Ever since 1759, when Voltaire wrote "Candide" in ridicule1 of the notion that this is the best of all possible worlds, this world has been a gayer place for readers. Voltaire wrote it in three days, and five or six generations have found that its laughter does not grow old.
"Candide" has not aged2. Yet how different the book would have looked if Voltaire had written it a hundred and fifty years later than 1759. It would have been, among other things, a book of sights and sounds. A modern writer would have tried to catch and fix in words some of those Atlantic changes which broke the Atlantic monotony of that voyage from Cadiz to Buenos Ayres. When Martin and Candide were sailing the length of the Mediterranean3 we should have had a contrast between naked scarped Balearic cliffs and headlands of Calabria in their mists. We should have had quarter distances, far horizons, the altering silhouettes4 of an Ionian island. Colored birds would have filled Paraguay with their silver or acid cries.
Dr. Pangloss, to prove the existence of design in the universe, says that noses were made to carry spectacles, and so we have spectacles. A modern satirist5 would not try to paint with Voltaire's quick brush the doctrine6 that he wanted to expose. And he would choose a more complicated doctrine than Dr. Pangloss's optimism, would study it more closely, feel his destructive way about it with a more learned and caressing7 malice8. His attack, stealthier, more flexible and more patient than Voltaire's, would call upon us, especially when his learning got a little out of control, to be more than patient. Now and then he would bore us. "Candide" never bored anybody except William Wordsworth.
Voltaire's men and women point his case against optimism by starting high and falling low. A modern could not go about it after this fashion. He would not plunge9 his people into an unfamiliar10 misery11. He would just keep them in the misery they were born to.
But such an account of Voltaire's procedure is as misleading as the plaster cast of a dance. Look at his procedure again. Mademoiselle Cunegonde, the illustrious Westphalian, sprung from a family that could prove seventy-one quarterings, descends12 and descends until we find her earning her keep by washing dishes in the Propontis. The aged faithful attendant, victim of a hundred acts of rape13 by negro pirates, remembers that she is the daughter of a pope, and that in honor of her approaching marriage with a Prince of Massa-Carrara all Italy wrote sonnets14 of which not one was passable. We do not need to know French literature before Voltaire in order to feel, although the lurking15 parody16 may escape us, that he is poking17 fun at us and at himself. His laughter at his own methods grows more unmistakable at the last, when he caricatures them by casually18 assembling six fallen monarchs19 in an inn at Venice.
A modern assailant of optimism would arm himself with social pity. There is no social pity in "Candide." Voltaire, whose light touch on familiar institutions opens them and reveals their absurdity20, likes to remind us that the slaughter21 and pillage22 and murder which Candide witnessed among the Bulgarians was perfectly23 regular, having been conducted according to the laws and usages of war. Had Voltaire lived to-day he would have done to poverty what he did to war. Pitying the poor, he would have shown us poverty as a ridiculous anachronism, and both the ridicule and the pity would have expressed his indignation.
Almost any modern, essaying a philosophic24 tale, would make it long. "Candide" is only a "Hamlet" and a half long. It would hardly have been shorter if Voltaire had spent three months on it, instead of those three days. A conciseness25 to be matched in English by nobody except Pope, who can say a plagiarizing26 enemy "steals much, spends little, and has nothing left," a conciseness which Pope toiled27 and sweated for, came as easy as wit to Voltaire. He can afford to be witty28, parenthetically, by the way, prodigally29, without saving, because he knows there is more wit where that came from.
One of Max Beerbohm's cartoons shows us the young Twentieth Century going at top speed, and watched by two of his predecessors30. Underneath31 is this legend: "The Grave Misgivings32 of the Nineteenth Century, and the Wicked Amusement of the Eighteenth, in Watching the Progress (or whatever it is) of the Twentieth." This Eighteenth Century snuff-taking and malicious33, is like Voltaire, who nevertheless must know, if he happens to think of it, that not yet in the Twentieth Century, not for all its speed mania34, has any one come near to equalling the speed of a prose tale by Voltaire. "Candide" is a full book. It is filled with mockery, with inventiveness, with things as concrete as things to eat and coins, it has time for the neatest intellectual clickings, it is never hurried, and it moves with the most amazing rapidity. It has the rapidity of high spirits playing a game. The dry high spirits of this destroyer of optimism make most optimists35 look damp and depressed36. Contemplation of the stupidity which deems happiness possible almost made Voltaire happy. His attack on optimism is one of the gayest books in the world. Gaiety has been scattered37 everywhere up and down its pages by Voltaire's lavish38 hand, by his thin fingers.
Many propagandist satirical books have been written with "Candide" in mind, but not too many. To-day, especially, when new faiths are changing the structure of the world, faiths which are still plastic enough to be deformed39 by every disciple40, each disciple for himself, and which have not yet received the final deformation41 known as universal acceptance, to-day "Candide" is an inspiration to every narrative42 satirist who hates one of these new faiths, or hates every interpretation43 of it but his own. Either hatred44 will serve as a motive45 to satire46.
That is why the present is one of the right moments to republish "Candide." I hope it will inspire younger men and women, the only ones who can be inspired, to have a try at Theodore, or Militarism; Jane, or Pacifism; at So-and-So, the Pragmatist or the Freudian. And I hope, too, that they will without trying hold their pens with an eighteenth century lightness, not inappropriate to a philosophic tale. In Voltaire's fingers, as Anatole France has said, the pen runs and laughs. PHILIP LITTELL.
1 ridicule | |
v.讥讽,挖苦;n.嘲弄 | |
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2 aged | |
adj.年老的,陈年的 | |
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3 Mediterranean | |
adj.地中海的;地中海沿岸的 | |
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4 silhouettes | |
轮廓( silhouette的名词复数 ); (人的)体形; (事物的)形状; 剪影 | |
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5 satirist | |
n.讽刺诗作者,讽刺家,爱挖苦别人的人 | |
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6 doctrine | |
n.教义;主义;学说 | |
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7 caressing | |
爱抚的,表现爱情的,亲切的 | |
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8 malice | |
n.恶意,怨恨,蓄意;[律]预谋 | |
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9 plunge | |
v.跳入,(使)投入,(使)陷入;猛冲 | |
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10 unfamiliar | |
adj.陌生的,不熟悉的 | |
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11 misery | |
n.痛苦,苦恼,苦难;悲惨的境遇,贫苦 | |
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12 descends | |
v.下来( descend的第三人称单数 );下去;下降;下斜 | |
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13 rape | |
n.抢夺,掠夺,强奸;vt.掠夺,抢夺,强奸 | |
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14 sonnets | |
n.十四行诗( sonnet的名词复数 ) | |
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15 lurking | |
潜在 | |
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16 parody | |
n.打油诗文,诙谐的改编诗文,拙劣的模仿;v.拙劣模仿,作模仿诗文 | |
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17 poking | |
n. 刺,戳,袋 vt. 拨开,刺,戳 vi. 戳,刺,捅,搜索,伸出,行动散慢 | |
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18 casually | |
adv.漠不关心地,无动于衷地,不负责任地 | |
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19 monarchs | |
君主,帝王( monarch的名词复数 ) | |
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20 absurdity | |
n.荒谬,愚蠢;谬论 | |
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21 slaughter | |
n.屠杀,屠宰;vt.屠杀,宰杀 | |
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22 pillage | |
v.抢劫;掠夺;n.抢劫,掠夺;掠夺物 | |
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23 perfectly | |
adv.完美地,无可非议地,彻底地 | |
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24 philosophic | |
adj.哲学的,贤明的 | |
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25 conciseness | |
n.简洁,简短 | |
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26 plagiarizing | |
v.剽窃,抄袭( plagiarize的现在分词 ) | |
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27 toiled | |
长时间或辛苦地工作( toil的过去式和过去分词 ); 艰难缓慢地移动,跋涉 | |
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28 witty | |
adj.机智的,风趣的 | |
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29 prodigally | |
adv.浪费地,丰饶地 | |
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30 predecessors | |
n.前任( predecessor的名词复数 );前辈;(被取代的)原有事物;前身 | |
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31 underneath | |
adj.在...下面,在...底下;adv.在下面 | |
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32 misgivings | |
n.疑虑,担忧,害怕;疑虑,担心,恐惧( misgiving的名词复数 );疑惧 | |
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33 malicious | |
adj.有恶意的,心怀恶意的 | |
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34 mania | |
n.疯狂;躁狂症,狂热,癖好 | |
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35 optimists | |
n.乐观主义者( optimist的名词复数 ) | |
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36 depressed | |
adj.沮丧的,抑郁的,不景气的,萧条的 | |
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37 scattered | |
adj.分散的,稀疏的;散步的;疏疏落落的 | |
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38 lavish | |
adj.无节制的;浪费的;vt.慷慨地给予,挥霍 | |
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39 deformed | |
adj.畸形的;变形的;丑的,破相了的 | |
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40 disciple | |
n.信徒,门徒,追随者 | |
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41 deformation | |
n.形状损坏;变形;畸形 | |
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42 narrative | |
n.叙述,故事;adj.叙事的,故事体的 | |
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43 interpretation | |
n.解释,说明,描述;艺术处理 | |
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44 hatred | |
n.憎恶,憎恨,仇恨 | |
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45 motive | |
n.动机,目的;adv.发动的,运动的 | |
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46 satire | |
n.讽刺,讽刺文学,讽刺作品 | |
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