This enemy of his century really believes the fable of Orpheus, and has not apparently heard either the beautiful music of Italy, or even that of France, which in truth does not charm snakes, but does charm the ears of connoisseurs.

What is still more strange is that, having all his life cultivated 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.

Molire, 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.