Voltaire: A Sketch of His Life and Works — Story, Setting & Ideas
Edition facts
For Voltaire: A Sketch of His Life and Works — Story, Setting & Ideas, the stored edition analysis reports 34,342 words, 2 hr 30 min estimated reading time, and 39 detected text sections.
The text analysis averages about 21.3 words per sentence, while the detected sections provide another way to judge how the source is divided.
Project Gutenberg metadata also associates the work with “Voltaire, 1694-1778,” connecting these edition facts with the source record’s subject description.
Calculated from edition completeness, EPUB availability, text structure and catalogue metadata. Not a user rating.
How this score is calculated
- Description quality20 pts
- Title & short description10 pts
- Source metadata20 pts
- Text length15 pts
- Chapters / structure15 pts
- EPUB file integrity20 pts
Total of 100 points, scaled to a 2.5-5.0 range. Editions with an empty description or a missing EPUB file are not scored.
Read the Text
r were full of animation. Here there was no Bastille, no fear of the persecution of the great or the spies of the police. He had excellent introductions. Bolingbroke he had met in exile at La Source in 1721, and he had learnt to regard the illustrious Englishman who possessed “all the learning of his country and all the politeness of ours.” Voltaire, like Pope, may be said to have been, at any rate for a time, an eager disciple of the exiled English statesman. Now Voltaire was the exile; Bolingbroke, for a while, the host, at Dawley, near Uxbridge. But he had other English friends, notably Mr. (afterwards Sir Everard) Falkener, an English merchant trading in the Levant, from whose house at Wandsworth most of his letters are dated. For Sir Everard, Voltaire always retained the warmest feelings of friendship, and forty years later returned hospitality to his sons.
Voltaire spent two years and eight months in England, living during part of the time in Maiden Lane, Covent Garden, and during another part at Wandsworth. This visit was probably the most important event in his life. It was here he lit the torch of Freethought with which he fired the continent. Here he mastered the arguments of the English deists, Bolingbroke, Toland, Tindal, Shaftesbury, Chubb, Collins, and Woolston, which he afterwards used with such effect. Here he saw the benefits of parliamentary government. Here he imbibed the philosophy of Locke and the science of Newton. Indeed it may be said there is hardly one of Voltaire’s important works but bears traces of his visit to our country. Yet of this momentous epoch of his life the records are scanty. When he grew famous every letter and anecdote was preserved, but in 1727 Voltaire was but a young man of promise. Carlyle, in the tenth book of his _Frederick the Great_, says: “But mere inanity and darkness visible reign in all his Biographies over this period of his life, which was above all others worth investigating.” Messrs. J. C. Collins and A. Ballantyne have since done much to elucidate this noteworthy period.
Pope was one of the persons Voltaire desired to see. He had already described him as “the most elegant, most correct, and most harmonious poet they ever had in England.” Pope could only speak French with difficulty, and Voltaire could not make himself understood. The result being unsatisfactory, Voltaire did not seek further company until he had acquired the language. An anecdote in Chetworth’s _History of the Stage_ relates that he was in the habit of attending the theatre with the play in his hand. By this method he obtained more proficiency in the language in a week than he could otherwise have obtained in a month. Madame de Genlis had the audacity to assert that Voltaire never knew English, yet it is certain he could, before he was many months in this country, both speak and write it with facility. By Nov. 16, 1726, he wrote to Pope, after that poet’s accident while driving near Bolingbroke’s estate at Dawley. In writing to his friend Thieriot, in France, he sometimes used English, for the same reason, he said, that Boileau wrote in Latin—not to be understood by too curious people. Voltaire is said to have once found his knowledge of English of practical use. The French were unpopular, and in one of his rambles he was menaced by a mob. He said: “Brave Englishmen, am I not already unhappy enough in not having been born among you?” His eloquence had such success that, according to Longchamp and Wagnière, the people wished to carry him on their shoulders to his house.
While in this country he wrote in English a portion of his tragedy _Brutus_, inspired by and dedicated to Bolingbroke,
and two essays, one on the Civil Wars of France, and one on Epic Poetry. In the introduction to the essays he expresses his conception of his own position as a man of letters in a foreign country. As these essays, although popular at the time, are now rare, I transcribe a paragraph or two from them:
“The true aim of a relation is to instruct men, not to gratify their malice. We should be busied chiefly in giving a faithful account of all the useful things and extraordinary persons, whom to know, and to imitate, would be a benefit to our country. A traveller who writes in that spirit is a merchant of a nobler kind, who imports into his native country the arts and virtues of other nations.”
Wheeler and Foote’s Voltaire: A Sketch of His Life and Works (1891) is explicitly offered as “a Freethinker’s tribute” on the bicentenary of Voltaire’s birth. The preface states that the book “has no other pretension than that of being a compilation,” yet it is shaped by a clear point of view: Voltaire is valued as “an apostle of reason and universal toleration.” This editorial note traces how the authors construct their portrait through a collaborative preface, a biographical sketch, and a substantial selection of Voltaire’s writings.
A Dual Authorship and Its Mark
The book’s introduction, signed by Foote alone, reveals an unusual division of labor. Foote writes that Wheeler “had written the greater part” before bringing the work to his attention; Foote’s own role was limited to “going through his copy,” assisting with alterations, reading proofs, and suggesting “further improvements.” He places his name on the title page partly to associate himself with a “dear friend and colleague” and partly to lend his “influence” to the volume’s circulation. This frank admission of secondary contribution is rare in co-authored works and gives the reader a clear sense of Wheeler as the primary researcher and writer. The collaborative dynamic itself becomes a minor theme: the book is as much a joint tribute as a biography.
The Biographical Method: Anecdote and Inference
The excerpts show a biographical style that mixes narrative with pointed anecdote. For instance, the account of Voltaire’s later years includes a story about Gibbon’s alleged attempts to see Voltaire, complete with a reported witticism: “You are like the Christian God: he permits one to eat and drink, but will never show himself.” The authors then undercut the story by noting it is “very unlikely,” yet they include it anyway. This technique—presenting dubious material while signaling its unreliability—appears elsewhere. The narrative also draws heavily on Voltaire’s own words, such as his remark about his church inscription: “I adore God; but not monsieur his son, and madame his mother.” The authors let Voltaire speak for himself, but they also shape the context to emphasize his irreverence.
Thematic Emphasis: Voltaire as Freethinker and Reformer
The preface declares that Voltaire is esteemed “mainly under this aspect” of Freethinker and reformer. This lens governs both the biographical sketch and the selection of writings. The table of contents groups Voltaire’s works under headings like “Doubt and Speculation,” “Superstition,” and “Religious Prejudices,” while omitting any section on his literary or dramatic achievements. The biographical portion highlights conflicts with religious authorities—such as his dispute with Geneva over a private theatre and his continual reminders of Servetus—and presents his theatrical work as “an instrument of education” against intolerance. The authors’ own stance is explicit: they admire Voltaire’s role in “dispersing intolerance and superstition.” The book thus functions as a partisan portrait, not a neutral survey.
Readers should approach this volume as a deliberately partial account, one that foregrounds Voltaire’s battles against religious authority and his advocacy for reason. The selections from his works, which occupy roughly half the book, are chosen to reinforce this interpretation. For a fuller picture, one might consult the sources the authors themselves recommend—Condorcet, Parton, Morley—but as a concentrated statement of late-nineteenth-century Freethought admiration, this sketch remains a revealing document of its own era.
Reading about Wheeler and Foote’s Voltaire, I remembered the old public library’s dim corner where I first found Demoniality; or, Incubi and Succubi — its odd, earnest seriousness felt like a door left ajar. Both books share that quiet daring, the thrill of a mind testing old walls. Demoniality; or, Incubi and Succubi — Story, Setting & Ideas lingers there, a whisper from another century that somehow still touches my shoulder.
There are no reviews for this eBook.
Take a moment to reflect on this book
Create a short personal record of your experience with this book.