The history of the book that never was: Voltaire’s Histoire de la guerre de 1741

Louis XV in 1748, by Maurice Quentin de La Tour

Louis XV in 1748, by Maurice Quentin de La Tour (1704-1788). (Musée du Louvre, Wikimedia commons)

‘Je doute qu’il y ait à présent un homme dans l’Europe aussi bien au fait que moi de l’histoire de la dernière guerre’, wrote Voltaire in June 1752 about what he describes a few lines later as the ‘plus difficile de mes ouvrages’ (D4907, to the duc de Richelieu). The work was never published by him, however, so what went wrong? Voltaire sometimes delayed publication of his work until the time was ripe, or after a water-testing first draft that found the water chilly, but he rarely abandoned an entire book-length work. Yet this was the sad fate of the Histoire de la guerre de 1741 (War of the Austrian Succession), now entering Voltaire’s complete works for the first time (OCV, vol.29C). Circumstances were against him all along, so that the time, the place and the loved one never did come together.

In 1745 the ‘loved one’ was Louis XV – ‘le bien aimé’. Louis’s personal presence during the Flanders campaigns of 1744 and 1745 showed him at his best, and so he is portrayed by Voltaire, writing as newly appointed historiographe de France in what became the relevant chapters of the Histoire de la guerre de 1741. The first thing to go wrong was the time. Had an honourable peace for France been agreed at the end of 1745, as there was every reason to hope once the succession question had been resolved, the time would have been ripe for Voltaire, still living in Versailles, to have put down his pen and published his account of the ‘campagnes du Roi’, of which a manuscript had been sent to the king in 1746.

Stanislas Leszczynski by Jean Girardet

Stanislas Leszczynski (1677-1766) by Jean Girardet (1709-1778), court painter in Lunéville.

The war dragged on, however, until 1748, by which time Voltaire, disillusioned by life at Versailles, was on a protracted visit to King Stanislas Lesczynski at Lunéville where he still was when Mme Du Châtelet died in 1749. This catastrophe induced Voltaire to accept a long-standing invitation from Frederick II to stay in Potsdam. Here the Guerre de 1741 was eventually completed, but Voltaire never returned to live in Paris or Versailles, the sources of his inspiration and material and the natural springboard for his history.

Voltaire was evidently keen to test the waters in Paris with a revised version of the first part, up to the battle of Fontenoy, but his principal adviser, the comte d’Argental, warned him – ‘sans être obligé d’entrer dans les détails’ – on no account to publish it without approval (see D4843; 19 March 1752).

Although the war was no doubt still a sore subject with the king, d’Argental’s oblique hint shows that Voltaire was already aware of the justified criticisms that he had unduly flattered his friends, in particular by exaggerating the part played at Fontenoy by his friend and hero the duc de Richelieu and consequently downplaying that of the true victor, the maréchal de Saxe. Voltaire had been carried away, one might almost say that he had replaced one loved one with another.

Plan of the battle of Fontenoy, 11 May 1745, by Jean de Beaurain

Plan of the battle of Fontenoy, 11 May 1745, by Jean de Beaurain (1696-1771). (Bibliothèque nationale, public domain)

Maurice de Saxe by Maurice Quentin de La Tour

Maurice de Saxe (1696-1750), by Maurice Quentin de La Tour (1748). (Public domain)

Voltaire evidently cut his losses. From his base in Potsdam he had another string to his bow – publication of the full manuscript by Conrad Walther in Dresden. The idea had been mentioned in March (see D4841) but in August Voltaire was nervous, telling Walther that he would want a small printing in anticipation of an early second edition, as happened with the Siècle de Louis XIV on which Walther was then engaged (D4994). This unpromising request would explain why the work was not printed by Walther, if indeed the final manuscript was ever sent, but it is hard to account for Voltaire’s unease other than fear of mockery about the flattery of his friends.

So when three years later in 1755 the manuscript of the first part of the Guerre was ‘stolen’ and published under Voltaire’s name with an Amsterdam title-page, had he jumped or was he pushed? His disclaimers were not seriously believed either then or now. More interesting, and curious, is the fact that Voltaire did not proceed to publish his own authorised edition, nor did he take steps to publish the complete text to 1748 as promised to Walther. Once more he bided his time, but for what?

Histoire de la guerre de mil sept cent quarante et un

Histoire de la guerre de mil sept cent quarante et un, title page of part 1 (Amsterdam [Paris], 1755). (Bibliothèque nationale de France)

By late 1755 Voltaire was already in the process of preparing the edition of his complete works of 1756, where he was joining the Siècle de Louis XIV to the end of what became the Essai sur les mœurs […] depuis Charlemagne jusqu’à nos jours. What better solution than to tack on as well the early chapters of an abbreviated Guerre de 1741? The decisive nail in the coffin of the Guerre de 1741 may well have been the reversal of alliances in 1755 which transposed Austria, the adversary of 1745, into France’s new ally. At a stroke the Guerre was relegated to the status of a redundant curiosity. Voltaire had missed the boat.

The Collection complète des œuvres de Voltaire of 1756 contains truncated versions of the text up to the battle of Fontenoy. Subsequent editions were augmented by further pared-down chapters until the whole was subsumed into the Précis du siècle de Louis XV in 1768 (OCV, vols. 29A and 29B).

Thus it was that the Histoire de la guerre de 1741 was never published as a complete text in Voltaire’s lifetime. Nineteenth-century editors of his complete works, starting from Beuchot, found the strands of the Guerre and Précis hard to unravel. This is understandable but they undoubtedly missed a trick. (The OCV edition is able to use shading to highlight the passages from the Guerre that are carried forward into the Précis.)

The Guerre de 1741 is fully deserving of its place in Voltaire’s complete works. It is more than a historical narrative; it is a picture of Voltaire at work and revealing of the pains he took. It also shows that for the ci-devant historiographer writing about his own time was not as easy as all that – not easy at all in fact.

Janet Godden

Exploring Voltaire’s letters: between close and distant readings

La lettre au fil du temps: philosophe

‘La lettre au fil du temps: philosophe.’

A stamp produced by the French post office in 1998 celebrates the art of letter-writing by depicting Voltaire writing letters with both hands. It’s true that Voltaire wrote a lot of letters – over 15,000 are known, and more turn up all the time – but even so it’s not altogether clear that an ambidextrous letter-writer is someone we entirely want to trust. Voltaire’s correspondence is full of difficulties and traps, and faced by such a huge corpus, it is hard to know where to start. Without question, the Besterman ‘definitive’ edition (1968-77), digitised in Electronic Enlightenment, has had a major impact on Enlightenment scholarship: historians and literary critics make frequent use of these letters, but usually in an instrumental way, adducing a single passage in a letter as evidence in support of a date or an interpretation.

Nicholas Cronk and Glenn Roe, Voltaire’s correspondence: digital readings (CUP, 2020)

Nicholas Cronk and Glenn Roe, Voltaire’s correspondence: digital readings (CUP, 2020).

Voltaire’s letters can be notoriously ‘unreliable’, however, and they really need to be read and interpreted – like all his texts – as literary performances. Few critics have attempted to examine the corpus of the correspondence in its entirety and to understand it as a literary whole. In our new book, Voltaire’s correspondence: digital readings, we have experimented with a range of digital humanities methods, to explore to what extent they might help us identify new interpretative approaches to this extraordinary correspondence. The size of the corpus seems intimidating to the critic, but it is precisely this that makes these texts a perfect test-case for digital experimentation: we can ask questions that we would simply not have been able to ask before.

For example, we looked at the way Voltaire signs off his letters – and were surprised to find that only 13% of the letters are actually signed ‘Voltaire’; while over a third of the letters are signed with a single letter, ‘V’. Then Voltaire is hugely inventive in the way he plays with the rules of epistolary rhetoric, posing as a marmot to the duc de Choiseul. And if you want to know why in a letter (D18683) to D’Alembert he signs off ‘Miaou’, the answer is to be found in a fable by La Fontaine…

We studied Voltaire as a neologist. Critics have usually described Voltaire as an arch-classicist adhering rigorously to the norms of seventeenth-century French classicism. True, yet at the same time he is hugely energetic in coining new words, an aspect of his literary style that has been insufficiently studied. Here, corpus analysis tools, coupled with available lexicographical digital resources, allow us to consider Voltaire’s aesthetic of lexical innovation. In so doing, we can test the hypothesis that Voltaire uses the correspondence as a laboratory in which he can experiment with new formulations, ideas, and words – some of which then pass into his other works. We identified 30 words first coined by Voltaire in his letters, and another 36 words first used in his other works, many of which are then reused in the correspondence. Emmanuel Macron has encouraged the description of himself as a ‘président jupitérien’, so it’s good to discover that ‘jupitérien’ is one of the words first coined by Voltaire.

Voltaire letter

A letter in Voltaire’s hand, sent from the city of Colmar to François Louis Defresnay (D5612, dated 1753/1754).

A reader of Voltaire’s letters cannot fail to be struck by the frequency of his literary quotations. We explore this phenomenon through the use of sequence alignment algorithms – similar to those used in bioinformatics to sequence genetic data – to identify similar or shared passages. Using the ARTFL-Frantext database of French literature as a comparison dataset, we attempt a detailed quantification and description of French literary quotations contained in Voltaire’s correspondence. These citations, taken together, give us a more comprehensive understanding of Voltaire’s literary culture, and provide invaluable insights into his rhetoric of intertextuality. No surprise that he quotes most often the authors of ‘le siècle de Louis XIV’, though it was a surprise to find that Les Plaideurs is the Racine play most frequently cited. And who expected to find two quotations from poems by Fontenelle (neither of them identified in the Besterman edition)?! Quotations in Latin also abound in Voltaire’s letters, many of these drawn, predictably enough, from the famous poets he would have memorised at school, Horace, Virgil, and Ovid – but we also identified quotations, hitherto unidentified, from lesser poets, such as a passage from Manilius’ Astronomica. By examining as a group the correspondents who receive Latin quotations, and assigning to them social and intellectual categories established by colleagues working at Stanford, we were able to establish clear networks of Latin usage throughout the correspondence, and confirm a hunch about the gendered aspect of quotation in Latin: Voltaire uses Latin only to his élite correspondents, and even then, with notably rare exceptions such as Emilie Du Châtelet, only to men.

The woman on the left, a trainee pilot in the Brazilian air force, is an unwitting beneficiary of Voltaire’s bravura use of Latin quotation. The motto of the Air Force Academy is a stirring (if slightly macho) Latin quotation: ‘Macte animo, generose puer, sic itur ad astra’ (Congratulations, noble boy, this is the way to the stars). The quotation is one that Voltaire uses repeatedly in some dozen letters, and it is found later, for example in Chateaubriand’s Mémoires d’outre-tombe. On closer investigation it turns out that this piece of Latin is an amalgam of quotations from Virgil and Statius – in effect, a piece of pure Voltairean invention.

In the end, Voltaire’s correspondence is undoubtedly one of his greatest literary masterpieces – but it is arguably one that only becomes fully legible through the use of digital resources and methods. Our intention with this book was to affirm the simple postulate that digital collections – whether comprised of letters, literary works, or historical documents – can, and should, enable multiple reading strategies and interpretative points of entry; both close and distant readings. As such, digital resources should continue to offer inroads to traditional critical practices while at the same time opening up new, unexplored avenues that take full advantage of the affordances of the digital. Not only can digital humanities methods help us ask traditional literary-critical questions in new ways – benefitting from economies of both scale and speed – but, as we show in the book, they can also generate new research questions from historical content; providing interpretive frameworks that would have been impossible in a pre-digital world.

The size and complexity of Voltaire’s correspondence make it an almost ideal corpus for testing the two dominant modes of (digital) literary analysis: on the one hand, ‘distant’ approaches to the corpus as a whole and its relationship to a larger literary culture; on the other, fine-grained analyses of individual letters and passages that serve to contextualise the particular in terms of the general, and vice versa. The core question at the heart of the book is thus one that remains largely untreated in the wider world: how can we use digital ‘reading’ methods – both close and distant – to explore and better understand a literary object as complex and multifaceted as Voltaire’s correspondence?

– Nicholas Cronk & Glenn Roe, Co-directors of the Voltaire Lab at the VF

Voltaire’s correspondence: digital readings will be published in print and online at the end of October. The online version is available free of charge for two weeks to personal and institutional subscribers.

The forces of reproduction. Meta/physics and insect sex in eighteenth-century entomology

In the early modern era, popular opinion on insect reproduction was largely based on the Aristotelian concept of ‘spontaneous generation’. Yet, in the seventeenth century, natural historians began to challenge this longstanding concept, which held that insects came into being out of mud, manure and other decaying matter. This theory was eventually discarded fully in the eighteenth century when a growing number of naturalists argued that copulation and functioning reproductive organs were indeed necessary for the creation of new insect life.

Insecto-theologia title page

Insecto-theologia (1738), title page.

Through microscopic observation and ‘experimental’ methods, scholars studied insect behaviour and reproductive cycles, and thereby altered understandings of sexual activity beyond the insect world. As many users of these techniques discovered reproductive organs and observed female and male insects actually engaging ‘in the act’, ‘spontaneous generation’ slowly vanished as an explanation for how ‘creepy crawlies’ came into the world. The recent work of Mary Terrall, Matthew Cobb, Erik Jorink, Brian Ogilvie, Marc Ratcliff and Thomas Ruhland among others has shown how the discussion on spontaneous generation is part and parcel of a more general history of observation in the emergent sciences.

Title page of the French edition

Title page of the French edition (1752).

Not surprisingly for scholars of the early modern world, theologians were an important group of actors in these processes (see Blair and von Greyerz). As is widely acknowledged, insects played an important role in physico-theology – or natural theology – and other religious texts around 1700. This has been studied comprehensively in the German context most recently by Anne-Charlott Trepp and Brian Ogilvie (both in Blair and von Greyerz, above). One central text in both authors’ work is Friedrich Christian Lesser’s Insecto-theologia from 1738. The text received widespread attention in the German-speaking lands, prompting a second edition in 1742. In the same year a French edition appeared with remarks by Pierre Lyonnet. This was then translated into Italian in 1751. Building on Trepp’s and Ogilvie’s œuvre, I will add a further perspective on natural theology, insects and science in the Enlightenment by focusing on how mating practices were described and reproductive organs depicted. The additional analysis of notions of force/power (Kraft) within these texts will further explain how the physical (in all senses of the word) was so important for the metaphysics of Enlightenment natural theology.

Lesser based his book to a great extent on Dutch scholars, like Jan Swammerdam, and used Baconian ‘new science’ for his argument for design – to use a slightly anachronistic term. As Anne-Charlott Trepp has shown, physico-theology replaced some of the dominant eschatological arguments of the seventeenth century with a new concern to prove God’s omnipotence and benevolence by looking at natural objects and finding order in nature. Jorink asserts that Swammerdam ‘was primarily guided by a prioris of a philosophical and theological kind’. One of these was that everything in nature, including the generation of insects, obeys God’s laws.

Insecto-theologia, frontispiece

Insecto-theologia, frontispiece.

As with many of his fellow theologians in the eighteenth century, the study of the natural world became central to Lesser’s everyday life. The frontispiece clearly shows a naturalist at work in the familiar setting of the home.

It also already contains the important ‘maxima in minimis’ argument. He was of course certain that God’s power can be seen in the smallest worms as in the largest elephants. However, Lesser was convinced that this notion had not yet been sufficiently recognised among his fellow scholars in the republic of letters. Here he referred to the contemporary emphasis on physical experimentation in the creation of new knowledge, but made an interesting point regarding the social life of knowledge. According to him the above-mentioned attention deficit was not so contemptible in ‘people with untrained senses’ (‘Leute von ungeübten Sinnen’) but certainly scholars should not shy away from learned attention to the minuscule.

Friedrich Christian Lesser

Engraving of Friedrich Christian Lesser with an inscription by Johann Eustachius Goldhagen. (National Library of Denmark)

Lesser explicitly spoke of the creator’s ‘artistry’ in generating insects, such that even the smallest worm is made with such unattainable art that even the finest artist could not imitate it (Lesser, p.2), thereby echoing his Dutch predecessors and explicitly referring to William Derham in the corresponding footnote. Not surprisingly for a German author, the erudition is in the footnotes. He of course acknowledged previous work in his footnotes, and indeed most of the pages of the introduction are bibliographical references. Lesser’s description of Swammerdam’s scholarly practices are of special importance here because Lesser saw these as instrumental in the processes of knowledge formation. He went out himself to catch insects, collecting and nourishing them carefully. He constantly observed them, investigated their anatomy and had all their parts illustrated by an artist (p.27).

As in other realms of natural history, book learning and practical experience went hand in hand. Interestingly Lesser also specifically mentioned instruments and collections as the main tools of research in his introduction to Insecto-theologia. All these aspects are of course no surprise to historians of early modern science, but why did Lesser focus on generation to connect religion and natural history?

Swammerdam, The Book of Nature: Five reproductive organs of the bee

Swammerdam, The Book of Nature: Five reproductive organs of the bee. (Wellcome Collection. Attribution 4.0 International, CC BY 4.0)

Lesser took his inspiration from scripture and literally the beginning of the creation myth. Referring to Genesis, Lesser claimed: ‘The almighty being that created insects through his almighty word, has given them the power through ordinary procreation to multiply and reproduce the species’ (p.37). In the following paragraph, he also recounted the ‘generationem aequivocam’ theory but refuted it clearly by confirming that the notion of insects generating from decaying matter was only formed because the ancient philosophers had not observed nature with enough attention to detail and so had not realised that insects did lay small eggs in such things as manure, flesh, etc. Modern philosophers (‘Neue Welt-Weise’) however had observed things with sharper eyes. He then described his predecessors’ observations in great detail, starting with Francesco Redi who conducted experiments in the 1660s. Revisiting Redi’s work, Emily C. Parke has recently shown that seventeenth-century ‘spontaneous generation’ was ‘not a single theory but rather a landscape of possible views’. This is also clearly visible in Lesser’s text. Accordingly, it exhibits the range of arguments and refutations in a variety of ways. Next to observation was reason of course spiced with long-standing conventions like the important ‘chain of being’ assumption. For Lesser it would be ‘against all reason’ if plants, which are on a lower scale than animals, could bring forth insects.

Clearly, not only observation but also tradition, especially classical authors and scripture itself, was proof that the sexual act was indeed necessary. Returning to Genesis, Lesser maintained that God had given every living organism the power (Kraft) to procreate and this was true for insects too: ‘that this almighty word was extended to the insects’ procreation through insemination, as in all other animals’ (Lesser, p.41). The power/force (Kraft) metaphor recurs persistently in Lesser’s work and certainly has some connection to the important concept of force in Newtonian physics, connecting early modern natural history to natural philosophy or physics.

Combining this with observation again, Lesser stressed that one can see the ‘proper body-parts for siring and giving birth’ in insects as well as the eggs from which they spring. He described the basics of animal mating in a distinct chapter on proliferation and started this with a definition on how procreation works. Lesser clearly favoured the sperm over the egg. He also compared insects to human beings and other animals and described the two practices of mating he knew about: either insects mated belly to belly or from behind. But as the observation of insect copulation was one of the main problems in eighteenth-century entomology, as Mary Terrall has recently shown, it is not surprising that Lesser did speak at lengths about eggs when writing about what was actually observed: the generation of insects from ova.

He provides lots of details, and describes male and female organs thus: ‘The male member can be found mostly at the rump but sometimes also on the abdomen. They also have their rod and testicles. The size of those vary according to the size of the insects themselves. The vulva on the female insect is rough in order to prevent chafing of this tender element during intercourse. Ordinarily it is placed at the rump but sometimes also at the upper parts of the abdomen’ (p.268-69). Lesser’s detailed description of genitalia is astounding not only because of the religious nature of his text, but also because 65 years later one of the most important entomologists of the later eighteenth century rejected any attention to genitalia in natural history. In 1803 Johann Christian Fabricius – often called the Linnaeus of insects – wrote an important article in one of the earliest specialised entomology journals (‘Vertheidigung des fabricischen Systems’, Magazin für Insektenkunde 2 (1803), p.1-13).

Addressing his critics, he explained why his taxonomic system that was based on the mouthparts of insects was the best despite its flaws. First, genitalia are often too small to observe properly and second, echoing Linnaeus, he argued that inquiry into genitals was abominable and displeasing (‘Genitalium disquisitio abominabilis displicet’, Fabricius, p.5). This may come as a surprise to historians of eighteenth-century botany who are fully aware that Linnaeus based his plant taxonomy on the reproductive organs of plants. It is very difficult to ascertain why both Linnaeus and Fabricius made this statement, but one explanation might be a differentiation between flora and fauna where the morphology of the former was different enough from human reproductive organs. And although anthropomorphism was popular in botany and Linnaeus’s sexual system was severely criticised precisely for its attention to reproduction, non-human animals seem to have been more closely connected to a discussion of human sexuality.

Again, insects are used for understanding human behaviour. Apparently Linnaeus’s ‘nosce te ipsum’ had put humans firmly in the animal kingdom. Of course this was further developed in the nineteenth century. We know that the Victorians were obsessed with sex – as was the Enlightenment. In 1820 Johannes Jacob Hegetschweiler could publish a dissertation in Zurich that was concerned with insect genitalia (‘Dissertatio inauguralis zootomica de insectorum genitalibus’). Hence Fabricius’s dictum about genitals being abominable did not hold for long. Genitals are indeed one of the important characteristics of differentiating between insect species today.

Dominik Hünniger, Universität Hamburg

Dominik is author of the chapter ‘Inveterate travellers and travelling invertebrates’, in the edited volume Interspecies Interactions: Animals and Humans between the Middle Ages and Modernity’, ed. Sarah Cockram and Andrew Wells (Routledge, 2017).

Alexander Radishchev’s Journey from St Petersburg to Moscow

“Combining profound linguistic sophistication with enviable literary style, Andrew Kahn and Irina Reyfman, two of today’s most esteemed scholars of Russian literature, have produced the definitive translation of Radishchev’s classic revolutionary cri de cœur.” – Douglas Smith, author of Rasputin: faith, power, and the twilight of the Romanovs

‘Each person is born into this world the equal of any other.’

Alexander Radishchev, Journey from St Petersburg to Moscow

Alexander Radishchev, Journey from St Petersburg to Moscow (1790).

This line opens a speech in the court trial of a family of serfs who killed their master in self-defence. This line and other statements about inequality, human rights, and social justice, are of crucial importance in Alexander Radishchev’s Journey from St Petersburg to Moscow (1790). These ideas make this travelogue both a work ahead of its time in Russia, published seventy years before the Great Reforms of the 1860s, and a work that is completely contemporary to its time because the ideals expressed by Radishchev’s narrators are consistent with progressive movements of the 1790s. An experienced civil servant, Radishchev could have written out his positions on agrarian reform and serfdom in a treatise or a formal report. Instead he chose to cast his radical critique in the form of a journey. He published this work on a hand-press with dire personal consequences, facing first arrest and then exile. What may have been explosive then – and what is most relevant now – was not Radishchev’s policies on serfdom (he offered none in this work) but rather the arguments for human rights he espouses.

Title page of the first edition (Library of Congress, Washington DC)

Title page of the first edition (Library of Congress, Washington DC).

The eighteenth century was a great age of journeys, real and fictional. Fictional journeys provided defamiliarized perspectives on beliefs, attitudes, and customs as socially constructed. While the Enlightenment generally promoted moral universals, it also relativized social practices, and by experiencing reality first-hand, travellers commented anthropologically on variations of ways of life near and far; dietary practices, marriage arrangements, sexual taboos, and human rights were thrown in the spotlight, indications of local customs that showed differences and consistencies in the application of universal human tendencies. The pioneering work in travel as comparative social science was Montesquieu’s Persian letters (Lettres persanes, 1721), and many later journeys dressed up philosophical enquiry as adventure. The Supplement to the Journey of Bougainville (Supplément au voyage de Bougainville, 1796), a masterpiece by Denis Diderot, considers the state of nature in which eighteenth-century Tahitians lived as a society. Polygamous family structures were naturally communist in property sharing, while colonization by outsiders wrought disease and poverty on the native population. Captain James Cook may have been a hero as an explorer, but from another standpoint his settlers had brought destruction. Similar in its use of travel as a vehicle for social critique was Guillaume Thomas Raynal’s A Philosophical and political history of the Two Indies (Histoire philosophique et politique des établissements et du commerce des Européens dans les deux Indes, 1770). A tale of travels full of tirades against colonial exploitation, unfair trade practices, and slave rebellions in the East Indies, South America, and elsewhere, the book was banned in France in 1779 and burned by France’s public executioner. Raynal escaped arrest by going first to the court of Frederick the Great of Prussia and then to St Petersburg where Catherine the Great offered him a warm reception. Raynal’s book was one that Radishchev had in his library and from which he quoted.

Fictional journeys provided defamiliarized perspectives on beliefs, attitudes, and customs as socially constructed

Alexander Radishchev

Alexander Radishchev (unknown painter).

In his travelogue Radishchev followed the example of other distinguished European writers in representing the societal ills and governance issues besetting his country; he uses a mixed form that combines novelistic stories, treatise-like speeches, and allegories in a way that is both specific and universal, realistic and abstract, targeting troubles that existed in one place but could happen in any society. This is the tradition in which Radishchev’s Journey from St Petersburg should be read. His journey follows a real postal route, with grumpy stationmasters and insufficient postal horses lending verisimilitude. His hero offers an outsider’s perspective on local practices and, like Diderot’s naturalist in Tahiti, he is particularly fascinated by the treatment of women, arranged marriages, sexual exploitation, and the ravages of venereal disease. And in the manner of Laurence Sterne (as well as of Nikolai Karamzin, whose work Radishchev may have read), Radishchev’s hero is brimming with virtue and tears. A readiness to weep may look quaint now, but in eighteenth-century literary symbolism, weeping was proof of a human capacity for empathy. Empathy, for the most important social theorists of the period such as Lord Kames and Adam Smith, is the bedrock of natural justice that societies must try to encode in law if they are to prevent discord and rebellion fomented by colonial and internal exploitation.

Yet what was Radishchev’s motivation to write this work? Russia had undergone multiple reforms during Catherine the Great’s long reign. In 1790, however, Catherine was seen, rightly or wrongly, as aged and more vulnerable to court factions and intrigues. Furthermore, there had been no progress on the question of serfdom just as the French Revolution inspired popular movements on a massive scale across Europe and the globe. Under some individual landholders, the plight of the serfs had improved. But for the vast majority of serfs (and we are talking about more than 90 per cent of the Russian Empire’s population), economic hardship was constant and unalleviated, exacerbated by other societal woes such as forced conscription and sexual exploitation – all topics that come up in this work.

A prohibited book, the Journey’s radicalism was seen as implicitly revolutionary

Catherine II by Alexander Roslin

Catherine II by Alexander Roslin
(1776-77, Hermitage).

A prohibited book, the Journey’s radicalism was seen as implicitly revolutionary. But this is contestable. Instead, the Journey’s radicalism might be better understood again in the context of its time. Unlike Captain Cook or Josiah Banks, for example, Radishchev did not write about scientific or exploratory journeys. (His letters from Siberia, however, show how observant he was about local flora and fauna.) His work places him closer to Thomas Paine’s Rights of Man and Raynal’s Philosophical and political history in taking a human rights-based perspective, and how Russian serfs are presented as equal members of society is one of the most striking positions adopted in the Journey. Peasants’ lives matter not just out of economic efficiency but because of natural justice, an argument made in the speech of a nobleman who justifies acts of violence as self-defence in the aforementioned trial of the two serfs.

In these lines, at a time when questions of economic equality and race are making headlines across the United States and around the world, one can see the relevance of Radishchev’s work to our present moment, especially in translation. The speech below uses a familiar vocabulary, one that reflects the Enlightenment values enshrined in other contemporary documents such as the American Constitution and the U.S. Bill of Rights:

“Man considered, therefore, outside society is a being dependent on nobody else for his own deeds. But he puts a limit on these, consents not to subordinate himself to his own will alone, and becomes obedient to the commands of other human beings, in a word becomes a citizen. For the sake of what cause does he restrain his desires? For what purpose does he set a power over himself? Unlimited in the exercise of his willpower, why does he limit it through obedience? – For his own sake, – says reason. – For his own sake, – says an inner voice. – For his own sake, – says wise legislation. It follows that where it is not in his interest to be a citizen there is no citizen. It follows, therefore, that whoever wants to deprive him of the advantage of being a citizen is his enemy. He seeks in the law defense and retribution against his enemy. If the law either does not have the power to defend him or does not wish to do so, or lacks the power to help him immediately in his present woe, then the citizen uses his natural right of defense, preservation, welfare. For the citizen, insofar as he has become a citizen, does not cease to be a person whose first duty, stemming from his organism, is preservation, defense, welfare.”

– Andrew Kahn and Irina Reyfman

The text of this contribution first appeared in the Columbia University Press blog in September 2020.

L’Essai sur les mœurs: une lecture personnelle

L’Essai sur les mœurs est en grande partie un recensement de la souffrance infligée par la cruauté humaine sous toutes ses formes (nous dirions aujourd’hui le sadisme), et de la quête de liberté au moins sous certaines formes. Véritable tour de force de synthèse, atteignant à la perfection du langage, il s’agit d’un ouvrage dérangeant qui fait voir un homme révolté devant l’Histoire telle qu’il la présente. Voltaire s’en est pris à l’Histoire comme il a l’habitude de s’en prendre à la Bible. Sa virtuosité en impose, mais cette histoire du monde et l’analyse du devenir historique qui en découle génèrent autant de perplexité chez le lecteur qu’elles ne l’éclairent, et ce pour plusieurs raisons, dont les moindres ne sont pas la partialité de l’auteur et sa conception atemporelle de l’Histoire. L’Essai sur les mœurs, fascinant par ses méandres, est sans doute l’œuvre de Voltaire la plus complexe du point de vue du sens qui saurait être attribué à l’ensemble.

Page de titre de la première édition

Page de titre de la première édition.

Ce n’est sans doute pas là un enjeu essentiel, mais à la toute fin, au dernier chapitre (‘Résumé de toute cette histoire’), Voltaire s’interroge sur les leçons à tirer de ce vaste panorama des actions humaines qu’il a voulu présenter à travers les mœurs, un concept qui confère une unité sémantique à son travail mais dont la spécificité est difficile à cerner. Aurait-il perçu les camps de concentration nazis comme mœurs des Allemands? Voltaire a voulu éblouir avec ses obsessions; il a créé un vertige moral en contemplant l’hypocrisie des gens de pouvoir, et s’en repentira en cherchant à atténuer le tableau morbide des abominations commises au cours de l’histoire de l’humanité qu’il a peint en parallèle avec les plus grandes réalisations de l’esprit humain. Il adoucit – un peu tard – son agressivité habituelle (‘jamais on n’a vu aucune société religieuse, aucun rite institué dans la vue d’encourager les hommes aux vices. On s’est servi dans toute la terre de la religion pour faire le mal; mais elle est partout instituée pour porter au bien; et si le dogme apporte
 le fanatisme et la guerre, la morale inspire partout la concorde’, ch.197, p.330) et crée une ouverture vers un optimisme intellectuel (‘Quand une nation connaît les arts, quand elle n’est point subjuguée et transportée par les étrangers, elle sort aisément de ses ruines, et se rétablit toujours’, ch.197, p.334).

Son ambition initiale était claire. Il a expliqué sa frustration, et celle conjointe de Mme Du Châtelet, devant la lecture de l’Histoire à laquelle il avait accès: ‘nous avons jusqu’à présent dans la plupart de nos histoires universelles, traité les autres hommes comme s’ils n’existaient pas. La Grèce, les Romains se sont emparés de toute notre attention, et quand le célèbre Bossuet dit un mot des mahométans, il n’en parle que comme d’un déluge de barbares, cependant beaucoup de ces nations possédaient des arts utiles que nous tenons d’elles; leurs pays nous fournissent des commodités et des choses précieuses que la nature nous a refusées, et vêtus de leurs étoffes, nourris des productions de leurs terres, instruits par leurs inventions, amusés même par les jeux qui sont le fruit de leur industrie, nous ne sommes ni justes ni sages de les ignorer’ (‘Nouveau Plan d’une Histoire de l’esprit humain’, OCV, t.27, p.157). Il serait difficile de contester une telle affirmation. ‘Mon principal but avait été de suivre les révolutions de l’esprit humain dans celles des gouvernements. Je cherchais comment tant de méchants hommes conduits par de plus méchants princes ont pourtant à la longue établi des sociétés où les arts, les sciences, les vertus mêmes ont été cultivés’ (‘Lettre de M. de V*** à M. de ***, professeur en histoire’, OCV, t.27, p.179). C’est donc un univers moral qui le préoccupe; Voltaire n’est pas en quête d’exotisme.

Page de titre d’une édition de 1754

Page de titre d’une édition de 1754, t.3. (Bibliothèque de l’Arsenal)

L’Essai est l’histoire des pratiques humaines, non pas celle des idées, et c’est pourquoi il ne retiendra pas comme titre l’Histoire de l’esprit humain auquel il avait songé. Voltaire aurait pu intituler son ouvrage ‘Histoire de la condition humaine’, mais il ne l’a pas fait. Il utilise le terme une seule fois, au chapitre 155: ‘Ce gouvernement [de la Chine], quelque beau qu’il fut, était nécessairement infecté de grands abus attachés à la condition humaine’ (lignes 168-69). L’objet de sa recherche n’était pas tant de décrire les mœurs comme telles à travers l’histoire de l’humanité, que de créer une occasion pour en critiquer, à la lumière de sa propre échelle de valeurs, certaines d’entre elles qui choquaient sa sensibilité morale et esthétique – et critiquer sa propre société par la même occasion.

L’histoire universelle devient un monde peuplé de personnages réels travaillés par l’imagination de Voltaire qui entretient avec eux le même genre de rapport ambivalent qu’il entretient de façon chronique dans ses relations affectives d’amour ou d’amitié. Il a traité les faits historiques comme il traite ses relations personnelles: tout devient une affaire pratiquement personnelle, lui-même étant omniprésent dans son texte, d’où son originalité. Il tire les ficelles de l’Histoire et anime un théâtre de marionettes à son gré. Laurent Avezou, dans son article ‘Autour du Testament politique de Richelieu’ (Bibliothèque de l’Ecole des chartes, t.162, 2004, p.421-53) a bien perçu cette tendance chez Voltaire (‘Le philosophe a transformé le Testament en affaire personnelle’, p.449) en dévoilant son ambivalence vis-à-vis certaines des grandes figures de l’histoire ‘qui transparaît dans son Essai sur les mœurs’ (p.448).

Lettre de Voltaire au comte d’Argenson

Lettre de Voltaire au comte d’Argenson. (Arsenal,  MS 8. H. 2243; D5903)

Voltaire nous a tenu moralement en suspens, on pourrait presque dire en otages, parce que nous ne sommes pas à même de savoir exactement quel est le jugement qu’il porte sur une quantité d’événements et de phénomènes historiques, son attitude par rapport à la découverte du Nouveau Monde et ses conséquences, par exemple. Son admiration est suivie d’une désillusion qui prend sur lui le dessus, et son dégoût pour les atrocités commises l’emporte sur la considération des avantages ou désavantages au plan économique. L’exploitation et l’esclavage sont mentionnés, mais ne font pas l’objet d’un approfondissement: ‘Les Européens n’ont fait prêcher leur religion depuis le Chili jusqu’au Japon, que pour faire servir les hommes, comme des bêtes de somme, à leur insatiable avarice’ (OCV, t.26A, p.187-88); ‘Des milliers d’Américains servaient aux Espagnols de bêtes de somme’ (p.244). Pour une région différente, parlant des ‘nègres’ de la ‘côte de Guinée, à la côte d’Or, à celle d’Yvoire […] Nous leur disons qu’ils sont hommes comme nous, qu’ils sont rachetés du sang d’un Dieu mort pour eux, et ensuite on les fait travailler comme des bêtes de somme’ (p.285). La révolte de Voltaire s’arrête à ce genre de remarques. Il faut peut-être placer ces commentaires (qui ne sont rien d’autre) en parallèle avec ceux-ci pour comprendre sa position: ‘le travail des mains ne s’accorde point avec le raisonnement, et le commun peuple en général n’use ni n’abuse guère de son esprit’ (p.66); ‘nous ne prétendons pas parler de la populace; elle doit être en tout pays uniquement occupée du travail des mains. L’esprit d’une nation réside toujours dans le petit nombre qui fait travailler le grand, qui le nourrit et le gouverne’ (p.321).

Son attitude face au cannibalisme aussi fait voir son ambivalence et la division de sa pensée: ‘La véritable barbarie est de donner la mort, et non de disputer un mort aux corbeaux ou aux vers’ (p.214); ‘Comment des peuples toujours séparés les uns des autres, ont-ils pu se réunir dans une si horrible coutume?’ (p.215). Ces points de vue ne sont pas mutuellement exclusifs, et c’est là un des traits qui fait la spécificité de l’Essai: la multiplicité des regards.

Page de titre de l’édition Cramer de 1756

Page de titre de l’édition Cramer de 1756.

Ce que Voltaire voulait accomplir pour Mme Du Châtelet, l’a-t-il réellement fait? Sans doute pas. Voltaire n’est pas librement à l’écoute des phénomènes qu’il décrit. Il ne cherche pas à comprendre, mais à imposer un point de vue normatif et provocateur; il s’adonne davantage à une esthétique des civilisations qu’à une anthropologie. S’il n’y a pour lui qu’un seul univers moral, il n’éprouve pas le besoin d’en faire la démonstration. Il a juxtaposé l’abominable au sublime sans percevoir ce qui mène à l’un ou à l’autre. Et qui le pourrait? Mais il a été à même de rattacher la psychologie individuelle aux grands mouvements historiques. Sa pensée synthétique hallucinante et ses sarcasmes sont susceptibles d’intéresser particulièrement les jeunes générations et capables tout autant de les égarer. Il a dit beaucoup de choses vraies, et si sa vérité reste incomplète ce n’est qu’un encouragement à explorer de nouveau toute une série de perspectives sur le devenir historique. L’Essai sur les mœurs est autre chose qu’un objet de musée littéraire. Les problèmes sur lesquels Voltaire s’est penché resteront toujours actuels. La connaissance du passé et de la diversité culturelle telle que présentée par un observateur du siècle des Lumières hautement original qui nous instruit autant sur son siècle que sur le monde entier s’avérera toujours utile, surtout dans le monde monoculturel où nous vivons aujourd’hui.

Dominique Lussier