In honor of Robert Darnton

Robert Darnton

Robert Darnton in 2016

This month Oxford University will award an honorary doctorate of letters to Robert Darnton, a (if not the) leading cultural historian over the past 50 years of eighteenth-century French publishing, book trade and literary culture.

I count myself as one of the many scholars inspired by his works. The Great Cat Massacre (1984) was among the first scholarly works I was assigned to read upon beginning postgraduate study. As a doctoral student, I benefited from his advisement (as a doctoral student at Columbia, I enrolled through a university exchange in his Princeton seminar on ‘The Social History of Ideas in Eighteenth-Century France’). And now as a senior research affiliate of the Voltaire Foundation and General Editor of Oxford University Studies in the Enlightenment, I take particular interest in expressing on behalf of the Voltaire Foundation our collegial pride, admiration, and respect for Professor Darnton on this occasion. Indeed, I would like to highlight some of his impact on the Voltaire Foundation – though, unlike the Public Orator, I will not do so in Latin!

Darnton entered into the field of eighteenth-century studies at Oxford in 1960 as a Rhodes Scholar. He thus entered the field at a moment of dynamism and growth: just a few years earlier (1955) had seen the launch of what became Studies on Voltaire and the Eighteenth Century, and just a few years later would bring the initial International Congress on the Enlightenment (1963).

Darnton remained at Oxford to complete his doctoral thesis (in 1964) on radical political pamphleteering in the 1780s. Moreover, under the influence of Oxford faculty Robert Shackleton and Richard Cobb, he conducted his first research on J.-P. Brissot and the rich police, book trade and censorship archives. These lines of research led directly to the seminal articles and books he would publish after taking up a position at Princeton, including Mesmerism and the End of the Enlightenment in France (1968), The Business of Enlightenment (1979), and the Literary Underground of the Old Regime (1982). This body of work alone would justify the recognition of an honoris causa doctorate.

Darnton however remained both directly and indirectly engaged with Oxford and the Voltaire Foundation. In 1983 he was elected to the executive board of the International Society of Eighteenth-Century Studies and served as its president from 1987 to 1991. He was instrumental in bringing the ISECS meeting to Budapest before the fall of the Berlin Wall, and in establishing the East-West Seminar for early career scholars, which he directed until 1995. The proceedings of both the ISECS Congresses and the East-West Seminars were in those years published in SVEC. This includes Darnton’s 1991 presidential address, ‘Reviving the Republic of Letters’, SVEC vol.303, p.3-16, just one of at least six talks or papers he contributed to SVEC volumes between 1988 and 2003, before the series adopted its all-book format – and even after, he continued to contribute, penning a preface to Thierry Rigogne’s Between State and Market: Printing and Bookselling in Eighteenth-Century France (2007).

Darnton served two terms on the Voltaire Foundation board, in 1987-1991 and 2000-2007; during the latter term, he was an instrumental contributor to the conception and initial funding of the Electronic Enlightenment, launched by the VF before being moved to the Bodleian Libraries and distributed by Oxford University Press. During this period, he also authored and edited the Voltaire Foundation’s first foray into digital publishing, a fully on-line monograph and document collection, J.-P. Brissot, His Career and Correspondence (1779–1787) (2001).

The importance of his impact on Enlightenment studies has been so great that it merited a book of its own – SVEC vol.359, The Darnton Debate, edited by Haydn Mason, then the General Editor of the series. (This book first appeared as a SVEC hardcover and then was republished in 1999 as part of the VF’s paperback Vif series; it remains one of the best-selling SVEC volumes in its entire 60-year history.)

The 13 original essays in this volume assess the many facets of his work (to that point; he has published four major scholarly books since then, and another – his long-awaited survey of the French book trade in the eighteenth century – is expected next year!). Darnton here provided a response which, although far too early in his career to be a valedictory, nevertheless offers a lucid and compelling narrative of his own ‘two paths through the social history of ideas’.

It is, I think, fair to say that neither path would have been possible, for him or for those of us who have been able to follow him into this still-vibrant field, without the institutions that he helped build and maintain. And it is to such institutions as the Voltaire Foundation and Oxford University Studies in the Enlightenment and the Enlightenment values that they espouse and embody, on the occasion of Darnton’s honorary degree awarded at the annual Encaenia ceremony, that we recommit ourselves in a celebration of ongoing renewal.

– Gregory S. Brown

NB listen to Robert Darnton speak on the subject of ‘fake news’ in the eighteenth century.

If Voltaire had used Wikipedia…

At the Voltaire Foundation we’ve recently had the opportunity to work with the University of Oxford’s Wikimedian in residence, Dr Martin Poulter. He has helped us to build some new content for our website as well as contributing to our mission to promote the work of Voltaire. In this blog post, he explains a bit more about the project.

Sharing open knowledge about Voltaire’s histories

To raise awareness of Voltaire as a historian, we used three tools:

  1. Histropedia: a free tool for creating engaging, interactive visualisations
  2. Wikidata: a free database and sister site of Wikipedia that drives Histropedia and other visualisations
  3. Wikipedia: the free multilingual encyclopedia.

As well as holding data about people, publications, and events, Wikidata acts as a cross-reference between the different language versions of Wikipedia, showing which concepts are represented in which languages. By querying Wikidata, we could count how many language versions of Wikipedia had an article on each work by Voltaire. This showed, as expected, a large imbalance: forty languages for Candide versus three for the Essai sur les mœurs, for example. The current number of articles for each work is shown by the size of the bubbles below.


Creating interactive timelines

The timelines are built from three things:

  1. Wikipedia articles (that open on double-clicking the entry in the timeline)
  2. Publication dates and titles from Wikidata
  3. Images (in the case of books, usually title pages) that are hosted in the Wikimedia Commons repository (another sister site of Wikipedia).

We added articles, data and images to what was already present on these sites. Since Wikimedia sites are open and free, this content is available for reuse by other sites and applications. For instance, the images have been tagged by their year, language and subject so as to appear in searches and image galleries (for example for books in French or books from the eighteenth century).

A custom Wikidata query showed works by Voltaire with their publication dates, helping to identify works lacking a date. We added new entries for some works that were absent, including most of the historical works.

The timeline of Voltaire’s works uses a custom database query to bring all this content together. The timeline does not by any means include all of Voltaire’s works, but more will appear in future as their details are added to Wikidata. As well as each work’s title, publication date and image, the query returns the type of work; poems, plays, fiction and so on. This is used to colour-code the timeline. Clicking on the drop icon in the top left brings up a list of types. Readers can select the type they are interested in to filter the results shown in the timeline, for example to show only the histories. To make the histories especially visible, we added title page images from public domain sources or the Voltaire Foundation’s own collection.

As well as the timeline of works, we used Histropedia to create a companion timeline for ‘An explorer’s guide to the Siècle de Louis XIV ’. Instead of a database query, this one is driven by a fixed list of people and events, all of whom already had articles in English Wikipedia. The resulting timeline is the sort of thing that we like to imagine Voltaire might have produced, if he’d had access to Wikipedia while researching his monumental history of the reign of the Sun King. We’re sure he would have been unable to resist adding to Wikipedia a few articles of his own…

Creating and publicising Wikipedia articles

We created English articles on The Age of Louis XIV, Essai sur les mœurs et l’esprit des nations, Annals of the Empire and Précis du siècle de Louis XV. These are not intended to be comprehensive, but to give basic facts about each work, to indicate why each work is important and to cite printed editions and relevant online resources, such as the explorer’s guide.

One way we drew readers to these new articles was to make links from elsewhere in Wikipedia, naturally including the Voltaire article which gets 3670 hits per day. Another was to use the Did You Know (DYK) process: new articles, of sufficient length, can be submitted for review. If they pass a check of accuracy and quality, an interesting fact from the article, linked to the full article, appears on the front page of English Wikipedia for twelve hours, exposing it to potentially millions of people. The articles on Essai sur les mœurs and The Age of Louis XIV were both submitted to DYK, getting 1584 hits and 1070 hits respectively during their times on the front page. The attention inspired another Wikipedian to create a Turkish article on the Essai, bringing the total number of Wikipedia articles on the Essai to five.

The four new English articles get about fifty views per day, or 18,000 per year. They have been checked and approved by other Wikipedians, and the individual facts within them are cited, so can be expected to remain in Wikipedia from now on.

Someone who has just read an article is open to reading a related article. In usability research, the end of an article is termed a ‘seducible moment’ for this reason. Wikipedia uses navigational templates (blocks of related links) to take advantage of these moments and direct readers to articles on the same theme.

We expanded English Wikipedia’s navigational template for Voltaire works, and, since French Wikipedia lacked a template, we created one. This links to all articles about Voltaire works and the article about Voltaire, greatly increasing the number of incoming links to each. We left instructions for French Wikipedians on how to embed the block in future articles.

Comparing article hit rates before and after the change, we estimate that the French navigational template increased views of its articles by about 2,000 per month, or 24,000 per year.

– Martin Poulter


Editorialités: pratiques et enjeux à travers les siècles

Après la journée consacrée aux « Matérialités » du livre, qui s’était déroulée en janvier 2015, la collaboration entre l’Université d’Oxford et l’Université de Fribourg (Suisse) – familièrement surnommée Oxfrib ou Fribox selon les goûts – a fait son retour en novembre dernier à la Maison Française d’Oxford, pour une troisième édition: « Editorialités: Practices of Editing and Publishing ».

ploix-fig1Selon une pétition rédigée par le London book trade en 1643, le statut conféré aux professionnels du livre en France est tenu en haute estime, et on lui fait l’honneur de lui réserver une place à la « périphérie de la littérature » (cité dans Wheale, Writing and Society, 1999, cf. ici). La journée d’études a placé cette périphérie littéraire au centre de l’attention. Parce qu’il ne peut y avoir de centre sans périphérie, ni de périphérie sans centre, les intervenants ont montré avec conviction l’influence et le rôle essentiel de l’édition dans la création de l’œuvre littéraire. Deux perspectives générales m’ont semblé se dessiner: l’enquête sur les tenants et les aboutissants de la genèse du livre en tant qu’objet pour en comprendre davantage la signification, et l’étude des difficultés que peut poser l’œuvre à l’éditeur-critique, par sa nature problématique ou son contexte de création. (Pour les résumés des communications, voir ici).

La présentation initiale de la journée a d’emblée permis de concilier ces deux perspectives. Proposer des éditions modernes des manuscrits-recueils médiévaux invite à élucider les ressorts sous-jacents de leur compilation, à travers la recherche des réseaux de convergence et des réalités matérielles de production qui furent les leurs (Marion Uhlig).

Le plus souvent, l’enquête sur l’ethos du compilateur se mène via le paratexte. Une enquête d’autant plus nécessaire, dans le cas des textes de la Renaissance, car le terme d’« imprimeur-libraire », communément utilisé, est trop large pour déterminer avec précision la nature de l’intervention éditoriale (Nina Mueggler). Dans le cas de Gille Corrozet, Nina a également soulevé le problème décisif et récurrent de la confrontation de deux identités. Le compilateur étant lui-même auteur, que dire de son ethos éditorial, qu’il revendique consciencieux, fidèle et soigné, lorsque l’on constate une tendance à « ajouter du liant » et à anoblir le style des textes qu’il assemble?

Souvent, la transformation d’une œuvre par le geste éditorial relève d’une véritable démarche herméneutique. Louis le Roi, traduisant le Banquet de Platon, reterritorialise et assimile le texte source: la réorganisation signifiante du récit et l’importante présence de commentaires exégétiques, font du Banquet un texte chrétien (Antoine Vuilleumier).

Plusieurs autres exemples d’éditions guidées par un paradigme de lecture préconçu et adressées à un lectorat spécifique ont été développés. Grâce à une relecture critique des Parallèles Burlesques de Dufresnoy, inclues dans l’édition de J.F. Bernard des Œuvres de Rabelais (1741), Olivia Madin a notamment montré le rôle du paratexte dans la réappropriation féministe de l’œuvre. Emma Claussen a donné un brillant aperçu de l’engagement politique des rééditions successives de la Satyre ménippée dans le contexte des guerres de religion.

Dans certains cas, l’objectif de l’éditeur ne se limite pas à servir le texte original ou le lectorat contemporain, et peut avoir pour but principal l’autopromotion. A l’image de la démarche de justification et de valorisation de Louis le Roi dans ses commentaires, Corneille, de manière encore plus marquante, édite ses propres pièces pour en faire un répertoire de référence d’une théorie théâtrale universelle (Marine Souchier).

La question du positionnement de l’édition par rapport au texte source est centrale lorsque les obstacles imposés par le matériau textuel problématisent l’édition. Le texte épars que constitue Lamiel de Stendhal, assemblage de multiples réécritures et fragments dont la logique échappe souvent au critique, en offre un exemple probant (Sarah Jones). La relation entre éditorialité et fidélité par rapport à l’œuvre est d’autant plus problématique lorsque l’auteur fait preuve d’un engagement pugnace sur les modalités de la publication de ses propres œuvres (Jean Rime). Les écrits journalistiques de George Sand, à « logique médiatique » et rédigés collectivement, offrent, de surcroît, un nouvel exemple de tension entre l’œuvre à publier et la tradition éditoriale moderne, solidement ancrée dans une « logique de l’auteur ».

On a été amené à élargir le champ d’étude à d’autres genres. Le texte théâtral étant subordonné aux contingences des répétitions et à l’appropriation du metteur en scène, la représentation théâtrale déstabilise la conception habituelle de l’éditorialité (Vanessa Lee). Le médium non textuel du cours magistral ou séminaire entraîne également une série de problèmes pour l’édition. Dépendant de l’intermédiaire d’une transcription, elle-même, souvent déformante, le contenu du cours, consubstantiel à la présence physique de la voix, est en proie à se dénaturer (Sophie Jaussi).



La conférence plénière de Catriona Seth, riche d’anecdotes et d’exemples, a retracé l’histoire fascinante de la réception d’André Chénier à travers les éditions successives de ses œuvres. Chargées de fortes implications politiques au tournant du siècle, les éditions bâtissent une mythologie de l’auteur en tant que figure victimaire de la Révolution. Elles participent également à l’établissement de la gloire posthume d’un poète: à titre d’exemple, Latouche (1819) et Walter (1940) font du dernier vers du poète un vers nettement conclusif, presque épigrammatique, en parfaite corrélation avec l’image d’un poète posant un point final avant de monter sur l’échafaud. L’Anthologie de la poésie française co-dirigée par Catriona Seth conserve le véritable vers de conclusion, « Ce sera toi demain, insensible imbécile »; vers authentique, mais orphelin, non rimé, qui évacue l’effet de sublime.

Qu’Oxford fût le lieu de cette journée pourrait presque sembler opportun: l’Oxford University Press, bien sûr, mais également la Voltaire Foundation, font de cette ville un haut lieu de l’édition. La répercussion des choix éditoriaux comme engagement, fidélité, distanciation, clarification, justification, assimilation, unification, appropriation, promotion ou autopromotion soulèvent chaque jour des questionnements dans la maison abritant le travail de réédition de l’œuvre complète de Voltaire: l’article de Gillian Pink publié récemment (accessible ici) en offre un aperçu révélateur.

« Génialissimes ». C’est par ce terme qu’Alain Viala a décrit les intervenants dans sa conclusion générale en fin de journée. Le succès de cette rencontre revient avant tout aux organisateurs: Professor Alain Viala, Dr Kate TunstallDr Emma ClaussenGemma Tidman et Olivia Madin.

– Cédric Ploix, doctorant, St Hugh’s College

Voltaire editor, edited and re-edited

The first posthumous edition of Voltaire’s complete works, printed in Kehl in 1784 and financed by Beaumarchais, was recently the subject of a 900-page thesis (Linda Gil, Paris-Sorbonne, 2014). The latest volume of the Œuvres complètes de Voltaire, not lagging far behind, at 604 pages, also started life with this 70-volume edition as its focus, in particular the nearly 4000 pages that make up what the editors call the ‘Dictionnaire philosophique’. Under this title, made up in large part of Voltaire’s 1764 Dictionnaire philosophique portatif (later La Raison par alphabet) and the 1770-1772 Questions sur l’Encyclopédie, the Kehl editors included a number of previously unknown articles and fragments.

A manuscript of one of the texts in this volume (article ‘Ame’, in the hand of Voltaire’s secretary, Wagnière). Bibliothèque de Genève, Musée Voltaire: MS 34/1, f.1.

A manuscript of one of the texts in this volume (article ‘Ame’, in the hand of Voltaire’s secretary, Wagnière). Bibliothèque de Genève, Musée Voltaire: MS 34/1, f.1.

Our edition of these texts attempts to pin down what they were, when (and whether) Voltaire wrote them, whether certain groups can be discerned amongst them, and to what degree the printed record of the Kehl edition reflects the manuscripts that were actually found after Voltaire’s death – as much as is still possible, that is, after two hundred years have elapsed, and when most of the manuscript sources have long since disappeared.

As the volume moved through the stages of the editing and publishing process, it proved to be a protean thing, changing shape several times: some texts originally included in the original list of contents were found not to belong in the volume after all; others were discovered or moved in from elsewhere along the way; and once or twice new manuscripts unexpectedly came to light, changing the tentative dating and identification of one or another of the texts. What began as a simple alphabetically ordered series of about 45 texts eventually took shape as a book in four sections (of uneven length) which covers the ground of all posthumous additions to Voltaire’s ‘alphabetical works’, usually under the title ‘Dictionnaire philosophique’, from 1784, through the nineteenth-century, right up to the present day, in the form of a fragment that has in fact never before been published at all.

The chain of editorial decision-making goes further back in time than one initially realises, however, starting with Voltaire’s own apparent intention to produce a compendium of excerpts from other people’s works. As Bertram Schwarzbach adumbrated in 1982, twenty-four of the texts in this volume (with a possible twenty-fifth), show Voltaire (or one of his secretaries, perhaps?) re-working existing writings by others in what sometimes strongly resembles current practices of copying and pasting, much as we move sentences and parts of sentences around using a word processor. This in no way suggests that Voltaire was guilty of plagiarism: to begin with, he did not publish these re-workings in his own lifetime; furthermore, the boundaries of editing, re-publishing and re-purposing in the late eighteenth century were different than they are today. But the fact that these manuscripts were found amongst Voltaire’s papers meant that his early editors believed them to be by him (with one exception, ‘Fanatisme’, which they recognised as an abridged version of Deleyre’s Encyclopédie article). Thus were these texts eventually published under Voltaire’s name in the Kehl edition, leading to a (partly) unintentional distortion of the Voltairean canon, perpetuated in all subsequent editions until the Oxford Œuvres complètes. Questions such as these are soon to be addressed more generally in a one-day conference: ‘Editorialités: Practices of editing and publishing’, and Marian Hobson has written elsewhere about the value of critical editions. It is in part thanks to modern-day editorial work that the editor-generated puzzles of over two centuries ago are now being unpicked: a neat illustration of just how much the role of editor has changed in that time.

– Gillian Pink

Hunting in the shadows of the French Revolution

ose-2016-10-50pcResearching prints of the French Revolution can sometimes feel like ghost-hunting.

Unlike other forms of art, such as paintings, which are usually signed, the majority of etchings are authorless. Sometimes, sheer luck, or the right accumulation of clues, can lead you to an artist – a most satisfying conclusion.

This was the case with ‘Dupuis, peintre’, an artist commissioned twice by the Comité de Salut Public to create prints central to my book, Satire, prints and theatricality in the French Revolution. His identity evaded me for several years. I had several candidates for him, and my original thesis, the basis of my book, included this footnote:

Chûte en masse: ainsi l'étincelle electrique de la liberté, renversera tous les trônes des brigands couronnés (François Marie Isidore Queverdo).

‘Chûte en masse: ainsi l’étincelle electrique de la liberté, renversera tous les trônes des brigands couronnés’, by François Marie Isidore Queverdo (Stanford University Libraries).

‘The identity of Dupuis remains mysterious. He could be issued from an illustrious family of engravers, including Charles and Nicolas-Gabriel Dupuis. He could also be related to the painter Pierre Depuis. Yet again, he could be François-Nicolas Dupuis who exhibited at the Salon from 1795 to 1802. It is probably a coincidence that he is related by name to the scientist Charles François Dupuy, a deputy whose interests were more astronomical and sociological than artistic. The lack of a first name suggests that he was only known as Dupuis, which could be a nickname or a deformation of his original name. Without clear evidence on this matter, there is only speculation. Regardless, he is described as a painter, and that he was trained academically is apparent in the depiction of the Republican in the print “Chûte en Masse” with his anatomically precise legs, as if he’d been first sketched naked before clothes were added.’


‘Je suis comme le temps au gagne petit’, 1789-1792; etching and engraving on light blue paper, hand-coloured in watercolour and bodycolour; 260 × 185mm; Waddesdon Manor, Rothschild Collection (National Trust), bequest of James de Rothschild, 1957; accession number 4232.1.62.123. Photo: Imaging Services Bodleian Library © National Trust, Waddesdon Manor.

I had however missed a crucial clue in the Comité de Salut Public documents: his physical address, ‘rue d’Orleans, porte St Martin’, which corresponds to the address of Pépin Dupuis, a genre painter who exhibited at the Salon of 1793.[1]

One ghost satisfyingly identified in time for the publication of my book.

There are also more literal ghosts to be found in prints of the French Revolution. In particular, a trend towards ‘hiding’ the profiles of the deceased in prints. A practice we, as twenty-first century viewers, have to train ourselves to look for, but which were quite the trend from the Terror onwards.

If you want to see one example of this, watch this video about Waddesdon Manor’s collection of French Revolutionary prints.

– Claire Trévien

[1] See the Comité de salut public: esprit public, arts, caricatures, costume national. 1793 an III, AF II 66 489 EXTRAIT 1 (ancien dossier 232), Fol.29 (24 June 1794); Description des ouvrages de peinture, sculpture, architecture et gravures, exposés au salon du Louvre (Paris : Imprimerie de la veuve Hérissant, 1793), p.87.

Comment faire parler un répertoire des spectacles de l’Ancien Régime?


‘Répertoire général’ de la troupe française (1777), Rossijskij gosudarstvennyj istoričeskij arhiv (Archives historiques d’Etat de Russie).

L’heure est au big data dans les études du théâtre français de l’Ancien régime, de la Révolution et de l’ère napoléonienne. Les technologies de numérisation permettent de rassembler les données sur un répertoire, de les traiter quantitativement et de les rendre accessibles aux publics qui n’ont pas l’habitude des archives. Au moins trois projets collectifs mettent le souci d’analyse quantitative au cœur de leur investigation: Registres de la Comédie-Française, Therepsicore et French Theatre of the Napoleonic Era. Dans certains cas, comme dans l’étude de Rahul Markovits, la recherche du répertoire va au-delà du territoire français, en élargissant l’enquête jusqu’à ‘l’empire culturel’ français.[1]

‘Au XVIIIe siècle on ne joue pas une œuvre mais un répertoire’[2]: cette formule de Martine de Rougemont est souvent reprise par les historiens du théâtre. Or, les rapports entre les deux structures signifiantes, œuvre et répertoire, restent à éclairer. Certes, l’ensemble des œuvres disponibles pour la mise en scène, c’est-à-dire les textes et les emplois dont une troupe disposait à un moment précis, définissait l’offre d’un théâtre.[3] Mais, à ma connaissance, si les distinctions entre les troupes – de la Comédie-Française et du Théâtre Italien, par exemple – ont été formulées et intégrées dans la vie théâtrale de l’Ancien régime, la notion de ‘répertoire’ en tant qu’ensemble signifiant au sein d’une tradition théâtrale n’a été convoquée quant à elle que pendant la Révolution française. Quoi qu’il en soit, le traitement autonome de ce répertoire, c’est-à-dire en termes uniquement esthétiques (la part d’un tel genre) ou d’histoire littéraire (la part d’un tel auteur) paraît éminemment problématique.


Dans mon livre Les Spectacles francophones à la cour de Russie (1743-1796): l’invention d’une société j’ai exploré les circulations théâtrales transnationales pour reconstituer un répertoire des pièces représentées en français dans un pays située à la périphérie de l’Europe. Une liste de 267 œuvres apparaît dans les appendices de mon étude. Cette liste alphabétique, qui recense l’ensemble des pièces françaises et francophones représentées à Saint-Pétersbourg ainsi que dans d’autres lieux de séjour de la cour a d’abord eu pour but d’accompagner une liste chronologique publiée dans le deuxième volume de ma thèse de doctorat.[4] A l’occasion de la sortie de ce livre, basé sur le premier volume de cette thèse, je souhaite mettre cet instrument de travail à la disposition de ceux qui s’intéressent à la constitution du quotidien théâtral dans l’Europe du XVIIIe siècle. Ce calendrier des spectacles met en avant l’aspect temporel de la vie théâtrale à la cour, ainsi que son inscription dans le cycle des cérémonies et des fêtes, politiques et religieuses.

La question qui me poursuit depuis le début de mon travail de thèse porte plus particulièrement sur les façons historiquement adéquates d’aborder quantitativement les répertoires dramatiques. Qu’est-ce que ces données chiffrées nous apprennent ? Est-il possible de tirer des conclusions ou, au moins, des renseignements de ces données de manière à aller au-delà de la présentation descriptive? Quels critères pourrait-on utiliser pour faire le lien entre une représentation théâtrale historiquement et socialement située et l’abstraction statistique? Dans mon livre je propose une tentative de réponse à ces questions en articulant la reconstitution du calendrier des spectacles et les premières analyses statistiques du corpus des pièces avec les contextualisations sociohistoriques. L’idée est pourtant d’inviter d’autres chercheurs à rejoindre une réflexion critique sur la portée épistémologique des données chiffrées et leur valeur argumentative – tout en utilisant les nouveaux instruments de travail.

– Alexeï Evstratov

[1] Rahul Markovits, Civiliser l’Europe. Politiques du théâtre français au XVIIIe siècle ([Paris], 2014).

[2] Martine de Rougement, Lа vie théâtrаle en Frаnce аu XVIIIe siècle (ParisGenève, 1988), p.54.

[3] D’après le Trésor de la Langue Française Informatisé, Voltaire emploie le terme en 1769, pour désigner ‘liste des pièces que les comédiens jouent chaque semaine’. En 1798, le dictionnaire de l’Académie Française fixe une autre notion : ‘liste des pièces restées en cours de représentation à un théâtre’ (;s=2824323900;).

[4] Alexeï Evstratov, Le Théâtre francophone à Saint-Pétersbourg sous le règne de Catherine II (1762-1796). Organisation, circulation et symboliques des spectacles dramatiques, thèse de doctorat, vol. 2 (Paris, 2012), p.17-192.

The Querelle des Anciens et des Modernes across the Channel: Swift and Voltaire


Our book Ancients and Moderns in Europe: comparative perspectives is a collection of chapters covering three centuries of European quarrels over the legacy of classical Greece and Rome. With such a broad range of reference, it is inevitable that some key players in the Querelle des Anciens et des Modernes have lost the leading roles they played in earlier accounts. Voltaire, the tutelary spirit of ‘Oxford University Studies in the Enlightenment’, is a case in point. His article on ‘Anciens et Modernes’ in the Questions sur l’Encyclopédie is mentioned only once in the volume, in Ourida Mostefai’s essay on Rousseau’s critique of modernity (p.243-56), yet it is the clearest testimony we have of the Enlightenment’s conflicted sense of the quarrel as both inconsequential and absolutely unignorable. Let us therefore examine his article in more detail.


Voltaire, by Maurice Quentin de La Tour, detail

In ‘Anciens et Modernes’ Voltaire is himself guilty of certain omissions. Of the great voices of the quarrel of the Ancients and Moderns, Voltaire gives Fontenelle a good hearing, while Sir William Temple gets rough handling for his hatred of his century (‘Il possédait de grandes connaissances: un préjugé suffit pour gâter tout ce mérite’ [1]). Voltaire clearly saw the quarrel as a pan-European phenomenon, something that happened as much between Fontenelle and Temple as between Fontenelle and Boileau, or Temple and William Wotton. The comparative perspectives taken in Ancients and Moderns in Europe fit well with this vision of the dispute.

It is, furthermore, curious that Voltaire left Jonathan Swift, the author of ‘The Battel of the Books’, out of his article on the quarrel. There is, of course, abundant evidence of how largely Swift loomed in Voltaire’s literary imagination. On several occasions Voltaire called him ‘le Rabelais d’Angleterre’ (Voltaire to Nicolas Claude Thieriot, 13 February 1727), and always gave Swift the advantage in the comparison. Swift represented a particularly powerful, if not unambiguous manifestation of the qualities that Voltaire most admired in the British: ‘que j’aime la hardiesse anglaise!’, he wrote to the Marquise Du Deffand on 13 October 1759, thinking of the range of Swift’s satire, ‘que j’aime les gens qui disent ce qu’ils pensent!’. Why would Voltaire miss the opportunity to bring this most hardy of authors into the most celebrated of early-modern literary tussles?


The answer, perhaps, is that Voltaire knew Swift’s writing too well to mistake him for a quarreler. What Swift did was to adjudicate controversies, loudly and with much bias, from the sideline. In the ‘Small Leningrad Notebook’ [2] that Voltaire kept in 1726-28, the years of his residence in London and of his acquaintance with Swift and his circle, there is an entry in English with the Swiftian title ‘A Tale of a Tub’. In commonwealths and free countries, notes Voltaire, traders of all religions are welcome to argue with one another’s religion, so long as they continue otherwise to deal with one another ‘with trust and peace; like good players who after having humour’d their parts and fought against one another upon the stage, spend the rest of their time drinking together’ [3].

Swift by Jervas

Jonathan Swift, by Charles Jervas, detail

It is strange to see this Addisonian, cosmopolitan vision of modern Britain associated so closely with Swift. But the association happens consistently whenever Voltaire writes about him. It has long been understood that Zadig (1747) owes its high satirical relish for foolish disputes to Gulliver’s travels (which appeared in London in the same month as Voltaire himself), and particularly to the quarrel of the Big-Endians and the Little-Endians. As late as 1768 Voltaire returns in Pot-pourri to the world of ‘A Tale of a Tub’, and of hypocritical, energetic, and ultimately evanescent quarrels touched upon in that entry to the ‘Small Leningrad Notebook’. Gulliver’s travels is so extremely funny, Voltaire told Nicolas Claude Thieriot in 1727, ‘par les imaginations singulières dont il est plein, par la légèreté de son stile, etc. quand il ne seroit pas d’ailleurs la satire du genre humain’. For Voltaire’s Swift, the disputes of his enemies are only ever a sideshow: his great quarrel, and the only one really worth having, is with the human animal itself.

– Paddy Bullard

[1] Œuvres complètes de Voltaire (Oxford, 1968- ), vol.38 (2007), p.340.

[2] ‘Small Leningrad Notebook’ in Voltaire’s Notebooks, ed. Theodore Besterman, Geneva, 1952, p.43.

[3] Ibid.