Leonard Tancock, London, Penguin Classics, Antoine Adam, Paris, Garnier-Flammarion, X, Paris, Hermann, XVI, Paris, Hermann, Robert Garapon, Paris, Garnier, Philippe Sellier, Paris, Garnier, I, eds.
French-English Dictionary (35,273 Entries)
Sellier ed. 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?
Lafond ed. Who can resist you when you assume the enthralling accents and voice of Woman? Dieckmann, J. Proust, J. 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. XVI, p. 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?
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What is the reception and the account of sound and voice in a sightless human being? Are they different in a human being who can see? IV, p. See Dubruque J.
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One passion succeeded another across his face — one could distinguish tenderness, anger, pleasure, and pain. 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. XII, p.
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Translation by L. 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, 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. We can close our eyes and thus momentarily remove ourselves from the world. III, XX, p. Tancock ed. XI, p.
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XXIII, p. Tr: M. Tr: p.
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Tr: L. XX, p. Tr: The Nun, ed. Tancock, p. XIX, p. Nothing is so dull as a succession of common chords. Everything was there: the delicacy of the air and expressive power as well as grief. Tr: pp. II, p. 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.
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