LHarmonie (Oeuvres Complètes t. 6) (French Edition)

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Thus, by exploiting an entire range of sounds, as an adept of the physiology of Haller and Bordeu, he experiments with the sensibility of matter.

This is shown by the rich vocabulary which constructs an aesthetic of sound not to be found in writers from the first third of the century, except Marivaux — though to a lesser extent. I would like to suggest that Diderot adumbrates here modern conceptions of the voice, as defined by Nathalie Sarraute in Enfance: And yet the voice also maintains a primary role. It is through vocal expressivity, indeed, though associated with gesture, that the reader enters into the world of the writer.

Verbs, adjectives and adverbial phrases of manner refer to sound more than content. The diversity of these verbs reflects the possibilities of the voice in terms of both its quality and its intensity. On his own, Rameau is indeed an artistic work in which vocal variations represent all human passions. As Du Bos had already noted in , sounds: The effect achieved is far from the one expected. Neveu displays, both visually and orally, an imperfect nature, a dissonant nature at odds with itself — the sound of a voice without resolution.

Literature has not succeeded in preserving the beautiful sounds which aim at enrapturing. The voice exhausts all possible inflections and pulls extremes together: In fact, the music of the voice, imitating both voices and instruments, reflects emotions more than any other form of expression. Diderot had already understood the effects of music on the soul:. For Diderot, after Condillac and at the same time as Rousseau, sensationalism has entered language itself.

To write down sounds is to give a rightful place to the sense of hearing. But the representation of sound emphasises a human nature that is incapable of reaching total plenitude, as can be seen with Rameau. However, rather than despairing, the philosopher prefers to see this as a sensory boon, even if that means maintaining a belief in man, be he less than perfect. Following the paroxysm of Bijoux indiscrets , and before sharing in the vigorous joy of Jacques le fataliste , the reader finds himself in the Babelian universe of La Religieuse and at the heart of a cacophonous concert in Neveu de Rameau.

If we, along with Suzanne, are immersed in a noise that reflects human vitality — as in Marivaux —, Diderot constantly tries to bring this human vitality back into the world. With Neveu, powerful sounds reveal the life of the body, but seem to signify a disharmonious society. The noise that is represented is eventually linked to satire, even in Diderot. It expresses movement and the energy, 75 and sometimes the excess of a vibrating voice. It expresses the strength of a human nature that is so passionate that it loses the idea of its perfectibility, and of the capacity of man to become reasonable, in total harmony with himself and his kind.

Consequently, if the voice in Diderot signifies the inherent vitality of man, it may also mark the end of optimism and utopia for Enlightenment thinkers. It also marks, however, the entry of sound into philosophy. The experience of the vocal aspect that brings him to represent his characters with a passionate nature, allows him to be political as well: Whether in a sigh or in a scream, the voice declares that it is language.

Jean Meyer, Paris, M. Jacques Roger, Paris, Garnier-Flammarion, Leonard Tancock, London, Penguin Classics, Antoine Adam, Paris, Garnier-Flammarion, XVI, Paris, Hermann, Robert Garapon, Paris, Garnier, Philippe Sellier, Paris, Garnier, All translations are by Timothy McInerney, whom the editors and the author would like to thank. Sound does not seem to belong to the realm of the measurable, as it is mobile, changing, unstable.

Thus, is not the human voice inseparable from the hypothesis of the embodiment of the human word, which in turn leads to the notion that, to the extent that ,thought being expressed by the human voice, it depends on circumstances extraneous to its intellectual substance?

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Who can resist you when you assume the enthralling accents and voice of Woman? X, IV, 7, p. References to the work of Diderot all come from this edition, henceforth referred to as DPV followed by the number of the volume and of the chapter when applicable. It is the muddled vision of an object, when the reflected or broken rays come together in the eye. II, remark in the First Memoir, p. We could also add the Lettre sur les sourds et muets and the Lettre sur les aveugles , which shows how Diderot further studies the idea of sound and of voice.

What is a human being when speechless? What is the reception and the account of sound and voice in a sightless human being?

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Are they different in a human being who can see? One passion succeeded another across his face — one could distinguish tenderness, anger, pleasure, and pain.

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One felt the pianos and the fortes. And I am sure that one better versed than I would have recognised the piece from its tempo and character, his facial expressions and the snippets of song that escaped from him from time to time.

While the distinction between noise and sound is aesthetically interesting, I will not observe that distinction within the framework of my discussion, because I know that what was of interest for theorists and acousticians in sound was the pleasure it provided. Indeed, Diderot makes only a distinction between sound and noise on a secondary level. Sound is enriched noise: Sound, on the contrary, never reaches our ears alone. With it we hear other sounds that we call its harmonics. It is a sense that is incapable of being insensitive to events that concern it.

The Vital Dynamism of the Voice in Diderot

We can close our eyes and thus momentarily remove ourselves from the world. Nothing is so dull as a succession of common chords. A happiness that nothing can alter is a bland one. Rousseau, Paris, Stock, You were right when you claimed that music was the most violent of all beaux arts, excepting neither poetry nor rhetoric; that not even Racine could express himself with the delicacy of a harp; that his melody was heavy and monotonous in comparison to that of an instrument.

Van Effen La Bagatelle, 11 August A score of times a burst of laughter prevented a burst of rage, and a score of times the anger rising from the depths of my heart ended in a burst of laughter. I was dumbfounded […]. The cry of animal instinct or that of a man under stress of emotion will supply them.

One affects the ear, the other the eyes; two senses, says Quintilian, by which we transfer all our feelings and our passions into the soul of our listeners. Italian, French, tragic, comic, of all sorts and descriptions, sometimes in a bass voice going down to the infernal regions, and sometimes bursting himself in a falsetto voice he would split the heavens asunder, taking off the walk, deportment and gestures of the different singing parts: Music can only resort to intervals and the length of sounds; and what analogy is there between this kind of pencil and spring, darkness, solitude, etc, and most objects?

How come then that of the three arts imitating nature, the one of which the expression is the most arbitrary and the least precise speaks the loudest to the soul? Would it be that by showing the objects less, it leaves more career to our imagination, or that needing tremors to be moved, music is more able than paint and poetry to create in us that tumultuous effect?

Goulemot, Paris, Minerve, , p.

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