El diálogo es el verdadero estilo de Diderot y las ideas, que según propia confesión eran sus verdaderas amantes, se convierten en su pluma en auténticas explosiones de energía intelectual, tumultuosa y chispeante. Diderot, que ha sido el "philosophe" que con mayor fervor ha reivindicado la modernidad, dejó inéditas algunas de sus obras capitales, como esta pequeña pero profunda obra maestra que es "El sobrino de Rameau", que vería la luz en 1823. El modelo de un personaje que en realidad existió, el sobrino del célebre músico Rameau, le sirve a Diderot para trazar el retrato de dos conciencias de índole distinta, de dos filosofías de la vida, de dos Yos antagónicos que no obstante son anverso y reverso de una misma medalla: el del genio instalado en la respetabilidad y el del genio de la irrisión, un parásito, un bufón, un inadaptado que reflexiona con poderoso ingenio sobre su propia condición. En el trasfondo, la obra es un animado cuadro de la sociedad del siglo XVIII por el que desfilan las ideas imperantes de la época sobre política, finanzas, moralidad e inmoralidad. ( )

In Rameau’s Nephew, Lui (Rameau’s nephew) and Moi (Diderot) engage in a combative conversation. The work is a totality of contradictions. Lui insists upon what he believes to be true and Moi objects that the exact opposite is right. Lui is a self-admitted parasite upon society who takes advantage of everyone and everything that he can. He admits to having taught his son that money is more important than anything else and to mourning his deceased wife because he could have profited by prostituting her. Lui insists that his lifestyle is morally correct. Moi, who is the embodiment of bourgeois morality, is appalled by Lui and vehemently objects to his assertions. Lui and Moi are both strong combatants, and Diderot does not permit either one a decisive victory. This ambiguity makes the dialogue an inquiry into morality that never finds an answer.

While neither Lui nor Moi can claim a victory, they do lead each other into a state of change, of becoming less of what they were. The character of Lui also undergoes startling physical change as he contorts himself in the most outlandish fashion, acting out what he says. Lui is like an actor, creating characters by his gestures and physical contortions. Just as Lui contorts himself to assume the various individuals he talks about, he also shapes himself into whatever he needs to be to profit from social opportunity. Lui’s explanation of his relationship to the society in which he lives enables Diderot to satirize a number of his enemies in the novel.

Heavy going but streets ahead as a way of getting to the heart of the french enlightenment: it really conveys the cafe atmosphere and the cliquishness of Paris in the 1760s. ( )

> Par Adrian (Laculturegenerale.com) : Les 150 classiques de la littérature française qu’il faut avoir lus !
07/05/2017 - Ni roman, ni pièce de théâtre, un dialogue qui exemplifie le sens de la liberté de Diderot. Cette discussion entre le neveu du musicien Rameau, un cynique sympathique, ressemblant à Diderot, versus Diderot philosophe, nous plonge au coeur du Diderot intérieur.

I "vecchi trucchi" si colgono, ma arrivano smorzati, stavolta, dal tempo trascorso. Onore al merito, ma lettura a tratti noiosetta. Avanti con "Jacques il fatalista", ché sembra promettere bene! ( )