"One declaims endlessly against the passions; one imputes all of man's suffering to them. One forgets that they are also the source of all his pleasures"
About this Quote
Diderot skewers a familiar Enlightenment pose: the rational adult wagging a finger at desire as if passion were a design flaw. The line’s sly engine is its repetition of “one” - not “I,” not “we,” but a generalized voice of polite society, the sermonizing many who can condemn appetite without ever admitting they live on it. That anonymity is the point. Moralism becomes a social reflex, a way to sound serious, to look civilized, to claim authority over the messy parts of human life.
The intent isn’t to romanticize chaos; it’s to expose a selective accounting trick. “All of man’s suffering” is pinned on passions because suffering is public, legible, and useful as evidence. Pleasure is easier to dismiss, harder to justify in the same austere vocabulary. Diderot calls that out with a clean reversal: the prosecution forgets the defense exists. It’s a rhetorical move that feels modern because it attacks not passion itself but the performance of virtue that treats discomfort as proof of truth.
Context matters: Diderot, the Encyclopedie editor, spent a career cataloging knowledge while fighting the era’s gatekeepers - church censors, moral panics, respectable taste. His materialist streak and interest in the senses collide here with editorial pragmatism: you can’t edit humanity down to pure reason without cutting out what makes life worth printing. The subtext is almost political. A culture trained to fear passion is easier to govern; a culture that admits pleasure has reasons of its own becomes harder to shame into obedience.
The intent isn’t to romanticize chaos; it’s to expose a selective accounting trick. “All of man’s suffering” is pinned on passions because suffering is public, legible, and useful as evidence. Pleasure is easier to dismiss, harder to justify in the same austere vocabulary. Diderot calls that out with a clean reversal: the prosecution forgets the defense exists. It’s a rhetorical move that feels modern because it attacks not passion itself but the performance of virtue that treats discomfort as proof of truth.
Context matters: Diderot, the Encyclopedie editor, spent a career cataloging knowledge while fighting the era’s gatekeepers - church censors, moral panics, respectable taste. His materialist streak and interest in the senses collide here with editorial pragmatism: you can’t edit humanity down to pure reason without cutting out what makes life worth printing. The subtext is almost political. A culture trained to fear passion is easier to govern; a culture that admits pleasure has reasons of its own becomes harder to shame into obedience.
Quote Details
| Topic | Wisdom |
|---|---|
| Source | Help us find the source |
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