The Journey Of Voltaire's Candide
The eighteenth century period was a time for travel writing and texts describing journeys. It is stated that 'different forms of non-fictional travel writing influenced the development of eighteenth-century literature' (The Open University, 2012, 'Forms of travel writing', transcript, p. 2). Voltaire’s Candide (2006[1759]) is an example, readers enjoy a philosophical journey that follows a series of challenges to Pangloss principle of optimism. The journey of Voltaire's characters 'poses questions about finding faith and hope in an unforgiving universe' (Johnson, 2012, p. 137).Voltaire's travelling tale, classified into the satire genre is mainly satirical ways to ridicule and criticise the system and society of his time. The hyperbole points
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The ironic tone of the plot establishes the narrative voice. 'The narrative is contextualised by the way humanity behaves, including the concept of slavery' (Turner, 2014, p.1). In other words, human behave depends on development theories and positions in which individuals, society and institutions finds themselves. In addition, the journey of Voltaire’s Candide, represented in a fictional novel is narrated with a third-person omniscient narrator, centre on the perception and experiences of Candide. The characters journeys depicted objectively throughout the novel are implicated either directly or indirectly. However, Cunégonde, the Old Woman and Paquette, those characters tell their stories in first person narration inside the overall narration. A technique explained by Fraser as a recounted episodes told from a feminine perspective, Voltaire gives history from the point of view of its victim (...) and Pangloss's apathy is exposed (...) in a male-dominated society' (Fraser, 2012, p. 184). Furthermore, Candide meets those characters and the others on his journey around the world. The optimistic world of Candide and Pangloss is challenged with misfortunes and ironic actions which furthers the story. The protagonist self inflicted problems exacerbate throughout the plot with his insistence on looking for Cunégonde, the forbidden and disillusioned love he left in
The ironic tone of the plot establishes the narrative voice. 'The narrative is contextualised by the way humanity behaves, including the concept of slavery' (Turner, 2014, p.1). In other words, human behave depends on development theories and positions in which individuals, society and institutions finds themselves. In addition, the journey of Voltaire’s Candide, represented in a fictional novel is narrated with a third-person omniscient narrator, centre on the perception and experiences of Candide. The characters journeys depicted objectively throughout the novel are implicated either directly or indirectly. However, Cunégonde, the Old Woman and Paquette, those characters tell their stories in first person narration inside the overall narration. A technique explained by Fraser as a recounted episodes told from a feminine perspective, Voltaire gives history from the point of view of its victim (...) and Pangloss's apathy is exposed (...) in a male-dominated society' (Fraser, 2012, p. 184). Furthermore, Candide meets those characters and the others on his journey around the world. The optimistic world of Candide and Pangloss is challenged with misfortunes and ironic actions which furthers the story. The protagonist self inflicted problems exacerbate throughout the plot with his insistence on looking for Cunégonde, the forbidden and disillusioned love he left in