Tag Archives: Picaresque

Voltaire’s Candide, Part 1

12 Thursday Mar 2015

Posted by in Age of Enlightenment, France, Great Books

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Tafelrunde

Tafelrunde in Sanssouci (Voltaire to the left, purple, next to Casanova, red lapels), Adolph von Menzel, 1850 (Photo credit: Wikipedia)

Voltaire the celebrity, but…

A favourite guest of celebrities
Wit, his chief quality

Voltaire lived in a castle, le château de Ferney and befriended Frederick the Great, king of Prussia, and other royals and dignitaries. For instance, in the above image, he is at Sanssouci  [literally “without worry”], a castle owned by Friedrich der Große who was an admirer of François-Marie Arouet, known as Voltaire. The artist is Adolph von Menzel (8 December 1815 – 9 February 1905). However, do not expect an example of this decorum in Voltaire’s Candide.

His indomitable wit and his pen were Voltaire’s chief weapons. He rarely went unnoticed. The French call this présence. However, he was forever running to escape the Bastille. 

Casanova
From lair to lair: “traduit de l’Allemand”

Next to Voltaire, at the round table (Taflerunde) is Casanova, the Chevalier de Seingalt (pronounced Saint-Galle) (2 April 1725 – 4 June 1798), the famous Venitian womanizer, but a person who lived among princes and wrote the history of his life, L’Histoire de ma vie (See Casanova, Wikipedia.)

Voltaire published his Candide under a pseudonym, that of Mr. le Docteur Ralph, and claimed the novella had been translated from German, “traduit de l’Allemand.” The frontispiece (cover) of the first edition of Candide, published in 1759, is the work of Jean-Michel Moreau le Jeune. Voltaire was protecting himself.

Voltaire_and_Diderot_at_the_Café_Procope

At Café Procope: at rear, from left to right: Condorcet, La Harpe, Voltaire (with his arm raised) and Diderot. (Photo credit: Wikipedia)

Background: Lazarillo de Tormes

a picaresque novel
a pícaro
Lazarillo de Tormes (1554)
a Bildungsroman

Voltaire’s Candide is a novella consisting of thirty (30) chapters and published in 1759. It has been described as a picaresque novel. The word picaresque is derived from a Spanish novella entitled La Vida de un pícaro (The Life of a Rogue; short title) or La vida de Lazarillo de Tormes y de sus fortunas y adversidades (The Life of Lazarillo de Tormes and of his Fortunes and Adversities), by Lazarillo de Tormes (1554). In picaresque novels, characters move from place to place.

The novel is also considered a Bildungsroman or a coming of age novel. In this regard, Voltaire’s Candide resembles Henry Fielding‘s Tom Jones (The History of Tom Jones, a Foundling), 1749. Henri Fielding’s Tom Jones is characterized by obliqueness because Tom, a “foundling,”[1] has no lineage, which gives him a degree of anonymity and impunity. As a Bildungsroman, Voltaire’s Candide has also been associated with Laurence Sterne‘s Tristram Shandy (a Bildungsroman), 1759 – 1767 (9 volumes).

As an oblique novel, Candide has affinities with Montesquieu’s  Persian Letters (Lettres persanes) (1721). Montesquieu’s Usbek and Rica, his two Persians, are foreigners and may therefore say anything with impunity. Tom Jones is an “illegitimate” son and a foreigner of sorts. Moreover, Candide invites comparison with Blaise Pascal‘s Lettres provinciales (1656-1567). (See Lettres provinciales, Wikipedia.) Both works feature naïve characters.

Candide1759

Candide, ou l’Optimisme, 1759

key sentences

Candide is Voltaire’s answer to Gottfried Wilhelm Leibniz‘ optimism. It has a second title: Candide, ou l’Optimisme. Key sentences and concepts are:

Tout est pour le mieux dans le meilleur des mondes. (All is for the best in the best of all possible worlds.)
Il faut cultiver son jardin. (One must cultivate one’s garden.)
There is a cause for each effect.

The Cast

Cunégonde (the woman Candide loves)
The Baron of Thunder-ten-Tronckh (Cunégonde’s father)
Candide (the illegitimate son of the Baron’s sister)
Dr Pangloss (Candide’s mentor: who believes this is “the best of all possible worlds”)
Cacambo (Candide’s loyal servant, a zanni of the commedia dell’arte) 
The Old Lady
Martin (the Old Philosopher)
Paquette (suivante to the Baroness)
Giroflée (a friar)
etc.

The Story

We are in Westphalia. Candide, the illegitimate son of the Baron Thunder-ten-tronchk’s sister, is kicked out of Paradise when he kisses Cunégonde, the Baron’s daughter. (1)

Candide leaves and is made prisoner by Bulgarian soldiers who flog him and are about to execute him when the Bulgar King arrives and saves Candide whom, he says, is not worth hanging. (2)

In Holland, Candide meets an Anabaptist who looks after him, provides him with a shelter and becomes his teacher. (3) Dr Pangloss, Candide’s mentor at the Baron’s, appears unexpectedly. He caught smallpox and is pockmarked. He tells Candide that everyone has been killed, including Cunégonde. (4)

They leave for Lisbon but are shipwrecked during an earthquake and a tsunami (the 1755 Lisbon earthquake). A sailor lets the Anabaptist drown. Candide is wounded but he and Dr Pangloss survive. (5)

In Lisbon, Dr Pangloss is hanged by the Inquisition and Candide, spanked. (6) Cunégonde watches the auto-da-fé (act-of-faith) and recognizes Candide. An old woman is sent to fetch Candide. (7) Cunégonde is owned by a Jew and an Inquisitor, (8) but staves off their advances, she says. Candide kills both men. (9)

They flee to Buenos Aires. (10) The old woman, the daughter of a pope and a princess, tells how she lost one of her buttocks. (11-12). In Buenos Aires, the Governor falls in love with Cunégonde. (13) Candide and Cacambo continue to flee the Inquisition and arrive in Paraguay where they find Cunégonde’s brother, a Colonel, who has not died. (14) The Colonel will not let Cunégonde marry Candide who belongs to an inferior class. Candide kills him. (15)

Candide and Cacambo carry on but are captured by Oreillons and nearly eaten. They are spared because they are enemies of the Jesuits. A river propels them into El Dorado or Paradise. In El Dorado, there is no religion, just Deism, but they leave. Sheep, laden with treasures, guide them above mountains. They think they will be able to take Cunégonde back. (17 – 18) On their way to Suriname, they lose their sheep and much of their riches (jewels, etc.). However, Cacambo is sent to buy Cunégonde back while Candide and Martin, a poor philosopher, sail for Venice (19).

During the trip across the sea, Martin tells his philosophy. It is diametrically opposed to that of Dr Pangloss. (20 -21) They stop in Paris where Candide falls prey to various crooks, cheat on Cunégonde and gets in trouble. He has to flee. (22)  As they, Candide and Martin, pass England, they see an admiral who is being executed because he lost a battle. (23)

In Venice, they find no sign of Cunégonde and the old woman, but meet Paquette, the baroness’ suivante, and Giroflée, a friar. (24) They also visit with a man who claims to be happy, the Pococurante.(25) It’s Carnival time in Venice. While they are having dinner with six dethroned and impoverished monarchs, Cacambo surfaces. (26)

Cunégonde is a slave in Constantinople and has grown ugly. Among the galley slaves in the boat taking them to Constantinople, Candide, Martin and Cacambo recognize Pangloss and the son of the Baron. They have not died. They are bought back. (27) Pangloss tells how the Inquisitors failed to kill him. Similarly, the young Baron was unskillfully killed by Candide and is still alive. (28) Candide buys Cunégonde back and is repulsed.

He will marry her nevertheless, despite the young Baron’s objections. (29) They buy a piece of land and start cultivating their garden. Paquette and friar Giroflée also  reappear.  All will cultivate the garden. (30)

Sources and Resources

Candide (Wikipedia)
Candide (summary) EN
Candide (incomplete text) Internet Archives EN
Candide (incomplete text) Gutenberg [EBook #19942] EN
Candide (complete text) literature.org EN
Candide (complete text) Internet Archives FR
Candide (complete text) Ebooks gratuits FR
Candide Google Books
Candide (résumé) FR
Leibniz, Gottfried Wilhelm (1 July 1646 – 14 November 1716), Wikipedia

____________________
[1] French cinematographer François Truffaut produced L’Enfant sauvage, about a feral child (The Wild Child).

Leonard Berstein conducts his Candide Overture (1956)

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© Micheline Walker
12 March 2015
WordPress 

Apuleius’ Cupid and Psyche

04 Sunday Aug 2013

Posted by in Love, Metamorphosis, Myths

≈ 8 Comments

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waterhouse_psyche_opening_the_golden_box
Psyche opening the Golden Box, by John William Waterhouse (1903) 
Pre-Raphaelite Brotherhood
(Photo credit: Wikipaintings)
 
The Golden Ass is a Project Gutenberg publication: [EBook #1666] Book 4, Chapter 22[i]
Ovid (20 March 43 BCE – CE 17/18) is the author of the Metamorphoses, a fifteen-book Latin narrative written in dactylic hexameter, the “noble verse.”
 
Apuleius (c. 125 – c. 180 CE) is the author of the Golden Ass (Asinus Aureus) an eleven-book Latin narrative, first entitled Metamorphoses, but renamed The Golden Ass by Augustine of Hippo (St Augustine).
 
 800px-WLA_brooklynmuseum_Wedgewood-Marriage_of_Cupid_and_Psyche 
 
Marriage of Cupid and Psyche (ca. 1773), jasperware by Wedgwood based on the 1st-century Marlborough gem, which most likely was intended to depict an initiation rite (Brooklyn Museum) Photo credit: Wikipedia
 

Fables

In November 2011, I wrote a post on Apuleius‘ Golden Ass, the only novel that has come down to us from Latin Antiquity in its entirety and which happens to be about metamorphoses. I am revisiting the Golden Ass because we have looked at fables in which a cat and a mouse are metamorphosed respectively into a woman and a maid.  In the world of fables, a realistic world, nature will out, so our cat and mouse return to their natural selves.

Other fiction featuring metamorphoses

  • Fairy tales;
  • Werewolf stories (lycanthropy).[ii]

Fairy tales are home to metamorphoses. Beast is turned into a beast and will remain a beast until Beauty accepts to marry him as he is, i.e. as Beast. The moment Beauty tells Beasts that she will marry him, a curse is lifted and beast returns to his former princely self. Such is the stuff of fairy tales. But let us look at sources.

Ovid and Apuleius

The theme of metamorphosis is rooted mainly in Ovid‘s Metamorphoses and, to a lesser extent, in Apuleius‘ The Golden Ass, first entitled Metamorphoses. In The Golden Ass,  Lucius is accidentally metamorphosed into an animal and that animal happens to be a donkey, which may explain why Augustine of Hippo (St Augustine) “demoted” Apuleius’ Metamorphoses by giving it a different title. Augustine renamed the book The Golden Ass and The Golden Ass it has remained, despite one rather lofty “digression,” the tale of Cupid and Psyche. Psyches, the most beautiful woman in the world, will be metamorphosed into a goddess by the ultimate fairy godmother, the gods of Greco-Roman antiquity assembled.

The Golden Ass

The Outer Story

The Golden Ass combines an outer story and inner stories. The outer story is called a frame story. The inner stories are sometimes called in-set stories. In the case of The Golden Ass, the outer story is a rather lewd account of the transformation of Lucius, as in Lucius Apuleius (Apulée), into a donkey.

Lucius wishes to become a sorcerer, or a witch, so he can transform himself into a bird and is told by his friend Milo that Milo’s wife is a witch who can transform herself into a bird. Lucius watches her metamorphosing herself into a bird and accidentally turns his own person into a donkey. At the end of the novel, after all sorts of trials and tribulations, Lucius retrieves his human form, assisted by Isis, a goddess and a magician.

The Inner Stories or “Digressions” are:

  1. Aristomenes’ Tale
  2. Thelyphron’s Tale
  3. The Tale of Cupid and Psyche
  4. The Tale of the Wife’s Tub
  5. The Tale of the Jealous Husband
  6. The Tale of the Fuller’s Wife
  7. The Tale of the Murderous Wife

By and large, the inner or in-set stories or tales bear some resemblance to the outer story. The story is different but the tone is that of Lucius, now transformed into a donkey. The exception is Cupid and Psyche. We are transported into a world filled with gods and goddesses, but these gods and goddesses sometimes mingle with mere mortals. We therefore have a taste of magic realism. Professor Matthew Strecher defines magic realism as “what happens when a highly detailed, realistic setting is invaded by something too strange to believe.” (See Magic Realism, Wikipedia.)

In psychology the word “psyche” refers to the mind but to a large extent, it also refers to the soul, which is immortal. The “digression,” or in-set tale, is entitled Cupid and Psyche, but Psyche’s name is Psyches. She is the third daughter of a King, a motif which links her to fairy tale protagonists. Moreover, Psyches has two married but jealous sisters, as does Cinderella. However, the third daughter marries a god. Cinderella has to settle for a mere prince.

Consequently, the tale of Cupid and Psyche is a “digression.”  The main link between Cupid and Psyche and The Golden Ass is a metamorphosis, except that  Psyches does not turn into an animal. On the contrary, her appearance does not change and her story is one of upward mobility. Psyche means soul. She escapes mortality, the human condition, by becoming a goddess. The soul is immortal.

psyche-and-amour-1889love-and-psyche-1899

Cupid and Psyche, by William-Adolphe Bouguereau (1889)
(Photo credit: Wikipaintings)
 

Cupid and Psyche  

(quotations, including the spelling, are from [EBook #1666] Book 4, Chapter 22)
The Romans borrowed Greek mythology but changed the name of each god.  Venus is the Latin name for Aphrodite. 
 
The story has several variants, but basically it is about jealousy. Venus (Aphrodite), the goddess of love is jealous of a human being, Psyche or Psyches, the third and only unmarried daughter of a King and Queen. She is considered more beautiful than Venus and people travel long distances to see her. Venus is jealous and sends her son Cupid (Eros) to find “the most miserablest creature living” and make him Psyches’ husband. 
 
Meanwhile, Psyches has been placed at the top of a hill as her parents think a man might take her at last. She is not married. Cupid, who has made himself invisible, does not perform his dastardly deed. Psyches is “blowne by the gentle aire and of shrilling Zephyrus” to a castle. They become man and wife: “after that hee had make a perfect consummation of the marriage.” But he only visits during the night and he has directed her not to look at him during his nightly visits.
 
Psyches is pregnant and misses her sisters, so Cupid allows them to visit. When they arrive, they praise her: “O dear sister Psyches, know you that you are now no more a child, but a mother: O what great joy beare you unto us in you belly?”
 
Both older sisters are unhappily married and jealous of Psyche who lives in a castle. To get rid of the husband she is not allowed to see, they fool Psyche into thinking that Cupid is a monstrous serpent and must be killed. As her sisters suggest, Psyches carries a candle so she can see Cupid and kill him: “with your bare feet goe and take the lampe, with the Razor in your right hand and with valiant force cut off the head of the poisonous serpent, wherein we will aid and assist you: and when by the death of him you shall be made safe, we wil marry to some comely man.” Psyches sees Cupid and falls in love, but a drop of hot wax falls from the candle and burns Cupid inadvertently. He wakes up and leaves as he had warned he would: “hee commaunded Zephyrus to carry me away from the bounds of his house.”
 
After she has been abandoned, Psyches goes looking for Cupid. At one point, she seeks the help of Venus, not knowing that Venus is her enemy. Venus asks Psyches to perform impossible tasks, the last of which is deadly. Venus wants Psyches to fetch beauty from Proserpina, Queen of the Underworld, put some of that beauty into a golden box, and return the box to her. Alas, one does not return from the Underworld, which means that Psyches will die if she goes to the Underworld. 
 
Knowing that she must die, Psyches climbs to the top of a tower and is about to throw herself down when the tower starts to speak. She is told how to appease Cerberus
(Kerberos), the three-headed dog who guards the entrance to the Underworld. Proserpina (Persephone) gives Psyches the box, but instead of beauty, it contains infernal sleep. Psyches is curious, opens the box, and lapses into a coma.
 
By then, Cupid (Éros), who has wings, the equivalent of a magic carpet, has forgiven Psyches and flies to her rescue. A kiss revives her and they then go to Jupiter (Zeus). Cupid asks Jupiter to transform Psyches into a goddess. Jupiter appeases Venus and he then convenes the gods who, after deliberating, grant Cupid’s request. Cupid’s Psyches is therefore transformed into a goddess by drinking ambrosia (“ambroisie,” or Nectar), the drink of Greek gods, and therefore escapes the human condition: mortality.
 
“And then he [Jupiter] tooke a pot of immortality, and said, Hold Psyches, and drinke, to the end thou maist be immortall, and that Cupid may be thine everlasting husband. By and by the great banket and marriage feast was sumptuously prepared, Cupid sate downe with his deare spouse between his armes: Juno likewise with Jupiter, and all the other gods in order, Ganimedes filled the port of Jupiter, and Bacchus served the rest. Their drinke was Nectar the wine of the gods, Vulcanus prepared supper, the howers decked up the house with roses and other sweet smells, the Graces threw about blame, the Muses sang with sweet harmony, Apollo tuned pleasantly to the Harpe, Venus danced finely: Satirus and Paniscus plaid on their pipes; and thus Psyches was married to Cupid, and after she was delivered of a child whom we call Pleasure.”
 
 
287px-Dante_Gabriel_Rossetti00
Proserpina, by
Dante Gabriel Rossetti (1874),
Pre-Raphaelite Brotherhood
 

Comments

Psyche

In Apuleius, Psyche is Psyches and has parents. She seems a human being. Moreover, in mythology, gods lose their godliness through sexual contact, generally, with a mortal being. Psyches is a human being and, therefore, a mortal. So it is not possible for her to be transformed into the mortal she already is. Therefore, Apuleius presents us with a complicated “digression.” Psyches is metamorphosed into a goddess, an immortal being, by drinking ambrosia, and then gives birth to a child named Pleasure. It is all very fanciful. Psyche means the soul and the soul is immortal.

A Fairy Tale: to a certain Extent

The tale of Cupid and Psyche provides us with a template associated with fairy tales: the rags to riches narrative of Cinderella. Psyches becomes a goddess. We also have jealous sisters, not to mention a jealous Venus, a mother-in-law (a stepmother). As for the invisible Cupid, he could well be a monstrous beast, in which case, Cupid and Psyche could be associated with Beauty and the Beast. The tale of Cupid and Psyche  is in fact associated with Beauty and the Beast.

“The fairy tales which modern scholars most often discuss in relation to an antecedent myth are those which involve an animal as bride-groom, best known by versions of ‘Beauty and the Beast’.”[iii] 

According to the Oxford Companion to Fairy Tales, the story of Cupid and Psyche is both a myth and a fairy tale, but the theme is not consistent with fairy tales. Unlike Beauty, Psyches does not have to lift a curse by saying she will marry Cupid. She must perform chores,  imposed by Venus, to be reunited with Cupid, but there is no disenchantment, i.e. no curse has turned Cupid into an animal-groom, so no curse has to be lifted.

“In fairy tale versions the question normally ends with a disenchantment motif as the heroine regains her partner by ending the spell which has enchanted him.”[iv]

Conclusion

Although Cupid and Psyche has affinities with fairy tales, it may be prudent not to classify it as such, except loosely. Classifications are helpful, but they should not be a Procrustean bed. The bed would always be too short or too long, and limbs therefore stretched or amputated. In Cupid and Psyche a man, albeit a god, comes to the rescue of a damsel in distress who is despised because she is the most beautiful woman in the world. The story moves forward propelled by a feeling inextricably linked with love which, in literature,  may be jealousy.

However, in Cupid and Psyche, the wedding that constitutes the proper ending of fairy tales and comedies seems out of place, but is it?  Cupid and Psyche became man and wife after he flew her to her castle: “after that hee had made a perfect consummation of the marriage.” She was not allowed to look at him, but when night fell, he “visited” her. This seems consistent with a myth. However, the tale of Cupid and Psyche is that of a pre-existing union. Consequently, the wedding takes on other virtues.  It could well be the official celebration of a threatened marriage. “All’s well that ends well.”

From the point of view of literary history, authors such as Chaucer (the many Tales), Shakespeare, Dante and Boccaccio (The Decameron) were inspired by tales contained in Ovid‘s Metamorphoses. The first translation of the Metamorphoses in English was by William Caxton in 1480. Caxton is also the first English printer. He printed Reynard the Fox. Apuleius’ Golden Ass inspired Laurence Sterne (Tristram Shandy), Henry Fielding (Tom Jones) and Jean de La Fontaine. 

800px-Edward_Burne-Jones001

Psyche’s Wedding, by Sir Edward Burne-Jones (1895), Pre-Raphaelite Brotherhood

______________________________

[i] The Golden Asse. Translated by William Adlington, first published 1566. This version is as reprinted from the edition of 1639. The original spelling, capitalisation and punctuation have been retained. [EBook #1666]
[ii] A werewolf, also known as a lycanthrope is a mythological or folkloric human with the ability to shapeshift into a wolf or an therianthropic hybrid wolf-like creature, either purposely or after being placed under a curse or affliction (e.g. via a bite or scratch from another werewolf). Early sources for belief in lycanthropy are Petronius (c. 27 – 66 BCE) and Gervase of Tilbury (c. 1150 – c. 1228 CE). 
(See Werewolf, Wikipedia.)
[iii] John Stephens, “Myth/Mythology and Fairy Tales,” ed. Jack Zipes, The Oxford Companion to Fairy Tales (Oxford University Press, 2000), pp. 330-334.
[iv] Loc. cit.
 
 
César Franck (10 December 1822 – 8 November 1890)
Psyché et Éros
William Revelli (12 February 1902 – 16 July 1994)
 
 
fond01_02Micheline Walker
4 August 2013
WordPress 
  
  
Psyche Revived by Cupid’s Kiss
Antonio Canova (1757 – 1822)
Musée du Louvre
(Please click on the image to enlarge it.)