Voltaire: Anciently Applicable

Brutal, vicious, and ruthless do not completely describe Voltaire’s Candide; however, they certainly move it in the proper direction. This is the most biting satire I have ever read and moreso the case as very little escapes its notice, from knowledge and romance to religion and back again and not even the Jesuits escape Voltaire’s wit.
In scrutinizing Voltaire’s brand of humor and blatantly sarcastic wit it is noticed that Voltaire’s language never takes on a sarcastic tone: it always reads seriously, the chapter titles inviting the reader to believe that they are being told a very grave account. Second, Candide seems to take the analyses of Freud, Hobbes, and Plato further in suggesting that humor as expressing scorn or superiority might be taken to a level where it is used on institutions and ideas rather than limited to persons and individual bases.
Using a serious, and at times exaggeratedly straight, tone gives the impression that the story is not intentionally funny, and yet its humor is apparent in its mockery. One instance of such a case is seen on page 23 when Cunegonde regards the old woman as such: “…finding the old woman very amusing, for pretending to have been as unfortunate as she.” Indeed, the very next chapter relates horrors of greater quantity (and quality?) to Cunegonde’s, dispelling her arrogance in an example of Voltaire’s ability to take human assumptions and tear them down; in this case, that being “my guilt is greater than thou.”
As Plato would be delighted to point out, this instance of incongruity sheds light on Cunegonde’s feelings of scorn towards the old woman, and Hobbes’ theory of superiority holds quite true in this instance. Other points in the story tease institutions generally accepted to be excellent, such as the Society of Jesus. When Candide and Cacambo are captured by the Oreillons and mistaken to be Jesuits they are to be eaten; upon correcting this misunderstanding, the Oreillons instead treat them as kings and celebrate that they are not Jesuits. I believe this illustrates idea concerning Imperialism that has not been considered until recently: a native culture may not be grateful for Euro-American attempts to “civilize” them as was the case with the Aborigines and most of the Native American tribes. This is just one of many examples of contradictions that upon reading seem funny but are also quite poignant in their attack on popular and accepted notions of society.

Humor with a Recommendation

Before cracking the spine of Voltaire’s Candide, I decided to read over the editor’s description on the back cover. I wanted to see what I was getting myself into. Stanley Appelbaum writes, “Caustic and hilarious, Candide has ranked as one of the world’s great satires since its first publication in 1759.” I knew satires are intended to bring humor to, while commenting on some social issue. Besides that I really didn’t know what satires consisted of. Did they fall into one of our “Humor Models” or is it a separate entity in itself?

My dictionary defined satire as, “the use of humor, irony, exaggeration, or ridicule to expose and criticize people's stupidity or vices, particularly in the context of contemporary politics and other topical issues.” (New Oxford American Dictionary) At first it wasn’t easy for me to pick out the humor. I have not lived in 18^th century Europe, and thus I am unaware of the cultural norms of the time. However, as I continued to read some situations were far too absurd to assume normal, even in my ignorance. For instance, within the old women’s history, the Russian Military is forced into cannibalism, yet because the Iman is “pious and humane” he decides to only cut only one butt cheek off each of the women for food. Once accustomed, the, “humor, irony, exaggeration, and ridicule” was very evident in Candide.

The second aspect of a satire is the criticism, the humor displays. Throughout the novel, Candide is constantly revising his philosophy on the world. Candide holds onto his mentor’s philosophy of “all being [is] created for an end, [and] all is necessarily for the best end.” This philosophical thinking pulls Candide as well as others, out of their present situations. Their actions make no difference, because everything is intended to be the way it happens. The fact that Candide justifies the constant tragedies with philosophical reasoning, so they don’t affect him, turns terrible situations into hilarious ones.

I would not consider this satire a “Superiority Model.” Although we look in on the characters and events at laugh at them, the themes the humor points to are universal. Philosophy, religion, love, and money are just as relevant today as they were in 1759. I would place Candide in the multi-directional model. Voltaire places his solution to the issues he presents in the last sentence of the novel. “[L]et us cultivate our garden,” proposes that humans return to taking control of their actions. This differs a little from the simple multi-directional model, for it offers a suggestion at the end. I am not sure that this fact places satire in another category all together, but the recommendation at the end does place Candide in a sub-section of the model.

In Pursuit of Delight

“Whatever is difficult cannot please for long.”

Such is the jaded sentiment of the noble Venetian, Signor Pococurante, reputed as a man who has never known a moment of sorrow in Voltaire’s rousing satirical adventure, Candide. The Signor was discussing music when he staked this claim, and although I read it as a clear overgeneralization discounting the attitude of the individual hearer, I think it fits my immediate reading of Candide as a humorous piece.  Everything goes so incredibly wrong for Candide—his trust is violated at nearly every turn by miserable individuals who seem to do nothing more than verbally lament their truly wretched past experiences. The nature of their misery is magnified to the extreme—the old woman’s especially, being the sole survivor among heaps of dead bodies on multiple occasions, enslaved, stripped of one of her buttocks and then raped by a eunuch.  For me, Candide went way beyond the reasonable limits of Schadenfreude.  So many of the characters seemed to present their miserable histories as a badge of honor that there was no fun left in being singularly happy not to be in their place. The superiority model, to me, was ineffective.  I found humor in the extent of the overblown ridiculousness of the events that befell the hero Candide, but the presentation of romanticized misery countered the delightful shock effect of the exaggeration.

            So why did Voltaire beat his readers over the head with the idea that blind optimism is so silly?  Candide wavers in his staunch belief that all was for the best in the best of all possible worlds long before the novel reaches its more realistic (but still hopeful) conclusion.  Why, then, was it necessary for Voltaire to slough him, and consequently the reader, through all the rest of it?  In spite of myself, I cannot help but be tickled by Candide’s persistence in finding Cunegonde and then fulfilling his mission of marrying her, despite his own lack of attraction.  Although his ideology wavers, his fervor in pursuit does not.  The nearly relentless stream of crushing disappointments and woeful individuals he encounters serves to amplify his powers of persistence.  I tire of hearing about the misery long before the hero does.  Perhaps it is in relief that I find myself curiously happy at the conclusion of Candide, but I think my amusement stems mostly from delight in the hero’s persistence. Does this prove that lengthy difficulty can be pleasing? I would venture yes, although in this case, it is less tickling and more triumphant a sensation than your typical humor noir. 

All Is For the Best...

            Throughout the text I couldn’t help but notice the amount of superstition present as well as the justification for when misfortune occurs.   Pangloss has obviously made his career by telling those who will listen that “all is for the best” and therefore unexpected occurrences should essentially be taken with a grain of salt.

            During one of Pangloss’ sessions with Candide, he immediately teaches him this lesson.  Pangloss claims, “there is no effect without a cause” and “things cannot be other than what they are, for since everything was made for a purpose, it follows that everything is made for the best purpose… It follows that those who maintain that all is right talk nonsense; they ought to say that all is for the best.” (20).  The vulnerable Candide believes everything he is told and his gullible (ness?) leads him into dangerous and humiliating situations.

         Voltaire seems to be using very similar techniques to criticize as Hau’ofa.  Both authors are obviously using humor to draw attention to corruption and other flaws of society.  As discussed in class, humor separates the reader from the text and therefore does not appear to have an intended audience or it clears the reader of being guilty/the target. 

         Just as in “Tales of the Tikongs”, no subject is safe from criticism.  Voltaire touches on religion when Candide is asked whether or not he thinks the pope is the anti- Christ.  He goes further to depict “Christians” doing un-Christian like things, just as Hau’ofa did.  Voltaire also manipulates the characters in a way, which makes them appear thoughtless, careless, and ignorant.  The characters, such as Pangloss, constantly preach ideas yet have no real evidence to back up or justify their way of thinking and usually they have no solid arguments. 

         The same way sin and malice is expected and justified in “Tales of Tikongs” in order to criticize society as a whole, Voltaire uses extreme situations and less than aware characters to make his points and draw attention to the imperfection of society.  In both cases, humor is used in order to convey the ideas in a less harsh manner.  The ridiculous circumstances that are portrayed are indeed an extreme of those present in society, which makes it possible to call attention to them without offending or outright targeting a group or person. 

"the best of all possible worlds?"

Voltaire takes up and effectively implements the satirical form in his work, Candide. The countless instances of a specific character expressing a particular belief or truth is often undercut by the action of the story which simultaneously suggests otherwise. Voltaire understands that satire, though humorous, does not necessarily have to be traditionally funny all of the time. The form is instructional in its command of given situations and what is being offered by an author despite the outcome of such situations (or because of the outcomes); it highlights the disparities between what is being told and what is taking place. Satire challenges readers to always question why something is the way it is, or why a particular situation is uncomfortable. This is the job of humor, but of literature in general as well. The questions are what lead to the truths and non-truths behind works of literature.

Pangloss suggests that this is “the best of all possible worlds,” yet horrible occurrences and events continue to fall upon Candide as well as the many characters found throughout the work. Though a firm believer in the philosophy of Dr. Pangloss, Candide’s optimistic outlook on the world is often challenged. It seems that Candide is quick to resign or defer to the notion that life is either completely good or completely bad, often judging from a single victory or setback.

Rather than recognizing that life will be filled with moments of great happiness as well as great sorrow, the characters leap from either complete happiness or absolute sorrow throughout their journeys. The joy present in the state of happiness is apparent, but its place in melancholy may not be quite as obvious. Martin suggests “that there is some pleasure in having no pleasure” (73). There is no middle ground offered by many of the characters in Candide, and they take pleasure in the extremities of human emotions instead of valuing the variations and degrees of them all.

The recognition of free will intrinsic to all human beings is worth exploring in the work as well (55). Though the world may not always be the best of all possible worlds as Pangloss professes early on, it is not necessarily its opposite. Men and women have the potential to shape the world according to their volition. It is free will which differentiates as well as unities all human beings. Candide ultimately comes to understand the significance of cultivating one’s own garden (87). The ability to shape one’s life and the world concentrates on the active individual rather than he or she who looks back on past events and attempts to ascertain meaning from that which was out of their control. It is free will which allows us to actively pursue the best of all possible worlds-to cultivate and shape the best of all possible worlds- because it is certainly not something that we ought to expect; it is not a given, disconnected from our potential to influence our environment.

"We Must Cultivate Our Garden"

Reading Voltaire’s Candide for the second time, I still couldn’t quite get over all the death and resurrection. It’s just so weird. But I figure Voltaire knew what he was doing, so there must be a reason for such an absurd motif. Within the world of Candide, each character brings with him or her a new philosophical line of inquiry or an ideology for Candide to consider and somehow reconcile with Pangloss’ belief in the “best of all possible worlds” (pg. 1) theory, which Candide learned at a young age. At first, I thought the fact that the baron, Pangloss and Cunegonde were resurrected fell into Pangloss’ theory, but reading the book for a second time, I started to think differently; throughout the book, Pangloss’ theory is brought into question, challenged, denied, rejected, and some might even say disproved outright. Each chapter brings devastation, destruction, and death in many cases, which therefore causes trauma for Candide, who tries to cling to Pangloss’ theory regardless of the turmoil surrounding him. By the end, Pangloss’ and Candide’s optimism looks pitiful, ignorant, and even stupid. Voltaire’s clear critique of mindless, blind optimism does not align with the seeming joy of resurrection.

In the end, as all the characters “cultivate [their] garden” (pg. 87); Voltaire writes, “’Let us work,’ said Martin, ‘without disputing; it is the only was to render life tolerable.’ The whole little society entered into this laudable design, according to their different abilities. Their little plots of land produced plentiful crops” (pg. 87). Each character, working “according to their different abilities” is transformed into a generalized caricature of a set of beliefs. Pangloss stands in for optimism, Martin for cynicism, and Candide for anybody attempting to make sense of the events of the world. Voltaire resurrects his characters not to lend himself to the optimism of Pangloss, but to emphasize that his characters are not characters and are not meant to be characters. The specifics of the characters and events of Candide are not what matters; what does matter is that the characters cultivate the garden regardless of specifics.

In this reading of Candide, Voltaire brings into question not only optimism, but also any and all sets of beliefs that bear no fruit. I think that Voltaire wants his reader to question everything they hear, but to the end of cultivation. What qualifies as cultivation? How does one cultivate this garden we live in now? I’m not quite sure what Voltaire would say other than “according to their different abilities.”

Misery loves company

In Candide the title character meanders through life directionless and hopeless as he subscribes to the credo that this is the best possible world. A lesson imprinted on his brain by the philosopher Pangloss, the hapless eternal optimist who educated him. However, in this satire/coming-of-age story, it is this very attitude that is mercilessly ridiculed and proved wrong repeatedly as the well-meaning lead character encounters tragedy after tragedy; all the while we are put in the position of laughing at his folly.

In a way this satire truly places us as the audience in a superiority model as we are laughing at Candide for his unintelligent decisions and his seemingly unwavering optimism in the face of countless hardships. We perceive him as naïve and stupid. I also found myself to be incredibly frustrated with him as he never tried to take any action but rather reacted to the situations thrown at him. He seemed to always let luck and fortune rule his future while remaining optimistically passive throughout the narrative with the exception of running after Cunegonde.

His love of Cunegonde also represents another remark Voltaire is making out against love and the formal happy endings of courtly lovers. His “relationship” with Cunegonde is the great romance of the story and yet she is equally as passive as Candide as their relationship is not based on substance as there is not a lot of contact. Additionally she tends to manipulate and prompt his chivalry and loyalty; and yet she willingly accepts proposals from other men. Clearly Voltaire is critiquing love and its many self-delusions.

Despite these higher and heavier remarks on society’s virtues, it is the humor in the satire of Candide that glosses over these hard truths and makes you laugh out loud. Perhaps the funniest parts of work for me were when the characters would lament over who had the worst life. All of us suffer but these characters were so deluded as to think that having the worst tale somehow makes them more righteous than the other. Candide is in many ways a marriage of misery and humor with social commentary blended in the mix.