77 See, for example, Lessing (1962: Section 3, p. 12); for accounts of the‘circle of effect’response to
Diderot, see Carlson’s helpful discussion of the reception of Diderot’s work–Carlson (1993:
233 – 4).
78 Diderot (1883: 15).
79 Diderot (1883: 38). Benedetti (2005) notes that Garrick was perfectly happy to acknowledge
that, on certain occasions, he suffered profoundly with his characters when on stage (p. 81).
80 Holland and Patterson (1995: 296).
81 Diderot (1883: 5).
82 Diderot (1883: 20).
83 Diderot (1883: 61).
84 Rousseau (2004: 310) also speaks of the actor annihilating himself in the course of his profession.
85 Thomson (1995: 173).
86 Diderot (1883: 61). The idea that actors (and courtiers) are not permitted to be displeasing may
be a further cause for the comparison between actresses and prostitutes.
87 As in Kleist (1978), Diderot (1883: 61), Lessing (1962: Section 4).
A school of morals? 127