François-Marie Voltaire

En 1685, Luis XIV revoca el edicto de Nantes, que permitía la libertad de cultos en Francia. En este clima de intolerancia religiosa, Voltaire escribe el Tratado sobre la tolerancia.En 1685, Luis XIV revoca el edicto de Nantes, que permitia la libertad de cultos en Francia. En este clima de intolerancia religiosa, Voltaire escribe el Tratado sobre la tolerancia con ocasion de la muerte de Jean Calas y anima al resto de los filosofos a hacer la guerra sistematicamente, al Infame, es decir, a cualquier religion, pero, sobre todo, a la catolica de Roma. Voltaire, a diferencia de Rousseau, pretende pasar de una oposicion meramente intelectual a una lucha activa centrada en los casos particulares. El caso de Jean Calas, comerciante jansenista que fue declarado culpable en un juicio manipulado, y ajusticiado por un delito no cometido, iba a ser la primera aplicacion de esa consigna que daba al resto de los filosofos. Voltaire organiza los datos de que dispone en una estrategia de combate sin antecedentes en la historia y que solo puede compararse con una moderna campaña de prensa. La historia de los Calas es, en el Tratado sobre la tolerancia, un trampolin para hacer un juicio al fanatismo: de los detalles particulares Voltaire se eleva a las alturas biblicas, historicas, metafisicas y conceptuales sin olvidar el recurso a los detalles del sentimiento personal. El autor se encarna en los perseguidos para buscar el triunfo final de la filosofia y de las luces sobre el Infame.

Cándido es la pieza indiscutible del arte narrativo del Siglo de las Luces: una novela de aprendizaje sobre un optimista que cree que a pies juntillas que el mundo es un paraíso, aunque la realidad se encarga de negarlo.En esta obra, Voltaire da forma literaria y critica a tres años de terribles acontecimientos historicos (el terremoto de Lisboa y la guerra de los Siete Años), cargando contra la teoria de Leibniz de que vivimos en el mejor de los mundos posibles.Candidoes una novela de aprendizaje, y su heroe, un optimista que cree a pies juntillas que el mundo es un paraiso, a pesar de que, desde la primera linea, la realidad se encarga de negarlo. Este contexto da pie a Voltaire a atacar, con ironia y sarcasmo, la intolerancia, el fanatismo, los abusos de la colonizacion europea en America, los engaños y artificios sociales y las matanzas de las guerras.

Càndid, la més cèlebre de les novel·les de Voltaire, és l’exemple més reeixit de narració filosòfica, un gènere sorgit amb la Il·lustració. A través del personatge del jove Càndid, Voltaire formula l

Cándido cuenta las desventuras de un viajero optimista que se aferra desesperadamente a la creencia leibniziana de que vive en "el mejor de los mundos posibles". Cruel, divertida y en ocasiones escandalosa, la inmortal narracion del filosofo frances lleva a Candido en un viaje alrededor del mundo para descubrir que contrariamente a las enseñanzas de su distinguido tutor, el Dr. Pangloss no todo ocurre siempre para bien. Una obra que, bajo la forma de satira, propone una profunda reflexion sobre los aprendizajes de la experiencia humana cuyo mensaje sigue totalmente vigente para el lector del siglo XXI.

El 1 de noviembre de 1755 un terremoto sacudió la capital de Portugal, Lisboa, extendiéndose a Cádiz y Sevilla. Las cifras no son exactas, pero se estima que murieron alrededor de sesenta mil y cien mil personas. Europa recibio las noticias tres semanas despues, y prontamente la discusion sobre este hecho afloro entre los intelectuales. Voltaire (1694-1778) fue uno de los que se vio consternado ante tal suceso. Escribio su celebre poema sobre "El desastre de Lisboa o Examen del axioma 'todo esta bien'". Poema que suscito la respuesta de Rousseau, en su "Carta sobre la Providencia",

Desde luego, del ingenio y la inventiva que caracterizan a Voltaire no cabía esperar un gran sistema filosófico que pudiera homologarse por ejemplo con el criticismo kantiano, sino más bien lo que nos encontramos justamente aqui, en su Tratado sobre la tolerancia: una ingeniosidad propia del estilo aforistico, la potencia demoledora del sarcasmo, el uso de la mordacidad pata ridiculizar las posturas del adversario dialectico. Mediante su ironia, nuestro autor contrapone "la fuerza de la razon" a "a razon de la fuerza", y combate las violentas imposiciones de la barbarie gracias al sentido comun -algo que no es tan comun como seria deseable-, apelando a cosas tan elementales como la prudencia y el respeto hacia las convicciones ajenas.

In the intellectually stimulating anthology The Fourth Book of Virgils Aeneid and the Ninth Book of Voltaires Henriad, readers are invited to explore themes of heroism, destiny, and the interplay of power and morality. This collection juxtaposes the poetic grandeur of VirgilAos vivid descriptions of ancient epic journeys with VoltaireAos incisive prose that questions authority and critiques the societal structures of his time. Within this rich tapestry of storytelling, the two iconic works reflect on the human condition through both classical and Enlightenment-era lenses, challenging readers to draw connections across temporal and cultural divides. The anthology serves as a significant convergence of Latin and French literary heritage, featuring the works of Virgil, a towering figure of Roman literature, and Voltaire, a master of rhetoric and satire. Their writings encapsulate pivotal movements: the former, rooted in the Augustan Ages classicism, and the latter, a product of the Enlightenments intellectual dynamism. Together, these authors bring forth a diverse dialogue that not only underscores the shared continuity in theme but also highlights the divergent evolutions of literary expression across centuries. For scholars and enthusiasts alike, this collection offers a unique gateway to comprehending the continuities and contrasts in Western literature. It not only educates but also inspires critical thought through its compilation of distinct perspectives, imbuing readers with a profound understanding of the transformative power of literature. This anthology stands as a testament to the enduring conversations between texts, inviting readers to appreciate the historicity and cultural richness encapsulated within these exemplary works.

Published in 1764, Voltaires "Philosophical Dictionary" is a series of short essays, hortatory and propagandist, over an enormously wide range of subjects."Philosophical Dictionary" was deliberately planned as a revolutionary book and was duly denounced on all sides and described as a deplorable monument of the extent to which intelligence and erudition can be abused. The subjects treated include Abraham, Angel and Anthropophages; Baptism, Beauty and Beasts; Fables, Fraud and Fanaticism; Metempsychosis, Miracles and Moses; all of them exposed to Voltaires lucid scrutiny, his elegant irony and his passionate love of reason and justice.

Cándido de Voltaire es una de las grandes obras de la literatura universal. En este caso, se trata de un «libro ilustrado» no al uso, ya que altera el orden habitual en este tipo de edición al presentar el texto sin las ilustraciones intercaladas, reservando el espacio que comienza donde acaba la novela -página 86- para narrar la misma historia, pero reinterpretada en imágenes, con las fascinantes pinturas realizadas por Óscar Astromujoff. La cuidada traducción de José Ramón Monreal y la alta calidad de las presentaciones de dos especialistas fuera de lo común, Fernando Savater y Pedro Azara, contribuyen a hacer de esta edición algo único.

El jove Càndid és expulsat del paradís de Thunder-ten-tronckh, allunyat de la bella Cunegunda i del seu tutor Pangloss, l’optimista irreductible que li ha ensenyat que vivim al millor dels mons possi

El joven Cándido, discípulo del doctor Panglós, a su vez discípulo de Leibniz, filósofo del optimismo, padece el infortunio de ser fiel a la lección aprendida en la adolescencia: “el nuestro es el

El filósofo ignorante, traducido y anotado por Mauro Armiño, causará el interés de todos los amantes de la historia del pensamiento y de las ideas, así como de todos los descreídos de la filosofía, la ciencia y la religion como discursos cerrados y definitivos. La fina ironia de Voltaire cautivara a unos y a otros en un texto que reivindica por encima de todo la libertad de pensamiento y el legitimo logro de una vida feliz.

"Lingenuo" e "Luomo dai quaranta scudi" vengono pubblicati, anonimi, a meno di un anno di distanza luno dallaltro, rispettivamente nel 1767 e 1768. Nel primo, un indiano urone, chiamato lIngenuo, una volta giunto in Francia fa emergere la tensione fra natura e civilta. Ne segue una faticosa formazione personale e intellettuale, che si affianca a una sempre maggiore attitudine critica nei confronti della societa. Nel secondo racconto, a essere preso di mira come oggetto polemico e la fisiocrazia. In entrambi, lo spirito critico di Voltaire si nutre di dispute acute e brillanti, con una prosa lucida e inventiva.

Questi tredici racconti (che completano l'insieme dei "contes philosophiques" di Voltaire pubblicati da Feltrinelli e curati da Lorenzo Bianchi) offrono un distillato della narrazione voltairiana sospesa tra divertimento e apologo, fantasia e ragione. Così se Pot-pourri mette in scena con Pulcinella e il suo teatro di marionette un'irriverente allegoria di Gesù Cristo e della Chiesa, incarna anche, con le sue divagazioni e allusioni, un procedimento narrativo basato sull'ironia e su una scrittura brillante e fantastica. Infatti questi racconti sono più spesso avventura, gioco, passatempo intellettuale, dove la polemica filosofica e religiosa si traveste da "storia orientale".

"Il trattato sulla tolleranza" (1763), che prese spunto dalla vicenda di un commerciante ugonotto di Tolosa condannato a morte ingiustamente per lomicidio del figlio, e un vero e proprio "manifesto" per la liberta e il valore universale della tolleranza religiosa. E unopera che apre il cosiddetto periodo dei Lumi e costituisce una delle basi ideologiche della Rivoluzione francese. Lintroduzione e di Salvatore Veca.

In "Micromegas," Voltaire presents a biting satire that explores the nature of humanity through the lens of cosmic perspective. The narrative centers on Micromegas, a giant from the planet Sirius, who travels to Earth after encountering philosophical dissatisfaction with his own civilization. The story is imbued with Enlightenment ideals, reflecting Voltaires deft wit and critical examination of society, religion, and anthropocentrism. Utilizing a fantastical narrative style characterized by vibrant imagery and humorous dialogue, Voltaire critiques human folly while simultaneously celebrating the pursuit of knowledge and understanding. Voltaire, a prominent figure of the Enlightenment, was known for his advocacy of civil liberties and his vehement critique of religious dogma and institutional authority. His experiences with censorship, exile, and the broader European philosophical discourse of his time profoundly shaped his writings. In "Micromegas," he ingeniously employs elements of science fiction to challenge the readers perception of significance, prompting reflections on human nature and existence. This thought-provoking novella is highly recommended for readers interested in Enlightenment philosophy, satire, and the interplay between science and society. Voltaires incisive humor and profound insights offer a refreshing perspective on the human condition, making this work both entertaining and deeply contemplative.

"Candide" is an accessible masterpiece which demonstrated to the world Volatires genius as a satirist. The eponymous Candide is a young man tutored by an optimist who is convinced according to the cause and effect philosophy of Leibniz and perhaps is best summarized in Voltaires leitmotif that human beings live in the "best of all possible worlds." Alexander Pope rather laughably made the same outrageous claim in his "Essay on Man" in which he writes, "Everything that is is right." How can this be so, you may well ask? Here is the nut of the problem: it seems that a perfect God has created a highly imperfect world. How can a good, omnipotent, loving God create a world in which so much catastrophic evil exists and which is so often allowed even to thrive? It is a question for the ages. Theologians argue that God created mankind with free will and without it they would simply be puppets without the freedom to make choices. Theologians also point out that the majority of the evil resident in our world is perpetuated on vast masses of humanity by other human beings, not God, and that evil is the cause and effect of conflicting self-interests imposed by people with more power upon the less powerful. But this point doesnt explain why a loving, all-powerful God would allow any of it to exist and endure. Why not cast down all the devils and give his human creatures a perfect garden, a paradise on earth, without snakes anywhere? Why did God create the serpent in the Garden of Eden in the first place? Voltaire, like Rousseau, was an avid gardener and Voltaire jests at Rousseaus good faith in the "Confessions" as if the latter were simply a country bumpkin. But gardens have a great deal of meaning in "Candide" as in, for example, Miltons "Paradise Lost" or "Genesis" and are thematically significant for Voltaire who concludes that gardens are, after all, a wise place to reside out of harms way. Voltaire absolutely skewers the optimistic cause and effect of Pope and Leibniz with a catalog of tragicomic catastrophes which plague not only Candide and Pangloss but all of mankind infinitely. Consider the Great Lisbon Earthquake of 1755 which burst suddenly out of nowhere with all its raging fires and tidal waves to destroy nearly all of the city and the ships in its harbor. Is there no end even to the great catastrophes in which man has no hand but from which we are compelled to suffer except for Gods grace? Voltaires vivid and piercing wit is hilarious as he brazenly brings parody to places high and low, near and far, rich and poor to depict our world as the ultimate dystopia. In his novel Candide can only find a semblance of happiness in El Dorado, a rich, hidden world in South America: in other words, happiness in real life can only be found in a utopia without a basis for reality. So what are we to deduce about Candide? Is he a sometimes violent fool for all his naivete? And is Pangloss not a buffoon who earns his suffering so extensively at every turn of the road for his unjustified, unbridled optimism? Or are they heroic for their optimism despite the epic disasters that nearly devastate them time after time. Or is their fate really just the human condition and are they both just being all too human?