Places Discussed

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Castle of Thunder-ten-tronckh

Castle of Thunder-ten-tronckh. Castle in Westphalia of Baron Thunder-ten-tronckh, Candide’s presumed father, in which Candide is born and from which he is eventually expelled. Voltaire’s ironic description of the castle sets the tone for the entire text. According to Candide’s mentor, the Optimist philosopher Pangloss, the castle is the best of all castles in the best of all possible worlds. Voltaire immediately undercuts this notion by “supporting” it with carefully chosen ironic details. For example, the castle is a fine one because it has windows and a door, and a piece of tapestry in the great hall. A fine castle would have many windows and doors, and tapestries everywhere to insulate its occupants from the cold stone walls. Voltaire’s narrator goes further, describing the castle’s 350-pound baroness of Thunder-ten-tronckh, a pack of ordinary dogs that doubles as the baron’s hunting pack, and household servants who double as huntsmen. If the castle truly were the best of all possible castles, its baroness should personify grace and beauty, it would have dogs used for hunting only, and would have servants dedicated to training and managing the hunting dogs. The greatest irony lies in Pangloss’s insistence that stones were made for building castles, so man has castles. Castles were built for defense; in an ideal world, there would be no need for defense.

El Dorado

El Dorado. South American utopia that Candide and his servant, Cacambo, discover by accident during their flight from Jesuit missionaries in Paraguay. Unlike other locales in the novel, El Dorado truly is the best of all possible worlds, the very antithesis of corrupt European civilization. Gold, which the people of El Dorado call “yellow mud,” is everywhere, and precious stones litter the ground, but the inhabitants care nothing for these riches. Travelers in El Dorado—even outsiders like Candide and Cacambo—are welcomed and entertained sumptuously at government expense. The people do little but praise God, as if with one voice, and the king of El Dorado is the very model of the modern enlightened monarch. No one wants to leave this paradise—except the two irrational European visitors, who want nothing more than to exploit its wealth.

*Lisbon

*Lisbon. Capital city of Portugal, in which thirty thousand people were killed by an earthquake on All Saints’ Day in 1755. Lisbon’s earthquake forced Optimists to re-examine their beliefs, in part because it occurred on a religious holiday and candles used in the celebrations caused countless fires. How could a benevolent God permit such a tragedy in the best of all possible worlds? In the novel, Lisbon symbolizes all that is wrong with Pangloss’s beloved Optimism. The most generous man in the novel, Jacques the Anabaptist, drowns in the harbor, while the brutish sailor he rescues survives unscathed.

Candide and Pangloss help the people of Lisbon extinguish fires and care for the injured while the rescued sailor, who epitomizes the evil in human nature, robs the dead, gets drunk, and fornicates with a prostitute amid the stench of the burning city and the moans of the dying. To prevent more earthquakes, the leaders of the Inquisition (also leaders of the university and therefore some of the best educated men in Europe) try to appease God by burning to death supposed heretics, none of whom is actually guilty. After rain—perhaps a sign from God the Inquisitors choose to ignore—extinguishes the fires, Pangloss is hanged for nothing more than discussing free will over dinner, and the naïve Candide is flogged merely for listening to Pangloss. Later that same day, another earthquake strikes, revealing the vanity of this “civilized” human sacrifice. For Voltaire, this great capital represents greed, cruelty, and superstition, the real bases of European “civilization.”

Land of the Oreillons

Land of the Oreillons. Region bordering Paraguay that Voltaire uses to build an attack on his bitter rival, Jean Jacques Rousseau, an Enlightenment philosopher who believed that people were inherently good but were inevitably corrupted by society and its institutions. In a pure state of nature, Rousseau argued, mankind would be governed only by its goodness. The land of the Oreillons has no recognizable social structure or institutions, and Voltaire describes it as the pure state of nature envisioned by Rousseau. Its people, however, far from being good, practice bestiality and cannibalism.

*Surinam

*Surinam. Dutch colony north of Brazil in which Candide encounters a slave who has endured the hell of the Caribbean sugar plantations, arguably the worst place in the world in which to be a slave. The slave has had all of his limbs amputated as punishment for his various escape attempts and now can do nothing but lie in the dust, waiting for his master. Despite his uselessness, he is still kept as a slave. Candide’s brief visit to Surinam exposes the European sugar consumers’ responsibility for the cruelty of Caribbean slavery.

Turk’s farm

Turk’s farm. Twenty-acre farm in Turkey run by an old man who ignores the outside world and lives contentedly on what he and his family can produce on their own land. This farm illustrates the primary theme of the novel: rather than try to reform or to explain away the evils of the world, Voltaire suggests, people should cultivate their own gardens, that is, improve conditions in their own immediate spheres. The Turk’s farm is a model, self-sufficient society in microcosm, wherein each member satisfies a need and each member’s needs are satisfied. Candide buys a similar farm nearby on which he and his friends form their own “family,” and he ends his travels.

Expert Q&A

How does Voltaire's portrayal of El Dorado differ from eighteenth-century Europe?

Voltaire uses El Dorado as a foil for eighteenth-century Europe, which is full of irrationality, atheism, and poverty.

Historical Context

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Lisbon
On the morning of All Saints' Day, November 1, 1755, an earthquake devastated Lisbon. In just six minutes, the quake claimed 15,000 lives, injured many more, and demolished thirty churches along with thousands of homes. Despite advancements in natural science, the fact that Lisbon—a devoutly Catholic city—was destroyed on a significant Catholic feast day, while many were at church, led to widespread superstitious speculation.

On November 19, 1500, Pilgrim homes were also destroyed by an earthquake. Many people explained these disasters through religious interpretations. Voltaire, outraged by such beliefs, penned a notorious reaction to the Lisbon earthquake. In response, Rousseau wrote a letter, arguing that Voltaire was mistaken. Rousseau claimed that human actions were to blame, suggesting that if humanity had not abandoned the natural world or committed original sins and lived in cities, these disasters might have been avoided. Furthermore, Rousseau contended that Leibnitz was correct—in the grand scheme of things, everything must work out for the best in this best of all possible worlds. To think otherwise, he argued, was to succumb to suicidal pessimism.

France
Europe's Enlightenment period was on the brink of transforming into political revolution. During this time, reason was seen as the ultimate tool to challenge old institutions and superstitions. In Britain, where the church had long been reduced to a ceremonial role, science and industry drove progress. Conversely, France was still heavily influenced by the Catholic Church and controlled by an almost all-powerful King. The French bourgeoisie was weak and small in number, while the majority of the population belonged to the lower classes, who were largely illiterate, heavily taxed, and underemployed. France was gradually industrializing but could not compete with British factories. The country was in desperate need of reform.

Various governmental reforms were attempted. The finance minister sought to overhaul the economic structure of the government, but the process was too painful. Etienne de Silhouette's efforts resulted only in the creation of a new term: a silhouette, representing the reduction of a figure to its simplest form.

Seven Years War
France reignited hostilities with England over control of North America. In 1759, two decisive British moves effectively settled the issue. First, well-equipped British forces, along with their American and Native-American allies, expelled the French from the Lake Champlain region, capturing Duquesne and subsequently constructing Crown Point Military Road through Vermont. The second, more decisive action was the British capture of Niagara. This led to an epic battle on the Plains of Abraham, just outside Quebec City, where British General Wolfe defeated French General Louis-Joseph Montcalm. Both generals sustained fatal wounds during the battle, which effectively ended the Seven Years War.

Expert Q&A

How does Candide reflect the culture, economics, and politics of pre-revolutionary France?

Candide by Voltaire satirically critiques pre-revolutionary France's culture, economics, and politics. The novel highlights the rigid social hierarchy, as seen through Candide's noble yet marginalized status. It critiques the influence of the Catholic Church and monarchy, reflecting Enlightenment ideas challenging established power structures. Although it didn't cause the French Revolution, Candide signifies the growing discontent and Enlightenment influence leading to revolutionary change.

Setting

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Candide's adventure leads him through Europe, across South America to the legendary El Dorado, and back to Europe once more. Throughout his travels, he is accompanied by various companions, including the Baron's daughter and son, a loyal mixed-race servant, and his tutor, Pangloss, who steadfastly believes that this world is the best possible one. Candide faces numerous perils from war, human errors, and natural calamities, all vividly depicted in Voltaire's satirical style.

Voltaire demonstrates a contemporary understanding of geography and a keen insight into international relations. The satirical tone complements Candide's ever-changing fortunes, aligning well with his resilient and cheerful disposition.

Expert Q&A

What are the settings in the novel Candide?

The novel is set in various locations starting in Westphalia, Germany, where Candide lives with his uncle. After being expelled, he travels across Europe, including Holland and Spain, and ventures to South America, visiting Argentina, Paraguay, and Suriname. His journey ends in Europe, including Transylvania. Through these diverse settings, Candide experiences various hardships, leading him to reject his tutor's optimistic philosophy.

What aspects make El Dorado a utopia in Candide?

El Dorado is depicted as a utopia due to its abundance of resources and absence of societal ills. Gold and gems are as common as stones, and everyone has their needs met without greed or envy. The society worships one God without religious hierarchy, eliminating conflict over beliefs. There are no courts or prisons, indicating a harmonious community free from crime. The absence of the seven deadly sins further solidifies El Dorado as an ideal society.

Literary Style

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Setting
Voltaire took the old saying that the world is a stage to heart and incorporated this concept into his novel. Similar to modern science fiction, Voltaire positioned both ideal and primitive societies in remote areas of the globe. The rest just needed a bit of exaggeration. For instance, by using a few details about the uncharted mountains of Peru and tales of golden cities, Voltaire could craft a believable Eldorado. Similarly, the limited knowledge about Amazonian tribes enabled the creation of the cannibalistic Oreillons.

Another aspect of Voltaire's setting is his use of the Eden trope. Since the biblical book of Genesis, many authors have depicted gardens as paradises (or hells) that characters find themselves in and, for some reason, are expelled from. Candide travels through a series of such gardens. Each garden has a specific location and imparts a lesson. However, the best garden, like the finest bed, turns out to be the one Candide cultivates himself.

Satire
Voltaire employed satire to challenge the prevailing cult of optimism of his era. While satire as a form of storytelling has ancient roots, its classic form began with the Greek writer Aristophanes and became a distinct genre with the Roman poets Horace and Juvenal. Voltaire was a comic satirist. He loved humanity too much to be tragic. Because of this love, he sought to help people as much as he could. By highlighting human follies through the absurd yet thrilling adventures of Candide, his satire remains timeless.

Picaresque
The picaresque story originated from Spanish attempts to mock chivalric romance. While romances depict the ideal knight on heroic quests, the picaresque hero survives by his wits rather than honest labor. Both the knight and the picaresque hero share the saying, "a rolling stone gathers no moss." In the eighteenth century, shifts in demographics led to a preference for tightly woven, realistic novels, causing the picaresque to be seen as a lower form of art.

Candide is a picaresque novel. Candide is pushed by fate to wander the world, meeting people and losing them, amassing wealth and then losing it all. His journeys expose him to the world's workings, which only deepen his skepticism. Ultimately, he stops wandering. As long as he remains still and occupied—unlike both the picaresque hero and the valiant knight—he finds peace of mind.

Literary Qualities

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Voltaire was among the most prolific writers in history, with much to share. He employed a broader vocabulary than any of his non-technical peers, and through his clear, adaptable precision, he avoided the wordiness often found in French prose. Frequently, he incorporated highly technical terms into very readable sentences to enhance the precision of his statements. Reading Candide or any of Voltaire's prose fiction is a learning experience, even today.

Translating this story from French without losing some of its formal, satirical tone is nearly impossible. Voltaire maintains his sense of humor even when depicting acts of torture and barbarism. It's not that he finds human cruelty amusing; rather, he finds it absurd that people think so highly of themselves and the world while committing such terrible acts against each other.

This humor seems to sustain Candide, or at least keeps him astonished by each new event. The reader's interest in Candide is continually refreshed, despite a series of depressing events interspersed with adventurous opportunities. A lesser writer might easily fall into the trap of creating a mere serial adventure story, but Voltaire keeps Candide likable, well-meaning, and remarkably resilient in extraordinary circumstances. Candide's good humor is as straightforward as his sincere willingness to keep living and eating, even when beaten or impoverished.

There are clever references to French society and fashion, especially when Candide is in Paris, which serve as clear examples of self-referential humor. Voltaire doesn't spare his own community and fellow writers when portraying the world's rogues.

This story is meticulously crafted to match its content and purpose. With a light touch and precise language, Voltaire infuses this enjoyable tale with a serious underlying intent. The result is a story that remains as relevant and delightful as the day it was written.

Social Sensitivity

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Cacambo, a man of mixed heritage, becomes both Candide's companion and servant. Other individuals who assist and befriend Candide include Jacques, an Anabaptist, and Martin, a scholar and Manichean heretic. Voltaire goes to great lengths to illustrate how these men, often scorned by high-status Europeans, are far more trustworthy and honest than those who should have been responsible for aiding Candide.

Conversely, many characters in roles of leadership and social prominence are mocked; their desires, greed, and weaknesses are portrayed as being as significant, if not more so, than those of any ordinary person. Voltaire does not shy away from highlighting the absurdity of venerating the role or attire when the individual wearing it is undeserving.

The mindset that fueled the French Revolution is palpable throughout this brief novel and in other works by Voltaire from this period. An egalitarian spirit in Candide leads the young noble bastard to regard a mixed-race individual as a cherished friend, just as much as the baron's son who raised him. From the viewpoint of 1759, this is the voice of the future, the voice of the revolution that cried "Liberty! Equality! Brotherhood!" This is not the voice of a dandy writing frivolous love comedies to cater to fashionable audiences.

The world evolved around Voltaire as he authored his numerous works. The French Revolution did not commence and conclude in a single day; it began in the hearts and minds of the populace long before the storming of the Bastille. The slogans and pamphlets of the revolution would have had much less impact without the novels and poetry of Voltaire and other writers. We "create" the world in which we live, just as writers create stories and citizens create a community.

For someone who resided in Paris, Voltaire demonstrates a significant appreciation for geography and an awareness of anthropology that was uncommon in his era. Even educated men who diligently studied the world and its peoples often emerged with a Euro-centric perspective, suggesting that Western experiences were not only superior but also the sole standard for measuring the world. Voltaire aimed to correct not just ignorance with this story, but also prejudice and hateful discrimination.

Theodore Besterman, in his introduction to the 1966 edition of The World's Classics, asserts that any analysis of Voltaire's stories "must point to the role they played in changing men's ideas about their place in the nation, the world, and the universe." Voltaire challenged Western man's self-perception by highlighting the existence of other parts of the world, inhabited by pagans and savages whose behavior was surprisingly similar to that of civilized Christians. He reminded readers that the earth they all shared was merely a tiny speck in the vastness of infinity. Most importantly, Voltaire continuously emphasized not just the horror but also the absurdity of injustice and its offspring: intolerance, fanaticism, cruelty, and war.

Compare and Contrast

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The Eighteenth Century: France and Britain are locked in a continuous struggle to dominate as the top colonial power. Much of their war effort involves inciting Indian "allies" to fight each other before the colonists expand into the wilderness.

Today: Following the collapse of the Soviet Union, America emerges as the lone superpower.

The Eighteenth Century: The first deliberate use of biological agents by a military takes place during King Phillip's War. The British purposefully contaminate blankets destined for the Indians with smallpox.

Today: The United States imposes economic sanctions on Iraq due to suspicions of their development and use of biological weapons.

The Eighteenth Century: General George Washington recommends fighting from behind trees and rocks, using ambush tactics, rather than the traditional parade-style formations.

Today: While guerilla warfare is employed when necessary, modern combat strategies heavily depend on airpower and missile strikes to weaken the enemy before ground troops are deployed. This approach aims to reduce casualties.

The Eighteenth Century: Medical technology is primitive and often causes more harm than the initial ailment. Syphilis is the most perilous sexually transmitted disease of the era.

Today: Despite advanced "space age" medical technology, AIDS continues to be a devastating and fatal virus.

The Eighteenth Century: Transportation options are limited, and all entertainment, such as concerts and plays, is performed live. Industrial needs draw more people into large cities.

Today: With the advent of cellular phones, computers, and automobiles, people are increasingly relocating from cities to smaller communities.

Media Adaptations

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Candide faced significant challenges during its adaptation to the stage. The process of writing the stage version spanned several decades. The foundation for the play was established in 1953 by Lillian Hellman and Leonard Bernstein as their response to the "Washington Witch Trials" conducted by the House Un-American Activities Committee. Poet Richard Wilbur served as the lyricist, although Dorothy Parker contributed to "The Venice Gavotte." The initial performance was directed by Tyrone Guthrie, featuring sets by Oliver Smith and costumes designed by Irene Sharaff. The play premiered at the Martin Beck Theater in New York on December 1, 1956, receiving mixed reviews. Since then, the play has undergone continuous revisions.

For Further Reference

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Bottiglia, William F. Voltaire's Candide: Analysis of a Classic, 2nd edition, Geneva, 1964. This book offers a critical analysis of Candide.

Brailsford, H. N. Voltaire, Oxford, 1935. A comprehensive book about Voltaire.

Lanson, Gustav. Voltaire, Paris: Hachette, 1906. This book explores the life and works of Voltaire.

Vulliamy, C. E. Voltaire, Geoffrey Bles, 1930. A detailed book focused on Voltaire.

Bibliography and Further Reading

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Sources
A. Owen Aldridge, in Voltaire and the Century of Light, Princeton University Press, 1975.

James Boswell, in The Life of Samuel Johnson, J. M. Dent & Sons, Ltd., 1978, pp. 210-11.

William F. Bottiglia, "Candide's Garden," in his Voltaire: A Collection of Critical Essays, edited by W. F. Bottiglia, Prentice-Hall, Inc., 1978, pp. 87-111.

Georg Brandes, in Voltaire, Frederick Ungar Publishing Co., 1964.

The Gentleman's Magazine and Historical Chronicle, Vol. XXIX, May, 1759, pp. 233-37.

Nikolai Mikhailovich Karamzin, "A Letter on October 2, 1789," in his An Account of a Young Russian Gentleman's Tour through Germany, Switzerland, France, and England, translated by Florence Jonas, Columbia University Press, 1957, pp. 144-50.

Gustave Lanson, in Voltaire, John Wiley & Sons, Inc., 1966.

André Maurois, "Voltaire: Novels and Tales" in his The Art of Writing, The Bodley Head, 1960, pp. 35-50.

John Morley, in Voltaire, Macmillan and Co., 1872.

For Further Study
C. J. Betts, "On the Beginning and Ending of Candide," Modern Language Review, Vol. 80, 1985, pp. 283-92.

Betts explores the contrasts and connections between the first and last chapters of Candide, suggesting that the conclusion of the tale inversely mirrors its opening.

Moishe Black, "The Place of the Human Body in Candide," in Studies on Voltaire and the Eighteenth Century, Vol. 278, 1990, pp. 173-85.

Black argues that Voltaire uses bodily imagery throughout Candide to ground his exploration of violence, philosophy, and sexuality.

William F. Bottiglia, "Candide's Garden," in Voltaire: A Collection of Critical Essays, edited by William F. Bottiglia, Prentice-Hall, 1968, pp. 87-111.

In his detailed analysis, Bottiglia asserts that the ending of Candide supports the idea that personal productivity within one's own sphere can result in both "private contentment and public progress."

Donna Isaacs Dalnekoff, "The Meaning of Eldorado: Utopia and Satire in Candide," in Studies on Voltaire and the Eighteenth Century, Vol. 127, 1974, pp. 41-59.

Dalnekoff explores Voltaire's use of Eldorado to enhance his satire by presenting a utopian contrast to the corrupted world. She also believes that Voltaire mocks Eldorado through irony and detachment.

Will & Ariel Durant, in The History of Civilization: The Age of Voltaire, Simon and Schuster, 1965.

This series by historians Will and Ariel Durant offers a comprehensive view of Western European history from its beginnings to the Napoleonic era. Although their historical narrative emphasizes major ideas and influential figures, it remains surprisingly inclusive. The ninth volume focuses on Voltaire and his century.

Josephine Grieder, "Orthodox and Paradox: The Structure of Candide," in The French Review, Vol. 57, No. 4, March, 1984, pp. 485-92.

Grieder categorizes Candide as part of "paradox" literature, arguing that its contradictions challenge rhetorical, logical, sentimental, and psychological norms.

Patrick Henry, "Sacred and Profane Gardens in Candide," in Studies on Voltaire and the Eighteenth Century, Vol. 176, 1979, pp. 133-52.

Using a mythological perspective inspired by Mircea Eliade, Henry analyzes three gardens in Candide, linking them to Voltaire's themes of time and the interplay between myth and history in the narrative.

Patrick Henry, "Time in Candide," in Studies in Short Fiction, Vol. 14, 1977, pp. 86-8.

In this brief article, Henry argues that it is only when Candide ceases seeking future fulfillment that he comes to terms with his circumstances and begins living in the present.

Patrick Henry, "Travel in Candide: Moving On but Going Nowhere," in Papers on Language and Literature, Vol. 13, 1977, pp. 193-97.

Henry interprets the characters' journeys in Candide as an attempt "to achieve ultimate stability amidst the ever-changing reality."

Patrick Henry, "War as Play in Candide," in Essays in Arts and Sciences, Vol. 5, 1976, pp. 65-72.

Henry examines Voltaire's war themes "through the lens of Johan Huizinga's Homo Ludens: A Study of the Play Element in Culture.

Frederick M. Keener, "Candide: Structure and Motivation," in Studies in Eighteenth-Century Culture, Vol. 9, 1979, pp. 405-27.

Keener meticulously explores the novel's psychological development, tracking Candide's self-awareness and introspection.

Manfred Kusch, "The River and the Garden: Basic Spatial Modes in Candide and La Nouvelle Heloise," in The Past as Prologue: Essays to Celebrate the Twenty-Fifth Anniversary of ASECS, edited by Carla H. Hay and Sydny M. Conger, AMS, 1995, pp. 79-89.

Kusch discusses how Voltaire crafts a stagnant "closed garden" image of Eldorado by including a river that leads nowhere, contrasting it with the group's more viable "open garden" in Constantinople.

James J. Lynch, "Romance Conventions in Voltaire's Candide," in South Atlantic Review, Vol. 50, No. 1, January, 1985, pp. 35-46.

Lynch describes Voltaire's "burlesque of the romance tradition" by comparing Candide to a seventeenth-century romance genre, the Heliodoran novel.

Haydn Mason, "Candide: Optimism Demolished," Twayne, 1992.

In this comprehensive examination of Candide, Mason delves into the literary and historical background of the work, interpreting Voltaire's treatment of philosophy, character dynamics, and narrative structure.

Alan R. Pratt, "'People Are Equally Wretched Everywhere': Candide, Black Humor and the Existential Absurd," in Black Humor: Critical Essays, edited by Alan R. Pratt, Garland, 1993, pp. 181-93.

Pratt relates Voltaire's use of satirical black humor to contemporary black-humor writers who, like Voltaire, employ dark comedy to highlight the absurdity of the world.

Gloria M. Russo, "Voltaire and Women," in French Women and the Age of Enlightenment, edited by Samia I. Spencer, Indiana University Press, 1984, pp. 285-95.

Russo examines gender issues during the Enlightenment. In her chapter on "Voltaire and Women," she discusses the numerous significant women in Voltaire's life and their intriguing, albeit platonic, relationships with him.

Arthur Scherr, "Voltaire's Candide: A Tale of Women's Equality," in The Midwest Quarterly, Vol. 34, No. 3, Spring, 1993, pp. 261-83.

Scherr argues that Candide illustrates the equality and mutual dependence of men and women, as evidenced by Candide's reliance on women for his happiness.

Mary L. Shanley and Peter G. Stillman, "The Eldorado Episode in Voltaire's Candide," in Eighteenth-Century Life, Vol. 6, No. 2-3, January-May, 1981, pp. 79-92.

Shanley and Stillman contrast the unreachable ideal of the static Eldorado with the garden image, which symbolizes a realistic goal for Europeans in a dynamic world.

Renee Waldinger, ed., Approaches to Teaching Voltaire's Candide, Modern Language Association, 1987.

Waldinger's compilation features essays that explore numerous perspectives on Candide. These include examinations of its intellectual concepts, philosophical foundations, satire, comedy, and much more.

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