Fanaticism, or Mohammed the prophet

· The Collected Works of Voltaire Libri 17 · Marchen Verlag
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"One only has to read Voltaire's Fanaticism from time to time to see clearly in one's mind what has been lost once and for all to European culture through that breaking off of tradition. Voltaire was the last of the great dramatists who tamed his many-faceted soul, which was also able to withstand the greatest tragic storms, by means of Greek measures” Nietzsche, Human, All too Human

Fanaticism, or Mahomet the Prophet (Le Fanatisme, ou Mahomet le prophète), first staged in 1741, is a dramatic tragedy that uses the figure of Muhammad—here portrayed as Mahomet—as a vehicle to examine religious extremism, manipulation, and ambition under the guise of spiritual authority. The play is set during the conquest of Mecca and portrays Mahomet as a shrewd, unscrupulous leader who uses divine pretensions to consolidate power and justify assassination. Central to the plot is Mahomet’s coercion of the noble Seid into murdering his own father, demonstrating how doctrinal fervor can corrupt moral judgment. The play draws sharp distinctions between spiritual sincerity and institutionalized dogma, depicting religious authority as a mask for tyranny and personal gain. Despite being framed as a tragedy, the structure is didactic and relentlessly polemical, with characters embodying abstract ideas more than individual psychologies.

This modern Critical Reader’s Edition includes an illuminating afterword tracing Voltaire’s intellectual relationships with Enlightenment thinkers and philosophers (including Locke, Diderot, Rousseau and Newton), containing unique research into his influences and economic attachments, a comprehensive timeline of his life and works, a glossary of Enlightenment terminology, and a detailed index of all of Voltaire’s writings. This unique professional translation renders Voltaire’s sharp, satirical prose into modern language to preserve the original clarity and movement of the text. Combined with the scholarly amplifying material, this edition is a groundbreaking exploration of Voltaire’s classic works and his enduring artistic and philosophical influence, and influence on modern Protestant-Atheistic Theology.

The play was first performed in Lille in April 1741,before being staged in Paris in August of the same year. It was controversial from the start. Voltaire had long admired classical tragedy but turned to contemporary themes with biting political resonance, and in Mahomet he chose a subject that could neither be dismissed as irrelevant nor easily defended. French censors allowed it to run under the guise of historical drama, though its anticlerical overtones were unmistakable. Voltaire, cautious but unrepentant, claimed that he intended the work as an attack on religious fanaticism in general, not Islam in particular, and even dedicated the printed version to Pope Benedict XIV, a gesture more tactical than sincere. Nevertheless, it quickly became one of the clearest expressions of Enlightenment hostility to the abuse of religious authority. Banned in Geneva and elsewhere, it nevertheless found admirers in circles that saw it as a critique not only of ancient religious excess but also of contemporary political manipulation under theological pretense.

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Voltaire (1694-1778), born François-Marie Arouet, was a towering figure in the European Enlightenment, renowned for his wit, satirical genius, and fierce advocacy of civil liberties, including freedom of religion and free trade. Born on November 21, 1694, in Paris, Voltaire was educated by the Jesuits at the Collège Louis-le-Grand, where he demonstrated an early talent in literature and theater. Despite a brief stint studying law, he devoted himself to writing, rapidly gaining fame for his sharp wit and eloquence. Voltaire's literary career was marked by numerous conflicts with French authorities, leading to periods of imprisonment and exile. His most famous stay at the Bastille prison was due to his satirical verse, which mocked the French Regent. This propensity for critique often saw him in conflict with the establishment, but it also earned him a reputation as a champion of the oppressed and a critic of religious and political dogma, including the Atheistic dogmatism of the French Revolution.

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