Category: Candide

Introduction

There are several essential literary styles employed by both playwrights and filmmakers while presenting their literary works to their targeted audience. They use such styles like symbolism, motifs and irony, to mention but a few, in a manner that leaves the audience entertained.

At the same time, they address certain social and moral concerns. Jean-Baptiste Moliere and François Mariane Aurouet De Voltaire provide an exemplification of authors who have successfully used such techniques in their plays, most of which are characterized by dark comedies that unmask the society in an attempt to shed light on the significance of differentiating the real from the constructed appearance.

As the paper unfolds, social masking is a technique that is dominant in both Candide and Tartuffe. As used by the Moliere and Voltaire, social masking serves as a mechanism for depicting how people conceal their true selves for the sake of their individualized gains, both materially and socially.

Overview of Tartuffe

Authored by Moliere, Tartuffe presents the cultural, political and the social atmosphere that existed during the reign of King Louis XIV of France in the seventieth century. Despite immense popularity before the eyes of his audiences, Moliere’s scholarly works including Tartuffe faced heavy criticisms from religious groups and civic leaders, perhaps due to the themes contained in his works that presented religious leaders as diverting from their anticipated roles in the society.

However, in spite of the enormous condemnations amid censorship of his works, particularly Tartuffe, it gained intensive international reputation with performances being staged in Germany, Holland, and England.

Religious hypocrisy was evident during and prior to the time of writing of the drama. More often, it went without criticism. This was largely because religious leaders were considered as holy and true representatives of right in the society^[1]. In his endeavor to address the situation, as it stood on the ground, Moliere employed the motif of social masking as a strategic style that brought out the concerns of religious hypocrisy before the eyes of the society.

Motif of social mask in Tartuffe

Religious hypocrisy, characterized by deception, is a principal theme that repeats itself throughout the drama Tartuffe. Tartuffe, despite being a religious leader comes out clearly as an architect of deceit whose practices are not consistent with what he professes or preaches. He accomplishes his intentions to deceive Orgon by feigning being a virtuous man. Consequently, Orgon, in addition to over trusting him, more than his wife or those other people who are close to him, goes to the level of keeping Tartuffe in his home as a moral guide.

Tartuffe tells his servant to tell anyone who inquires of his whereabouts that he is busy offering charity work to the downtrodden and poor people. Rather than being involved in the activities that he claims, he attempts to seduce the wife of his friend Orgon (Moliere 1.5.21)^[2]. In fact, the play also refers Tartuffe to as a “imposter” meaning one who fools others into thinking that he is someone other than his/her real self (Wightman Para.12)^[3].

Later in the play, Tartuffe reveals himself as a real imposter who has committed a myriad of crimes under disguised identities. Most of his crimes heighten based on his greed for material gain and social status. For instance, by deploying the ‘mask of piety’, Tartuffe makes Orgon adore him (Wightman Para 16)^[4].

Social mask forms a central symbol in the play Tartuffe. The mask covers up true people’s appearances before the eyes of others. Through the motif of social mask, Moliere stands a chance to explore thoroughly the theme of deception. Numerous characters attribute the motif of social mask to Tartuffe.

As a way of example, Dorine laments, Tartuffe “passes for a sait…in fact, he is nothing but a hypocrite” (Moliere 1.1.33)^[5]. On learning the deceptive nature of Tartuffe, Orgon complains about his mistakes prompting Cleante to inform him that he had made a terrible “mistake in taking of piety for the face of the true nature” (Moliere 2.4.23)^[6].

He further adds that Orgon should make impeccable attempts in the future to equip himself well with mechanisms of “stripping off the mask, learning what true virtues mean” (Moliere 2.4 31)^[7]. Put differently, he tells him to attempt to know how to differentiate between true and disguised appearance.

The author, too, examines various dynamics of power within families with the help of the social masks coupled with the theme of deception or hypocrisy.

Despite applying of the motif of the social mask as a symbol to reveal the true nature of the main villain, Tartuffe, Moliere uses it to aid the virtuous characters in portraying the real nature of Tartuffe’s characters. Other characters engage themselves in other forms of social masks.

They possess different magnitudes of deceits. As a way of example, in act II, Dorine hides in some place with the intention of listening to a conversation ensuing between two other characters in the play (Moliere 2.2.1-2)^[8].

This way, the author presents deception as a menace widely evident in different members of the society: from religious leaders like Tartuffe to non-religious leaders such as Dorine. Within the hierarchies of the familial structures, the author employs social masks differently in Tartuffe. As a result, those individuals belonging to lower hierarchies in the family social structure tend to employ social masks as a means of acquiring more power.

Dorine, a servant deploys social mask combined with deception in an attempt to curtail oppressive authority exercised against Mariane by her farther. Orgon reveals his intentions of wanting Mariane to marry Tartuffe to her and emphasizes that no for an answer was unacceptable.

Even though such a prospect terrified her, her father had already made a decision for such a move and his decision was final. Mariane was thus reluctant to object her father’s wishes. As the conversation continued between Orgon and Mariane, Dorine appears all of a sudden compelling Orgon to complain of Dorine’s actions of “eavesdropping” on their conversation (Moliere 2.2.18)^[9].

Dorine ardently complains about Orgon’s decision to marry off Marianne to Tartuffe while disregarding Marianne’s opinions about the same. It is, thus, deducible that, for the purposes of protection of Mariane’s interests and rights, Dorine exemplifies some traits of deception and consequently possesses a motif of social mask: hiding in order to listen secretly to a conversation.

Overview of Candide

Authored by François Moliere Aurouet De Voltaire, Candide carries hefty critical introspection of the social masks characterizing institutions of seventieth century France. The author was a distinguished philosopher of the time of the release of the novel. Perhaps Candide was a catalyst of change. Despite making several attacks on the church and the contemporary subscriptions to his philosophical construction, the author offers a provocative comedy, which provides a few solutions to social stalemates.

However, some unenlightened ideas that are not subtle catalysts for an enlightened revolution against the regime are evident in the novel, as we may now know it today. For instance, many of the women characters are prostitutes while both Rousseau and Voltaire believe that it is unwise to educate the poor! (Shocke Para. 5)^[10].The concept of social masking, therefore, assumes a fair share of Voltaire’s masterwork Candide.

Motif of social mask in Candide

Candide features as the main character of the play Candide. He is not an outright fool like Orgon. However, the reader feels much pity towards the character, which in one way or another, measures up to more than the pity he or she feels towards Orgon. The loss of his lover affects Candide to the level that he wanders around feeling utterly lost and helpless. As the author unfolds, he “…wandered for a long time without knowing where he was going, weeping, raising his eyes to heaven” (Voltaire 312)^[11].

Similar to Tartuffe, Voltaire challenges religious hypocrisy. He presents the clergy, identifiable as inquisitors, as inhumane. He involves himself in the act of execution of the fellow citizens: a move justified by the existence of philosophical differences, which were not acceptable.

Such acts are merely presentations of falsified beliefs that the clergy’s roles entail correcting intolerable social actions by the citizens. This is perhaps correct since they are involved in a myriad of sins that they preach against and yet they do not punish themselves. They are the jewel thieves who keep and condone mistresses while preaching against homosexuality.

They ingrain themselves deeply in homosexual acts. Perhaps the pope portrays one of the most ironical situations. Despite taking celibacy vows, he, in fact, has a daughter. Opposed to what religious official’s outward appearance portrays them, their actual character and acts, enshrined within masks painted ‘holy’ from outside, their inner profiles are full of darkness, otherwise referred to as ‘ungodliness’. In unmasked state, the religious leaders advocate for water thereby drinking wine.

The author portrays the officials of the church as the most sinful individuals in Candide. Desires to deceive for purposes of material gain drive other characters’ acts. For instance, Cunegonde accepts Don Fernando marriage proposal, despite his attachment with Candide. She accepts the proposal not simply because she loves Don Fernando but because of his Financial well-being. This way she deceives Don Fernando about her true intents of accepting to marry him.

The greatest fool to Candide is perhaps himself just like Orgon. Wherever he goes, Candide cannot stay for long due to his determination to pursue his true love: Cunegonde. Cunegonde plays much similar role to Tartuffe: eroding other people’s senses through deceit. On return from asylum, Candide encounters people who fool him again. They steal all his fortune away from him because Cunegonde’s love has eroded his senses. Based on his love’s constructed appearance, Candide’s life seems betrodden wherever he goes.

No matter whether it entails overcoming cannibal sturdy lugs, going through situations involving shipwrecks, floggings, or even earthquakes; nothing turns out to work well for him. Somehow analogous to the Orgon’s situation: failing to listen to his family warning about the evil nature of his ‘saint’ friend, Candide is not ready and willing to embrace reason in an attempt to differentiate the true and falsified appearance of his love: Cunegonde .

Disguised appearance presents itself for quite a limited time span. There comes a time when people strip off the social masks to expose the real nature. Despite the initial indications of flawlessness in Tartuffe’s character, Orgon comes into acquaintance of his true nature ordering him to vacate his house. A similar scenario presented itself to Candide.

The author says, “the tender lover Candide, seeing his lover Cunegonde with her skin weathered, her eyes bloodshot, breasts fallen, her cheeks seamed, her arms red and scaly, recoiled three steps in horror and then advanced only out of politeness” (Voltaire 399)^[12].

Now, the author provides a turnaround point in which an originally deceived person comes into revelations of what has been ailing him or her all through his or her life. This is perhaps so since Candide comes to realize the true physique appearance of her love which had always been concealed by the love he had for her.

Conclusion

Based on the expositions made in the paper, it suffices to declare social masking a style that comes in handy in the two works, despite the evident difference of authorship. Both authors criticize the deceitful nature of human beings.

By setting two evidently deceived men, with their fortunes taken away: by people who wear social masks to conceal their identities, the authors shed light on the fact that either man deceives others or others deceive him. Through humorous and ironical situations presented symbolically using social masks, the authors are able to strike their collective goal: correcting some of the social errors that people manifest day-by-day. Otherwise, as the adage goes, never judge a book by its cover: the cover could be a mask.

Works Cited

Moliere, Jean-Baptiste. Tartuffe. Oxford: Oxford UP, 1989.

Shocke, Locker. Candide: Literary Criticism, 2009. Web.

Voltaire, François. Candide. Britain: Bloomington Publishers, 1961.

Wightman, Madeleine. Moliere, 2010. Web.

Footnotes

1. (Moliere 1.1. 51) In fact, Madame Pernelle calls Tartuffe a holy man based on his appearance rather than reality.
2. (Moliere 1.5.21) The author reveals one instance of the masking technique. Publicly, Tartuffe is man whose main agenda is to offer charity work. However, the reality is that behind him lies his true self: he is an adulterer.
3. (Wightman Para.12) In this paragraph, Wightman confirms the central theme of Tartuffe as hypocrisy where Tartuffe’s appearance as a devoted preacher significantly differs with his immoral actions.
4. (Wightman Para 16) The paragraph presents the mistaken praises that hypocrites receive from people who do not know their true characters. Orgon is such an example following his respect for Tartuffe
5. (Moliere 1.1.33) Before the eyes of people, Tartuffe is a ‘without blemish’ person
6. (Moliere 2.4.23) The author here shows how people can hide their true characters by publicizing actions that differ from their private ones
7. (Moliere 2.4 31) The author presents this piece of advice to pretenders: they should consider emulating a virtuous life
8. (Moliere 2.2.1-2) The hiding here is symbolic in that the two parties in the conversation view Dorine as absent while in the real sense, she is present in the place of the dialogue
9. (Moliere 2.2.18) Refer to the comment above
10. (Shocke Para. 5) The author here presents things as they are contrary to what or how they ought to be. While the view of the then society of not educating the poor was right according to it, it conceals the reality that all people need education regardless of his/her financial status
11. (Voltaire 312) The fact that he does not know where he is heading is an implication of a misidentified direction. Where he heads is not where he ought to head: the real direction of life has been masked by the wrong one
12. (Voltaire 399) The author takes the reader to the step of unmasking what has been masked. Therefore, as the adage goes, behind the beauty lie the true colors. In other words, there is always the true person behind what people see of any specific person

In the last chapter of the novel Candide proclaims “…we must cultivate our garden…” (Voltaire 120).This assertion marks the realization of the protagonist that we ought to control and make an impact on what we already have. During the entire novel, various characters are engrossed in an unfulfilled life as they seek for happiness and joy.

They attribute their failure to fate where they assume that everything occurs due to fate and their actions are devoid of free will. Indeed, they suppose that making choices in life only signify their role in the fate’s ‘master plan’. When Candide realizes that one can control what they have in pursuit of happiness, he makes the comment to justify the rationale of their sufferance during their odysseys.

On the one hand, the characters realize that they only have their lives to control and it becomes apparent that they could attempt to make the best out of it. In consideration of the journeys that the characters embark in search of pieces of a puzzle, they appreciate that the greatest puzzle lies in their souls.

This is contrary to their initial belief that they could find the pieces and complete the puzzle. Indeed, they already had their pieces within them. As such, they could only cultivate their garden, which is synonymous to conclusion that they can only control what they have.

Candide on the other hand finds out that he could not be happy in Venice since he could not be with Cunegonde – his love. Besides, he learns that materialism could guarantee him neither happiness nor success. Social status could not assure him of contentment. In fact, he did not have control over all these things he yearned. However, when he settles down and concentrates all his efforts in his farm, he achieves happiness. Therefore, the concluding remark he makes is based on his experiences that are depicted in the novel.

It is appropriate therefore for him to conclude that everyone ought to cultivate their gardens, which they could control.

Works Cited

Voltaire. Candide. New York: Penguin Classics, 2005. Print.

Voltaire is a great writer of the period of French Enlightenment. He is famous for his satire of the society in his works. One of his most significant works is Candide that was written in 1759. The poem is considered to be a masterpiece of the Enlightenment period, however, it contains a strict criticism and satire of the Enlightenment philosophy. This work still remains one of the greatest works of literature and expresses the author’s philosophy and criticisms of contemporary French society and politics through the characters of the poem.

The author’s point of view is presented not directly, but it is heard in every line of the text. The characters of the poem (Candide, Pangloss, Martin, Cacambo, Cunegonde) are the spokesman who express the author’s point of view. However, the critics of society, contemporary French politics and culture are “put into mouths” of the minor characters, such as the Old Woman, Commander, Jacques (the Anabaptist), farmer, Count Pococurante, Paquette and others. The main intention of the author was to show the cruelty, egoism and injustice that were predominant in the society in which Voltaire lived.

Let us first discuss the main ideas that are expressed through the major characters. Voltaire used Candide and his friends in order to attract the reader’s attention to the idea that a perfect world is impossible and optimist is absurd. Through the text, Voltaire rejects the Pangloss’ expression “all is for the best in this best in the moral and physical world, and that nothing could be otherwise that it is” (Voltaire 63). Every situation and every person that heroes meet on their way illustrate the idea that one cannot be happy because of the human nature. An individual always wants more. We can see it clearly when Candid and Cacambo arrive to a perfect country El Dorado, “if all things are good, it is in El Dorado and in the rest of the world” (Voltaire 54).

Though Candide could live happily in this country, he leaves it to find his Cunegonde and become a rich man. As we can see, his hopes did not come true. None of the personages, neither major, nor minor, could achieve his/her aims and it demonstrates the author’s pragmatic attitude to life: all depends on accidental circumstances. Another character that expresses the Voltaire’s satire is Pangloss. This philosopher believes that “there is no effect without cause. Everything is linked by necessity and arranged for the best” (Voltaire 46).

Though, his own fate contradicts his point of view. Thus, this character is a parody on the optimism promoted by the philosophy of Enlightenment. As opposed to optimistic Pangoss, a pessimistic Martin acts as a spokesman for the author’s pessimistic philosophy. This person suffered many evils and expects nothing good from this world, he says, “I cannot help thinking that God has abandoned it to some malignant being” (Voltaire 55). At the same time, Voltaire introduces a character that rejects the author’s disbelief in human nature. This character is Cocomba. As a contradiction to Martin and Pangloss, this man is intelligent and has big life experience, he expresses the truth of life as, “the law of nature teaches us to kill our neighbor” (Voltaire 42). In other words, one should fight for his/her life alone.

Meanwhile, the major characters express the author’s philosophy, the minor ones are introduced in order to support it. Moreover, their stories and characters express Voltaire’s complaints about French politics, society, culture and religion. The women characters are used to describe the diseases and human suffering in society. The Old Woman is the personage that suffered the most, “alas! You have not known such misfortunes” (Voltaire 24).

This personage is another one contradiction to the Pangloss’ optimism. Nevertheless, she is full of hope and strength, as well as Cacambo. Thus, this character is the evidence of Voltaire’s belief in human nature. Paquette who was suffering from Syphilis symbolize that evil, greed and avarice are like diseases that can “infect” human’s mind. Human pride, immorality and envious nature are disclosed in the character of Count Pococurante who was happy and rich Venetian. But he was happy only when others around him were unhappy.

Almost all people main characters met on their way were liars or cheaters. The heads of government and clergy as Don Fernando, the governor of Buenos Aires, Marquise of Parolignac and Brother Giroflée are fanatical about power and corrupt. The prosperity of the society is based on the slave trade and injustice towards poor people who are doomed to suffer in hands of aristocracy. The only minor character that expresses the author’s solution to the evils of society and one’s happiness is the farmer who promotes hard work on the land as a cure for soul and key to happiness. The main thought of the poem is that “we must cultivate our garden”.

Thus, all the characters that we meet in the poem are the spokesmen who express the author’s critics on the contemporary society. They illustrate all negative aspects of French culture, politics and religion during the period of Enlightenment.

Works Cited

Voltaire. Candide. New York: Echo Library, 2010. Web.

Introduction

Voltaire’s novel Candide is a satirical narrative, which makes fun of how people thought and reasoned out in the medieval times. Its major character; Candide, strategically and successfully illustrates the events as they unfolded in the then society as well as the situation in the contemporary civilization. The author uses him to highlight the misfortunes that people in the society undergo (Webster IV).

Voltaire manages to bring out the societal norms in a humorous way. The story is set in Westphalia and the author uses Candide to develop the plot of his entire story explaining how people generally encounter different hurdles in life. On the other hand, Moliere’s book Tartuffe is one of the best and well-remembered comic books written in 1964.

The book suffered a partial banning for five years but it resurfaced in the literary world in 1969. The ban resulted from the strong message that the author brought out concerning religious hypocrisy in the French society. Moliere released this chef-d’oeuvre at a time when there was a rift between the parliament as well as the Catholic society, which viewed all human instincts as evil.

Therefore, the book passes for a well-organized composition with themes aiming to bring sanity in the society through exposure of human flaws and some deviations from the norms of the society by some members.

Therefore, the goal of the authors of these two books is to highlight the social and political issues that the society goes through day-by-day. Social issues, like sufferings and hypocrisy among other social thorns stand out clearly in Voltaire’s work.

Social issues in Voltaire’s Candide

Candide is a story set from a social perspectives as pointed out by the themes and the plot of the story, which remain hinged on the day-to-day interactions and relationships of people. The author brings out the conventional social life amongst people; how life sometimes may be difficult.

For instance, Candide and his colleague Cunegonde are kicked out of the castle where they are studying experimental science after being caught kissing; what a way of punishment for a socially accepted and necessary act. Candide suffers from hunger and cold due to lack of shelter; he further faces seemingly insurmountable hurdles to enter in the Bulgarian army.

After his admission, the sufferings he meets forces him to try to escape; unfortunately, people finds out his plans and punishes him severely. However, he manages to escape during the confusion brought about by the war. After his escape, he again meets other friends who contribute much towards making his life difficult and unbearable.

The issues of relationship and social life and interaction surface when Candice meets with a woman by the name Cunegonde who takes care of him (Voltaire 139). This relationship culminates into charming association characterized by humor and intense travelling across the region. The two ultimately become lovebirds before getting married after which they decide to embark on farming.

When it comes to religion, Voltaire is opposed to the issue of hypocrisy especially when clergy become the perpetrators of this vice. The author therefore advocates for a society that will embrace freethinking as well as scientific reasoning; he believes in the presence and the existence of God though not in tandem with the way the clergy behave in leading their folks.

The level of pretence is widely witnessed in the larger Europe; therefore, this masterpiece is calling for change of the way the clergy executes their duties if not how they lead their lives. Political issues like too much respect for political people for instance are also highlighted in Voltaire’s masterwork.

Political issues in Voltaire’s Candide

The author brings out the issue of politics and leadership in this satirical book. He brings out the theme of leadership and authority by highlighting existence of castles and use of titles like ‘lord’. For instance, Baron is one of the most powerful lords of the time as he has everything around him; running from security to luxuries of any nature that a leader or a political person enjoys.

His castle has great walls, windows and gates manned by several dogs, which provide security coupled with grooms who act as his huntsmen (Hogan, and Molin 305). He commands some authority following the way people refer to him with titles like ‘My lord’. The servants or subjects have to laugh to every story that he tells as the old adage goes, ‘a rich man’s joke is always funny.’ This picture reflects the current political scenario.

Social issues in Tartuffe

In social circles, Moliere’s Tartuffe gives more attention to the religious and the hypocrisy issues pertinent in the society. The author uses Tartuffe as his key character to bring out the apparent religious hypocrisy whereby Tartuffe comes out as a conman.

The clergymen use their positions and authority to institute evil deals for their benefits. Another aspect of social issues is the seemingly intertwining of family relationships as it stands out throughout the book where the author employs family to bring out this critical theme. Values in the society have been violated, and regrettably this violation comes from the religious groups.

The author uses Orgon, the family head to bring out the negative part of Tartuffe; the clergy who underscores the theme of intertwining family relationships. Love and marriage too hold a good share as among the social issues brought out in the book.

For instance, the marriage which is supposed to take place between Tartuffe and Mariane, the daughter of Orgon, does not take place after Dorine manages to convince Mariane not to follow his father’s wishes of marrying Tartuffe.

The society is full of hypocrites and therefore the author uses this masterpiece to educate the society about being wary of people who the esteem since in most cases, the same people turn to be hypocrites.

People ought to harbor caution not to fall into the traps of these ‘wolfs’ in sheep’s clothing. The clergy whom people accord respect owing to his moral and religious standing, fools Orgon, an old family man because of the faith he has in God.

Political issues in Tartuffe

Although Moliere does not tackle political issues in his work directly, he clearly illustrates the reality of how people in power employ dirty tricks to retain their leadership positions. Unfortunately, leaders employ all tactics in order to trap the people who they govern as a way of their continued stay in leadership (Frame VII). Leaders apparently trade lies to their subjects who unwittingly follow to whatever they hear.

The author, by exploring Tartuffe’s expositions, presents the clear reality equated to how politicians play their cards. On the surface, leaders say or do things that appear to be for the common god of all; however, by taking a closer look one cannot fail to see the conspicuous hidden agenda in whatever politicians do; they think of themselves and themselves alone.

There is also a pertinent struggle of power running deep in the society; for instance, Tartuffe is a man of God determined to continue wielding authority thinking that what he does is the correct thing and worth emulating. This scenario stands out in the wrangles and the cases of frauds witnessed in the case surrounding his supposedly marriage to Mariane.

Conclusion

The work of the two authors is worth in both content and ideas. The authors have successfully used it to instill a new dimension and approach to the daily social and political life. The society is in captivity of few individuals who think that they have the right to manipulate it. Therefore, the authors have provided different perspectives in the social realities by highlight some elements that are against societal reforms by exposing them.

For instance, in the book ‘Tartuffe’, Moliere, brings out the hypocrisy of the clergy whose behaviors are directly opposite to what the society expects of him (Tasha Para.3).

Political issues assume a good share in these works especially in the work of Voltaire whereby, the society bears strata of different social classes with the most respected class enjoying more by living in good houses receiving unnecessary security and any other thing presumed to make their lives better.

Therefore, the authors have successfully expounded on the issues of politics and society with the sole purpose of awakening people to stop assuming things because apparently majority do not know the truth of what happens in society especially around power circles.

Works Cited

Frame, Donald. Introduction, in Tartuffe, and Other Plays by Moliere. Penguin: Signet Classic, 1967.

Hogan, Robert, and Molin, Sven.”Preface to Voltaire.” Drama: The Major Genres, an Introductory Critical Anthology 21.2 (1962): 303–07.

Tasha, Kelley. Naivety and Hypocrisy in Moliere’s Tartuffe, 2010. Web.

Voltaire. Candide. Ed. Francois-Marie Arouet. New York: Fine Creative Media, 1991.

Webster, Margaret. Introduction in Moliere. New York: Coward-McCann, 1950.

As in many pieces of literature which have been written by man, an entourage of minor characters accompanies most of the Candide and which have been known to be used as a way of assisting and, or even hampering his journey. Voltaire in his book Candide has used a number of minor characters in a way of expressing his personal ideas and criticisms of contemporary French society and politics (Voltaire, 2). In the work of literature, Voltaire’s complaints had been on the issues of French politics, the society, and culture which faced the country during the years of the early eighteenth century.

One of the most outstanding minor characters to have been used by Voltaire is Martin in the epic in an attempt to make him the major spokesman of his own complaints which had been greatly faced within the French society during the time of his writing. In the epic, it is worth noting that Martin has been presented as an ‘old scholar’ of the modern time and whose understanding is purely philosophical and a bit of reflection of Voltaire’s own living opinions. Martin in the book has thus been drafted by his friend, Candide, towards coming to the finale and conclusion of his own adventures. This is seen clearly when he becomes Candide’s favorite companion during the time of Cacambo departure. Martin has thus been mostly presented and clearly able to represent Voltaire’s own personal opinions and sentiments which he found to have become a rot within the French society in particular. This has been necessarily not at all browning from Pangloss’ theory, either in its pure form or shape (Voltaire, 3).

It is as well through the use of Martin’s words that Voltaire expresses these imbalances in the society and hence viewing the church and religious institutions as the only rightful approach which would have been adopted so as to make sure that all people were brought together in harmony and thus be able to address some of these problems. Such has ever since been presented by historians and philosophers as the exact opinions which Voltaire held and believed would effectively heal society. Although it will be agreed that the novel Candide had been a form of work which had been partially written in order to give entertainment to the people, it had also been a very important tool by the author to effectively satirize some of the views which had been held by peoples and philosophers of the time such as Leibniz. Voltaire thus used Martin and other minor characters in looking intently at the universe in particular and thus come up with the idea in which something quite significant could be done in order to address the political imbalances and pains which had become commonplace within the society. So as to satirize the philosophy of Leibniz, he used Martin as a benchmark and thus being able to tear apart Pangloss and his downplaying philosophy (Voltaire, 3).

Through the use of Martin, yet a minor character in the novella, Voltaire was able to specifically show the main form of destruction which had caused some of the natural disasters as well as the brutality which came about due to men’s involvements in war. According to Voltaire as he has been able to pass across in the novella, it can be seen that the society of the country had been spoiled apart by the poor kinds of policies and political philosophies which had been bringing many problems in the country (Voltaire, 4). In that case, it is through the use of minor characters surrounding the life of Candide that he was able to point out some of these issues in a complaining tone and as well give adequate solutions on how the existing problems could be competently solved.

Works Cited

Voltaire. Candide. 2009. Web.

Voltaire’s novella Candide is a satirical piece of literature that lampoons ideologies, and values that man adopts without critical reflection. The story line adopts mystery, tragedy, irony, satire and the paranormal to challenge the dominant beliefs that existed in eighteenth century Europe. Some of the ideas that the novella challenges are related to wealth, love, and virtue.

His criticism on wealth is illustrative in the fate of his rich uncle’s family in German where he first lived as an illegitimate nephew. After his expulsion he comes to learn that the castle was attacked, plundered, most of his relatives killed. Stylistically, the author uses this tragic situation to illustrate the vanity and limits of wealth. The second illustration is in the land of Eldorado where Candide finds the streets littered with gold, treasure and peace (Voltaire 553). Despite the initial fascination he leaves this land of plenty and goes back to his usual lands of strife and struggle. His eventual marriage to Cunegonde despite earlier opposition from her baron father and brother shows the triumph of a commoner over the superstitions of the rich.

Voltaire’s lampooning of love expresses itself in the search of love between Candide and Cunegonde. The odds that oppose the relationship have been constructed to destabilize lofty assumptions on love. The novella shows that love should not be hinged on the superficial qualities of beauty, class, and time. The author seems to suggest that love should be tested through difficulties so that only the ideal one survives. Despite the rape ordeals that Cunegonde undergoes Candide does not lose his interest in her. He makes sacrifices and marries her at a time when she has shed off much of her beauty. It is a relationship that lasts through time and distance.

The question of God and virtue is brought into focus. At the beginning of the book Pangloss tells Candide that God is entirely good and would not abandon his own. But this teaching falls apart in the harsh experiences of rejection, violence, enslavement which Candide has to endure. In the end Candide learns to emulate the simplicity of some farmer who leads a quiet life and tills his land with undivided attention. Candide realizes that good life is anchored on simplicity and virtue (Voltaire 574). The simple farmer who guides them into this truth appears to challenge the lofty philosophies of life, and religious ideologies that the other characters in the novella have attempted to adopt in their tumultuous lives.

The novella Candide is Voltaire creative attempt to reunite humanity to the purpose of reflecting through the dominant ideologies and values that govern their lives. The book might be thought of as a philosophical attempt by the author to create some new order in the world that would rescue humanity by redirecting their focus to the natural gifts of life around them. The vanity of life as captured in the baron’s life at beginning of the book is contrasted with the peaceful life of the simple farmer at the end in a way that lampoons the superficial while celebrating simplicity (Voltaire 574).

It might be argued at this point that the earthquakes, wars, storms, and journey’s that the lead characters experience are a metaphor of search for the good life.

Works Cited

Voltaire, Francois-Marie Arouet. “Candide.” The Norton Anthology of World Literature. Ed. 2. Susan Lawall. New York: W.W. Norton & Company, 2002-580. Print.

Put in print in 1759, Candide has been considered as one of the most Voltaire’s masterpiece. In Candide, Voltaire sharply criticized the corruptible power of the nobility, futile speculations of philosophy, religious hypocrisy, cruelty and the folly of optimism. Even though Candide in many instances have been considered as representative manuscript of enlightenment, the book satirizes many philosophies of the enlightenment and makes it obvious that enlightenment was far distance from huge movement it purports to be.

The book is a reflection of the Voltaire’s enduring dislike of the powerful religious regimes and the superciliousness of the French nobility. In contrast, Candide leveled Voltaire’s criticism against the enlightenment philosophical movement. Candid attacked the optimistic school of thought assertion that rational thinking was capable of ending the tribulations committed by humans.

Voltaire examined in depth the folly of optimism and his attack can be seen in Pangloss optimistic philosophy. “Pangloss granted teaching in the metaphysico-theologico-cosmolo-nigology. He splendidly attested that there cannot perhaps be a consequence with no cause and that in this probably best world the castle that belonged to the baron was the most stunning amongst every castle and of all baronesses, his wife was ideally the best.

Pangloss alleged that, ‘Most things might not appear beyond what they currently look like given that all things became into being to manifestly serve the preeminent end’. In fact, we have spectacles owing to the fact that noses were created to support the spectacles’ (Voltaire, 8).

Pangloss philosophy as quoted is one of the most important targets of Voltaire’s sardonic poke. Pangloss and his student Candide believed that individuals subsist ‘in the best of every probable world’ (Voltaire, 8). However, the appalling life they were going through was in total contrast to the belief.

In fact, their belief was similar to the beliefs of most famous philosophers during Voltaire’s epoch. Basically, Leibniz affirmed that given that the caring Lord made the universe out of imagination, the universe ought to be best possible. The human perception under such systems is that evils exist because people do not understand the underlying forces which control the world. Thus, they are not aware that evils exist for the larger betterment.

In the excerpt, Voltaire (8) did not merely disparage the ensuing philosophical sanguinity but equally the philosophical eccentricity of Enlightenment. Many philosophers of enlightenment such as Leibniz emphasized more on the interactions of causal-effect.

The spectacle and breeches argument by Pangloss clearly shows a ridiculous incapacity in distinguishing causal-effect. According to Voltaire (8) assertions, the almighty Lord had no intentions of creating noses to suit spectacles but He planned for the reverse. Basically, Voltaire had the intentions of clarifying eminent defects witnessed in the philosophy of enlightenment.

It is apparent in Candide that uphill struggles serve as the supreme therapy for any kind of boredom. Nevertheless, just as Pangloss pointed out in the novel, the cure brings to mind the days of mankind in the Eden’s Garden (Voltaire, 83), where man was the controller of everything.

It similarly emerged that the characters providence were ideally controlled in their respective petite plots, and this has not been amicably realized until this moment (Voltaire, 86). Indeed, their lives in the mercy of circumstances have now been literally replaced. They are now reaping what they had sowed. Surprisingly, the fictional argument in opposition to optimism can be given a happy ending and the reader might thus be left wondering whether Pangloss was right in claiming to be living ‘in the probably best worlds’.

The allegations and the arguments against it are however confined by the way of life the characters have found out. In the concluding phrase, Candide asserted that there was no ample room in gardening which would permit rational speculation and this implied that human beings are bound to be fruitful and glad as a consequence.

Works Cited

Voltaire. Candide. Retrieved from: https://archive.org/details/candide_librivox

This particular piece of work takes the form of a comic operetta that is developed by Voltaire. The popularity of this work is as a result of the fact that it is an overtone.

This particular piece of work may be seen as a marriage of all the elements required for a great song. It is appreciated all over the world since different nations and cultures play it over and over. The song is performed in different versions, but the most interesting and popular version of the song is the opera version. During its performance, Bernstein ensured that the sound of the song developed some synchrony with its video.

In order to fully appreciate this particular piece of work, it is important that it should be performed with highest level of virtuosity. The work takes quick paced, and for lovers of Bernstein’s work, it actually develops some form of feverish excitement in them. Meters in the song take the form of seven beats at quick paces and this ensure that the tune remains an upbeat one. The work requires a well-coordinated team that is able to ensemble together (Bernstein, 38).

Each ensemble statements in this piece repeat itself over and over all through the work. This forms a reminder of the fact that is still the same piece of work right from the start to the end.

The work involves numerous melodic ideas along with excellent textures for harmony; these ensure that the piece remains interesting to the listener as well as the group performing the piece. It is important to note that the major stylistic character that has been used in the music is rhythm. All through the piece, rhythm has been strongly attached such that it has formed a smooth flow and pattern of the work.

Analysts of the work have observed that the strong percussion accents as well as the aspect of writing the work in form of orchestrational groupings and brasses have greatly contributed to the quality of the work. The harsh attacks used in the work which are from the ensemble independently make the piece quite interesting. The piece of work is not strictly uniform. The points stated in the piece take a quick succession.

These ideas usually upon presentation, they virtually leave no time for them to be developed. The music quickly transforms its direction to another different idea. This however, has not in any way affected the wide popularity of this work. It still remains a favorite piece of work that is performed in many concerts all over the world.

Copland: Clarinet Concerto

This particular piece uses both strings and harps. This particular piece of work takes the form of a simplified structure which consists of the following parts; a slow movement at the start of the song which forms the introduction to the piece. This is then accompanied by a gradually fast movement towards the middle and the end of the piece.

Lastly, these two aspects of the songs are then linked together with a cadenza. It is worth noting that the major part of the piece which consists of a rather fast movement has been seen labeled as slow and expressive. This has been associated with Latin American culture, a place which formed the source of the writer’s literature as well as inspiration. In the piece, it may be observed that Stoltzman’s clarinet tends to gradually rise above the strings as well as the harps being played.

This particular action has the effect of developing not only some sweet melody, but also it makes the music to be quite poignant and beautiful as well. Looking at the cadenza, it develops a rather sharp and also technically demanding rhythm, which is delightfully played by Stoltzman. It tends to enhance some form of bridge in the movements that are in contrast to the lively as well as jazzy tunes which make the piece to be very interesting.

The first part of the concerto tends to induce some kind of Appalachian Spring as well as additional wistful melody which takes the form of a pure singing tone and is then mixed with the strings in the background (Copland, 64). This part is then closely followed by fast movements which tend to leave the cadenza in some form of dust such that it becomes rather dramatic.

These transitions from both low to high interludes as well as the unique and simplified rapid scales in between each part of the piece form a major attraction to the piece. This piece has uses a string orchestra which involves both harp and piano in equal measures to develop a uniquely harmonized tune that always leaves the audience wanting to hear more. Many critics have acknowledged the music to be quite a huge success.

Sibelius: Symphony No. 5 in E-Flat Major, op. 82

This is a unique piece which has clarity as well as substance and a positive antipode all through its structure. It takes the form of a romantic symphony. It has been divided into different symphonies. However, both the second as well as the fifth symphonies are deemed as the most interesting symphonies in the entire piece. Sibelius’s piece depicts the mood that was present during his time; a mood filled with great determination.

The first movement in Sibelius’s piece tends to end in a rather odd and inconclusive way; as though it had been introducing the second movement. The third movement takes a simplified form such that it has some slow movements all through it. The slowed movement contributed to the overall beauty of the piece such that it allowed the listeners to be able to not only internalize the piece, but also it allows the audience to connect and develop some kind of relation and personal attachment to the piece.

It is observed that the final part of this particular piece of work appears more like the raging associated with forces of nature since it takes a drop from high and simplified tunes to a final and slowed end. The movements in all the symphonies have been linked together through the use of a bridge passage. This linkage outlines the inter-relations that were between the major movements which were the first and the second movement. It therefore, results to formation of some kind of whole upon linkage of the first and second movement.

Towards the climax of the symphony, the tempo of the piece tends to quicken gradually such that it helps to clearly incorporate the audience in the transition. It uses vigorous melodies as well as trumpets that are in synchrony to each other forming a uniform pattern in the rhythm of the piece. All the events in the climax of the piece are conducted in an accelerating tempo which seems to blend with the musical instruments being played in the background.

The themes in this piece are developed smoothly and gradually with the tempo of the symphony such that the audience is able to understand and internalize the message of the piece. Other than the added musical equipment to the piece, the beautiful melody that develops gradually from the start of the piece coupled with sweet tunes from the harps form a general interesting piece of work.

The two major strings in this piece are played in quavers and it accelerates only to drop towards the climax of the piece. In the third movement, the piece takes a different twist such that unlike other pieces, it starts with rushing figures in each string.

This is then capped with a softer version of sweet symphonies which gradually become powerful and more pronounced as the piece moves towards the end. The fifth symphony is characterized by interrelated ideas which are explained through use of rhyme and melody. It emphasizes on the tone of the entire piece such that uses traditional harmonic tunes to lure the listener’s attention (Norine, 73).

Sibelius’s piece not only provides for a sweet as well as rhythmic tune but also this piece goes a long way in educating the listener through use of different aspects of music. For instance the quick transition from a high pitched tune to a rather tune in between the movements provides the listener a chance to be able to understand the transition that occurred during the period of recording.

Works Cited

Bernstein, Leonard. Overture to Candide; Symphonic dances from West Side Story; Symphonic suite from On The Waterfront; Fancy free. S.l.: Arte Nova Classics, 1997. Print.

Copland, Aaron. Compositions by Aaron Copland: clarinet concerto, Copland piano variations, rodeo, Appalachian spring, fanfare for the common man. Memphis, Tenn.: Books, LLC, 2010. Print.

Norine, John. A comparative analysis of the 1915 and 1919 versions of the Symphony no. 5 in E-flat major, op. 82, by Jean Sibelius. New York: Oxford University Press, 2010. Print.

Introduction

Live music performances are always an incredible and meaningful experience. This review is dedicated to the orchestral concert performances of the overture from the operetta Candide and the seven movements from the orchestral suite The Planets. The concerts under examination are examples of classical music being performed, as is tradition, by an orchestra. Despite their differences in rhythm, tempo, and mood, both performances have an overall exhilarating yet soothing effect and allow the listener to feel a vast range of emotions.

Live Performances of Candide and The Planets

The first piece of music under review is the overture from the operetta Candide composed and conducted in the performance by Leonard Bernstein. Written by Bernstein in 1956, the operetta is based on Voltaire’s 1759 novella of the same name (Savran, 2019). Voltaire’s Candide is a satire that strives to show the inadequacy of optimism and rejects it in all its forms (Savran, 2019). Bernstein follows in Voltaire’s footsteps, with his musical version of Candide being a satire of and homage to European operettas. The overture is performed at the andante, or walking pace, tempo, and a quadruple meter. It is mainly homophonic, with the different voices in the orchestra, including strings, flutes, oboes, horns, drums, and piccolos, following the same melody (Candide overture: Leonard Bernstein conducting, 2007). The overall mood of the piece is joyful, with the overture opening with a loud, fast-paced melody, shifting to a softer and smoother melody in the second part, and finishing in an exuberant mood. The overture was certainly an intriguing piece of work, and the use of strings that sound somewhat optimistic for a satirical operetta was captivating.

The second piece of music performed was the orchestral suite The Planets, conducted by Eugene Ormandy. Composed by Gustav Holst during the First World War, the suite written in seven movements is dedicated to the planets Mars, Venus, Mercury, Saturn, Jupiter, Uranus, and Neptune (Green, 2020). Each movement of the suite is played in a different tempo, meter, mood, and melody. Even the dynamics of each movement differed from each other. Nevertheless, all movements are homophonic in texture and are examples of consonant harmony. It can be argued that each difference between the movements is a calculated decision by Holst, made in order to portray each planet as a distinct entity. For example, the first movement, dedicated to Mars, creates a military image through a simple quintuple meter and through the voices of the orchestra growing louder over time, becoming deafening yet not overpowering. The employment of bass drums, strings, flutes, and trumpets in the movement helps create the image of a war-bringer (Holst “Die Planeten – The Planets” – Philadelphia orchestra – Eugene Ormandy 1977, 2013). Overall, the suite is an impeccable piece of musical creation.

Conclusion

In summary, the whole experience of listening to the Candide overture and The Planets was new to me, as I had never attended such an orchestral performance before. I was impressed with how effortlessly the musicians played their parts and how different voices mixed together flawlessly. In addition, all the performers, including the conductors, were consumed by the music, with their facial expressions reflecting every change in mood. Therefore, the concert as a whole was a wonderful experience that helped me better appreciate classical music and showed me how one’s mood could be affected by music.

References

Candide overture: Leonard Bernstein conducting[Video]. (2007). YouTube.

Green, A. (2020).Gustav Holst’s the planets: The making of a masterpiece. Welcome to BBC Sky at Night Magazine – BBC Sky at Night Magazine.

Holst “Die Planeten – The Planets” – Philadelphia orchestra – Eugene Ormandy 1977 [Video]. (2013). YouTube.

Savran, D. (2019). “Nothing more than this?”: Bernstein’s “Candide” as existential vaudeville in Barrie Kosky’s Berlin production. Operetta Research Center. Web.