A PHILOSOPHICAL DICTIONARY

VOLUME X

By

VOLTAIRE

EDITION DE LA PACIFICATION

THE WORKS OF VOLTAIRE

A CONTEMPORARY VERSION

With Notes by Tobias Smollett, Revised and Modernized

New Translations by William F. Fleming, and an

Introduction by Oliver H.G. Leigh

A CRITIQUE AND BIOGRAPHY

BY

THE RT. HON. JOHN MORLEY

FORTY-THREE VOLUMES

One hundred and sixty-eight designs, comprising reproductions

of rare old engravings, steel plates, photogravures,

and curious fac-similes

VOLUME XIV

E.R. DuMONT

PARIS—LONDON—NEW YORK—CHICAGO

1901

The WORKS of VOLTAIRE

"Between two servants of Humanity, who appeared eighteen hundred years apart, there is a mysterious relation. * * * * Let us say it with a sentiment of profound respect: JESUS WEPT: VOLTAIRE SMILED. Of that divine tear and of that human smile is composed the sweetness of the present civilization."

VICTOR HUGO.

LIST OF PLATES—VOL. X

VOLTAIRE'S REMAINS ON THE BASTILLE—Frontispiece

THE DEATH OF SOCRATES

THE VISION

PIERRE CORNEILLE

Table of Contents

"For one night, upon the ruins of the Bastille, rested the body of Voltaire, on fallen wall and broken aroh, above the dungeons where light had faded from the lives of men, and hope had died in breaking hearts. The conqueror, resting upon the conquered; throned upon the Bastille, the fallen fortress of night."—INGERSOLL.

VOLTAIRE

A PHILOSOPHICAL DICTIONARY

IN TEN VOLUMES

VOL. X.

STYLE—ZOROASTER

AND DECLARATION OF THE AMATEURS, INQUIRERS, AND DOUBTERS

STYLE.

It is very strange that since the French people became literary they have had no book written in a good style, until the year 1654, when the "Provincial Letters" appeared; and why had no one written history in a suitable tone, previous to that of the "Conspiracy of Venice" of the Abbé St. Réal? How is it that Pellisson was the first who adopted the true Ciceronian style, in his memoir for the superintendent Fouquet?

Nothing is more difficult and more rare than a style altogether suitable to the subject in hand.

The style of the letters of Balzac would not be amiss for funeral orations; and we have some physical treatises in the style of the epic poem or the ode. It is proper that all things occupy their own places.

Affect not strange terms of expression, or new words, in a treatise on religion, like the Abbé Houteville; neither declaim in a physical treatise. Avoid pleasantry in the mathematics, and flourish and extravagant figures in a pleading. If a poor intoxicated woman dies of an apoplexy, you say that she is in the regions of death; they bury her, and you exclaim that her mortal remains are confided to the earth. If the bell tolls at her burial, it is her funeral knell ascending to the skies. In all this you think you imitate Cicero, and you only copy Master Littlejohn....

Without style, it is impossible that there can be a good work in any kind of eloquence or poetry. A profusion of words is the great vice of all our modern philosophers and anti-philosophers. The "Système de la Nature" is a great proof of this truth. It is very difficult to give just ideas of God and nature, and perhaps equally so to form a good style.

As the kind of execution to be employed by every artist depends upon the subject of which he treats—as the line of Poussin is not that of Teniers, nor the architecture of a temple that of a common house, nor music of a serious opera that of a comic one—so has each kind of writing its proper style, both in prose and verse. It is obvious that the style of history is not that of a funeral oration, and that the despatch of an ambassador ought not to be written like a sermon; that comedy is not to borrow the boldness of the ode, the pathetic expression of the tragedy, nor the metaphors and similes of the epic.

Every species has its different shades, which may, however, be reduced to two, the simple and the elevated. These two kinds, which embrace so many others, possess essential beauties in common, which beauties are accuracy of idea, adaptation, elegance, propriety of expression, and purity of language. Every piece of writing, whatever its nature, calls for these qualities; the difference consists in the employment of the corresponding tropes. Thus, a character in comedy will not utter sublime or philosophical ideas, a shepherd spout the notions of a conqueror, not a didactic epistle breathe forth passion; and none of these forms of composition ought to exhibit bold metaphor, pathetic exclamation, or vehement expression.

Between the simple and the sublime there are many shades, and it is the art of adjusting them which contributes to the perfection of eloquence and poetry. It is by this art that Virgil frequently exalts the eclogue. This verse: Ut vidi ut perii, ut me malus abstulit error! (Eclogue viii, v. 41)—I saw, I perished, yet indulged my pain! (Dryden)—would be as fine in the mouth of Dido as in that of a shepherd, because it is nature, true and elegant, and the sentiment belongs to any condition. But this:

Castaneasque nuces me quas Amaryllis amabat.
—Eclogue, ii, v. 52..

And pluck the chestnuts from the neighboring grove,
Such as my Amaryllis used to love.
—DRYDEN.

belongs not to an heroic personage, because the allusion is not such as would be made by a hero.

These two instances are examples of the cases in which the mingling of styles may be defended. Tragedy may occasionally stoop; it even ought to do so. Simplicity, according to the precept of Horace, often relieves grandeur. Et tragicus plerumque dolet sermone pedestri (Ars Poet., v. 95)—And oft the tragic language humbly flows (Francis).

These two verses in Titus, so natural and so tender:

Depuis cinq ans entiers chaque jour je la vois.
Et crois toujours la voir pour la première