 Unifying these two aspects was the eclectic Malebranchian emphasis upon language as the bridge between the finite and the infinite, the material and immaterial, the human knower and nature as a whole. In his aesthetics, Diderot is continually preoccupied with the power of art to capture and represent natural experience and its limitation in the face of the infinitude, and often unrepresentable complexity, of life. In meta-works of what might be called his philosophy of theater such as Discours de la poésie dramatique and Paradoxe sur le comédien, and in his dialogue where he conversed out loud with his readers about the theatrical logic underlying his play Le Fils naturel, Diderot also pursued such themes by subjecting the “reality effect” of theatrical art to a systematic interrogation so as to unearth the rational structures of theater as a representative art form.