, essentially, is mad? Whose mind may be so efortlessly changed? Her words are just as empty as her head.

M. CARONDAS Between us two, the book, it's truly bad?

VALÈRE Useless.

M. CARONDAS The style…

VALÈRE

It's boring beyond words.

M. CARONDAS And yet you fatter her with highest praise!

VALÈRE Of course.

M. CARONDAS The public?

VALÈRE

We shall tell them how

To think, to speak, to judge and how to write We'll settle this quite easily.

M. CARONDAS

Of course,

To tame and fatter them remains our aim.

VALÈRE No, not at all, in fact just the reverse! There is a much more certain way.

How so?

#### VALÈRE

For instance, we must speak of them with sneers;46 A strategy adopted by the wise, It's most efective, you can be assured. You'll see so soon yourself, and marvel too. For we shall make that woman's name renowned; Some bold, revolting, scandalous remarks Will have the most extraordinary efect When added to her book.

#### M. CARONDAS

 A novel trick! But how to make her think it's all her work?

#### VALÈRE

Is any of it hers? At frst she will Deny it all, then think the author's her.

M. CARONDAS Oh my, I say! I'd simply die of shame!

#### VALÈRE

Do you forget she's of the female sex? Believe me, cruder things we could have done, Her pride's a trait on which we may rely: In this, all women stubborn creatures are.

#### M. CARONDAS

Society wits have nothing on them, true. But do you think that with such little change, We can expect the easiest success?

#### VALÈRE

Of course! And this idea is nothing new. The book of Crates47 gives us proof enough. Never has one man's work risen so far: For all spoke ill of it; still do today. It's known worldwide as the most dangerous book And yet we know Crates as a good man.

M. CARONDAS

It's true.

#### VALÈRE

 Our Cydalise will have more fame The fairer sex is judged with less disdain, Additions made in secret by our hands Will shock her audience, cause great delight. Crates himself will envy how she's known And nothing's simpler, with us on her side.

#### M. CARONDAS

Well, brought up in your school Sir, though I am, I had naively taken at its face Both book and author. Yet it seems she wrote, Naught but your own words, Sir.

VALÈRE

The wretched fool!

M. CARONDAS As for those phrases added to her book, What if the law should come for us, Monsieur?

VALÈRE She'll hear her praises loudly sung abroad; No matter then if she retracts it all.

Besides, a love of truth can courage breed. Impressive words, like *error*, *zest* and *zeal*, And *persecution*, to her aid will come.48 This ancient strategy always works well. As guide in this, have we not Socrates: Oppressed, condemned by his ungrateful land?49 All our admirers would speak with one voice.

M. CARONDAS Sir, Socrates himself obeyed the laws.

#### VALÈRE

Philosophy, then in its infancy. Maintained a mask of prejudice, you know. The time for this is past.

CARONDAS

All's then allowed?

VALÈRE Except against us and against our friends.

CARONDAS Praise be to wit and to philosophy! For in this life there's nothing more sublime.

#### VALÈRE50

What, virtue on a rocky hill did lie? The hardy only reached it. Man was lost. This king of beasts wandered without a guide Across the oceans, moving with the winds. But now we know what truly drives mankind. His motivation's happiness alone. In living out his passions he's fulflled. Take them away, and he would soon be left,

To languish aimlessly upon the earth.51 This unseen power, man's sole driving force From our philosophy's no longer hid. Morality to genius must submit. And on this Earth we humans rule supreme, Our private interest at the root of all; For it alone determines how we act; Our light and guide in all we say and do. Thus free from wrong; but bent to interest's voice The savage follows it deep in the woods, To its dominion cultured man does bow; It governs with one word all things that breathe.

M. CARONDAS What? We must follow interest alone?

VALÈRE Why, it is vital, nature tells us so.

M. CARONDAS It pained me much to fool dear Cydalise; But now I see that such a thing's allowed.

VALÈRE When fortune calls; why, take it at its word.

M. CARONDAS Yes.

VALÈRE

Frankness is the virtue of a fool.

M. CARONDAS, *preparing to steal from him.* Yes Sir… but then, I do still have my doubts; They hold me back.

#### VALÈRE

```
         Why think such baseless thoughts?
```
From prejudice be free!

M. CARONDAS

Speak you the truth?

VALÈRE

You must fnd happiness, no matter how.

M. CARONDAS You mean that?

#### VALÈRE

 Yes, in wooing Cydalise, You do a duty authorised by mores. Should one not fawn when pleasing company? To help oneself is nothing but good sense. 'Our land is full of men who are but fools.' One sailor's words to Macedonian kings Are full of truth.

M. CARONDAS, *fumbling in Valère's pocket.* Indeed.

#### VALÈRE

All property

Ought to be public; but the means exist To overturn our fate. We can through skill Attempt to change our stars. It's simply weak To moan and languish, stopped by ancient qualms. (*noticing Carondas trying to steal from him*) What are you doing there?

Self-interest…

This hidden law… Sir… that inspires us all, And governs every man that ever lived…

VALÈRE What! Traitor, steal from me?

M. CARONDAS

No. It's my right…

All goods are common.

VALÈRE

Fine, but have more skill!

For there are risks to which we are exposed, When taken by surprise.

M. CARONDAS

Sir, I'll take care.

#### VALÈRE

From this, good Monsieur Frontin, you should learn; But since that name is no longer allowed, You now shall help me out with Cydalise. For now, all's well; to Rose I am betrothed. You know too well my thoughts on this afair. So please, proceed to fatter where you can. Your wise scholastic terms have wonders wrought; Continue, pray, to fll her head with words; With all that jargon which has worked before. You have no fortune, and yet here you might Begin to change your destiny; I'll help, If this procures the end I so desire. Adieu, please be discreet, and I'll be fair.

#### SCENE II

M. CARONDAS, *alone.* My frst attempt was not the best, it's true. To match my model, I have far to go, For now, I'm destined for the second rate.

## SCENE III

## CYDALISE, M. CARONDAS

CYDALISE, *without seeing M. Carondas.* At long last of those idlers I am rid. How sloth is dull when one desires to think! From all those bores with whom I was obsessed, I never heard the germ of an idea. Such insult to good sense cannot be borne; But tiresome family, tolerate we must. (*To M. Carondas)* Ah, good! you're here! Now please, Sir, take your place. With just a little work on the preface,

My book will soon be done. But I had hoped

That Valère might be here.

M. CARONDAS

He's leaving now;

Of you, Madame, we talked with so much joy.

CYDALISE Did you speak of my book?

M. CARONDAS

He cannot stop.

He says its immortality is sure; You will surpass the greats of every age. My judgement I cannot compare with his; But oh! my wonder heightens with each page.

CYDALISE It pleases you?

M. CARONDAS

My mind is all confused.

Your book with such deep knowledge is replete; Your word on Socrates' demon I would trust.52

CYDALISE You know it well.

M. CARONDAS

 Yes Ma'am, that's what they say. But tell me then, how did this come about? You must know everything which has been writ.

CYDALISE With many learned people I have met, It's pure and simple chance.

M. CARDONAS

You were inspired.

But what! Have you not read the great Vossius?53

CYDALISE Never.

M. CARONDAS Casaubon?54

CYDALISE

Even less.

M. CARONDAS

Grotius?55

CYDALISE Not once. So are these books by women writ?

M. CARONDAS Good god, Madame, you shock me more and more, You really know nothing of this?

CYDALISE

It's true.

M. CARONDAS But of the law you speak so mighty well. And surely Tribonien56 you must…

CYDALISE

I don't.

M. CARONDAS At least you know Thales? Democritus?57

CYDALISE No.

M. CARONDAS  *Le Fils naturel*?58

CYDALISE

Yes, that I know.

These are the works we must above all quote.

M. CARONDAS On this point I can't claim authority, But, like you, I did judge it by its name.

CYDALISE I earnestly agree. In one small trait The greatness of a work is plain to see. By a *je ne sais quoi…* one's soul is seized A feeling… genius draws us by its skill.

M. CARONDAS I see. It's like steam rising from a stew Which rouses both the sense of smell and taste. CYDALISE Well yes, but that analogy is crude.

M. CARONDAS It's from Lycophron.59

CYDALISE

 Ah! That changes things. Let's talk of my preface. I shall dictate.  *(After a long silence, emphatically.)* Write this: *I lived*. 60 No, that's no way to start. Erase, *I lived*. Please put yourself at ease.  *(Tartly.)* Oh! Monsieur Carondas your pen is poor. (*Pensive.) I lived* means nothing.

M. CARONDAS

I'd be satisfed.

*I lived* means much!

CYDALISE

No, Monsieur, I desire

A philosophical and striking start.

M. CARONDAS But such simplicity is good, Madame.

CYDALISE, *dreaming.* No, no, I want a phrase that has more weight. (*With humour.*) Such ghastly paper I have never seen! Erase that, Sir; your ink is truly foul. *(Pensive.)*

Alas, I cannot fnd a better phrase!

*(Impatiently.)*

And after all, Valère ought to be here. When I'm with him I'm so inspired with wit. *(Pensive.)*

What! Not even a thought? Oh! woe is me.

M. CARONDAS Why, inspiration comes and goes, you see? This calls to mind the words of wise Souidas,61 Who said with style…

#### CYDALISE

 My! Monsieur Cardonas, Forget the dead. I had the perfect phrase  *(She thinks.)* But it escapes my mind. Wait… yes, this time…  *(Impatiently.)* Write this! But no, that phrase is too obscure. I never felt such intellectual drought, I've had enough, I give up on this task! The publisher awaits, give him my work. Wait no, come back. At last I've found the words! Write this: 'Young man, take up this book and read.'62 *Young man, take this and read*. Is that not fne? Tell me your thoughts, Monsieur…

#### M. CARONDAS

Grand and sublime!

It has an air of true intelligence.

CYDALISE In reading it, my woes are all forgot. *Young man, take this and read*. It is unmatched, Valère, therefore, will fnd it most august.

## M. CARONDAS

You seem to tremble, shaken by your phrase. *Young man, take this and read*. There speaks a sage; Nature will thus reveal its beauteous face. Why, nothing's so sublime, yet modest too.

CYDALISE But what does Marton want? SCENE IV

MARTON, CYDALISE, M. CARONDAS

MARTON

Ma'am it's Damis;

He wants to speak with you.

CYDALISE

At such a time!

Without his interruption I'd be done! That tiresome man won't leave me to my work.

MARTON Valère will see it's done.

M. CARONDAS

What say you 'done'?

The book is writ, Madame, it is complete. And ten years hence it still shall be revered.

CYDALISE You're right. Make twenty copies of it, go. I breathe at last! The work was worth the pain. *Young man, take this and read!* Damis, come in.

#### SCENE V

#### DAMIS, CYDALISE

## CYDALISE You're back again?

#### DAMIS

Why yes, Madame, I am.

To seek compassion and expose my soul. I see too clearly, with no little pain, That I have lost my dear place in your heart, Our friendship, once so close, seems sorely changed. But in my mind our souls are allied still. Allow me to recall to you a hope That time should not have cast out from your mind. Your daughter, as you know, to me is dear: To you and to her father this was clear. Today your blessing I shall seek once more, For all I need from you is your consent.

#### CYDALISE

Your memory, I admit, is quite correct; And I was wrong to hint that my esteem; The friendship that once bound me tight to you, Should no longer be sentiments I trust, Indeed, I should have said this from the start: But I was most deceived by wit and charm, And privileged too long the foolish wrongs Of my beloved world… By age I'm changed. The day has come to choose philosophy, To free myself from judgement's heavy yoke, At last existing only for the truth.

I've formed a learned company of men, In number few, but wise: they share my life. I learn to think through studying their books:63 I've chosen one of these to be my son, And on this eve my hopes will be fulflled. It's up to you to judge if, though your friend, I thus should sacrifce to you my joy.

#### DAMIS

Madame, I would do anything for you, Your friendship will inspire me ever more. But what could be the benefts, pray tell, Of spending time with all these learned men? I certainly can't see as 'wise' these frauds; These charlatans, performing for the crowd, And showing of so-called philosophy: My sense won't let me trust these boastful men. Such spectacle may lure the common herd. But I am not so easily drawn in: More apt to ask who's truly wisdom's friend, And who instead a pedant, peddling rot.64

#### CYDALISE

To pedants I'll admit we owe contempt, And I distinguish them from sages true. Please spare me, dear Monsieur, your bitter scorn, For those I name, Théophraste and Valère, Dortidius, they are all widely known…

DAMIS Of them I know only Dortidius. So he's among them?

#### CYDALISE

Why such great surprise?

#### DAMIS

I knew him; please excuse my being frank: It seems back then he hid his game quite well: A fool he was; he near admitted so. When we were introduced, despite his smirk, The dull and hackneyed compliments he spoke, The sickly sweetness of his honeyed words, I never found him witty, great or wise. Despite his tone, and his afected air, I couldn't fnd him worthy of respect. In short, I saw him merely as a man Whose cold enthusiasm drew in fools.

#### CYDALISE

Such prejudice insults your common sense, For Dortidius brings honour to our land. By learned men he's always been esteemed, I cannot grasp why men speak ill of him. But let us leave this matter. Speak instead, Of what I gain by living with the wise: Of this, I was to tell you, was I not? And then, perhaps, you'll censure them again. No matter; at least see them as they are. Once prejudice destroyed my very soul; In vain my reason struggled to be free, And habit soon returned me to my ways. The most delusive terrors drove me mad: Fearing thunder; swearing ghosts were real. Admitting these absurdities, I blush,

But we are raised on just such futile fears, And thus they are impressed upon our minds. The trifing, useless schooling we receive, Instead of shining light on right and wrong; It teaches naught but how to hide our faults. My eyes were opened, though perhaps too late! Through these most blessed men I am reborn. Once chance alone determined whom I loved: My relatives were those I most adored, According to their closeness to myself. The same scheme to my learning I applied; I had all this — and so much more — quite wrong. But since my soul has found a diferent road, Philosophy has purifed my mind Which now can see the whole world as my kin; Thus moved by sensibility alone, Humanity is now my only care.

#### DAMIS

Though this may cause displeasure, to my ear This word 'humanity' is without weight, And by so many rogues I hear it said I'd wager they'd agreed to spread its fame.65 They want to make it something of a trend. A worthy and convenient veil, it seems, To mask the dullness of their point of view. And lend some beauty to their dreary tones. Among the men who preach it without end Are few who have compassion for the poor, Who show themselves, in times of need, to be More generous, or humane, or sincere, To put aside their own profane desires,

To overlook the errors of their kin, To praise the worthy, to, in short, seek out The way to be a better citizen; In faith, to tell the truth, I'd like to swear, They love the human race, but hate all men.

#### CYDALISE

You hold against humanity some deep grudge.

#### DAMIS

The word is much abused; I hate the sound. It is a sentiment too large for man, I've even seen, in contrast too extreme, That those who vaunt the notion most of all, Abandon their own child, yet love the world.66

#### CYDALISE

We must, Monsieur, have pity on the wise, For you're an enemy that they should fear. Our time and our great land have praised in vain, 'Twas better to be deaf to all their words, And serve to amplify such envious thoughts.

#### DAMIS

What good has this philosophy produced? I really cannot fathom its success. I see around me self-important fools, Who take on airs by joining with a sect, And think thus to have raised themselves in worth. Establishing a court and devotees, They claim they save the poor, unfortunate arts, Quite unaware of all of satire's stings. Of mocking laughter, these men take no heed,

Though it may ring about them as they go; Admiring, praising, loving all abroad, And all the while degrading their own land,67 Is this the great success that we must praise?

#### CYDALISE

Your reasons I admire, they have some weight; You cite me choice examples which I'll grant Are apt to press your cause. But never has An insult such as this proved any truth. Think you mere trifes would afect my view?

#### DAMIS

Madame, I see these horrors more and more. Mark me, through them our morals will decline, And I'm appalled by all these philosophes.

#### CYDALISE

Well then, think what you will, my good Monsieur. For you it's clear there's no cure to be had. Refusing absolutely to be swayed, Too credulous for reason to win out.

#### DAMIS

You think you've said it all, with that one word. That 'credulous' is equal to 'a fool': To many men it seems that's all too clear: But I'm less certain of this strident view, Which neither can persuade me, nor strike fear, My own view I hold frm; if they're displeased, My censure's aimed at them. I know my mind, Believing what I must, I state it proud.68 These men may laugh, it makes no odds to me:

Why, let them fnd enjoyment where they will. But I in turn will see them as mere fools, Quite stupid in their incredulity.69

#### CYDALISE

I praise these words, pronounced in such good sense, And shan't deny your right to have your say. But without straying further from the point, I know how much I owe to those great men, Enlightened, whom you deign to persecute.

#### DAMIS

You owe to them the teaching of great truths? That I cannot believe. They may destroy, But nurture no, and certainly not teach. What fruits expect you from their arguments? Only too well I see how they will harm: You'll follow in their path of sophistry, Be blinded in the night of Pyrrhic fate. Renounce your ties to those who do disrupt, It's they who persecute, instead of I. Reject these thoughts, unftting as they are. And rediscover, Ma'am, your former self.

#### CYDALISE

Have you now ended, Sir, your long tirade? Your reasoning has strength, and much good sense. I see your merit shines in brilliance; It changes naught, you shall not have my girl. Goodbye, Monsieur.

 *(She leaves.)*

#### DAMIS

Oh God! What shall I do?

## SCENE VI

CRISPIN, DAMIS

CRISPIN

Did you good progress make in your attack? The marriage is back on? For Cydalise…

DAMIS

It's she to whom I spoke just now, in vain! I must renounce my dreams of Rosalie.

CRISPIN But why?

DAMIS

I am dismissed.

CRISPIN

Once and for all?

DAMIS Once and for all.

CRISPIN

How so? We try so hard

To please, yet she elects Valère instead?

And nothing to be done?

DAMIS

I cannot think.

CRISPIN Please, have no fear, I see another way. All we must do is kidnap Rosalie. The quickest way.

## DAMIS

 What folly do you voice? You count on her consent? You know her well,

Thus speak you to me so?

## CRISPIN

A mere idea.

But since you have rejected it, we'll choose A far more certain path. I'll fnd Valère And speak to him with such a furious force, That he will surely fee their house tonight.

DAMIS That seems to me a better plan indeed, But Cydalise?

CRISPIN

Yes?

#### DAMIS

She will be outraged.

There's no more certain way to raise her ire, And have me sent away for ever more.

#### CRISPIN

Well then it's down to my audacious plan, Through which I shall enlighten Cydalise, And chase these false indulgers from her house. Then fnally some credit I'll be due, And if Marton should lend her help besides, To reason you will see Madame submit.

DAMIS, *initially with joy*. Ah! Crispin… yet, I'm loathe to fully trust… CRISPIN, *emphatically*. I want her torn between Valère and me. You don't yet know the reaches of my powers; My model is Democrites' Strabo.70

DAMIS You?

#### CRISPIN

 Yes, for I've played many, varied roles: A wise man once employed me as his scribe;71 I could have made the royal authors' list;72 At least, that's what he told me, full of praise.

DAMIS It's so?

#### CRISPIN

 Already I had many fans; But oh! he did me wrong when of he fed, Eschewing honours, living in the woods. It's true he knew not artifce nor plots. It was philosophy that flled his head, With righteousness and stubborn innocence. A cynical and misanthropic beast, He truly was a mad and singular fool.

DAMIS How can I listen when I'm in such pain? SCENE VII

## MARTON, DAMIS, CRISPIN

MARTON

Good Sir, we must cast light upon your woes; Come on, some joy!

DAMIS

And what do you suggest?

MARTON Well, let's begin by laughing at your plight.

CRISPIN Oh yes, let's laugh.

DAMIS

I'm in such deep despair.

MARTON Then think not on it; banish your black thoughts.

CRISPIN I think the woman must have lost her mind.

MARTON

And smile.

DAMIS

Marton…

MARTON

Console yourself, I said.

DAMIS

Whatever can this mean?

### MARTON

You'll soon fnd out.

Yes, you're amongst the luckiest of swains.

## **ACT III**

SCENE I

DAMIS, MARTON, CRISPIN

DAMIS

No, I cannot recover from this shock! Thus it is that they swindle Cydalise?

MARTON

But reason will, I hope, soon win the day.

## DAMIS

I doubt it not, this note is far too good! To what, then, do we owe this lucky fnd?

## MARTON

The simple chance, Sir, of this open door! For many hours I spied upon his steps; I always said that he was one of them. I would have sworn it.

## CRISPIN

Frontin is his name:

And by it I'd have recognised the man.

MARTON But who will see this note fnds its true home?

## DAMIS

You shall.

MARTON

But no, she'd hate me ever more.

I'd never dare.

DAMIS

Marton…

MARTON

A note like this

To give it to Madame! Ah! no, I can't, It would cost me too much.

DAMIS

But…

MARTON

It's no use;

I shan't do it.

DAMIS

Nor me.

CRISPIN

And nor will I.

MARTON But in their presence it must be returned, Or it will make no odds.

DAMIS

That's true.

CRISPIN

Silence.

Has she yet seen my face?

MARTON

No, she has not.

CRISPIN And no one knows my name in all the house?

## MARTON

No.

## CRISPIN

 I'll present myself and draw them in. Give me the note, I'll handle this afair. Go forth, Sir, I'll be sure to serve you well.

#### MARTON

I have the utmost faith in his success.

## CRISPIN

And in return I only want Marton. For such a prize, what won't I dare to do?

## MARTON

Be gone, you two, the company's on its way.

## DAMIS

By you I trust my hopes will be fulflled.

## MARTON

Be gone, I said! Don't let them see us here!

## SCENE II

MARTON, *curtseying to the philosophers.* I shall announce you, sirs, to Cydalise.

## SCENE III

## THÉOPHRASTE, VALÈRE, DORTIDIUS

THÉOPHRASTE, *to Valère.* So, Valère, have the marriage plans been made?

VALÈRE Tonight's the night. The notary's on his way.

DORTIDIUS What splendid news!

THÉOPHRASTE

I wish you all the best!

DORTIDIUS It's all down to your merit and your skill.

THÉOPHRASTE Despite the rage of those who envy you.

DORTIDIUS And yet, you really could have hoped for more.

VALÈRE

I say!

DORTIDIUS But yes! It's no false fattery.

VALÈRE You mean…

DORTIDIUS

We know the value of your mind.

#### VALÈRE

Ah! You confuse me with your compliments.

## DORTIDIUS But yet it's true.

VALÈRE

 If I had all your gifts, If such almighty qualities I claimed, Perhaps then I'd be worthy of this praise.

THÉOPHRASTE Now does the bride-to-be agree to wed?

VALÈRE Reluctantly, but oh! why should I mind?

THÉOPHRASTE Of course, with time you'll make her see good sense.

DORTIDIUS Good god, that girl is very hard to please!

VALÈRE I know not who at present holds her heart; But Cydalise could not be more content.

DORTIDIUS, *laughing.* I never saw a greater fool than her.

VALÈRE I cannot wait to wed, and quit this house. I should have died had this not ended soon, We've worked so hard to see our goal achieved.

DORTIDIUS And once the knot is tied, I swear I'm done!

THÉOPHRASTE I quite agree, I've more than had enough!  *(To Valère)*

But you, at least, with passion as your guide, Could sufer boredom, driven by your love…

VALÈRE, *laughing.* Ah, love! Yes, it was that which spurred me on!

DORTIDIUS He'll marry now into ten thousand crowns.

VALÈRE, *to Théophraste.* What! Had you thought me some romantic fool? Ridiculous at my advancing age. These days this common folly we eschew; Though pleasure may ensue, it's gold we seek!

THÉOPHRASTE Of course he's right.

DORTIDIUS

And I, too, do concur.

#### VALÈRE

Without the thought of fortune I should not Have put up with her presence, dull and dim. Had she been Venus, I should still have left. Oh! Such repellant habits I abhor.

#### THÉOPHRASTE

She should be warned, she must reform her ways; She never was so tiresome in the past, What do you think has changed her?

VALÈRE

Why, her book!

## THÉOPHRASTE And still she thinks to publish it?

VALÈRE

Why yes.

THÉOPHRASTE If she does not change soon, she'll be locked up.

DORTIDIUS Perhaps; though such a thing would help our cause, Should one day we desire her to suppress.

THÉOPHRASTE You've read her essay on *the work of kings*?

VALÈRE Don't speak of it! I've read it many times! A storm I have repeatedly endured.

DORTIDIUS, *earnestly.* Between us three, it's truly her best work. But is it by her own hand?

VALÈRE

Why, you jest!

DORTIDIUS, *still serious.* I swear, I found it excellent!

VALÈRE

Ha ha!

DORTIDIUS I tell you, it is good!

VALÈRE

Don't make me laugh!

It's naught but incoherent silliness.

DORTIDIUS Were I as wrong as you, I'd hold my tongue.

VALÈRE Your heated tone disturbs me not one jot.

DORTIDIUS, *angrily*. So, you pronounce and we must all agree?

VALÈRE You'd think you were its author by your tone!

DORTIDIUS If only that were true…

VALÈRE

Hard luck for you!

DORTIDIUS, *angrier*. But my good sir!

VALÈRE

I'm speaking in good faith.

DORTIDIUS I might be forced to tell you some hard truths!

VALÈRE It always comes to insults when you're wrong!

DORTIDIUS You overstep the mark!73

VALÈRE

What's more, I laugh!

DORTIDIUS, *furious.* Ah! That's enough!

THÉOPHRASTE

Oh! Good sirs, please calm down.

DORTIDIUS Most kind of you, to mock me quite so much!

THÉOPHRASTE, *standing between them.* My friends, we're not the pedants of Molière.74 Allow me please, to settle this dispute.

VALÈRE I'm right!

THÉOPHRASTE, *to Valère.* Without a doubt.

DORTIDIUS

And I'm not wrong.

THÉOPHRASTE, *to Dortidius.* Of course you're not. But here you might be heard, Dear Cydalise could take us by surprise.

DORTIDIUS Esteem should always be our dearest guide…

THÉOPHRASTE

It's not about considering ourselves; We know each other well: but must take care, At least, to make it seem that we are friends. By such appearances we shall prevail, And we are lost, unless we all unite.75 Forget these minor quarrels, for the cause. But hark! I hear her step. Forget this row.

#### SCENE IV

#### THE PHILOSOPHES, CYDALISE

CYDALISE, *holding a book.* Excuse my lateness; my thoughts were of you Such moments are the sweetest of the day. Let's sit, good sirs. Ah, Valère, is that you? The notary's proposal has arrived, I'm sure you will be pleased.

#### VALÈRE

My dearest wish,

Madame, you know, is by this sacred bond, Our friendship may be strengthened all the more.

#### CYDALISE

I owe to you the joy that flls my life, And thank you for it dearly. But good sirs, I heard you speak with rage. What could it be, That's caused this dreadful rift? I thought to hear A quarrel amongst you three?

VALÈRE, *slightly embarrassed.*

It's true.

#### CYDALISE

#### Tell me

The topic you discussed with such concern?

VALÈRE I must confess, it's you of whom we talked.

CYDALISE Of me?

VALÈRE

Yes, you: our fervour is the proof.

CYDALISE What is it then?

VALÈRE

Alas, I cannot say.

I know not how to praise you to your face. Oh, speak, my friends.

THÉOPHRASTE

We may?

VALÈRE

But yes, of course.

#### THÉOPHRASTE

In centuries gone by we searched for one Comparable to you. I chose to cite Aspasia,76 but this enraged Monsieur.

VALÈRE

I fnd it quite outrageous; here's my proof: It's true, in Greece, Aspasia shone bright, But in that age philosophy was young. The people, struck by its most radiant light; Was bound to come and worship at its source; In those days all was new. Most common gifts Could shine with little work, in those crude times; But nowadays our knowledge has progressed; And it is hard, when we've achieved so much, To set ourselves beside those famous men By whom barbarity was changed to light, And thus I cannot bear, without a fght,

To hear Aspasia compared with you.

(*To Théophraste)*

Think of the times, and see then where you stand.

THÉOPHRASTE Comparisons are never without fault.

VALÈRE Oh, you were wrong.

THÉOPHRASTE

I know it, and I blush.

CYDALISE And on this subject do not ask my thoughts; I know too much…

VALÈRE, *with feeling.* We know you are sublime.

DORTIDIUS

These are our feelings too; but hear his tone! He beautifes them.

CYDALISE, *enthusiastically.* Oh, indeed he does!

VALÈRE, *kissing her hand.* Oh, pardon me then, please, this gaiety.

CYDALISE Though I should scold, his words disarm me so: I can't resist, *I fall under his spell.*<sup>77</sup>

DORTIDIUS Of rousing interest he is truly king. VALÈRE Oh, how indulgent genius can be.

CYDALISE Monsieur Dortidius, have you some news?

#### DORTIDIUS

I care nothing for kings, nor for their strife: Nor siege nor fght means anything to me. To idlers I leave these state afairs. For my own land, I have but little care: The truly wise are citizens of the world.

CYDALISE Our homeland we hold dear, it's our sole link…

#### DORTIDIUS

To be mere 'citizen' constrains the mind. Far from the torments that divide the world, The wise man must reside at home in peace; His eyes divert from objects of dismay; As sole king, he both rules and legislates; There's naught at all could shake his happiness; It's for great men to calm the woes they cause.

THÉOPHRASTE His view is of a philosophe, and just.

CYDALISE His mind never appears to be at fault.

VALÈRE Madame, he's right, the mind of such a man Should not concern itself with politics. These wars and treaties, trifes that they are, Sink bit by bit into the gulf of time. Pale into nothing, under genius's fame. If one may speak without false modesty Excepting you and us, there's not one soul Who's worthy of an honest tête-à-tête.78

CYDALISE Yes, you are right, these things aren't worth our time.

THÉOPHRASTE We'll leave them then for much more vulgar minds.

CYDALISE I will not challenge your authority. Speaking of which, talk we of something new?

VALÈRE There's just one thing.

CYDALISE

A masterpiece, no doubt?

#### VALÈRE

It's a discovery, a new approach, That one of us has just begun to trace A genre in which genius shines through.

## CYDALISE

A tragedy?

## VALÈRE

Of the domestic kind.79

That's what we seek.

#### CYDALISE

I'd fear a bad review;

With novel things, critique is always right. The public?

## VALÈRE

 Well, we know they are mere sheep; But whatsoever their verdict, we'll fght back.

#### CYDALISE

I'm not so sure, I fear old tastes don't change.

### VALÈRE

It's true, the frst few days will be a risk But we shall make a noise to deafen men, Our friends will move from *loge* to *loge* in turn, Their cries of praise inciting all to cheer; Our suppers show already such success.

## CYDALISE Why, that I had not thought, but you are right.

## VALÈRE

So many do devote themselves to us, Low-ranking authors praise us with such pride, I'm sure that if we work a little more, Then quickly they'll abandon all good sense.

THÉOPHRASTE Ha ha! You tell the truth just as it is.

VALÈRE No Sir, it's without jest these things are said.

CYDALISE And will this work be debuted soon enough?

## VALÈRE

We're occupied by more important tasks.

## CYDALISE

What tasks?

## VALÈRE

An author of a comedy,

Will put us on the stage, they say.

CYDALISE

## How bold.

DORTIDIUS, *vehemently.* Play us! But that's a crime against the State! Play us!

VALÈRE

But we will block this bold attack.

CYDALISE The audience will protest…

## DORTIDIUS

I fear not:

We've misled them: perhaps they'll make us pay?

CYDALISE The magistrates will rise up in dismay.

THÉOPHRASTE We've oft had muddy dealings with the law.

CYDALISE The Court then…?

## VALÈRE

It will never take our part,

For we have wronged it often in the past.

DORTIDIUS Then with the author we must reason, fast.

THÉOPHRASTE We'll see if he's afraid of us, at least.

#### VALÈRE

Our last resort is to wait out the storm, 'Til then let us defame both man and work; Let's take revenge by arming all those fools, With someone else's hand take striking blows. Might we not buy up actors to our cause? We'd have supporters everywhere backstage.80 We'll start some whisperings, cause a cabale, Show ourselves in the *loges*, before the crowd. I'm sure our faces have but to be spied: The public fear us.

#### CYDALISE

 Yes, and we'll prevail. But say, our good bookseller's late indeed. He should be here, what might retain him still?

DORTIDIUS Perhaps he's waiting.

CYDALISE

We must bring him in.

THÉOPHRASTE Ah, he is here.

## SCENE V81

#### A LACKEY, CYDALISE, THE PHILOSOPHES

#### LACKEY

Madame?

## CYDALISE

Has no-one come

About my books?

LACKEY

No-one.

CYDALISE, *with an agitated movement*.

Then could it be

A secret order's had them carried of?

Call Valentin!

LACKEY

He's ill, and close to death.

DORTIDIUS Our students of anatomy will fete His loss: their gain.

CYDALISE

He really ails?

LACKEY

Indeed.

A desperate man, Madame, nigh in the grave.

DORTIDIUS Poor Valentin! A man I most respect, And whose dissection I'd have carried out.

(*To Cydalise*)

But you were just about, I think, to speak; Begin your lesson; yet you still demur?

CYDALISE This project, for my part, is pure caprice…

LACKEY Your man is here.

(*He leaves*.)


Not cut from the same cloth.

DORTIDIUS, *ironically.*

And you would know.

M. PROPICE It's what the public says; I think it's true. And as for Toussaint's *Mœurs*, I do recall I sold it to you.

 (*He reads the titles) Réfexions sur l'âme*?83

CYDALISE Let's see. I know it. Is that all?

M PROPICE

Well, no.

*L'Interprétation de la nature.*

CYDALISE

Yes!

A wondrous book!

DORTIDIUS

Divine!

THEOPHRASTE

A vital text!

CYDALISE I'll keep it, for I passed my copy on.

M. PROPICE Here's the *Discours sur l'inégalité.*<sup>84</sup>

CYDALISE, *taking it.* I shall reread it with avidity. And what's this other work I see on top? M. PROPICE Why that's the *Petit Prophète*; 85 nothing, Ma'am.

CYDALISE Ah! I recall; an entertaining read.

M. PROPICE A never-ending stream of pleasant wit. Require you nothing else of me today?

CYDALISE I'll keep this one. Good day, Monsieur Propice.

## SCENE VII

## CYDALISE, THE PHILOSOPHES

CYDALISE And now, once more I'll read my favourite tome!

VALÈRE What, *Inequality*? That's mine as well.

THÉOPRASTE The book's divine; returns all men again, To animals, as we all are at heart! Through making laws man has enslaved himself. He'd lead a better life amongst the trees!

CYDALISE Myself, I have no stronger a desire, Than to return to our most natural state.

THÉOPRASTE Our minds by error shrouded now persist, By prejudice from progress we're held back. Some erudites are cut from faulty cloth…!

CYDALISE What now Marton?

## SCENE VIII

MARTON, CYDALISE, THE PHILOSOPHES

MARTON

Madame, a philosophe

Has asked to speak with you.

CYDALISE

His name?

MARTON

Crispin.

CYDALISE

A most uncommon name.

DORTIDIUS

Quite so!

CYDALISE

And yet,

What's in a name? Heavens! What a surprise!

## SCENE IX

## CRISPIN, CYDALISE, THE PHILOSOPHES, MARTON

CRISPIN, *on all fours.*<sup>86</sup> Madame, there's naught to which I take ofense. No longer do I feel I must conform, This is the glad conclusion of my thoughts. My ardent love for *la philosophie*, Has made me choose the state of quadruped! On these four columns I am most at ease, And fewer fools I see to harm my eyes.

CYDALISE, *to Valère.* His point of view is quite original.

VALÈRE And quite amusing.

MARTON

I think I'm in love!

#### CRISPIN

In civilised society all is lost: Our health, our happiness, our virtue too. And thus I am again an animal; My diet is both simple and restrained.87 One cannot be content with less, it's true. But by more frugal life, my soul's enriched. Great fortune always seemed to me unjust; Now I am happier and more robust, Than those whom luxury degenerates, The price of which their wives know all too well. Informed of how you welcome in the wise, Madame, I came to pay you great hommage,

And to invite these men to take my lead, Perhaps, should they be tempted by my case.

#### CYDALISE

You know, I think for all his rambling words, I do discern some sense.

## DORTIDIUS

And I agree!

MARTON As great a philosophe as I have seen!

#### THEOPHRASTE

He's what we sought: a man of solid views Who, standing up to critics, quite convinced, Eschews mere words, and lives his system out.

## CYDALISE

A man like that seems worthy of respect; Yet prejudice prevents my full assent.

## CRISPIN You fnd my resolution quite bizarre.

#### CYDALISE

I must say your example's somewhat rare; But your enthusiasm gives you charm; You are a philosophe, in every sense.

#### CRISPIN

I pay no mind to fashions or to fads; I've always thought that clothing served a use, And nothing more. More so in humid climes… THEOPHRASTE Sir, here we judge a man by what he's worth And not by what he wears.

CRISPIN

You're truly wise.

CYDALISE But who is this who comes?

#### SCENE X

#### M. CARONDAS, CYDALISE, THE PHILOSOPHES, CRISPIN, MARTON

M. CARONDAS, *stealing constant glances at Crispin, and looking uncomfortable*.

My work is done,

Madame… and soon… the notary will come.

CYDALISE

What's wrong?

M. CARONDAS, *indicating Crispin, who is hiding a little behind Cydalise*. Who is that strange, amusing beast?

CYDALISE

A worthy philosophe, who'll join the feast.

CRISPIN In truth… Madame…

M. CARONDAS, *to Valère.*

Oh damn and blast it all,

They've found us out!

VALÈRE

But what?

M. CARONDAS

That's Crispin, Sir.

The valet of Damis.

CRISPIN, *standing*.

Yes, yes, Frontin:

Speak up; it's him indeed.

CYDALISE

What's all this fuss?

CRISPIN, *indicating Valère*. Your secretary is this monsieur's valet. I took on this, the very same disguise, To bring to you a most important note,88 (*indicating M. Carondas)*

Found in this rascal's house.

CYDALISE, *opening the note*.

I know this hand;

(*To Valère*)

It's yours, Monsieur.

CRISPIN

Pray, read it, Madame, do.

VALÈRE, *to the philosophes*. Ah! All is lost!

CYDALISE, *reads aloud, but in a changed voice, which becomes weaker and weaker.*

'My dear Frontin, I enclose the collection of impertinences that Cydalise calls her book. Keep fattering that madwoman, who is impressed by your wise reputation. Théophraste and Dortidius have just informed me of an excellent plan which will turn her head, and to which your involvement will be of paramount importance if it is to succeed. Her ridiculous fancies, her quirks, her…'

CRISPIN

Her voice is weakening,

She will not read much more, I'm sure of that.

M. CARONDAS Ah, traitor, Crispin!

DORTIDIUS, *to Valère.*

I am sorely vexed,

But we're found out.

VALÈRE, *quietly*.

What terrible disgrace!

What can we say? Let's go.

## CYDALISE

Read on, Monsieur;

And then give your excuses, if you dare. So, I'm the victim of your fattering plans? On the cusp of disgrace, now I can see! What have I done for you to treat me so? Go, thankless guests; don't show yourselves again. Your panicked state's revenge enough for me Though others may not treat you quite so well. Leave; grant the wish of my afronted heart: Be gone.

VALÈRE, *furious*. Oh, damn it all.

M. CARONDAS

Our cue to leave.

(*They leave.*)

CYDALISE So cruel! How they had caught me in their web!

## SCENE XI

## DAMIS, ROSALIE, CYDALISE, MARTON, CRISPIN

CYDALISE Now Damis, come; I sense what you're to say Will show to me just how far I've been blind.

## DAMIS

They're now unmasked; the time of error's past. And punished, they no longer need be feared, Madame, you have no further cause for woe.

#### CYDALISE

To these infernal men I sacrifced, All my most sacred duties, and my friends, How your revenge is sweet! Dear daughter mine, I recognise my error; please forgive; To right my wrongs, I give to you Damis.

### DAMIS

And I, Madame, will love you as a son.

#### ROSALIE

My wishes have come true, Maman returned!

CRISPIN To now complete this tale, I'll wed Marton.

## MARTON, *to the audience*.

The wise men of our time we've shown to you: Unmasking all that's false, we praise the true.

Anicet Charles Gabriel Lemonnier, *A Reading of Voltaire's Tragedy 'L'orpheline de la Chine' in the Salon of Madame Geoffrin* (ca. 1812), Wikimedia, Public Domain, https://commons.wikimedia.org/wiki/File:ANICET-CHARLES-GABRIEL\_ LEMONNIER\_A\_READING\_OF\_VOLTAIRE.jpg

## Lettre du Sieur Palissot, Auteur de la Comédie des *Philosophes*, pour Servir de Préface a la Pièce1

*Vous que les Corneille, les Racine, et les Molière ont toujours respecté, et qui ne deviez pas vous attendre à vous voir insulté dans des préfaces par une secte d'hommes nouveaux qui n'ont jamais pu ni vous en imposer ni vous surprendre: vous qui êtes exempt d'intérêt, de prévention, et de haine, et à qui je dois tant de reconnaissance, permettez-moi de vous soumettre les vues*<sup>2</sup>  *qui m'ont guidé dans l'ouvrage que vous avez eu l'indulgence d'applaudir.*

*Quelques personnes humiliées par les encouragements dont vous avez daigné m'honorer, n'osant attaquer directement votre sufrage,*<sup>3</sup>  *ont crié du moins au libelle et à la méchanceté. J'ai cru devoir me justifer de ce reproche si étranger à mes sentiments et à mon cœur. Je vous adresse mon apologie. Lisez et jugez.*<sup>4</sup>

Une secte impérieuse, formée à l'ombre d'un ouvrage dont l'exécution pouvait illustrer le siècle,5 exerçait un despotisme rigoureux sur les sciences, les lettres, les arts et les mœurs. Armée du fambeau de la philosophie, elle avait porté l'incendie dans les esprits, au lieu d'y répandre la lumière: elle attaquait la religion, les lois et la morale: elle prêchait le pyrrhonisme,6 l'indépendance; et dans le temps qu'elle détruisait toute autorité, elle usurpait une tyrannie universelle. Ce n'était point assez de la liberté de publier ses opinions avec faste; elle déclarait la guerre à tout ce qui ne féchissait pas le genou devant l'idole. *L'Encyclopédie*, cet ouvrage qui devait être le livre de la nation, en était devenu la honte; mais de ses cendres mêmes il était né des prosélytes, qui, sous le nom d'esprits forts, inspiraient à des femmes des idées d'anarchie et de matérialisme.7

Les maximes les plus détestables de Hobbes, de Spinoza, l'esprit le plus républicain, respiraient dans leurs écrits et dans leurs discours.

Les véritables philosophes, les ministres de la religion, les vrais citoyens, tous les honnêtes gens enfn gémissaient de ces dogmes audacieux contre la divinité et l'autorité suprême. On se plaignait de ce que les foudres de l'Eglise et le glaive des lois ne leur avaient porté que des coups impuissants; mais c'était plutôt des murmures que des plaintes; personne n'osait élever la voix.

Ces nouveaux philosophes croyaient en imposer à la renommée: ils distribuaient à leur gré les réputations, et les couronnes des arts; mais nul ne pouvait y prétendre, *s'il n'était enrôlé dans la secte*. En efet, elle était si étendue, elle avait si fort percé dans tous les états de la vie, qu'elle entraînait les sufrages d'une partie de la nation,8 qui ne pensait plus que d'après ces oracles.

Il ne restait, pour abattre ce parti puissant, que de l'attaquer par le ridicule aux yeux mêmes du public assemblé: c'était ramener le théâtre à sa première institution;9 et sans doute, il y a de la modération à n'employer que de pareilles armes contre de certains excès.

Mais il fallait avoir l'âme assez courageuse, assez enfammée (si je l'ose dire) de l'amour du bien public, pour ne s'efrayer ni des obstacles, ni des dangers. Je ne m'étais point dissimulé tout ce qu'on pourrait tenter pour me rendre odieux; j'avais prévu les applications malignes que l'on ferait des portraits répandus dans la pièce à des personnes dont je considère les talents et respecte les mœurs, sans adopter leurs systèmes philosophiques.10 Si j'avais été capable de me faire à cet égard quelque illusion, j'aurais été désabusé, même avant la représentation des *Philosophes*, quand j'ai vu épars dans le public des lambeaux de ma comédie qui n'avaient jamais existé que dans l'imagination de ceux qui me les attribuaient:11

Quand j'ai entendu publier que j'attaquais ce génie rare dont je n'ai jamais parlé qu'avec transport,12 qui me reçut avec tant de bonté dans sa retraite, lorsque j'allai lui porter mon tribut d'admiration, et qui depuis m'a souvent honoré de ses lettres que je conserverai toute ma vie:

Quand enfn j'ai vu que l'on m'accusait de n'avoir pas même épargné l'illustre Montesquieu, comme si nos prétendus sages se fattaient de faire disparaître, par ces imputations, l'intervalle immense qui les sépare de ces grands hommes. Si ces génies célèbres qui ont éclairé leur siècle, se sont oubliés quelquefois par une suite de la faiblesse humaine, ce n'est point à cette populace de philosophes, qui n'a su les imiter que dans leurs fautes, à vouloir faire avec eux aucune comparaison.

Mais ce que je n'aurais jamais soupçonné, c'est que l'on afecterait d'oublier tous les exemples qui autorisent le choix de mon sujet, et la manière dont je l'ai traité: que l'on ne se souviendrait plus que Molière a joué l'Hôtel de Rambouillet,13 Cotin, Ménage,14 la Cour, les dévots et les médecins:15 que Racine enfn a mis la magistrature sur le théâtre.16

Au reste, persuadé que la véritable philosophie du citoyen, c'est le courage d'arracher sa patrie à des erreurs dangereuses, et de sacrifer tout à cette gloire, je n'ai pu être retenu par aucune considération personnelle; pas même par la crainte des libelles dont j'ai prévu que l'on m'accablerait, et auxquels je ne répondrai jamais. Je dois me reposer du soin de ma défense sur tous ceux en qui parlent encore le respect de l'autorité, les sentiments de la nature, et les anciennes mœurs.17 J'observerai seulement que les récriminations les plus odieuses ne prouveront rien ni contre ma pièce, ni en faveur des faux philosophes, mais qu'elles me donneront au contraire la satisfaction de voir les honnêtes gens joindre leur mépris au mien.

Aux reproches de méchanceté que l'on m'a faits, je n'opposerai que ces paroles judicieuses et remarquables de M. Diderot: *« Je sais qu'on dit des ouvrages où les auteurs se sont abandonnés à toute leur indignation: Cela est horrible ! On ne traite point les gens avec cette dureté-là ! Ce sont des injures grossières qui ne peuvent se lire* : et autres semblables discours qu'on a tenus dans tous les temps, et de tous les ouvrages où les ridicules et la méchanceté ont été peints avec le plus de force, et que nous lisons aujourd'hui avec le plus de plaisir. Expliquons cette contradiction de nos jugements. Au moment où ces redoutables productions furent publiées, *tous les méchants alarmés craignirent pour eux*. Plus un homme était vicieux, plus il se plaignait hautement. Il objectait au satirique, l'âge, le rang, la dignité de la personne, et une infnité de *ces petites considérations passagères qui s'afaiblissent de jour en jour, et qui disparaissent avant la fn du siècle*. Les circonstances momentanées s'oublient, la postérité ne voit plus que la folie, le ridicule, le vice et la méchanceté, couverts d'ignominie, et *elle s'en réjouit comme d'un acte de justice*…. C'est une faiblesse répréhensible que celle qui nous empêche de montrer pour la bassesse, l'envie, la duplicité, cette haine vigoureuse et profonde que *tout honnête homme doit ressentir*. »18

Après une autorité si décisive, je pourrais me passer de toute apologie: mais il est des âmes délicates et honnêtes, dont les erreurs mêmes méritent des ménagements, que le mot de méchanceté indispose, et qui ne se donnent pas toujours la peine d'examiner si l'application en est juste. C'est pour elles que j'ajouterai cette question qui me paraît si propre à les tranquilliser sur le plaisir qu'elles auraient pu prendre à ma comédie.

Quel est le méchant, ou celui qui se dévoue pour la défense de l'autorité légitime et des liens les plus sacrés de la société, ou ces hommes qui,19 impatients de tout frein, ennemis de tout pouvoir, ont osé imprimer?

« Entre l'animal et l'homme il n'y a aucune *division* réelle. Les animaux ont une âme capable de toutes les opérations de l'esprit de l'homme, de concevoir, d'assembler les pensées, d'en tirer une juste conséquence. » (*Interprétation de la Nature*, page 35.)20

« Notre âme est de la même pâte et de la même fabrique que celle des animaux. » (*L'Homme plante*, page 31.)21

« Il est démontré par mille preuves sans réplique, qu'il n'y a qu'une vie et qu'une félicité, et que l'orgueilleux monarque meurt tout entier comme le sujet modeste, et le chien fdèle. » (*Discours sur la vie heureuse*, page 34 et 35.)22

« Ce qui fatte le corps, est le seul pilote qui conduise à la félicité. » (*Discours sur la vie heureuse*, page 6.)23

« Les plaisirs des sens peuvent nous inspirer toute espèce de sentiments et de vertus. »24

« La sensibilité physique et l'intérêt personnel sont les auteurs de toute justice. »

« La probité n'est que l'habitude des actions utiles, et doit nécessairement être fondée sur la base de l'intérêt personnel. »25

« L'idée de la vertu n'est point une idée absolue, et indépendante des circonstances.

« La vertu et la vérité sont des êtres qui ne valent qu'autant qu'ils servent à celui qui les possède. » (*Discours sur la vie heureuse*, page 106.)26

« Il n'y a en soi ni vice, ni vertu, ni bien, ni mal moral, ni juste, ni injuste: tout est arbitraire et fait de main d'homme. » (*Discours sur la vie heureuse*, page 11.)27

« L'inégalité des conditions est un droit barbare: aucune sujétion naturelle dans laquelle les hommes sont nés à l'égard *de leur père, ou de leur prince*, n'a jamais été regardée comme un lien qui les oblige, sans leur propre consentement. »(Discours préliminaire du *Dictionnaire Encyclopédique.*)28

« Un enfant ne naît sujet d'aucun pays ni d'aucun gouvernement; à l'âge de raison il est libre de choisir le gouvernement sous lequel il trouve bon de vivre, et de s'unir au corps politique qui lui plaît davantage. » (*Diction. Encyclop*. au mot Gouvernement, Tome septième, page 789.)

« Rien n'est capable de soumettre un homme à aucun pouvoir sur la terre, que son seul consentement. » (*ibid*.)29

« Le consentement tacite nous lie aux lois du gouvernement dans lequel nous jouissons de quelques possessions; mais si l'obligation commence avec les possessions, elle fnit avec leur jouissance. » (*ibid*. page 791.)

« Les gouvernements peuvent se dissoudre, quand les puissances, législative et exécutrice, agissent par la force au-delà de l'autorité qui leur a été commise. » (*ibid*.)30

« Ce n'est que par une suite de l'état de faiblesse et d'ignorance où naissent les enfants, qu'ils se trouvent naturellement assujettis à leurs pères et mères. » (*Ibid*. au mot Enfant Tome V. page 652.)31

« Un fls ne doit à son père aucune reconnaissance de lui avoir donné le jour. » (*Les Mœurs*, page 59.)32

« L'amour flial est très susceptible de dispense. » (*Les Mœurs*, page 459.)33

« Le vrai moyen de s'afranchir de l'importunité des désirs, est de les suivre. » (*Les Mœurs*, page 75.)34

« Pour être heureux, il faut étoufer les remords: inutiles avant le crime, ils ne servent pas plus après que quand on le commet. La bonne philosophie se déshonorerait, en s'occupant de ces fâcheuses réminiscences, et en s'arrêtant à ces vieux préjugés. » (*Discours sur la vie heureuse*, page 63.)35

La crainte de soulever mes lecteurs me fait quitter la plume, et m'empêche de parcourir les *Pensées philosophiques* et *l'Interprétation de la nature*. 36

## *Les Philosophes*

## **ACTEURS**


*La scène est à Paris.*

## **ACTE I**

SCÈNE I

DAMIS, MARTON

DAMIS Non, je ne reviens pas d'un semblable vertige. Rompre un hymen conclu!37

MARTON

Tout est changé, vous dis-je.

DAMIS Mais encor ?

MARTON Mais encor, vous êtes ofcier ; Notre projet n'est pas de nous mésallier. Nous voulons un mari taillé d'une autre étofe ; En un mot, nous prenons un mari philosophe.38

DAMIS Que me dis-tu, Marton?

MARTON

Je vous étonne fort ;

Mais ne savez-vous pas que les absents ont tort ? Trois mois ont opéré bien des métamorphoses : Peut-être dans trois mois verrons-nous d'autres choses. Vous pourrez reparaître alors avec succès ; Mais jusque-là, néant. En dépit du procès Qui devait se fnir par votre mariage, Sans appel aujourd'hui la pomme est pour le sage.

## DAMIS Le moyen que l'on change ainsi dans un moment !

#### MARTON

Toute femme est, monsieur, un animal changeant.39 On pourrait calculer les jours de Cydalise, Par les diférents goûts dont son âme est éprise : Quelquefois étourdie, enjouée à l'excès, D'autres fois sérieuse, et boudant par accès ; Coquette, s'il en fut, en sauvant le scandale, Prude à nous étourdir de son aigre morale ; Courant le bal la nuit, et le jour les sermons ; Tantôt les beaux esprits, et tantôt les boufons.40 C'était là le bon temps. Mais aujourd'hui que l'âge Fait place à d'autres mœurs, et veut un ton plus sage, Madame a depuis peu réformé sa maison. Nous n'extravaguons plus qu'à force de raison. D'abord on a banni cette gaieté grossière, Délices des traitants, aliment du vulgaire ; À nos soupers décents tout au plus on sourit. Si l'on s'ennuie, au moins c'est avec de l'esprit. Quelquefois on admet, au lieu des vaudevilles, De savants concertos, de grands airs difciles ; Car il faut bien encore un peu d'amusement. Mais notre fort, monsieur, c'est le raisonnement. Quelque temps, dans le cercle, on parla politique ; Enfn tout disparut sous la métaphysique.41

#### DAMIS

Quelque chargé que soit ce bizarre tableau, Je livre Cydalise aux traits de ton pinceau ; Je m'en rapporte à toi. Mais que fait Rosalie ?

#### MARTON

Ce que nous faisons tous, monsieur ; elle s'ennuie.

## DAMIS

Aux vœux de mon rival son cœur s'est-il rendu ?

#### MARTON

Non, ce cœur est à vous. L'amour l'a défendu Contre tous les projets d'un rival téméraire ; Mais votre sort dépend de l'aveu d'une mère, Ensorcelée au point que je n'ai plus d'espoir. Pardonnez-moi ce mot ; je vois comme il faut voir.

#### DAMIS

Elle fut mon amie, et je me fatte encore...

## MARTON

Le bel esprit, monsieur, est tout ce qu'elle adore. C'est une maladie inconnue à vingt ans ; Mais bien forte à cinquante. Encore avec le temps, On pourrait espérer un retour de sagesse, S'il en était quelqu'un contre cette faiblesse, Quand à certains degrés elle a fait des progrès. Dans les commencements, moi-même j'espérais ; Mais sachez tous nos maux et ceux qui vont les suivre. Entre nous.

#### DAMIS

Hé bien ? quoi ?

#### MARTON

Madame a fait un livre.

#### DAMIS

Bon !

#### MARTON

Qui même à présent s'imprime *incognito*.

DAMIS Quelque brochure ?

MARTON

Non : un volume *in-quarto*.

## DAMIS

Je lui conseille fort de garder l'anonyme. Mais, dans ces beaux esprits que Cydalise estime, N'en est-il donc aucun assez droit, assez franc, Pour lui montrer l'excès d'un travers aussi grand ; Pour la désabuser ?

#### MARTON

Eux ! Ils se moquent d'elle ; Ils ont tous conspiré de gâter sa cervelle ; Surtout votre rival. Comme il connaît son goût, Il ne se borne pas à l'applaudir en tout ; Il la fait admirer par messieurs ses semblables, Tous charlatans adroits, et fatteurs agréables, Ravis de présider dans sa société, D'y porter leurs erreurs, et faisant vanité De dominer ici sur un esprit crédule, Qu'ils ont l'art d'aguerrir contre le ridicule.

DAMIS Et ce sont-là, dis-tu, des philosophes ?

## MARTON

#### Oui ;

Du plus grand air encor. Paris en est rempli. Mais pour établir mieux leur crédit chez madame, Et pour mieux pénétrer jusqu'au fond de son âme, Ils nomment aux emplois vacants dans la maison.

Leur choix, toujours guidé par la saine raison, Quel qu'il soit, à madame est toujours sûr de plaire. Je soupçonne pourtant un certain secrétaire, Reçu par Cydalise à titre de savant, De n'avoir d'autre emploi que celui d'intrigant, De recéler un fourbe, et d'être ici pour cause ; Mais enfn, tôt ou tard, j'éclaircirai la chose.

#### DAMIS

Quel motif as-tu donc pour en juger si mal ?

#### MARTON

Ou je me trompe fort, ou c'est votre rival Qui pour servir ses feux ici l'impatronise.

## DAMIS Quel homme est-ce ?

#### MARTON

 Un fripon afectant la franchise, Et pourtant, m'a-t-on dit, natif de Pézenas, Titré du nom pompeux de Monsieur Carondas, Reconnu pour savant, du moins sur sa parole, Tout hérissé de grec et de termes d'école, Plaçant à tout propos ce bizarre jargon, Et nous citant sans cesse Homère ou Lycophron.42

DAMIS, *riant*. Ha, ha, ha, ha, ha, ha.

#### MARTON

Je peins d'après nature.

#### DAMIS

Ce Monsieur Carondas est de mauvais augure ;

Mais avec ton secours et celui de Crispin...

MARTON Quoi ! Crispin est ici ?

DAMIS

Vraiment oui. Mon dessein

Était de vous unir ; tu le sais, et j'espère

Que tu me serviras de ton mieux.

MARTON

Laissez faire.

Crispin est fort adroit ; j'en tirerai parti.

DAMIS Je compte sur tes soins.

MARTON

Oh ! Monsieur, comptez-y.

Je déclare la guerre à la philosophie.

DAMIS Je te devrai, Marton, le bonheur de ma vie. Mais... Ne puis-je un moment ? ...

MARTON

Ah ! Je vous vois venir.

Tenez, monsieur ; l'amour a su vous prévenir : On vient ; c'est Rosalie.

## SCÈNE II

#### ROSALIE, MARTON, DAMIS

#### DAMIS

 Après trois mois d'absence, Quand je reviens ici, guidé par l'espérance, Réclamer une foi promise à mon ardeur, On m'apprend qu'un rival, jaloux de mon bonheur, Ose me disputer le seul bien où j'aspire,43 Qu'avec lui, contre moi, votre mère conspire. Ah ! rassurez du moins mon cœur désespéré.

#### ROSALIE

Doutez-vous que le mien en soit moins pénétré ? Je vois avec douleur ce changement extrême, Je soufre autant que vous ; mais enfn je vous aime. À ce titre du moins quelque espoir m'est permis. Qui pourrait résister à deux amants unis ? Ma mère vous aimait. En vous voyant, peut-être, Dans son cœur combattu, l'amitié va renaître. Sur ce cœur autrefois j'avais plus de pouvoir, Je le sais ! c'est à vous, Damis, de l'émouvoir ; Allez, et pour combler le bonheur que j'espère, Que je vous doive encor les bontés de ma mère.

#### MARTON

Beaux sentiments ! Mais moi, je ne m'y ferais pas.

#### ROSALIE

Laisse-moi mon erreur.

#### MARTON

Non : c'est par des combats

Qu'il faut à la raison ramener Cydalise.

## DAMIS

Encore est-il permis de tenter l'entreprise.

### MARTON

Oui ; c'est un beau moyen, des soupirs et des pleurs ! Oh ! la philosophie endurcit trop les cœurs.

## ROSALIE

Je ne l'aurais pas cru ! mais pourtant, si ma mère M'immolait sans retour aux desseins de Valère, Si ce projet enfn était bien avéré, Pourquoi jusqu'à présent n'est-il pas déclaré ? Qui peut la retenir ?

## MARTON

 J'entrerais en colère. Elle n'a pas encor fait venir le notaire, Il est vrai ; les témoins ne sont pas invités, D'accord ; il manque aussi quelques formalités, J'y consens ; il se peut d'ailleurs que la journée Ne soit pas fxement encor déterminée ; J'en conviens. Cependant ne soufre-t-elle pas L'hommage assez public qu'il rend à vos appas ? N'en êtes-vous pas même à toute heure obsédée ? Mais non ; je me trompais : ce n'était qu'une idée.

ROSALIE Hélas ! peux-tu, Marton, me désoler ainsi ?

MARTON J'avais rêvé.

DAMIS

Marton…

## MARTON

Contes que tout ceci,

Propos en l'air.

## DAMIS

Marton.

## MARTON

Vision chimérique,

Absurde.

## ROSALIE

Mais Marton…

#### MARTON

Non, c'est terreur panique,

Illusion, vous dis-je.

ROSALIE

En vérité, Marton,

Ce cruel badinage est bien peu de saison.

#### MARTON

J'avais tort.

ROSALIE, *faisant un mouvement pour sortir.* Tu poursuis ? Hé bien ! je…

DAMIS, *l'arrêtant.*

Rosalie.

ROSALIE Non, monsieur, c'en est trop.

DAMIS

Demeurez, je vous prie.

#### MARTON

Ah ! Vous vous fâchez donc ? Vraiment, c'est très bien fait. Mais raisonnons un peu. Dites-moi, s'il vous plaît, Fallait-il vous tromper ? Je sais bien que le doute Suspend l'impression des maux que l'on redoute, Qu'il est très naturel d'éloigner le danger, Et de rendre toujours son fardeau plus léger. Moi-même à vous fatter je serais la première. J'aurais soin de fermer les yeux à la lumière, Sans l'intérêt pressant qui me parle pour vous. Pardonnez ; mais, ma foi, les amants sont des fous. Tranquilles sans raison, désespérés sans cause, Dans un juste équilibre aucun ne se repose, Et le sang froid souvent les conseille bien mieux, Que cet amour qu'on peint un bandeau sur les yeux.

#### DAMIS

Comment ! Voilà, parbleu, de la philosophie !

#### MARTON

On apprend à hurler, dit-on, de compagnie, En fréquentant les loups. Le proverbe a raison. C'est un mal répandu dans toute la maison, Mais perdons un moment cette idée importune. *(À Rosalie)*

Çà, faisons notre paix. Vous serez sans rancune ? Vous me le promettez ?

#### ROSALIE

Oh ! je te le promets !

#### MARTON

Et moi d'être attentive à tous vos intérêts.

Vous, monsieur, qui sans soins et sans trouble dans l'âme, Passeriez votre vie à regarder madame, Il faut battre en retraite, et même promptement. Songez qu'il est grand jour dans cet appartement, Que nous pourrions ici risquer quelque surprise, Et qu'il faut vous montrer d'abord à Cydalise, Avant que de penser à d'autres rendez-vous.

#### DAMIS

Je cours m'y disposer, dans un espoir si doux. Je remets en tes mains le bonheur de ma vie. Vous que j'adore, adieu, ma chère Rosalie.

SCÈNE III

MARTON, ROSALIE

MARTON Vous, soyez sans faiblesse. Allons, point de langueur. La fermeté, madame, en impose au malheur.44

ROSALIE Si tu pouvais sentir combien je hais Valère !

MARTON Oui : Damis sort d'ici. Mais c'est à votre mère Qu'il importe surtout de parler avec feu. Si vous aimez Damis, ce fut de son aveu ; Je le suppose au moins.

ROSALIE

Certainement.

MARTON

Les flles

Ne font rien, comme on sait, sans l'avis des familles, C'est la règle. Il faut donc déclarer sans détour Pour l'un tous vos mépris, pour l'autre votre amour.

ROSALIE Oh ! oui.

MARTON

Vous sentez-vous cette fermeté d'âme ?

ROSALIE Assurément, Marton.

MARTON, *malignement.*

Allons, j'entends madame.

ROSALIE, *efrayée.* Ah ? Marton…

#### MARTON

Comment donc ! c'est très bien débuter.

Cela promet.

#### ROSALIE

 Aussi, pourquoi m'épouvanter ? L'amour dans le besoin me rendra du courage.

MARTON, *la contrefaisant.*

L'amour ! oui vous ferez tous deux de bel ouvrage. Il y parait vraiment, à cet air d'embarras, Qu'un mot dit au hasard...

ROSALIE

Mais enfn tu verras.

#### MARTON

Ce n'est point à l'amour à vous tirer de peine, Il est trop mal adroit. Pensez à votre haine ; Voilà le sentiment qui doit vous inspirer, Dont il est important de vous bien pénétrer. Je ne sais si l'amour, que d'ailleurs je révère, Est de nos passions en efet la plus chère ; Mais ce n'est que faiblesse, et que timidité. La haine n'est qu'ardeur et que vivacité. L'un abat, l'autre anime, et dans un cœur femelle, Ma foi, je la croirais beaucoup plus naturelle. Vous ne connaissez pas encor ce sentiment. Que votre cœur l'éprouve aujourd'hui seulement. Tenez, j'aime Crispin, et je sens pour Valère... Mais, ce n'est plus un jeu, j'aperçois votre mère.

ROSALIE Tu me soutiendras ?

MARTON

Oui.

SCÈNE IV

## CYDALISE, ROSALIE, MARTON

## CYDALISE

Retirez-vous, Marton.

Prenez mes clefs, allez renfermer mon Platon. De son monde idéal j'ai la tête engourdie. J'attendais à l'instant mon *Encyclopédie* ; Ce livre ne doit plus quitter mon cabinet. *(À Rosalie)* Vous, demeurez ; je veux vous parler en secret. *(À Marton)* Laissez-nous, Marton.

MARTON, *à Rosalie*.

Allons, ferme, et montrez du courage

CYDALISE Obéissez, Marton. SCÈNE V

## CYDALISE, ROSALIE

#### CYDALISE

 Vous êtes belle et sage, Rosalie, et pour vous j'eus toujours des bontés. Je vais connaître enfn si vous les méritez. Je ne consulte point ce sentiment vulgaire, Amour de préjugé, trivial, populaire, Que l'on croit émané du sang qui parle en nous, Et qui n'est, dans le fond, qu'un mensonge assez doux, Une faiblesse...

#### ROSALIE

 Hé quoi ! la voix de la nature, Quoi ! cette impression si touchante et si pure, Ce premier des devoirs, cet auguste lien, (Je défnirai mal ce que je sens si bien,) N'importe, se peut-il que le cœur de ma mère Méconnaisse aujourd'hui ce sacré caractère ? Ah ! rappelez pour moi vos sentiments passés. En les analysant, vous les afaiblissez.

#### CYDALISE

J'ai cru, tout comme une autre, à ces vaines chimères, Dignes du gros bon sens qui conduisait nos pères. Crédule, heureuse même en mon aveuglement, Automate abusé, je suivais le torrent. Je commence à sentir, à penser, à connaître. Si je vous aime enfn, c'est en qualité d'Être : Mais vous concevez bien qu'un autre individu N'aurait à mes bontés qu'un droit moins étendu.

#### ROSALIE

Vous déchirez mon cœur. Ah ! permettez, madame, Soufrez qu'à vos genoux votre flle réclame Un droit plus légitime et des titres plus doux. Pourquoi briser les nœuds qui m'attachaient à vous ? Jugez de leur pouvoir à mon trouble, à mes larmes.

#### CYDALISE, *un peu émue*.

Ma flle !... Hé quoi ! pour vous l'erreur a tant de charmes ! Vous me faites pitié. Consultez la raison. Ces puérilités ne sont plus de saison. Je reconnais vos droits sur le cœur d'une mère ; Mais je les anoblis, et si je vous suis chère, Si j'ai sur vous aussi quelques droits à mon tour J'en exclus le hasard, qui vous donna le jour.

#### ROSALIE

Je ne puis soutenir ce funeste langage. Il fait à toutes deux un trop sensible outrage. Qui ? moi ! Le pensez-vous, que je puisse jamais Oublier que ma vie est un de vos bienfaits ? Non...

#### CYDALISE

 Le soin que j'ai pris de votre intelligence Doit mériter, surtout, votre reconnaissance ; Voilà le digne objet où tendent tous mes vœux. Vous apprendre à penser, voilà ce que je veux. Concevez le bonheur d'étendre son génie, D'ouvrir l'œil aux clartés de la philosophie, De dissiper la nuit où vos sens sont plongés, D'afranchir votre esprit du joug des préjugés ! Ce grand art d'exister, qui n'appartient qu'au sage,

Dont je connais enfn le solide avantage, Ce jour de la raison, dont j'ai su m'éclairer, Ma flle, mon amour veut vous le procurer. J'avais avec Damis conclu votre hyménée. De légers intérêts m'avaient déterminée. Des rapports de fortune, un procès à fnir, Je me souviens qu'alors tout semblait vous unir. C'est ainsi que se font la plupart des afaires ; Mais enfn, aujourd'hui je romps ces nœuds vulgaires. Damis a du bon sens, des vertus, de l'honneur, Il a ce que le monde exige à la rigueur : Tout mortel n'est pas fait pour aller au sublime ; Dans le fond, cependant, on lui doit de l'estime : Mais je vous dois aussi, ma flle, un autre époux, Beaucoup plus convenable et plus digne de vous. Valère a ce qu'il faut pour plaire et pour séduire, C'est peu de vous aimer, il saura vous instruire ; En un mot, c'est de lui que mon cœur a fait choix.

#### ROSALIE

Ainsi, vous oubliez que Damis autrefois Eut votre aveu, madame, et celui de mon père ?

#### CYDALISE

Votre père ! Il est vrai que je n'y songeais guère. Plaisante autorité que la sienne en efet ! L'être le plus borné que la nature ait fait. Nul talent, nul essor, espèce de machine Allant par habitude, et pensant par routine, Ayant l'air de rêver et ne songeant à rien, Gravement occupé du détail de son bien, Et de mille autres soins purement domestiques ; Défenseur ennuyeux des préjugés gothiques, Sauvage dans ses mœurs, alliant à la fois La morgue de sa robe au ton le plus bourgeois ; Ne s'énonçant jamais qu'avec poids et mesure, Et qui toujours grimpé sur la magistrature, Hors de son tribunal, aurait cru déroger ; Ayant comme Dandin,45 la fureur de juger. Mais il est mort enfn, laissons en paix sa cendre.

ROSALIE Ah ! madame, songez…

#### CYDALISE

Allez-vous le défendre ?

Un père n'est qu'un homme, et l'on peut sensément Remarquer ses défauts, en parler librement.

#### ROSALIE

Si ce sont-là les droits de la philosophie, Soufrez que j'y renonce, et pour toute ma vie. Je perdrais trop, madame, à m'éclairer ainsi ; J'ose vous l'avouer. Daignez permettre aussi Qu'en faveur de Damis je vous rappelle encore Vos premières bontés que votre flle implore.

#### CYDALISE.

Non, Valère est l'amant que j'ai choisi pour vous, Ma flle, et dès ce soir il sera votre époux. Ces nœuds embelliront le cours de votre vie. Quant à vos préjugés sur la philosophie, Contre eux, à mon exemple, il faut vous aguerrir. Le temps et la raison sauront vous en guérir. Vous êtes dans cet âge où l'on commence à vivre, Tout fait ombrage alors ; mais vous lirez mon livre. J'y traite en abrégé de l'esprit, du bon sens, Des passions, des lois, et des gouvernements ; De la vertu, des mœurs, du climat, des usages, Des peuples policés et des peuples sauvages ; Du désordre apparent, de l'ordre universel, Du bonheur idéal et du bonheur réel. J'examine avec soin les principes des choses, L'enchaînement secret des efets et des causes. J'ai fait exprès pour vous un chapitre profond, Je veux l'intituler : *Les devoirs, tels qu'ils sont.* Enfn, c'est en morale une encyclopédie, Et Valère l'appelle un livre de génie. Vous serez trop heureuse avec un tel époux. Un jour vous connaîtrez ce que je fais pour vous ; Vous m'en remercierez. Adieu, mademoiselle, Songez à m'obéir.

SCÈNE VI

ROSALIE, MARTON

ROSALIE, *sans voir Marton.* Quelle douleur mortelle ! Que résoudre ? Que faire ? Ah ! te voilà, Marton.

MARTON Oui, j'ai tout entendu. Mais quelle déraison ! Quel travers !

ROSALIE

Je n'ai plus qu'à mourir.

MARTON

Badinage :

Mourir ! Vous vous moquez, et ce n'est plus l'usage. On ne le soufre pas même dans les romans.

ROSALIE Mais enfn…

MARTON

 Calmez-vous, et reprenez vos sens. Cette crise, après tout, vous l'aviez attendue ?

ROSALIE Mon âme en ce moment n'en est pas moins émue.

MARTON Présumez vous si peu du succès de mes soins ?

ROSALIE Ah ! Marton…

MARTON

Commencez par vous afiger moins.

Si vos vœux sont comblés, dites-moi, je vous prie, À quoi ce beau chagrin vous aura-t-il servie ?

## ROSALIE

Oui, si tu réussis ; mais qui m'en répondra ?

#### MARTON

Vous pleurerez alors autant qu'il vous plaira, Je vous aiderai même, et n'aurai rien à dire ; Mais jusqu'à ce moment, qui vous défend de rire ? À tout évènement, c'est toujours fort bien fait, Et quand tout irait mal, je crois qu'il le faudrait. Du moins c'est mon humeur. Le chagrin m'incommode. Je le crois inutile, et j'en suis l'antipode. C'est à quoi dans la vie il faut le moins songer, Et l'on a toujours tort, quand on veut s'afiger. Mais allons concerter quelque heureuse saillie, Venez, et nous verrons si la philosophie, Quelque soit son crédit, pourra dans ce grand jour Tenir contre Marton, et Crispin, et l'amour.

## **ACTE II**

SCÈNE I

VALÈRE, M. CARONDAS

VALÈRE Frontin!

## M. CARONDAS

 Ce maudit nom fera quelque méprise, Je vous l'ai déjà dit, et devant Cydalise Il vous arrivera de me nommer ainsi. Frontin ! pour un savant le beau nom ! songez-y, Monsieur, il ne faudrait que cette étourderie Pour donner du dessous à la philosophie.

VALÈRE

D'accord.

#### M. CARONDAS

 Il faut d'ailleurs supprimer entre nous Les tons trop familiers, puisqu'enfn, selon vous, Les hommes sont égaux par le droit de nature, Je suis, quoique Frontin, votre égal.

VALÈRE

Je te jure

Que c'est mon sentiment.

M. CARONDAS

Moi, je l'approuve fort.

J'avais toujours pensé que les lois avaient tort ; Et même Cydalise, en un certain chapitre, Ne prouve point trop mal à mon gré...

## VALÈRE

Le beau titre

Que l'avis d'une folle à qui dans un moment On ferait adopter tout autre sentiment ; Qui ne sait que des mots, et n'a rien dans la tête.

M. CARONDAS Nais entre nous, monsieur, son livre est-il si bête ?

VALÈRE Pitoyable.

M. CARONDAS Le style…

VALÈRE

Ennuyeux à l'excès.

M. CARONDAS Vous la fattez pourtant du plus brillant succès.

VALÈRE Sans doute.

M. CARONDAS Et le public?

VALÈRE

Nous savons lui prescrire

Comment il faut penser, parler, juger, écrire ; Nous le déciderons aisément.

M. CARONDAS

D'accord ; mais

Il faut l'apprivoiser, le fatter.

## VALÈRE

Non, jamais.

Il est, pour le gagner, des méthodes plus sûres.

M. CARONDAS

Le moyen ?

## VALÈRE

Par exemple, on lui dit des injures.46 C'est un expédient par nos sages trouvé ; Le secret est certain, nous l'avons éprouvé. Dans peu, tu le verras toi-même avec surprise, Nous porterons aux cieux le nom de Cydalise ; Cinq ou six traits hardis, révoltants, scandaleux, Produiront dans son livre un efet merveilleux. Il faut les ajouter.

#### M. CARONDAS

 Bon ! La ruse est nouvelle ! Et comment lui prouver que ces traits-là sont d'elle ?

VALÈRE Et le reste en est-il ? D'abord avec pudeur Elle s'en défendra, puis s'en croira l'auteur.

M. CARONDAS Je ne sais ; mais pour moi, je rougirais dans l'âme...

VALÈRE As-tu donc oublié que Cydalise est femme ? Crois-moi, suppose encore un piège plus grossier, L'amour propre est crédule, et l'on peut s'y fer. Les femmes sur ce point sont même assez sincères.

Messieurs les beaux esprits ne leur en doivent guères. Mais enfn vous croyez qu'avec cinq ou six traits Nous devons nous attendre au plus heureux succès ?

## VALÈRE

Sans doute, et cette idée, entre nous, n'est pas neuve. Le livre de Cratès47 n'en est-il pas la preuve ? Jamais production ne prit un tel essor. Chacun se l'arrachait, on se l'arrache encor : Pour livre dangereux partout on le renomme, Et pourtant nous savons que Cratès est bon homme.

M. CARONDAS Il est vrai.

## VALÈRE

 Cydalise aura plus de faveur. On ne juge jamais son sexe à la rigueur. Quelques-uns de ces traits qu'on se dit à l'oreille, Au public hébété feront crier merveille ! Je veux que Cratès même en devienne jaloux, Et rien n'est plus aisé, nous la protégeons tous.

#### M. CARONDAS

Hé bien, quoique nourri, monsieur, à votre école, J'avais, tout bonnement, admiré sur parole Et l'ouvrage et l'auteur. Car enfn, mot à mot, Elle n'a rien écrit que d'après vous.

VALÈRE

Le sot !

Mais pour ces beaux endroits ajoutés à son livre, Si les lois s'avisaient, monsieur, de nous poursuivre.

## VALÈRE

Elle aurait le plaisir de s'entendre louer ; N'est-ce rien ? Quitte après à tout désavouer. D'ailleurs l'amour du vrai va jusqu'à l'héroïsme. Ces grands mots imposants d'*erreur*, de *fanatisme*, De *persécution*, viendraient à son secours.48 C'est un ressort usé qui réussit toujours. N'avons-nous pas encor l'exemple de Socrate Opprimé, condamné par sa patrie ingrate ?49 Tous nos admirateurs parleraient à la fois.

#### M. CARONDAS

Mais, monsieur, ce Socrate obéissait aux lois.

## VALÈRE

Oui, la philosophie encor dans son enfance Des préjugés du moins conservait l'apparence ; Mais nous n'en voulons plus.

#### CARONDAS

Tout devient donc permis ?

## VALÈRE

Excepté contre nous et contre nos amis.

## CARONDAS

Vive le bel esprit et la philosophie ! Rien n'est mieux inventé pour adoucir la vie.

## VALÈRE50

Comment ! Sur des rochers on plaçait la vertu ?

Y grimpait qui pouvait. L'homme était méconnu.

Ce roi des animaux, sans guide et sans boussole, Sur l'océan du monde errait au gré d'Éole ; Mais enfn nous savons quel est son vrai moteur. L'homme est toujours conduit par l'attrait du bonheur, C'est dans ses passions qu'il en trouve la source. Sans elles, le mobile arrêté dans sa course Languirait tristement à la terre attaché.51 Ce pouvoir inconnu, ce principe caché, N'a pu se dérober à la philosophie, Et la morale enfn est soumise au génie. Du globe où nous vivons despote universel, Il n'est qu'un seul ressort, l'intérêt personnel ; À tous nos sentiments, c'est lui seul qui préside ; C'est lui qui dans nos choix nous éclaire et nous guide. Libre de préjugés ; mais docile à sa voix, Le sauvage attentif le suit au fond des bois. L'homme civilisé reconnaît son empire ; Il commande en un mot à tout ce qui respire.

M. CARONDAS Quoi ! monsieur, l'intérêt doit seul être écouté ?

VALÈRE La nature en a fait une nécessité.

M. CARONDAS J'avais quelque regret à tromper Cydalise ; Mais je vois clairement que la chose est permise.

VALÈRE La fortune t'appelle, il faut la prendre au mot.

M. CARONDAS Oui, monsieur.

VALÈRE

La franchise est la vertu d'un sot.

M. CARONDAS, *se disposant à le voler.* Oui, monsieur... mais toujours je sens quelque scrupule Qui voudrait m'arrêter.

VALÈRE

Préjugé ridicule,

Dont il faut s'afranchir !

M. CARONDAS

Quoi ! véritablement ?

VALÈRE Il s'agit d'être heureux, il n'importe comment.

M. CARONDAS Tout de bon ?

VALÈRE

 Mais sans doute, en fattant Cydalise, Tu remplis un devoir que l'usage autorise. Ne faut-il pas fatter quand on veut plaire aux gens ? Bien voir ses intérêts, c'est être de bon sens. Le superfu des sots est notre patrimoine. Ce que dit un corsaire au roi de Macédoine, Est très vrai dans le fond.

M. CARONDAS, *fouillant dans la poche de Valère.* Oui, monsieur.

VALÈRE

Tous les biens

Devraient être communs ; mais il est des moyens De se venger du sort. On peut avec adresse

Corriger son étoile, et c'est une faiblesse

Que de se tourmenter d'un scrupule éternel.

(*Valère s'apercevant que Carondas veut le voler*)

Mais que fais-tu donc là ?

M. CARONDAS

L'intérêt personnel...

Ce principe caché... monsieur... qui nous inspire, Et qui commande enfn à tout ce qui respire...

VALÈRE Quoi ! traître, me voler !

M. CARONDAS

Non. J'use de mon droit,

Tous les biens sont communs.

VALÈRE

Oui, mais sois plus adroit.

Il est certains malheurs auxquels on se hasarde, Lorsque l'on est surpris.

M. CARONDAS

Monsieur, j'y prendrai garde.

## VALÈRE

Ceci, Monsieur Frontin, doit être une leçon ; Mais puisqu'il ne faut plus vous nommer de ce nom, Songez à me servir auprès de Cydalise. Jusqu'ici, tout va bien ; sa flle m'est promise. Vous savez là-dessus quels sont mes sentiments, Ainsi continuez de fatter ses talents. Vos termes de collège ont produit des merveilles ; Il faut de plus en plus étourdir ses oreilles, De ce jargon savant qui vous a réussi.

Vous êtes sans fortune, et vous pouvez ici Vous faire un petit sort que j'aurai soin d'étendre, Si mes vœux ont l'efet que j'ai droit d'en attendre. Adieu, soyez discret, je serai généreux.

## SCÈNE II

M. CARONDAS, *seul*.

Mon premier coup d'essai n'est pas des plus heureux.

Je suis encor trop loin d'atteindre mon modèle,

Et c'est au second rang que le destin m'appelle.

## SCÈNE III

### CYDALISE, M. CARONDAS

CYDALISE, *sans voir M. Carondas.* Me voilà parvenue à m'en débarrasser. Que l'oisiveté pèse alors qu'on veut penser ! Parmi tous ces fâcheux dont j'étais obsédée, Je n'ai pas entrevu le germe d'une idée. On ne peut à ce point outrager le bon sens ; Mais il faut tout soufrir de messieurs ses parents. *(À M. Carondas)* Ah ! vous êtes ici. Bon ! prenez votre place. Mon livre va paraître, on attend la préface, Il faut y travailler. J'aurais voulu pourtant Que nous eussions Valère.

M. CARONDAS

Il me quitte à l'instant,

Et nous parlions de vous, madame, avec ivresse.

CYDALISE Vous parliez de mon livre ?

M. CARONDAS

Il en parle sans cesse.

C'est, dit-il, un brevet pour l'immortalité ;

Vous allez éclipser la docte antiquité.

Je n'ose avec le sien mesurer mon sufrage ;

Mais l'admiration me prend à chaque page.

CYDALISE Vous en êtes content ?

 Mon esprit s'y confond. Votre livre est nourri d'un savoir si profond Que vous me feriez croire au démon de Socrate.52

CYDALISE Vous vous y connaissez.

M. CARONDAS

Oui, madame, on m'en fatte.

Mais apprenez-moi donc comment cela se ft ? Il faut que vous sachiez tout ce qui s'est écrit.

CYDALISE Avec nombre de gens je me suis rencontrée, Et c'est un pur hasard.

M. CARDONAS

Vous étiez inspirée.

Quoi ! vous n'avez pas lu le savant Vossius ?53

CYDALISE Non, jamais.

M. CARONDAS Casaubon?54

CYDALISE

Encor moins.

M. CARONDAS

Grotius?55

CYDALISE Point du tout. Sont-ce là les livres d'une femme ?

Ma foi, de plus en plus vous m'étonnez, madame, Quoi ! rien de tout cela ?

CYDALISE

Non, rien, vous dis-je, rien.

M. CARONDAS Mais vous parlez des lois mieux que Tribonien.56 Oh ! pour Tribonien, convenez...

CYDALISE

Je l'ignore.

M. CARONDAS Vous connaissez du moins Thalès, Anaxagore ?57

CYDALISE Non.

M. CARONDAS  *Le Fils naturel*?58

CYDALISE

Pour celui-là, d'accord.

Ce sont de ces écrits qu'il faut citer d'abord.

M. CARONDAS Je ne veux point ici m'ériger en arbitre ; Mais j'en aurais jugé, comme vous, sur le titre.

CYDALISE

C'est aussi mon avis, et je crois qu'en efet Un ouvrage excellent s'annonce au moindre trait. C'est un je ne sais quoi... dont notre âme est saisie... Cela se sent... enfn c'est l'attrait du génie.

J'entends. C'est à peu près la vapeur d'un ragoût Qui réveille à la fois l'odorat et le goût.

CYDALISE Oui ; la comparaison est pourtant trop vulgaire.

M. CARONDAS Elle est de Lycophron.59

CYDALISE

Ah ! C'est une autre afaire.

Venons à ma préface. Allons, je vais dicter. *(Après un silence et avec emphase.)* Écrivez : *J'ai vécu*. 60 Non, c'est mal débuter. Efacez, *J'ai vécu*. Mettez-vous à votre aise.

*(Avec de l'aigreur.)*

Ah! monsieur Carondas, votre plume est mauvaise.

(*Elle rêve.)*

*J'ai vécu* ne vaut rien.

M. CARONDAS

Je m'en contenterais.

*J'ai vécu*, dit beaucoup !

CYDALISE

 Non, monsieur, je voudrais Un début plus pompeux et plus philosophique.

M. CARONDAS Cette simplicité, madame, est énergique.

CYDALISE, *rêvant.* Non, non, je cherche un tour qui soit moins familier. (*Avec humeur.*)

On n'a jamais écrit sur de pareil papier Efacez donc, monsieur ; votre encre est détestable. *(Elle rêve.)* Je ne pourrai trouver un tour plus favorable ! *(Avec impatience.)* Ah ! Valère, après tout, devrait bien être ici. Je ne me sens jamais tant d'esprit qu'avec lui. *(Elle rêve.)* Quoi ! pas même une idée ? Ah ! je suis au supplice.

M. CARONDAS Madame, le génie a ses jours de caprice, Et ceci me rappelle un mot de Suidas, 61 Qui dit élégamment…

CYDALISE

Hé ! Monsieur Carondas,

Laissez les morts en paix. J'avais un trait sublime,

 *(Elle rêve.)*

Qui m'échappe. Attendez… mais, oui ; ce tour exprime…  *(Avec impatience.)*

Écrivez. Non, la phrase a trop d'obscurité.

Je ne sentis jamais cette stérilité.

Quel métier ! Finissons. C'en est fait, j'y renonce.

L'imprimeur attendra, portez-lui ma réponse.

Non, revenez. Enfn je l'ai trouvé : j'y suis.

Vite, écrivez, monsieur : *jeune homme, prends et lis*. 62

*Jeune homme prends et lis.* Le tour est-il unique ?

Qu'en pensez-vous, monsieur ?

#### M. CARONDAS

Sublime, magnifque !

C'est le ton du génie et de la vérité.

## CYDALISE

J'oublie en le lisant tout ce qu'il m'a coûté. *Jeune homme prends et lis* ! Il est inimitable, Et Valère en sera d'une joie incroyable.

M. CARONDAS D'un doux frémissement vous vous sentez troubler. *Jeune homme, prends et lis* ! L'oracle va parler ; La nature à tes yeux ici se manifeste. Non, rien n'est si sublime, et pourtant si modeste.

CYDALISE Mais que nous veut Marton ?

## SCÈNE IV

MARTON, CYDALISE, M. CARONDAS

## MARTON

Madame, c'est Damis,

Qui demande à vous voir.

CYDALISE

 Que son temps est mal pris ! J'allais fnir sans lui. L'importun personnage !

On ne me permet pas d'achever un ouvrage.

MARTON Valère achèvera.

M. CARONDAS

 Qu'appelez-vous fnir ? L'ouvrage est fait, madame, à n'y plus revenir. Je le donne en dix ans à nos plus grands génies.

#### CYDALISE

Oui, vous avez raison. Faites-en vingt copies. Ah ! je respire enfn, et j'ai su m'en tirer. *Jeune homme, prends et lis*. Oui, Damis peut entrer.

## SCÈNE V

DAMIS, CYDALISE

CYDALISE Vous voilà de retour ?

#### DAMIS

 Oui, je reviens, madame, Pour me plaindre de vous et vous ouvrir mon âme. Je n'aperçois que trop, et c'est avec douleur, Que j'ai perdu mes droits au fond de votre cœur, Et que votre amitié s'est enfn ralentie ; Mais la mienne jamais ne s'étant démentie, Soufrez que je rappelle à votre souvenir Un espoir que le temps ne dut pas en bannir. Vous savez à quel point votre flle m'est chère ; C'est votre aveu, du moins, c'est celui de son père, Qu'en faveur de mes feux je réclame aujourd'hui, Puisqu'enfn près de vous j'ai besoin d'un appui.

#### CYDALISE

Le titre, je l'avoue, est assez légitime ; Je conviens de mes torts, non pas que mon estime, Ni que cette amitié qui m'attachait à vous, Ne soient encor pour moi des sentiments bien doux, Et c'est ce que d'abord on aurait dû vous dire : Mais j'ai formé des nœuds dont le charme m'attire, J'ai suivi trop longtemps les frivoles erreurs D'un monde que j'aimais. L'âge a changé mes mœurs, Aujourd'hui toute entière à la philosophie, Libre des préjugés qui corrompaient ma vie, N'existant plus enfn que pour la vérité,

Je me suis fait, Damis, une société, Peu nombreuse, il est vrai : je vis avec des sages, Et j'apprends à penser en lisant leurs ouvrages:63 J'ai choisi l'un d'entre eux pour ma flle, et ce soir, Cette heureuse union doit combler mon espoir, C'est à vous de juger si, quoique votre amie, Je dois vous immoler le bonheur de ma vie.

#### DAMIS

Non, pour votre bonheur je donnerais mes jours, Et la même amitié m'inspirera toujours. Mais quels sont donc enfn ces rares avantages Attachés, dites-vous, au commerce des sages ? Je ne prends point pour tels un tas de charlatans, Qu'on voit sur des tréteaux ameuter les passants, Qui mettent une enseigne à leur philosophie : De tous ces importants ma raison se défe. De ce vain appareil le vulgaire est séduit. Moi, je suis de ces gens qui font peu cas du bruit, Et je distingue fort l'ami de la sagesse, Du pédant qui s'enroue à la prêcher sans cesse.64

#### CYDALISE

Je sais tout le mépris que l'on doit aux pédants, Et ne les confonds pas avec les vrais savants. Épargnez-vous, monsieur, cette satire amère, Ceux que je peux nommer, Théophraste, Valère, Dortidius enfn, sont tous assez connus...

#### DAMIS

Je ne connais entr'eux que ce Dortidius. Quoi ! Madame, il en est ?

#### CYDALISE

D'où vient cette surprise ?

#### DAMIS

Je l'ai connu, vous dis-je ; excusez ma franchise : Apparemment qu'alors il cachait bien son jeu ; Mais ce n'était qu'un sot, presque de son aveu. Quelqu'un me le ft voir, et malgré sa grimace, Et les plats compliments qu'il vous adresse en face, Et le sucre apprêté de ses propos mielleux, Je ne lui trouvai rien de si miraculeux. Malgré son ton capable, et son air hypocrite, Je ne fus point tenté de croire à son mérite, Et je ne vis en lui pour le peindre en deux mots, Qu'un froid enthousiasme imposant pour les sots.

#### CYDALISE

Ce jugement fait tort à votre intelligence, Et ce Dortidius fait honneur à la France ; Son nom chez les savants fut toujours en crédit, Et je ne sais pourquoi tout le monde en médit. Mais quittons ce propos. Ces rares avantages, Dont je suis redevable au commerce des sages, Je dois vous en parler et leur en faire honneur. Peut-être, après cela, leur tiendrez vous rigueur. N'importe, il faut du moins apprendre à les connaître. J'avais des préjugés qui dégradaient mon être ; Vainement ma raison voulait s'en dégager, L'habitude bientôt venait m'y replonger. Les plus vaines terreurs me déclaraient la guerre, Je croyais aux esprits, j'avais peur du tonnerre, Je rougis devant vous de ces absurdités,

Mais on nous berce enfn de ces frivolités, Et leur impression n'en est que plus durable. Notre éducation, frivole, méprisable, Loin de nous éclairer sur le vrai, ni le faux, N'est que l'art dangereux de masquer nos défauts. Mes yeux se sont ouverts, hélas ! trop tard peut-être ! À ces hommes divins, je dois un nouvel être. Le hasard présidait à mes attachements, J'étais aux petits soins avec tous mes parents, Et les degrés entre eux réglaient les préférences. Cet ordre s'étendait jusqu'à mes connaissances. J'avais tous ces travers, beaucoup d'autres encor ; Enfn mes sentiments ont pris un autre essor. Mon esprit épuré par la philosophie Vit l'univers en grand, l'adopta pour patrie, Et mettant à proft ma sensibilité, Je ne m'attendris plus que sur l'humanité.

#### DAMIS

Je ne sais, mais enfn dussé-je vous déplaire, Ce mot d'*humanité* ne m'en impose guère, Et par tant de fripons je l'entends répéter, Que je les crois d'accord pour le faire adopter. <sup>65</sup> Ils ont quelque intérêt à le mettre à la mode. C'est un voile à la fois honorable et commode, Qui de leurs sentiments masque la nullité, Et prête un beau dehors à leur aridité. J'ai peu vu de ces gens qui le prônent sans cesse, Pour les infortunés avoir plus de tendresse, Se montrer, au besoin, des amis, plus fervents, Être plus généreux, ou plus compatissants, Attacher aux bienfaits un peu moins d'importance, Pour les défauts d'autrui marquer plus d'indulgence, Consoler le mérite, en chercher les moyens, Devenir, en un mot, de meilleurs citoyens ; Et pour en parler vrai, ma foi, je les soupçonne D'aimer le genre humain, mais pour n'aimer personne.

#### CYDALISE

Vous en voulez beaucoup à cette humanité.

#### DAMIS

On en abuse trop, et j'en suis révolté. C'est pour le cœur de l'homme un sentiment trop vaste, Et j'ai vu quelquefois, par un plaisant contraste, De ce système outré les plus chauds partisans, Chérir tout l'univers, excepté leurs enfants.66

#### CYDALISE

En vérité, monsieur, les sages sont à plaindre, Et vous êtes pour eux un adversaire à craindre. Le siècle et la patrie ont beau s'en applaudir, Sur le bien qu'ils ont fait il vaut mieux s'étourdir, Et servir d'interprète et d'organe à l'envie.

#### DAMIS

Hé ! Quel bien a produit cette philosophie ? Je ne découvre pas ces succès éclatants. Je vois autour de moi de petits importants, Qui, pour avoir un ton, enrôlés dans la secte, Pensent avoir perdu leur qualité d'insecte. Se croyant une cour et des admirateurs, Pour le malheur des arts, devenus protecteurs Ne se réveillant pas aux traits de la satire, Et ne devinant rien à ces éclats de rire,

Dont en tous lieux pourtant on les voit poursuivis ; Louant, admirant tout dans les autres pays, Et se faisant honneur d'avilir leur patrie,67 Sont-ce là les succès sur lesquels on s'écrie ?

#### CYDALISE

J'admire vos raisons, elles sont d'un grand poids ; Et vous me citez-là des exemples de choix, Bien dignes en efet d'appuyer votre cause. Mais un abus jamais prouva-t-il quelque chose ? Faudrait-il renoncer pour quelques importuns ? ...

#### DAMIS

Madame, ces abus deviennent trop communs. J'en prévois pour les mœurs d'étranges catastrophes, Et je suis alarmé de tant de philosophes.

#### CYDALISE

Restez, monsieur, restez dans votre opinion. Il n'est point de remède à la prévention ; À penser autrement vous auriez du scrupule, Hé ! que peut la raison sur un esprit crédule !

#### DAMIS

On croit avoir tout dit, madame, avec ce mot. *Crédule* est devenu l'équivalent de *sot* : Aux yeux de bien des gens, du moins la chose est claire. Pour moi, que ces gens-là ne persuadent guère, Et que leur ton railleur n'épouvanta jamais, J'ai mon avis, madame, et si je leur déplais, J'en gémis, mais sur eux. Je crois ce qu'il faut croire ; J'ose le déclarer, je le dois, j'en fais gloire.68 Ces messieurs peuvent rire, et sans m'humilier :

Il faut bien leur laisser le droit de s'égayer. Mais moi, j'ose à mon tour les trouver ridicules, Et souvent la bêtise a fait des incrédules.69

#### CYDALISE

Voilà parler en sage, et je vous applaudis ; C'est très bien fait à vous que d'avoir un avis. Mais, sans nous égarer dans ces hautes matières, Je sais ce que je dois aux talents, aux lumières, De ces hommes de bien que vous persécutez.

## DAMIS

Ils vous ont donc appris de grandes vérités. Je ne le croyais pas. Ils ont l'art de détruire, Mais ils n'élèvent rien, et ce n'est pas instruire. Quel fruit attendez-vous de leurs vains arguments ? Je n'en prévois que trop les efets afigeants. Vous irez sur leurs pas de sophisme en sophisme, Vous perdre dans la nuit d'un triste pyrrhonisme. Ah ! renoncez, madame, à ces perturbateurs ; Ce sont eux que l'on doit nommer persécuteurs. Abjurez une erreur qui vous est étrangère, Et reprenez enfn votre vrai caractère.

#### CYDALISE

Vous avez donc tout dit ? J'admire le bon sens, Et la solidité de vos raisonnements. Dans un très haut éclat votre mérite y brille ; Mais j'ai pris mon parti. Vous n'aurez point ma flle. Adieu, monsieur.

 *(Elle sort.)*

## DAMIS

Ah ! ciel ! je ne sais où j'en suis !

## SCÈNE VI

## CRISPIN, DAMIS

## CRISPIN

Hé ! Bien, cette démarche a-t-elle eu d'heureux fruits ? Épousons-nous, monsieur ? Cydalise, sans doute...

DAMIS Je viens de lui parler, Crispin : mais qu'il m'en coûte ! Il me faut renoncer à cet hymen.

## CRISPIN

## Comment ?

DAMIS Je suis congédié.

CRISPIN

Quoi ! là… formellement ?

DAMIS Formellement, Crispin.

CRISPIN

Comment ! nous savons plaire,

Monsieur, et nous serions éconduits par Valère !

N'est-il point de remède ?

## DAMIS

Oh ! je n'en vois aucun.

## CRISPIN

Bon ! Vous n'y pensez pas : moi, j'en vois cent pour un.

Il faut tout simplement enlever Rosalie.

C'est le plus court.

## DAMIS

 Crispin, quel excès de folie ! Crois-tu qu'elle y consente, et la connais-tu bien, Pour me parler ainsi ?

## CRISPIN

Je goûtais ce moyen ;

Mais puisqu'il vous déplaît, il faut dans cette afaire Recourir au plus sûr. J'irais trouver Valère, Et je voudrais, morbleu, lui parler sur un ton À lui faire ce soir déserter la maison.

DAMIS Ce serait en efet le parti le plus sage ; Mais Cydalise.

CRISPIN

Hé bien ?

## DAMIS

N'y verra qu'un outrage,

Et c'est précisément le moyen de l'aigrir, Le secret de me perdre, à n'en plus revenir.

## CRISPIN

Allons, c'est donc à moi par une heureuse audace, D'éclairer Cydalise, et de donner la chasse À tous ces discoureurs qui lui gâtent l'esprit. Auprès d'elle, à mon tour, j'aurai quelque crédit, Et pour peu que Marton seconde l'entreprise, À la raison bientôt vous la verrez soumise.

DAMIS, *avec joie d'abord*. Ah ! Crispin... mais comment s'en reposer sur toi ? CRISPIN, *avec emphase.*

Je veux qu'elle balance entre Valère et moi. Vous ne connaissez pas encor tout mon mérite ; Vous voyez le Strabon d'un nouveau Démocrite.70

#### DAMIS

Toi ?

#### CRISPIN

 Moi-même, monsieur ; j'ai fait plus d'un métier : Un sage à ses travaux daigna m'associer ; 71 Et quelque jour mon nom eût été sur la liste,72 Du moins il m'en fattait, quand j'étais son copiste.

DAMIS Comment ?

## CRISPIN

 J'avais déjà quelques admirateurs ; Ah ! qu'il m'a fait de tort en fuyant les honneurs, Pour vivre dans les bois ! je lui dois la justice Qu'il ne connut jamais la brigue, l'artifce. De sa philosophie il était entêté, Au fond plein de droiture et de sincérité. Animal à la fois misanthrope et cynique, C'était vraiment un fou dans son espèce unique.

DAMIS

Ah ! puis-je t'écouter dans le trouble où je suis ?

## SCÈNE VII

## MARTON, DAMIS, CRISPIN

MARTON Allons, monsieur, il faut éclaircir ces ennuis ; Vite, de la gaieté.

DAMIS

Comment ! que veux-tu dire ?

MARTON Il faut d'abord, monsieur, commencer par en rire.

CRISPIN Oui, rions, c'est bien dit.

DAMIS

Je suis au désespoir.

MARTON Bon ! vous n'y pensez pas, et vous voyez trop noir.

CRISPIN Mais je crois qu'en efet elle a quelque vertige.

MARTON Consolez-vous.

DAMIS

Marton…

MARTON

Consolez-vous, vous dis-je.

DAMIS Qu'est-il donc arrivé ?

## MARTON

Vous l'apprendrez ; venez.

Oui, je vous mets au rang de amants fortunés.

## **ACTE III**

SCÈNE I

DAMIS, MARTON, CRISPIN

DAMIS Je ne peux revenir encor de ma surprise !

C'est donc ainsi, Marton, qu'ils trompaient Cydalise ?

MARTON J'espère qu'à la fn elle entendra raison.

## DAMIS

Oh ! Je n'en doute plus, ce billet est trop bon ! Que ne te dois-je pas pour cette découverte ?

## MARTON

L'heureux hasard, monsieur, que cette porte ouverte ! Ma foi, je le guettais, et depuis fort longtemps ; J'avais toujours bien dit qu'il était de leurs gens. Je l'aurais afrmé.

## CRISPIN

 C'est Frontin qu'il se nomme : À ce nom-là d'abord j'aurais reconnu l'homme.

MARTON Mais qui se chargera de rendre cet écrit ?

## DAMIS

Toi.

## MARTON

 Moi ? je me perdrais, monsieur, dans son esprit. Je n'oserai jamais.

DAMIS Marton… MARTON À ma maîtresse, Un billet de ce style ! oh ! non : point de faiblesse, Il m'en coûterait trop. DAMIS Mais… MARTON Propos superfus ; Je ne le ferai pas. DAMIS Ni moi. CRISPIN Ni moi non plus. MARTON C'est que d'ailleurs il faut le rendre en leur présence, Ou nous ne tenons rien. DAMIS Certainement. CRISPIN Silence. Cydalise, je crois, ne m'a jamais vu ? MARTON Non.

CRISPIN Et je suis inconnu dans toute la maison ?

## MARTON

Oui.

## CRISPIN

 Je veux à la fois m'introduire et lui plaire. Donnez-moi ce billet, je prends sur moi l'afaire. Allez, monsieur, allez, je saurai vous servir.

#### MARTON

Mais vraiment, j'entrevois qu'il pourra réussir.

## CRISPIN

Je ne veux que Marton pour prix de mes services. Que n'oserai-je pas sous de pareils auspices ?

## MARTON

On vient, c'est l'assemblée, éloignez-vous tous deux.

## DAMIS

Je me fe à tes soins du succès de mes vœux.

## MARTON

Hé ! vite, éloignez-vous, de craint de surprise.

## SCÈNE II

## MARTON, LES PHILOSOPHES

MARTON, *leur faisant une profonde révérence.* Je vais vous annoncer, messieurs, à Cydalise.

## SCÈNE III

THÉOPHRASTE, VALÈRE, DORTIDIUS

THÉOPHRASTE, *à Valère*. Hé bien, le mariage est enfn décidé ?

VALÈRE Oui, j'épouse ce soir. Le notaire est mandé.

DORTIDIUS Parbleu, j'en suis ravi.

THÉOPHRASTE

Que je t'en félicite !

DORTIDIUS Ma foi, cette fortune est due à ton mérite.

THÉOPHRASTE Oui, malgré le dépit de tous les envieux.

DORTIDIUS Dans le fond, tu pouvais espérer beaucoup mieux.

VALÈRE Messieurs !

DORTIDIUS

Non je le pense, et c'est sans fatterie.

VALÈRE Vous voulez…

DORTIDIUS

Nous savons honorer ton génie.

## VALÈRE

Ah! tu me rends confus avec ces compliments.

## DORTIDIUS Mais c'est la vérité.

VALÈRE

Si j'avais tes talents,

Si je réunissais tes qualités sublimes,

Ces éloges alors deviendraient légitimes.

THÉOPHRASTE Et la future enfn consent donc ?

VALÈRE

À regret ;

Mais que me fait à moi son déplaisir secret ?

THÉOPHRASTE Sans doute, avec le temps tu la rendras docile.

DORTIDIUS Il faut que Rosalie ait le goût difcile.

VALÈRE Je ne sais quel rival me dispute son cœur ; Mais Cydalise au fond n'en a que plus d'ardeur.

DORTIDIUS, *en riant.* Cydalise… Conviens que la dupe est bien bonne.

VALÈRE Que mon hymen s'achève, et je te l'abandonne. Je mourais, si l'afaire eût traîné plus longtemps, Et jamais à ce point on n'excéda les gens.

## DORTIDIUS

Mon, ton hymen conclu, d'honneur, je me retire.

### THÉOPHRASTE

Ma foi, je quitte aussi ; le moyen d'y sufre !

 *(À Valère)*

Toi du moins, tu pouvais, animé par l'espoir, Te faire une raison, t'ennuyer par devoir,

Et l'amour...

VALÈRE, *riant.*

Oui, l'amour ! c'est bien ce qui me tente !

DORTIDIUS

Il épouse parbleu dix mille écus de rente.

VALÈRE, *à Théophraste*. Quoi donc ! me trouves-tu le ton d'un amoureux ? Ce serait à mon âge un ridicule afreux. On revient aujourd'hui de cette erreur commune, Et l'on songe au plaisir, mais après la fortune.

THÉOPHRASTE Il a vraiment raison.

DORTIDIUS

Je pense comme lui.

## VALÈRE

Aurais-je sans cela pu supporter l'ennui Qui m'obsédait sans cesse auprès de cette folle ? Eût-elle été Venus, j'aurais quitté l'idole. Oh ! je ne donne pas dans de pareils travers.

THÉOPHRASTE On devrait l'avertir de réformer ses airs ; Elle était autrefois moins difcile à vivre, D'où vient qu'elle a changé ?

VALÈRE

Mais c'est depuis son livre.

THÉOPHRASTE Quoi ! sérieusement le fait-elle imprimer ?

VALÈRE Oui.

THÉOPHRASTE Si l'on n'y met ordre, il faudra l'enfermer.

DORTIDIUS

Sais-tu bien qu'au besoin ce trait pourrait sufre, Si tu pensais jamais à la faire interdire.

THÉOPHRASTE Connais-tu son discours sur *les devoirs des rois* ?

VALÈRE Ah ! ne m'en parle pas, je l'ai relu vingt fois ; Il fallait, à toute heure, essuyer cet orage.

DORTIDIUS, *sérieusement*. Entre nous, cependant, c'est son meilleur ouvrage. Le crois-tu de sa main ?

VALÈRE

Bon ! tu veux plaisanter.

DORTIDIUS, *toujours sérieusement.* Non, d'honneur ; il me plaît.

VALÈRE

Et tu peux t'en vanter !

## DORTIDIUS

Je te dis qu'il est bien ; mais très bien.

VALÈRE

Tu veux rire.

C'est une absurdité qui va jusqu'au délire.

DORTIDIUS Si j'en pensais ainsi, je le dirais très bas.

VALÈRE Va, ton air sérieux ne m'en impose pas.

DORTIDIUS, *fâché*. Enfn, monsieur décide, et chacun doit se taire.

VALÈRE Mais au ton que tu prends, je t'en croirais le père.

DORTIDIUS Hé bien, s'il était vrai…

VALÈRE

Ma foi, tant pis pour toi.

DORTIDIUS, *plus fâché.* Mais, mon petit monsieur.

VALÈRE

Je suis de bonne foi.

DORTIDIUS Je pourrais en venir à des vérités dures.

VALÈRE Toujours, quand on a tort, on en vient aux injures.

DORTIDIUS Vous me poussez au bout!73

## VALÈRE

Et j'en ris, qui plus est.

DORTIDIUS, *furieux.* Ah ! c'en est trop enfn.

THÉOPHRASTE

Hé ! messieurs, s'il vous plaît…

DORTIDIUS

Plaisant original, pour me rompre en visière !

THÉOPHRASTE, *se mettant entre eux.* Messieurs, n'imitons pas les pédants de Molière.74 Permettez-moi tous deux de vous mettre d'accord.

VALÈRE Moi, j'ai raison.

THÉOPHRASTE, *à Valère*.

Sans doute.

DORTIDIUS

Et moi, je n'ai pas tort.

THÉOPHRASTE, *à Dortidius*. Vraiment non. Mais enfn on pourrait vous entendre, Et déjà Cydalise aurait pu nous surprendre.

DORTIDIUS L'estime qui toujours devrait nous animer…

THÉOPHRASTE Il n'est pas question, messieurs, de s'estimer ; Nous nous connaissons tous : mais du moins la prudence Veut que de l'amitié nous gardions l'apparence. C'est par ces beaux dehors que nous en imposons,

Et nous sommes perdus, si nous nous divisons. <sup>75</sup>

Il faut bien se passer certaines bagatelles.

Tenez, on vient à nous. Oubliez vos querelles.

## SCÈNE IV

## LES PHILOSOPHES, CYDALISE

CYDALISE, *un livre à la main.* Pardon, si j'ai tardé ; je m'occupais de vous, Et ce sont là toujours mes moments les plus doux. Asseyons-nous, messieurs : ah ! vous voilà, Valère ! On vient de m'apporter le projet du notaire, Vous en serez content.

## VALÈRE

 Le plus cher de mes vœux, Vous le savez, madame, en formant ces beaux nœuds, C'est d'afermir encor l'amitié qui nous lie.

## CYDALISE

Je vous dois le bonheur répandu sur ma vie, Je m'acquitte envers vous. Mais, messieurs, à l'instant Vous parliez avec feu. Quel sujet important Pouvait vous diviser ? J'ai cru du moins entendre Que l'on se disputait.

VALÈRE, *avec un peu d'embarras.* Il est vrai.

## CYDALISE

 Puis-je apprendre Sur quoi vous dissertiez avec tant d'intérêt ?

VALÈRE Puisqu'il faut l'avouer, vous en étiez l'objet.

CYDALISE Moi ?

#### VALÈRE

Vous. Cette chaleur en est le témoignage.

CYDALISE Quoi donc ?

VALÈRE

 Ah ! je ne puis en dire davantage. Je ne sais point louer en présence des gens. Parlez, messieurs, parlez.

THÉOPHRASTE

Tu permets ?

VALÈRE

J'y consens.

#### THÉOPHRASTE

Dans les siècles passés on cherchait un génie Qu'on pût vous comparer. Je citais Aspasie,76 Et monsieur se fâchait de la comparaison.

#### VALÈRE

Je la trouve choquante, et voici ma raison. Aspasie autrefois put briller dans Athènes ; Mais la philosophie y feurissait à peine. Tous les peuples frappés de son éclat nouveau, Durent se prosterner autour de son berceau ; Tout fut surprise alors. Des talents ordinaires Brillaient à peu de frais, dans ces siècles vulgaires, Mais de nos jours l'esprit a fait tant de progrès ; Il est si difcile, après tant de succès, De se mettre au niveau de ces hommes célèbres, Par qui la barbarie a vu fuir ses ténèbres, Que je ne puis soufrir, sans me mettre en courroux, Que l'on balance encore entre Aspasie et vous.

 *(À Théophraste)* Comparez donc les temps, et voyez où vous êtes.

THÉOPHRASTE Mais les comparaisons ne sont jamais parfaites.

VALÈRE Allons, vous aviez tort.

THÉOPHRASTE

Je le sens, j'en rougis.

CYDALISE N'allez pas là-dessus demander mon avis ; Je sais trop…

VALÈRE, *avec un ton de sentiment.* Nous savons que vous êtes sublime.

DORTIDIUS

Ce sont nos sentiments ; mais comme il les exprime ! Il sait tout embellir !

CYDALISE, *vivement.*

Ah ! c'est la vérité.

VALÈRE, *lui baisant la main.* Vous me pardonnez donc cette vivacité ?

CYDALISE Je devrais le gronder, son esprit me désarme ; On ne peut y tenir, *et je suis sous le charme.*<sup>77</sup>

DORTIDIUS Personne ne sait mieux se rendre intéressant.

## VALÈRE

Je vois que le génie est toujours indulgent.

## CYDALISE

Monsieur Dortidius, dit-on quelques nouvelles ?

## DORTIDIUS

Je ne m'occupe point des rois, de leurs querelles : Que me fait le succès d'un siège ou d'un combat ? Je laisse à nos oisifs ces afaires d'État. Je m'embarrasse peu du pays que j'habite, Le véritable sage est un cosmopolite.

CYDALISE On tient à la patrie, et c'est le seul lien...

#### DORTIDIUS

Fi donc ! c'est se borner que d'être citoyen. Loin de ces grands revers qui désolent le monde, Le sage vit chez lui dans une paix profonde ; Il détourne les yeux de ces objets d'horreur ; Il est son seul monarque et son législateur ; Rien ne peut altérer le bonheur de son être : C'est aux grands à calmer les troubles qu'ils font naître.

THÉOPHRASTE Il voit en philosophe, et c'est voir comme il faut.

#### CYDALISE

On ne trouve jamais son esprit en défaut.

#### VALÈRE

Madame, il a raison. L'esprit philosophique Ne doit point déroger jusqu'à la politique. Ces guerres, ces traités, tous ces riens importants, S'enfoncent par degrés dans l'abîme des temps. Tout cela disparaît au fambeau du génie, Et si l'on peut parler sans fausse modestie, Excepté vous, et nous, je ne découvre rien Qui puisse être l'objet d'un honnête entretien.78

CYDALISE Oui, véritablement, ce sont là des misères.

THÉOPHRASTE Qu'il faut abandonner à des esprits vulgaires.

CYDALISE Je n'appellerai pas de votre autorité. À propos, parle-t-on de quelque nouveauté ?

VALÈRE Nous n'en protégeons qu'une.

## CYDALISE

Un chef-d'œuvre, sans doute ?

#### VALÈRE

C'est une découverte, une nouvelle route, Que l'un de nous, madame, entreprend de trace, Un genre où le génie a de quoi s'exercer.

CYDALISE Une tragédie ?

VALÈRE

Oui, purement domestique.79

Comme nous les voulons.

CYDALISE

Je craindrais la critique ;

Contre les nouveautés elle a toujours raison ; Et le public...

## VALÈRE

 Vraiment, il décide en oison ; Nous savons bien cela : mais nous ferons la guerre.

## CYDALISE

Je ne sais, le vieux goût tient encore au parterre.

## VALÈRE

Nous risquons, il est vrai, surtout les premiers jours ; Mais nous ferons un bruit à rendre les gens sourds. Nous avons des amis, qui de loges en loges, Vont crier au miracle, et forcer les éloges ; N'avons-nous pas d'ailleurs le succès des soupers ?

## CYDALISE

Oui, je n'y songeais pas, et vous me détrompez.

## VALÈRE

Nous avons tant de gens qui pour nous se dévouent Tant de petits auteurs qui par orgueil nous louent Que je suis assuré qu'avec un peu d'encens, Nous leur ferions à tous abjurer le bon sens.

THÉOPHRASTE Ha, ha, ha, ha, ha, ha, c'est la vérité pure.

VALÈRE Mais non, sans plaisanter, j'en ferais la gageure.

CYDALISE Et ce chef-d'œuvre enfn l'attendrons-nous longtemps ?

#### VALÈRE

Nous sommes occupés de soins plus importants.

CYDALISE

Quoi donc ?

VALÈRE

Certain auteur dans une comédie

Veut, dit-on, nous jouer.

CYDALISE

L'entreprise est hardie.

DORTIDIUS, *avec feu.*

Nous jouer ! Mais vraiment, c'est un crime d'État ;

Nous jouer !

VALÈRE

Nous saurons parer cet attentat.

CYDALISE Ah ! le public entier…

DORTIDIUS

 Nous pourrions nous méprendre, Nous l'avons malmené : s'il allait nous le rendre ?

CYDALISE Ah ! tous les magistrats élèveraient la voix.

THÉOPHRASTE Nous nous sommes brouillés avec ces gens de lois.

CYDALISE Mais la Cour…

VALÈRE

 Ne prendra jamais notre querelle ; Nous en avons agi lestement avec elle.

## DORTIDIUS

Vous verrez qu'il faudra dire un mot à l'auteur.

## THÉOPHRASTE

Oui, du moins on pourrait essayer s'il a peur.

## VALÈRE

Le pis aller, messieurs, c'est d'attendre l'orage, Jusque-là, difamons et l'auteur et l'ouvrage ; Armons la main des sots pour nous venger de lui ; Portons des coups plus sûrs en nous servant d'autrui. Ne peut-on pas gagner des acteurs, des actrices ? Nous aurons un parti jusques dans les coulisses.80 Il faut de la cabale exciter les rumeurs, Nous montrer, même en loge, aux yeux des spectateurs. Je connais le public, nous n'avons qu'à paraître : Il nous craint.

## CYDALISE

 C'est bien dit : qui le brave est son maître. Mais notre colporteur tarde bien à venir. Il devrait être ici : qui peut le retenir ?

DORTIDIUS Peut-être qu'il attend.

CYDALISE

Il faut qu'on l'avertisse.

THÉOPHRASTE

Le voici justement.

## SCÈNE V81

#### UN LAQUAIS, CYDALISE, LES PHILOSOPHES

## LAQUAIS

Madame?

## CYDALISE

Il n'est venu personne

Pour des livres ?

LAQUAIS

Personne.

CYDALISE, *avec un mouvement d'inquiétude*.

 Un ordre clandestin L'aurait-il fait saisir ? … Appelez Valentin.

LAQUAIS Madame, il est fort mal, et l'on craint pour sa vie.

DORTIDIUS Tant mieux ! c'est un sujet pour notre anatomie.

CYDALISE Mais est-il donc si mal ?

LAQUAIS

Il est désespéré,

Madame, et je le tiens pour un homme enterré.

DORTIDIUS

Le pauvre Valentin ! c'est un garçon que j'aime, Et qu'il me tarde bien de disséquer moi-même.

*(À Cydalise)*

Mais vous deviez, je crois, commencer votre cours, Madame ; cependant vous diférez toujours.

## CYDALISE

Ce projet, de ma part, n'était qu'un pur caprice…

LAQUAIS Voice le colporteur.

(*Il sort.*)

SCÈNE VI

M. PROPICE, CYDALISE, LES PHILOSOPHES

CYDALISE

Entrez, Monsieur Propice.

Avez-vous du nouveau ?

M. PROPICE

Je ne cours pas après,

Madame. Avez-vous lu les *Bijoux indiscrets* ? C'est une gaillardise assez philosophique,

Du moins à ce qu'on dit.

CYDALISE

L'idée en est comique ;

Mais cela n'est pas neuf.

M. PROPICE

Cela se vend toujours.

CYDALISE Passons.

M. PROPICE

Connaissez-vous les *Lettre sur les sourds*?

CYDALISE L'auteur m'en ft présent.

DORTIDIUS

Tout son mérite y brille.

M. PROPICE

Vous ne voudriez pas du *Père de famille*?82

Cela n'est pas trop bon.

DORTIDIUS, *ironiquement.*

Vous vous y connaissez.

M. PROPICE Mais le public le dit, et je l'en crois assez. Pour le livre des *Mœurs*, je me souviens, madame, De vous l'avoir vendu.

(*Il lit les titres)*

 *Réfexions sur l'âme*?83

CYDALISE Voyons, Je les connais. Est-ce tout ?

M PROPICE

Vraiment, non.

*L'Interprétation de la nature.* 

CYDALISE

Bon,

C'est un livre excellent !

DORTIDIUS

Sublime !

THEOPHRASTE

Nécessaire !

CYDALISE Je le garde ; quelqu'un m'a pris mon exemplaire.

M. PROPICE Ceci, c'est le *Discours sur l'inégalité.*<sup>84</sup>

CYDALISE, *le prenant*. Ah ! je vais le relire avec avidité. Quel est cet autre écrit… là… que je vois en tête ?

M. PROPICE Madame, ce n'est rien ; c'est le *Petit Prophète*. 85 CYDALISE Ah ! ah ! je m'en souviens ; il est très amusant.

M. PROPICE Oui, c'est un badinage infniment plaisant. N'attendez-vous plus rien de mon petit service ?

CYDALISE

Non. Je retiens ceci, Bonjour, monsieur Propice.

## SCÈNE VII

CYDALISE, LES PHILOSOPHES

CYDALISE Ah ! je relirai donc mon livre favori !

VALÈRE Quoi, l'*Inégalité.* C'est bien le mien aussi.

THÉOPRASTE Ce livre est un trésor ; il réduit tous les hommes Au rang des animaux, et c'est ce que nous sommes. L'homme s'est fait esclave en se donnant des lois, Et tout n'irait que mieux s'il vivait dans les bois.

## CYDALISE

Pour moi, je goûterais une volupté pure À nous voir tous rentrer dans l'état de nature.

#### THÉOPRASTE

Les esprits dans l'erreur sont encor trop plongés, Et l'on est retenu par tant de préjugés... ! Il est tant de savants qui n'en ont pas l'étofe... !

CYDALISE Mais que nous veut Marton ?

## SCÈNE VIII

MARTON, CYDALISE, LES PHILOSOPHES

#### MARTON

Madame, un philosophe

Demande à vous parler.

CYDALISE

Il se nomme ?

MARTON

Crispin.

CYDALISE Le nom est singulier.

DORTIDIUS

Oui, parbleu !

CYDALISE

Mais enfn.

Les nomes ne prouvent rien : ah ! ciel ! quelle surprise !

### SCÈNE IX

## CRISPIN, CYDALISE, LES PHILOSOPHES, MARTON

CRISPIN, *allant à quatre pattes.*<sup>86</sup> Madame, elle n'a rien dont je me formalise. Je ne me règle plus sur les opinions, Et c'est-là l'heureux fruit de mes réfexions. Pour la philosophie un goût à qui tout cède, M'a fait choisir exprès l'état de quadrupède : Sur ces quatre piliers mon corps se soutient mieux, Et je vois moins de sots qui me blessent les yeux.

CYDALISE, *à Valère*. Il est original du moins dans son système.

VALÈRE Mais il est fort plaisant.

#### MARTON

Moi, je sens que je l'aime.

#### CRISPIN

En nous civilisant, nous avons tout perdu, La santé, le bonheur, et même la vertu. Je me renferme donc dans la vie animale ; Vous voyez ma cuisine, elle est simple et frugale.87 On ne peut, il est vrai, se contenter à moins ; Mais j'ai su m'enrichir en perdant des besoins. La fortune autrefois me paraissait injuste ; Et je suis devenu plus heureux, plus robuste Que tous ces courtisans dans le luxe amollis, Dont les femmes enfn connaissent tout le prix. Prévenu de l'accueil que vous faites aux sages, Madame, je venais vous rendre mes hommages,

Inviter ces messieurs, peut-être à m'imiter,

Du moins si mon exemple a de quoi les tenter.

## CYDALISE

Savez-vous qu'on démêle, à travers sa folie, De l'esprit ?

DORTIDIUS

Mais beaucoup.

MARTON

Je dirais du génie ;

Et jamais philosophe à ce point ne m'a plu.

## THEOPHRASTE

C'est ce que nous cherchions ; un homme convaincu, Qui plein de son système, et bravant la critique, Aux spéculations veut joindre la pratique.

## CYDALISE

Dans le fond, ce serait un homme à respecter ; Mais par les préjugés on se sent arrêter.

#### CRISPIN

Ma résolution peut vous sembler bizarre.

## CYDALISE

Vous donnez, à vrai dire, un exemple bien rare ; Mais votre empressement ne peut qu'être fatteur ; Vous êtes philosophe, et même à la rigueur.

## CRISPIN

Je me suis interdit de consulter les modes, J'ai cru que des habits devaient être commodes, Et rien de plus. Encor dans un climat bien chaud... THEOPHRASTE On juge ici, monsieur, l'homme par ce qu'il vaut, Et non par les habits.

CRISPIN

C'est penser en vrai sage.

CYDALISE Mais qui peut nous venir ?

## SCÈNE X

## M. CARONDAS, CYDALISE, LES PHILOSOPHES, CRISPIN, MARTON

M. CARONDAS, *fxant beaucoup Crispin, et marquant de l'embarras*. J'ai rempli mon message,

Madame… et le notaire… arrive en un moment.

CYDALISE Qu'avez vous ?

M. CARONDAS, *montrant Crispin, qui se cache un peu derrière Cydalise*. Quel est donc cet animal plaisant ?

CYDALISE C'est un grand philosophe, il sera de la fête.

CRISPIN En vérité… madame…

M. CARONDAS, *à Valère*.

Ah ! la maudite bête !

Nous sommes découverts.

VALÈRE

Hé ! comment ?

M. CARONDAS

C'est Crispin,

Le valet de Damis.

CRISPIN, *se relevant*.

Hé ! oui, monsieur Frontin :

Parlez haut ; oui, c'est lui.

CYDALISE

Quel est donc ce mystère ?

CRISPIN, *en montrant Valère*. Le valet de monsieur est votre secrétaire, Et je me suis servi de ce déguisement, Pour remettre en vos mains un billet important,88 (*Montrant M. Carondas)*

Surpris chez ce fripon.

CYDALISE, *ouvrant le billet*.

Je connais l'écriture;

*(À Valère)*

C'est la vôtre, monsieur.

CRISPIN

Lisez, je vous conjure.

VALÈRE, *aux philosophes*. Ah ! nous sommes perdus !

CYDALISE, *lit haut, mais d'une voix altérée, et qui s'afaiblit peu à peu.*

« Je te renvoie, mon cher Frontin, ce recueil d'impertinences que Cydalise appelle son livre. Continue de fatter cette folle, à qui ton nom savant en impose. Théophraste et Dortidius viennent de me communiquer un projet excellent qui achèvera de lui tourner la tête, et pour le succès duquel tu nous seras nécessaire. Ses ridicules, ses travers, ses... »

CRISPIN

Elle baisse la voix,

Et n'ira pas plus loin, à ce que je prévois.

M. CARONDAS

Ah, traitre de Crispin!

DORTIDIUS, *à Valère.*

L'aventure est fâcheuse,

Mais nous y sommes faits.

VALÈRE, *bas*.

Quelle disgrâce afreuse !

Que lui dire ? Sortons.

## CYDALISE

Lisez, Monsieur, lisez ;

Et justifez-vous après, si vous l'osez.

De vos séductions j'étais donc la victime !

Et mes yeux sont ouverts sur le bord de l'abîme !

Que vous avais-je fait pour me traiter ainsi ?

Allez, et de vos jours ne paraissez ici.

Votre confusion suft à ma vengeance.

Ingrats ; d'autres peut-être auront moins d'indulgence.

C'est le dernier espoir de mon cœur outragé :

Partez.

VALÈRE, *furieux*.

Ah ! malheureux.

## M. CARONDAS

Voilà notre congé.

(*Ils sortent.*)

CYDALISE Les cruels, à quel point ils m'avaient prévenue !

## SCÈNE XI et dernière

## DAMIS, ROSALIE, CYDALISE, MARTON, CRISPIN

CYDALISE Venez, Damis, venez, je sens que votre vue Me rappelle l'excès de mon aveuglement.

## DAMIS

Les voilà démasqués, l'erreur n'a qu'un moment. Ils sont assez punis de n'être plus à craindre, Et ce n'est plus à vous, madame, de vous plaindre.

## CYDALISE

À ces hommes pervers j'avais sacrifé Les devoirs les plus saints, et même l'amitié. Vous êtes bien vengé ! Ma chère Rosalie, Je reconnais mes torts, que ton cœur les oublie ; Je les répare tous en te donnant Damis.

#### DAMIS

Vous trouverez en moi les sentiments d'un fls.

#### ROSALIE

Tous mes vœux sont remplis, le ciel me rend ma mère.

CRISPIN Moi, j'épouse Marton, pour terminer l'afaire.

MARTON, *au public.* Des sages de nos jours nous distinguons les traits : Nous démasquons les faux, et respectons les vrais.


This refers to *Zarès*, in which the eponymous character is the unrecognized son of Sardanapalus. The implication is that Palissot's critiques come from wounded pride rather than any moral stance.


The quotation, meaning 'Men changed their tune, and terror of the cudgel [led them back to goodly and gracious forms of speech]', is drawn from Horace (*Satires, Epistles and Ars Poetica*, trans. by H. Rushton Fairclough, *Loeb Classical Library* (Cambridge, MA: Loeb, 1947), p. 409. The implication is that Palissot does not abide by the rules of this 'original purpose' he claims to follow.


The quotation in fact formed the entire preface to the play in one 1763 edition (in *Théatre et œuvres diverses*, London and Paris, pp. 172–73). The *Année littéraire* article referred to was a 'Lettre de M. de \*\*\* à M. Fréron sur le mot 'Encyclopédie' du dictionnaire qui porte ce nom', III, pp. 260–62.

Voltaire adds his own note here, reading: 'Reponse. Yes, Palissot, they prove that it is necessary to show strong hatred against baseness and envy, but they do not prove that baseness and envy have any right to slander men of merit for no other reason than that they have scorned you.'


Indeed, instead they are a paraphrase of Boyer d'Argens' *La Philosophie du bon sens*, 3 vols (The Hague, 1768), II, p. 226.


In a letter to the *Observateur littéraire*, Palissot admits he included elements of Rousseau's thought here (in *Facéties*, pp. 336–39). The quotation in question is in fact taken from Jaucourt's article 'Government', vol. VII, p. 789.

29 Voltaire writes: 'You lie to the public, for you cut these passages short.'

Four passages from the same article are presented here dissociated, when in fact they follow more closely. Palissot's fragmented version gives a far stronger impression of the support for civil disobedience than Jaucourt puts forward in the original: Jaucourt condemns the arbitrary seizing of power, but Palissot cuts this element entirely.


Again, Palissot removes an element of Jaucourt's argument, which supports flial obedience, in order to present the philosophes as anarchic.

32 Voltaire writes: 'You lie with inconceivable impudence, there is not a word of what you quote.'

Indeed, François-Vincent Toussaint's 1749 *Les Mœurs* contradicts the sentiments Palissot attributes to it.


Voltaire's criticism is not quite so easily explained here — in fact, Toussaint does imply that passions should be followed. However, he contextualizes his claims in a later paragraph: Voltaire might have done better to point to this later contradiction.

35 Voltaire writes: 'You lie again, for though La Mettrie's book might be bad, you imply that the author says what in fact he puts in the mouth of a debauched individual.'

On the possible identifcation of this 'débauché' with Hobbes, see *Facéties*, p. 244, n. 35.


the Diderot text that responds to Palissot's play, see Introduction). It is implied that Cydalise, said here to spend time with 'bufoons', gave her support to the Italian side of the quarrel; placing her alongside Rousseau, whose *Lettre sur la musique française* claimed that 'the French have no music and are unable to have one' (in *Essai sur l'origine des langues et autres textes* (Paris: Flammarion, 1993), pp. 127–84 (p. 184); my translation).


This text, by Duclos, had appeared in 1751. The phrase, along with the sentence cited later in the scene, taken from Diderot, had already been attacked in the *Petites lettres*.


Diderot's *Pensées sur l'interpretation de la nature* appeared in 1753. The cited phrase, which appears at the start of the address 'To those young people who are disposed towards the study of natural philosophy', earned Diderot numerous sarcastic comments (cf. among others the *Nouveau mémoire pour servir à l'histoire des Cacouacs*, p. 27, and *Discours du patriarche des Cacouacs* (Cacopolis: [n. pub.], 1758), p. ix).

63 Cf. Philaminte in *Les Femmes savantes.*


prose, served as models for all the lugubrious *drames* which have since aficted our stages.'

*Les Bijoux indiscrets* had appeared in 1748, the *Lettre sur les sourds* in 1751, and *Le Père de famille* in 1758.


Cf. Voltaire's famous letter to Rousseau of August 1755 (D6451).

85 A 1788 note reads: 'Pamphlet, now forgotten, but famous at the time thanks to the context. In that strange period when our philosophes formed an alliance with a group of bufoons against French musique, this text was one of their manifestos. This scene, the only one that demands notes, and the only one belonging to the genre of vaudeville, was applauded for its novelty; but the play only being performed for a second run more than twenty years after the frst, the author thought it wise to cut this scene, which had become too incomprehensible for the majority of spectators.'

*Le Petit prophète de Boehmischbroda* was a pamphlet pastiching the prophecies of the Old Testament, written by Grimm in 1753 during the Querelle des Boufons.

86 A note from 1782 reads: 'All the lines describing Crispin's stance were cut for the second performance [of the 1781 reprise], since at the frst a number of loud and clearly important voices were raised with apparent fury at this scene, on the false and ridiculous pretext that it was insulting to the memory of the famous citizen of Geneva. The author preferred to spoil his denouement than to expose the actor performing the role of Crispin to any more slights. We know that in 1760 the same scene, in the hands of the famous Préville, had the most brilliant success; and if the author, forced to cede to circumstances, thought it necessary to sacrifce himself for a handful of performances, we might imagine that the fattering memory of such a success might have rendered such a sacrifce less painful. But out of respect for the public, and for this earlier support, he not only retains here but will retain in all future editions this most comic situation, to which provincial actors are accustomed, and which will certainly be demanded again one day in the capital.'


## Editions of the text

Barling. T.J., ed., *Les Philosophes* (Exeter: University of Exeter Press, 1975)

Ferret, Olivier, *La Comédie des Philosophes et autres textes* (Sainte-Étienne: Publications de l'Université de Sainte-Étienne, 2002)

## Primary material

Many of the quarrel pamphlets referred to appear in Ferret's edition of the play, above. Other pamphlet editions mentioned are:


## Journals and memoirs containing reviews and discussion of the play


*Le Censeur hebdomodaire*, 5 vols (Utrecht: Dufour, 1760-95)

*Correspondance littéraire*, 16 vols (Paris: Prault, 1753-90) (available here: https://artfl-project.uchicago.edu/content/ grimms-correspondance-litt%C3%A9raire)

*L'Observateur littéraire*, 18 vols (Paris: Duchesne/Lambert, 1758-61)

## Other


A number of Molière's plays are referenced for parallels to *Les Philosophes*. All of his plays can be found online at http://toutmoliere.net/

## Secondary material


## About the Team

Alessandra Tosi was the managing editor for this book.

Lucy Barnes performed the copy-editing and proofreading.

Anna Gatti designed the cover. The cover was produced in InDesign using the Fontin font.

Luca Baffa typeset the book in InDesign and produced the paperback and hardback editions. The text font is Tex Gyre Pagella; the heading font is Californian FB. Luca produced the EPUB, MOBI, PDF, HTML, and XML editions — the conversion is performed with open source software freely available on our GitHub page (https://github.com/ OpenBookPublishers).

## This book need not end here…

## Share

All our books — including the one you have just read — are free to access online so that students, researchers and members of the public who can't aford a printed edition will have access to the same ideas. This title will be accessed online by hundreds of readers each month across the globe: why not share the link so that someone you know is one of them?

This book and additional content is available at: https://doi.org/10.11647/OBP.0201

## Customise

Personalise your copy of this book or design new books using OBP and thirdparty material. Take chapters or whole books from our published list and make a special edition, a new anthology or an illuminating coursepack. Each customised edition will be produced as a paperback and a downloadable PDF.

Find out more at:

https://www.openbookpublishers.com/section/59/1

Like Open Book Publishers Follow @OpenBookPublish Read more at the Open Book Publishers

## You may also be interested in:

**The Atheist's Bible Diderot's** *Éléments de physiologie Caroline Warman*

https://doi.org/10.11647/OBP.0199

## **Denis Diderot,** *Rameau's Nephew — Le Neveu de Rameau* **A Multi-Media Bilingual Edition** *Editor: M. Hobson. Translators: K.E. Tunstall and C. Warman. Music: P. Duc*

https://doi.org/10.11647/OBP.0098

**Tolerance The Beacon of the Enlightenment** *Translated by Caroline Warman, et al.*

https://doi.org/10.11647/OBP.0088

## Charles Palissot *The Philosophes*

## EDITED AND TRANSLATED BY JESSICA GOODMAN *ET AL*.

In 1760, the French playwright Charles Palissot de Montenoy wrote *Les Philosophes* – a scandalous farcical comedy about a group of opportunis� c selfstyled philosophers. *Les Philosophes* emerged in the charged historical context of the pamphlet wars surrounding the publica� on of Diderot and d'Alembert's *Encyclopédie*, and delivered an oblique but acerbic cri� cism of the intellectuals of the eighteenth-century Enlightenment, including the likes of Diderot and Rousseau.

This book presents the fi rst high-quality English transla� on of the play, including cri� cal apparatus. The transla� on is based on Olivier Ferret's edi� on, and renders the text into iambic pentameter to preserve the character of the original. Adapta� ons are further provided of Ferret's introduc� on and notes.

This masterful and highly accessible transla� on of *Les Philosophes* opens up this polemical text to a non-specialist audience. It will be a valuable resource to non-Francophone scholars and students working on the philosophical exchanges of the Enlightenment.

Moreover, this transla� on – the result of a year-long project undertaken by Jessica Goodman with six of her undergraduate French students – expounds the value of collabora� on between scholar and student, and, as such, provides a model for other language tutors embarking on transla� on.

As with all Open Book publica� ons, this en� re book is available to read for free on the publisher's website. Printed and digital edi� ons, together with supplementary digital material, can also be found at www.openbookpublishers.com

*Cover image: Follower of Louis de Carmontelle, Gathering in a Salon, Harvard Art Museums/ Fogg Museum, Gif of Therese Kuhn Straus in memory of her husband, Herbert N. Straus, Harvard Class of 1903, Accession No. 1978.54 ©President and Fellows of Harvard College Cover Design by Anna Gat .*

**OBP**

CHARLES PALISSOT

*LES PHILOSOPHES*

Charles Palissot

*The Philosophes*

**EDITED AND TRANSLATED JESSICA GOODMAN** *ET AL***.**