Voltaire is a straightforward and fearless writer, who used his writing to fight against many societal principles. In the story of Candide, the author rails against many of these irrational, cruel, and hypocritical societal ideologies. However, we can conclude that from his treatment of women in the text that he does not object to their societal status. The author placed the women in burdened circumstances; portrayed as docile and submissive, not to mention they are sexualized throughout the story. Candide reveals that women had no rights and their main role was being mere objects of sex.
According to an article, “Gender Roles in the Eighteenth Century”, “men were considered the stronger sex, were thought to be intelligent, courageous, and determined. On the other hand, women were more governed by their emotions, and their virtues were expected to be chastity and modesty” (Emsley et al.). This is the case with Miss Cunegonde, Voltaire introduces her as a young, not too bright, damsel in distress, driven by foolish desire. She sits watching what she accepts to be Dr. Pangloss giving an experimental physics lesson to her mother’s attractive maid, when it is obvious that they are having sex (356). She becomes hot, bothered, and curious about the physical interactions between a man and a woman- “Miss Cunégonde had a natural bent for the sciences, she watched breathlessly the repeated experiments which were going on; she saw clearly the doctor’s sufficient reason, observed both cause and effects, and returned to the house in a distracted and pensive frame of mind (356). Here one can see that Miss Cunegonde is nothing more than a naïve, sexually aroused teen. In the same article, mentioned above, beyond employment, women's public roles were generally confined to the exercise of their moral and domestic virtues through participation in religion and charity” (Emsley et al.). We promptly witness this when Cunegonde is discovered kissing the commoner Candide by her father. She blacks out in the wake of discovering her love was kicked out of the castle, only to wake up to a stern slap by her father. She was not asked any questions, her emotions were not considered, there was no empathy indicated, just a smack.
As the story advance, we perceive how Cunegonde is constinuously forced into submissive, and now sexual positions. This may be due to the fact the only attributes the author gives her is beautiful, fresh, pump, and desirable, which are general cliche portrayals of women in those days. Despite her beautiful appearance, she has no rights and is shown no respect from the men who she highly esteemed by; she is forced to share her bed between two men the Inquisitor and the Jew, “Finally my Jew, fearing for his life, struck a bargain by which the house and I would belong to both as joints tenants; the Jew would get Monday’s, Wednesdays, and the Sabbath, the inquisitor would get the other days of the week” (366). Although Voltaire informs his readers that women who were taken as prisoners of war had no rights during this era, they could at least live a comfortable life with royal benefits, on the off chance they were attractive. However, if a woman was not attractive, she would be reduced to be a domestic slave instead of a sex slave. She is never again given an existence of solace in exchange sexual pleasure. We see that Cunégonde has been lessoned to a domestic slave, forced to wash dishes after being raped, beaten, and sold/purchased by various men. She is no longer an object of affection but of ridicule (407). Moreover, Candide, as loyal as he may seem to be, love for Cunegonde was one of mere physical attraction. At one point when rejoined with his devoted servant Cacambo and is excited about being reunited with his beloved Cunegonde, the first thing he inquires of the servant, “is she still a marvel of beauty” (407)? He was not concerned about her wellbeing or what she had gone through, only if his prize possession was still intact. In the wake of learning of the ghastly physical condition of Cunegonde, marrying her was no longer about his affections, rather mere obligation, “I still have a few diamonds, I shall easily deliver Cunégonde. What a pity that she’s become so ugly” (407)! Again, this fact is demonstrated as Candide seeing the once lovely Cunégonde with her skin weathered, her yes bloodshot, her breast fallen, her cheeks seamed, her arms red and scaly, recoiled three steps in horror, and then advanced only out of politeness” (408). Not to mention, she does not know she is appalling claiming no one advised her. Perhaps, knowing that her desirable appearance was the only collateral she had in hopes of surviving she would have been devasted and unable to cope with her new reality, therefore depicting her powerless and swallow. We can conclude during this era that women of no physical excellence was of no worth in the eyes of society, as Candide tells Candide’s brother he is an idiot for trying to interfere with him marrying Cunegonde, “ I paid for your sister’s; she was washing dishes, she is ugly, I am good enough to maker her wife, and you still presume to oppose it. That he may be a servant, but that poor Cunegonde is beneath him now that she is spent and monstrous. Candide demonstrates no respect for his once beloved Cunégonde. Candide had no real wish to marry Cunegonde, but the baron’s extreme impertinence decided him in favor of the marriage (411). In the end, we could have read that Candide realized his love for Cunegonde transcended her physical appearance, but instead we see that the pitiful Cunegonde only contribution was becoming an excellent pastry cook (411).
Once more, another woman is introduced, she is a daughter of a Pope and Princess of Palestrina. She too lived a royal life and wanted for nothing. She is referred to as the Old Woman. She was once beautiful and was contributed with having charm and talent. Yet, her appearance is the core interest in the story, “I grew in beauty, in charm, in talent. Already I was inspiring the young men to love; my breast was formed- and what a breast! White, firm, with the shape of the Venus de Medici; and what eyes! What lashes, what black brows! What fire flashed from my glances and outshone the glitter of stars, as the local poets used to tell me! The women who helped me dress and undress fell into ecstasies, whether they looked at me from in front or behind; and all the men wanted to be in their place” (369). She was engaged to be married to a handsome ruling prince, when his mistress, we can presume out of jealously, poisoned him. The princess and her mother being full of despair over his death embarks on a trip to one of the mother’s property but was overtaken by pirates. It’s ironic that in the recalling of her horrific story of being grief stricken by her fiancés death, taken captive by pirates, violated, and her mother’s death the emphasis is placed on her appearance – “My mother was still very beautiful; our maids of honor, our mere chambermaids, were more charming than anything one could find in all Africa. As for myself, I was ravishing, I was loveliness and grace supreme, and I was a virgin” (370). Voltaire, in his own witty brilliance tells us that there is still truth in satire. The women’s position was not of any real importance in a society that was dominated by men. They were belittled to nothing more than an object of sex!
In closing, the women in Candide possessed no intellectual capabilities, which is astounding, considering Voltaire is one of the great outspoken Enlightenment thinkers during his era. The women in his story only importance was their pleasurable physical features. Had there been mention of his objection specifically regarding the sexual exploitation of women; I would withdraw my position and concur that Voltaire, surely, was attempting to uncover and talk against the sexual abuse of ladies. Tragically, he didn't.
Emsley, Clive, et al. “The Proceedings of the Old Bailey.” Historical Background - Gender in the Proceedings - Central Criminal Court, www.oldbaileyonline.org/static/Gender.jsp.
Voltaire. “Candide” The Norton Anthology World Literature. Martin Puchner. New York: W.W. Norton & Company, 2012. 353-413. Book.
“What is Enlightenment?” The Norton Anthology World Literature. Martin Puchner. New York: W.W. Norton & Company, 2012. 101-102. Book.