The idea of order in all things, that is to say, of literary order and moral order, of political order and religious order, the idea of order, well or badly conceived, is the basis of all education, good or bad, and the principle of all folly or all wisdom.
Minds that have been unable to taste the charms of order, or that c[…] charm has been unable to hold or recall, are bad minds.
Nothing lasts forever. But what lasts longest is order, [because] it is what is most fitting and best suited to the nature of things.
To be mistaken about order is to the mind what being mistaken about the beautiful is to taste.
Everything very amusing has some exaggeration and necessarily contains a disfigured truth.
May 31.
Order, moral, political, literary, and religious. To judge order, one has feeling, intelligence, the whole soul.
June 1 .
It seems to me that Aristotle’s style contains more formulas than turns of phrase.
But eloquence and even poetry among the ancients (and perhaps also their sculpture, their music, etc.) had their formulas too, their fixed nomes.
Rivarol. His malice had given him the idea (and the instinct, Cérutti said) of all sorts of ridiculousness; and he saw them wherever he wished.
It is indeed God’s will that the afflicted find consolation, and when they wish to abandon themselves to their sorrows, he consoles them despite themselves.
Envy, for example, is a vice that causes nothing but pain.
June 2.
Taste. When nothing awakens it, there is no need to satisfy it; it is enough not to wound it.
There is the soul’s taste, the body’s taste, and a mixed taste connected with imagination. That one feeds on forms.
T298. The repeated idea of order and the four fields of order remain. Basis and principle distinguish baze and principe . Well or badly conceived qualifies the idea; good or bad qualifies education. Folly and wisdom retain the final opposition.
T299. The change from plural charms to singular charm remains. The surviving c[…] is French residue, not an English determiner. Taste, hold, and recall preserve the linked sensory and restraining images; bad minds remains Joubert’s verdict.
T654. Only c survives of the determiner before next-line charme ; ce is probable but not certified. Rappeller retains double l.
T300. The paragraph continues across pages 660–661. French supplies only [par] before ce que ; English [because] brackets the whole corresponding conjunction, a broader typographic span, without claiming that the entire French conjunction was supplied. Longest retains the relative comparison after the denial that anything lasts forever.
T301. The proportional comparison retains mind with order and taste with the beautiful. The two instances of being mistaken are not made into separate kinds of failure.
T302. Amusing reads plaisant in connection with exaggeration; disfigured retains the bodily image in défigurée . The necessity belongs to Joubert’s assertion rather than an added explanation.
T303. The comma after Order and the four adjectives remain in the nominal opening. Feeling, intelligence, and the whole soul retain their cumulative range without identifying one faculty as sufficient on its own.
T657. The comma after L’ordre remains before the adjective list. The first formulation stays nominal.
S1. Source editor’s annotation Chênedollé, private journal, fragment communicated by Mlle de Lamare: “June 1, 1808. Conversation with Joubert. “The objects one paints must not possess a material truth.” (Cited by Ste Beuve, Ch. et son groupe , volume II, page 282.) “Fontanes, according to Joubert, is often taken in by false beauties, but he keenly feels the truly beautiful. He has sought to give criticism a living form and adornments.” Cited by Ste Beuve, ibid. ) ” Joubert makes a very pointed remark about Cerutti. He maintained that in his works there were too many façades and not enough plan. ” Joubert has the need and the torment of perfection, but his ideas are so set (or caught , as Ste Beuve writes?) that no human language can render them. — Joubert, in metaphysics, performs entrechats on the point of a needle.” (Cited by Ste Beuve, ibid. , volume II, page 270.)
T304. It seems to me preserves the first-person qualification. Turns of phrase distinguishes tournures from formulas without turning either term into a verdict that Aristotle is inaccurate.
T328. This attribution belongs to Beaunier’s source apparatus, not to Joubert’s notebook text. Private journal renders journal intime ; Mlle remains the printed French title without an expanded personal identity. The date and conversation belong to the quoted fragment.
T329. The English date translates the apparatus date, June 1, 1808. The opening quotation mark remains without a supplied closing mark; this is a separate paired apparatus paragraph rather than a new main entry.
T330. Material truth remains the unusual formulation. Ste Beuve and the italic abbreviated title Ch. et son groupe are retained as printed references; volume II and page 282 do not identify the location within Joubert’s bilingual notebook.
T331. Taken in preserves the passive susceptibility in pris aux fausses beautés . The truly beautiful is distinct from the plural false beauties. Living form and adornments preserve the terms applied to criticism. Ibid. renders id. ; the unmatched closing parenthesis in the source remains.
T332. The paragraph’s initial closing quotation mark is retained. Façades remains emphasized and distinct from plan in the architectural image. Cerutti keeps this apparatus spelling, which differs from main-text Cérutti . He maintained is read as referring to Joubert; his works refers to Cerutti’s works.
T333. Set renders mises , while caught renders the source editor’s italic alternative prises . The strangeness and the question remain; the alternative is not substituted into the text as a settled correction. Entrechats retains the dance term, with the point of a needle as its impossible stage. The initial closing quotation mark and the abbreviated reference remain apparatus features. The cited Sainte-Beuve passages were not independently collated.
T658. Two physical main paragraphs remain. Nômes has a facsimile-confirmed circumflex; poësie retains its diaeresis and peut être is unhyphenated. The raised source call 1 follows juin before the date period and points to the six-paragraph apparatus on this page. The printer signature II.13 is excluded.
T659. Six physical apparatus paragraphs remain, including the opening attribution and separate dated quotation paragraph. Mlle and Ste are baseline abbreviations; er is raised in the apparatus date. Chênedollé has its facsimile-confirmed circumflex; Cerutti in paragraph 5 has no visible acute, unlike main Cérutti . Paragraph 2 has an opening guillemet without a closing one. Paragraph 4 ends its bibliographical fragment with a closing parenthesis that has no corresponding opening mark there. Paragraphs 5 and 6 begin with right-pointing closing guillemets as printed; they are not regularized to opening marks. The final phrase prises is italic within the printed question parenthesis; mises remains roman. Bibliographical dates, volume numerals and pages remain apparatus references, not main entry dates.
T305. Nomes retains the technical nômes rather than silently replacing it with a general modern rule. In this discussion of ancient arts, the term evokes established forms, including musical forms. The parenthetical extension to sculpture and music remains uncertain as Joubert writes it. The 1798 dictionary describes ancient sung poems and musical airs governed by a prescribed cadence; Joubert’s possible extension to sculpture remains his own.
T306. Ridiculousness renders ridicule as what can be perceived, not simply the act of ridiculing someone. The plural them refers to the sorts just mentioned. The parenthetical instinct remains attributed to Cérutti, and wished preserves the role of will.
T307. The reflexive se consolent is rendered find consolation, followed by God’s direct action of consoling. Despite themselves retains the contrast with their wish to abandon themselves to sorrow. The passage remains an independent undated entry, separated from Rivarol in the source.
T308. Pain renders the plural peines collectively. For example remains without a supplied general statement governing it.
T309. Taste remains inline, followed by its explanation. Awakens, satisfies, and wounds retain the personification; enough preserves the limited requirement in the second clause.
T310. The soul, body, and mixed taste remain distinct. That one refers to the last, mixed taste connected with imagination. Feeds on forms retains the alimentary image rather than replacing it with a preference.