His dislike to the clergy is well known.—This leads him to join in a very trite topic of abuse with people who have no pretension to that degree of wit which alone could make their railings tolerable.—The conversation happening to turn into this channel, one person said, If you substract pride from priests, nothing will remain.—Vous comptez donc, Monsieur, la gourmandise, pour rien, said Voltaire.
He approves much more of Marmontel’s Art of Poetry, than of any poems of that author’s composition. Speaking of these, he said that Marmontel, like Moses, could guide others to the Holy Land, though he was not allowed to enter it himself[3].
Voltaire’s unbecoming allusions to the Sacred Writings, and his attempts to turn into ridicule some of the most venerable characters mentioned in them, are notorious.
A certain person, who stammered very much, found means to get himself introduced at Ferney.—He had no other recommendation than the praises he very liberally bestowed on himself.—When he left the room Voltaire said, he supposed him to be an avanturier, un imposteur.—Madame Denis said, Impostors never stammer:—To which Voltaire replied—Moïse, ne begayoit-il pas?
You must have heard of the animosity which has long subsisted between Voltaire and Freron the Journalist at Paris. The former was walking one day in his garden with a gentleman from Geneva. A toad crawled across the road before them:—The gentleman, to please Voltaire, said, pointing at the toad,—There is a Freron.—What can that poor animal have done to you, replied the Wit, to deserve such a name?
He compared the British nation to a hogshead of their own strong beer; the top of which is froth, the bottom dregs, the middle excellent.
A friend of Voltaire’s having recommended to his perusal, a particular system of metaphysics, supported by a train of reasonings, by which the author displayed his own ingenuity and address, without convincing the mind of the reader, or proving any thing besides his own eloquence and sophistry, asked, some time after, the critic’s opinion of this performance?
Metaphysical writers, replied Voltaire, are like minuet-dancers; who being dressed to the greatest advantage, make a couple of bows, move through the room in the finest attitudes, display all their graces, are in continual motion without advancing a step, and finish at the identical point from which they set out. Perhaps he borrowed this thought from the following lines in Pope’s Dunciad:
Or set on metaphysic ground to prance,
Show all his paces, not a step advance.