It is curious with what assurance he maintains that there is nothing new in our astronomy, nothing in the knowledge of the human body, unless perhaps, he says, the circulation of the blood. Love of his own opinion, founded on his vast self-esteem, makes him forget the discovery of the satellites of Jupiter, of the five moons and the ring of Saturn, of the rotation of the sun on its axis, of the calculated position of three thousand stars, of the laws given by Kepler and Newton for the heavenly orbs, of the causes of the precession of the equinoxes, and of a hundred other pieces of knowledge of which the ancients did not suspect even the possibility.
The discoveries in anatomy are as great in number. A new universe in little, discovered by the microscope, was counted for nothing by the chevalier Temple; he closed his eyes to the marvels of his contemporaries, and opened them only to admire ancient ignorance.
He goes so far as to pity us for having nothing left of the magic of the Indians, the Chaldeans, the Egyptians; and by this magic he understands a profound knowledge of nature, whereby they produced miracles: but he does not cite one miracle, because in fact there never were any. "What has become," he asks, "of the charms of that music which so often enchanted man and beast, the fishes, the birds, the snakes, and changed their nature?"
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.
Molière, 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.