Voltaire's Philosophical Dictionary. Voltaire
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belles-lettres, he does not reason better about our good authors than about our philosophers. He looks on Rabelais as a great man. He cites the "Amours des Gaules" as one of our best works. He was, however, a scholar, a courtier, a man of much wit, an ambassador, a man who had reflected profoundly on all he had seen. He possessed great knowledge: a prejudice sufficed to spoil all this merit.
There are beauties in Euripides, and in Sophocles still more; but they have many more defects. One dares say that the beautiful scenes of Corneille and the touching tragedies of Racine surpass the tragedies of Sophocles and Euripides as much as these two Greeks surpass Thespis. Racine was quite conscious of his great superiority over Euripides; but he praised the Greek poet in order to humiliate Perrault.
Molière, in his good pieces, is as superior to the pure but cold Terence, and to the droll Aristophanes, as to Dancourt the buffoon.
There are therefore spheres in which the moderns are far superior to the ancients, and others, very few in number, in which we are their inferiors. It is to this that the whole dispute is reduced.
ANIMALS
What a pitiful, what a sorry thing to have said that animals are machines bereft of understanding and feeling, which perform their operations always in the same way, which learn nothing, perfect nothing, etc.!
What! that bird which makes its nest in a semi-circle when it is attaching it to a wall, which builds it in a quarter circle when it is in an angle, and in a circle upon a tree; that bird acts always in the same way? That hunting-dog which you have disciplined for three months, does it not know more at the end of this time than it knew before your lessons? Does the canary to which you teach a tune repeat it at once? do you not spend a considerable time in teaching it? have you not seen that it has made a mistake and that it corrects itself?
Is it because I speak to you, that you judge that I have feeling, memory, ideas? Well, I do not speak to you; you see me going home looking disconsolate, seeking a paper anxiously, opening the desk where I remember having shut it, finding it, reading it joyfully. You judge that I have experienced the feeling of distress and that of pleasure, that I have memory and understanding.
Bring the same judgment to bear on this dog which has lost its master, which has sought him on every road with sorrowful cries, which enters the house agitated, uneasy, which goes down the stairs, up the stairs, from room to room, which at last finds in his study the master it loves, and which shows him its joy by its cries of delight, by its leaps, by its caresses.
Barbarians seize this dog, which in friendship surpasses man so prodigiously; they nail it on a table, and they dissect it alive in order to show the mesenteric veins. You discover in it all the same organs of feeling that are in yourself. Answer me, machinist, has nature arranged all the means of feeling in this animal, so that it may not feel? has it nerves in order to be impassible? Do not suppose this impertinent contradiction in nature.
But the schoolmasters ask what the soul of animals is? I do not understand this question. A tree has the faculty of receiving in its fibres its sap which circulates, of unfolding the buds of its leaves and its fruit; will you ask what the soul of this tree is? it has received these gifts; the animal has received those of feeling, of memory, of a certain number of ideas. Who has bestowed these gifts? who has given these faculties? He who has made the grass of the fields to grow, and who makes the earth gravitate toward the sun.
"Animals' souls are substantial forms," said Aristotle, and after Aristotle, the Arab school, and after the Arab school, the angelical school, and after the angelical school, the Sorbonne, and after the Sorbonne, nobody at all.
"Animals' souls are material," cry other philosophers. These have not been in any better fortune than the others. In vain have they been asked what a material soul is; they have to admit that it is matter which has sensation: but what has given it this sensation? It is a material soul, that is to say that it is matter which gives sensation to matter; they cannot issue from this circle.
Listen to other brutes reasoning about the brutes; their soul is a spiritual soul which dies with the body; but what proof have you of it? what idea have you of this spiritual soul, which, in truth, has feeling, memory, and its measure of ideas and ingenuity; but which will never be able to know what a child of six knows? On what ground do you imagine that this being, which is not body, dies with the body? The greatest fools are those who have advanced that this soul is neither body nor spirit. There is a fine system. By spirit we can understand only some unknown thing which is not body. Thus these gentlemen's system comes back to this, that the animals' soul is a substance which is neither body nor something which is not body.
Whence can come so many contradictory errors? From the habit men have always had of examining what a thing is, before knowing if it exists. The clapper, the valve of a bellows, is called in French the "soul" of a bellows. What is this soul? It is a name that I have given to this valve which falls, lets air enter, rises again, and thrusts it through a pipe, when I make the bellows move.
There is not there a distinct soul in the machine: but what makes animals' bellows move? I have already told you, what makes the stars move. The philosopher who said, "Deus est anima brutorum," was right; but he should go further.
ANTIQUITY
Have you sometimes seen in a village Pierre Aoudri and his wife Peronelle wishing to go before their neighbours in the procession? "Our grandfathers," they say, "were tolling the bells before those who jostle us to-day owned even a pig-sty."
The vanity of Pierre Aoudri, his wife and his neighbours, knows nothing more about it. Their minds kindle. The quarrel is important; honour is in question. Proofs are necessary. A scholar who sings in the choir, discovers an old rusty iron pot, marked with an "A," first letter of the name of the potter who made the pot. Pierre Aoudri persuades himself that it was his ancestors' helmet. In this way was Cæsar descended from a hero and from the goddess Venus. Such is the history of nations; such is, within very small margins, the knowledge of early antiquity.
The scholars of Armenia demonstrate that the terrestrial paradise was in their land. Some profound Swedes demonstrate that it was near Lake Vener which is visibly a remnant of it. Some Spaniards demonstrate also that it was in Castille; while the Japanese, the Chinese, the Indians, the Africans, the Americans are not sufficiently unfortunate to know even that there was formerly a terrestrial paradise at the source of the Phison, the Gehon, the Tigris and the Euphrates, or, if you prefer it, at the source of the Guadalquivir, the Guadiana, the Douro and the Ebro; for from Phison one easily makes Phaetis; and from Phaetis one makes the Baetis which is the Guadalquivir. The Gehon is obviously the Guadiana, which begins with a "G." The Ebro, which is in Catalonia, is incontestably the Euphrates, of which the initial letter is "E."
But a Scotsman appears who demonstrates in his turn that the garden of Eden was at Edinburgh, which has retained its name; and it is to be believed that in a few centuries this opinion will make its fortune.
The whole globe was burned once upon a time, says a man versed in ancient and modern history; for I read in a newspaper that some absolutely black charcoal has been found in Germany at a depth of a hundred feet, between mountains covered with wood. And it is suspected even that there were charcoal burners in this place.
Phaeton's adventure makes it clear that everything has boiled right to the bottom of the sea. The sulphur of Mount Vesuvius proves invincibly that the banks of the Rhine, Danube, Ganges, Nile and the great Yellow River are merely sulphur, nitre and Guiac oil, which only await the moment of the explosion to reduce the earth to ashes, as it has already been. The sand on which we walk is evident proof that the earth has been vitrified, and that our globe is really only a glass ball, just as are our ideas.
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