☀️ JOIN SPN MOBILE
Forums
New posts
Guru Granth Sahib
Composition, Arrangement & Layout
ਜਪੁ | Jup
ਸੋ ਦਰੁ | So Dar
ਸੋਹਿਲਾ | Sohilaa
ਰਾਗੁ ਸਿਰੀਰਾਗੁ | Raag Siree-Raag
Gurbani (14-53)
Ashtpadiyan (53-71)
Gurbani (71-74)
Pahre (74-78)
Chhant (78-81)
Vanjara (81-82)
Vaar Siri Raag (83-91)
Bhagat Bani (91-93)
ਰਾਗੁ ਮਾਝ | Raag Maajh
Gurbani (94-109)
Ashtpadi (109)
Ashtpadiyan (110-129)
Ashtpadi (129-130)
Ashtpadiyan (130-133)
Bara Maha (133-136)
Din Raen (136-137)
Vaar Maajh Ki (137-150)
ਰਾਗੁ ਗਉੜੀ | Raag Gauree
Gurbani (151-185)
Quartets/Couplets (185-220)
Ashtpadiyan (220-234)
Karhalei (234-235)
Ashtpadiyan (235-242)
Chhant (242-249)
Baavan Akhari (250-262)
Sukhmani (262-296)
Thittee (296-300)
Gauree kii Vaar (300-323)
Gurbani (323-330)
Ashtpadiyan (330-340)
Baavan Akhari (340-343)
Thintteen (343-344)
Vaar Kabir (344-345)
Bhagat Bani (345-346)
ਰਾਗੁ ਆਸਾ | Raag Aasaa
Gurbani (347-348)
Chaupaday (348-364)
Panchpadde (364-365)
Kaafee (365-409)
Aasaavaree (409-411)
Ashtpadiyan (411-432)
Patee (432-435)
Chhant (435-462)
Vaar Aasaa (462-475)
Bhagat Bani (475-488)
ਰਾਗੁ ਗੂਜਰੀ | Raag Goojaree
Gurbani (489-503)
Ashtpadiyan (503-508)
Vaar Gujari (508-517)
Vaar Gujari (517-526)
ਰਾਗੁ ਦੇਵਗੰਧਾਰੀ | Raag Dayv-Gandhaaree
Gurbani (527-536)
ਰਾਗੁ ਬਿਹਾਗੜਾ | Raag Bihaagraa
Gurbani (537-556)
Chhant (538-548)
Vaar Bihaagraa (548-556)
ਰਾਗੁ ਵਡਹੰਸ | Raag Wadhans
Gurbani (557-564)
Ashtpadiyan (564-565)
Chhant (565-575)
Ghoriaan (575-578)
Alaahaniiaa (578-582)
Vaar Wadhans (582-594)
ਰਾਗੁ ਸੋਰਠਿ | Raag Sorath
Gurbani (595-634)
Asatpadhiya (634-642)
Vaar Sorath (642-659)
ਰਾਗੁ ਧਨਾਸਰੀ | Raag Dhanasaree
Gurbani (660-685)
Astpadhiya (685-687)
Chhant (687-691)
Bhagat Bani (691-695)
ਰਾਗੁ ਜੈਤਸਰੀ | Raag Jaitsree
Gurbani (696-703)
Chhant (703-705)
Vaar Jaitsaree (705-710)
Bhagat Bani (710)
ਰਾਗੁ ਟੋਡੀ | Raag Todee
ਰਾਗੁ ਬੈਰਾੜੀ | Raag Bairaaree
ਰਾਗੁ ਤਿਲੰਗ | Raag Tilang
Gurbani (721-727)
Bhagat Bani (727)
ਰਾਗੁ ਸੂਹੀ | Raag Suhi
Gurbani (728-750)
Ashtpadiyan (750-761)
Kaafee (761-762)
Suchajee (762)
Gunvantee (763)
Chhant (763-785)
Vaar Soohee (785-792)
Bhagat Bani (792-794)
ਰਾਗੁ ਬਿਲਾਵਲੁ | Raag Bilaaval
Gurbani (795-831)
Ashtpadiyan (831-838)
Thitteen (838-840)
Vaar Sat (841-843)
Chhant (843-848)
Vaar Bilaaval (849-855)
Bhagat Bani (855-858)
ਰਾਗੁ ਗੋਂਡ | Raag Gond
Gurbani (859-869)
Ashtpadiyan (869)
Bhagat Bani (870-875)
ਰਾਗੁ ਰਾਮਕਲੀ | Raag Ramkalee
Ashtpadiyan (902-916)
Gurbani (876-902)
Anand (917-922)
Sadd (923-924)
Chhant (924-929)
Dakhnee (929-938)
Sidh Gosat (938-946)
Vaar Ramkalee (947-968)
ਰਾਗੁ ਨਟ ਨਾਰਾਇਨ | Raag Nat Narayan
Gurbani (975-980)
Ashtpadiyan (980-983)
ਰਾਗੁ ਮਾਲੀ ਗਉੜਾ | Raag Maalee Gauraa
Gurbani (984-988)
Bhagat Bani (988)
ਰਾਗੁ ਮਾਰੂ | Raag Maaroo
Gurbani (889-1008)
Ashtpadiyan (1008-1014)
Kaafee (1014-1016)
Ashtpadiyan (1016-1019)
Anjulian (1019-1020)
Solhe (1020-1033)
Dakhni (1033-1043)
ਰਾਗੁ ਤੁਖਾਰੀ | Raag Tukhaari
Bara Maha (1107-1110)
Chhant (1110-1117)
ਰਾਗੁ ਕੇਦਾਰਾ | Raag Kedara
Gurbani (1118-1123)
Bhagat Bani (1123-1124)
ਰਾਗੁ ਭੈਰਉ | Raag Bhairo
Gurbani (1125-1152)
Partaal (1153)
Ashtpadiyan (1153-1167)
ਰਾਗੁ ਬਸੰਤੁ | Raag Basant
Gurbani (1168-1187)
Ashtpadiyan (1187-1193)
Vaar Basant (1193-1196)
ਰਾਗੁ ਸਾਰਗ | Raag Saarag
Gurbani (1197-1200)
Partaal (1200-1231)
Ashtpadiyan (1232-1236)
Chhant (1236-1237)
Vaar Saarang (1237-1253)
ਰਾਗੁ ਮਲਾਰ | Raag Malaar
Gurbani (1254-1293)
Partaal (1265-1273)
Ashtpadiyan (1273-1278)
Chhant (1278)
Vaar Malaar (1278-91)
Bhagat Bani (1292-93)
ਰਾਗੁ ਕਾਨੜਾ | Raag Kaanraa
Gurbani (1294-96)
Partaal (1296-1318)
Ashtpadiyan (1308-1312)
Chhant (1312)
Vaar Kaanraa
Bhagat Bani (1318)
ਰਾਗੁ ਕਲਿਆਨ | Raag Kalyaan
Gurbani (1319-23)
Ashtpadiyan (1323-26)
ਰਾਗੁ ਪ੍ਰਭਾਤੀ | Raag Prabhaatee
Gurbani (1327-1341)
Ashtpadiyan (1342-51)
ਰਾਗੁ ਜੈਜਾਵੰਤੀ | Raag Jaijaiwanti
Gurbani (1352-53)
Salok | Gatha | Phunahe | Chaubole | Swayiye
Sehskritee Mahala 1
Sehskritee Mahala 5
Gaathaa Mahala 5
Phunhay Mahala 5
Chaubolae Mahala 5
Shaloks Bhagat Kabir
Shaloks Sheikh Farid
Swaiyyae Mahala 5
Swaiyyae in Praise of Gurus
Shaloks in Addition To Vaars
Shalok Ninth Mehl
Mundavanee Mehl 5
ਰਾਗ ਮਾਲਾ, Raag Maalaa
What's new
New posts
New media
New media comments
New resources
Latest activity
Videos
New media
New comments
Library
Latest reviews
Donate
Log in
Register
What's new
New posts
Menu
Log in
Register
Install the app
Install
Welcome to all New Sikh Philosophy Network Forums!
Explore Sikh Sikhi Sikhism...
Sign up
Log in
Discussions
Interfaith Dialogues
Mahomet (play) By Voltaire
JavaScript is disabled. For a better experience, please enable JavaScript in your browser before proceeding.
You are using an out of date browser. It may not display this or other websites correctly.
You should upgrade or use an
alternative browser
.
Reply to thread
Message
<blockquote data-quote="Admin" data-source="post: 109902" data-attributes="member: 1"><p>Mahomet (French: Le fanatisme, ou Mahomet le Prophete, literally Fanaticism, or Mahomet the Prophet) is a five-act tragedy written in 1736 by French playwright and philosopher <strong>Voltaire</strong>. It received its debut performance in Lille on 25 April 1741.</p><p></p><p>The play is a study of religious fanaticism and self-serving manipulation based on an episode in the traditional biography of Muhammad in which he orders the murder of his critics.[1] Voltaire described the play as "written in opposition to the founder of a false and barbarous sect to whom could I with more propriety inscribe a satire on the cruelty and errors of a false prophet".[2]</p><p></p><p>Plot summary</p><p></p><p>The story of "Mahomet" unfolds during Muhammad's post exile siege of Mecca in 630 AD, when the opposing forces are under a short term truce called to discuss the terms and course of the war.</p><p></p><p>In the first act we are introduced to the leader of the Meccans, Zopir, an ardent and defiant advocate of free will and liberty who rejects the tyranny that Mahomet is seeking to impose. Mahomet is presented through his conversations with his second in command Omar and with his opponent Zopir and with two of Zopir's long lost children (Seid and Palmira) whom, unbeknownst to Zopir, Mahomet had abducted and enslaved in their infancy, fifteen years earlier.</p><p></p><p>The now young and beautiful captive Palmira has become the object of Mahomet's desires and jealousy. Having observed a growing affection between Palmira and Seid, Mahomet devises a plan to steer Seid away from her heart by indoctrinating young Seid in religious fanaticism and sending him on a suicide attack to assassinate Zopir in Mecca, an event which he hopes will rid him of both Zopir and Seid and free Palmira's affections for his own conquest.[3] Mahomet invokes divine authority to justify his conduct.</p><p></p><p>Seid, still respectful of Zopir's nobility of character, hesitates at first about carrying out his assignment, but eventually his fanatical loyalty to Mahomet overtakes him[4] and he slays Zopir. Phanor arrives and reveals to Seid and Palmira to their disbelief that Zopir was their father. Omar arrives and deceptively orders Seid arrested for Zopir's murder despite knowing that it was Mahomet who had ordered the assassination. Mahomet decides to cover up the whole event so as to not be seen as the deceitful impostor and tyrant that he is.</p><p></p><p>Having now uncovered Mahomet's "vile" deception[5] Palmira renounces Mahomet's god[6] and commits suicide rather than to fall into the clutches of the murderous Mahomet.</p><p></p><p>Analysis and reception</p><p></p><p>Voltaire indicated that the play was not historical, but rather a representation of fanaticism.Rebecca Joubin has opined that the play's focus functions as a surrogate for Jesus.[7]</p><p></p><p>References</p><p></p><p> 1. ^ Voltaire, Mahomet the Prophet or Fanaticism: A Tragedy in Five Acts, trans. Robert L. Myers, ( New York: Frederick Ungar, 1964).</p><p> 2. ^ Voltaire Letter to Benedict XIV written in Paris on August 17, 1745 AD: "Your holiness will pardon the liberty taken by one of the lowest of the faithful, though a zealous admirer of virtue, of submitting to the head of the true religion this performance, written in opposition to the founder of a false and barbarous sect. To whom could I with more propriety inscribe a satire on the cruelty and errors of a false prophet, than to the vicar and representative of a God of truth and mercy? Your holiness will therefore give me leave to lay at your feet both the piece and the author of it, and humbly to request your protection of the one, and your benediction upon the other; in hopes of which, with the profoundest reverence, I kiss your sacred feet."</p><p> 3. ^ Mahomet Act IV Scene I Mahomet speaking We must work in secret, the dark shades of death must hide our purpose—while we shed old Zopir's blood, be sure you keep Palmira in deepest ignorance; she must not know the secret of her birth: her bliss and mine depend upon it</p><p> 4. ^ Mahomet Act IV scene IV Seid speaking To serve my God, to please and merit thee, This sword, devoted to the cause of heaven, Is drawn, and shall destroy its deadliest foe</p><p> 5. ^ Mahomet Act V scene II: Palmira speaking to Mahomet "What joys, what blessings, or what happiness can I expect from thee, thou vile impostor? thou ****** savage! This alone was wanting this cruel insult to complete my woes: eternal father, look upon this king,this "holy prophet", this all-powerful god whom i adored: thou monster, to betray two guiltless hearts into the crying sin of parricide; thou infamous seducer of my unguarded youth, how darest thou think,stained as thou art with my dear father's blood, to gain palmira's heart? But know, proud tyrant, thou are not yet invincible: the veil is off that hid thee."</p><p> 6. ^ Mahomet Act V scene V: Palmira speaking to Mahomet "I die: and dying hope a God more just than thine has yet in store a state of happiness for injured innocence "</p><p> 7. ^ Rebecca Joubin, "Islam and Arabs through the Eyes of the Encyclopedie: The "Other" as a Case of French Cultural Self-Criticism," International Journal of Middle East Studies, Vol. 32, No. 2. (May, 2000). 198</p></blockquote><p></p>
[QUOTE="Admin, post: 109902, member: 1"] Mahomet (French: Le fanatisme, ou Mahomet le Prophete, literally Fanaticism, or Mahomet the Prophet) is a five-act tragedy written in 1736 by French playwright and philosopher [B]Voltaire[/B]. It received its debut performance in Lille on 25 April 1741. The play is a study of religious fanaticism and self-serving manipulation based on an episode in the traditional biography of Muhammad in which he orders the murder of his critics.[1] Voltaire described the play as "written in opposition to the founder of a false and barbarous sect to whom could I with more propriety inscribe a satire on the cruelty and errors of a false prophet".[2] Plot summary The story of "Mahomet" unfolds during Muhammad's post exile siege of Mecca in 630 AD, when the opposing forces are under a short term truce called to discuss the terms and course of the war. In the first act we are introduced to the leader of the Meccans, Zopir, an ardent and defiant advocate of free will and liberty who rejects the tyranny that Mahomet is seeking to impose. Mahomet is presented through his conversations with his second in command Omar and with his opponent Zopir and with two of Zopir's long lost children (Seid and Palmira) whom, unbeknownst to Zopir, Mahomet had abducted and enslaved in their infancy, fifteen years earlier. The now young and beautiful captive Palmira has become the object of Mahomet's desires and jealousy. Having observed a growing affection between Palmira and Seid, Mahomet devises a plan to steer Seid away from her heart by indoctrinating young Seid in religious fanaticism and sending him on a suicide attack to assassinate Zopir in Mecca, an event which he hopes will rid him of both Zopir and Seid and free Palmira's affections for his own conquest.[3] Mahomet invokes divine authority to justify his conduct. Seid, still respectful of Zopir's nobility of character, hesitates at first about carrying out his assignment, but eventually his fanatical loyalty to Mahomet overtakes him[4] and he slays Zopir. Phanor arrives and reveals to Seid and Palmira to their disbelief that Zopir was their father. Omar arrives and deceptively orders Seid arrested for Zopir's murder despite knowing that it was Mahomet who had ordered the assassination. Mahomet decides to cover up the whole event so as to not be seen as the deceitful impostor and tyrant that he is. Having now uncovered Mahomet's "vile" deception[5] Palmira renounces Mahomet's god[6] and commits suicide rather than to fall into the clutches of the murderous Mahomet. Analysis and reception Voltaire indicated that the play was not historical, but rather a representation of fanaticism.Rebecca Joubin has opined that the play's focus functions as a surrogate for Jesus.[7] References 1. ^ Voltaire, Mahomet the Prophet or Fanaticism: A Tragedy in Five Acts, trans. Robert L. Myers, ( New York: Frederick Ungar, 1964). 2. ^ Voltaire Letter to Benedict XIV written in Paris on August 17, 1745 AD: "Your holiness will pardon the liberty taken by one of the lowest of the faithful, though a zealous admirer of virtue, of submitting to the head of the true religion this performance, written in opposition to the founder of a false and barbarous sect. To whom could I with more propriety inscribe a satire on the cruelty and errors of a false prophet, than to the vicar and representative of a God of truth and mercy? Your holiness will therefore give me leave to lay at your feet both the piece and the author of it, and humbly to request your protection of the one, and your benediction upon the other; in hopes of which, with the profoundest reverence, I kiss your sacred feet." 3. ^ Mahomet Act IV Scene I Mahomet speaking We must work in secret, the dark shades of death must hide our purpose—while we shed old Zopir's blood, be sure you keep Palmira in deepest ignorance; she must not know the secret of her birth: her bliss and mine depend upon it 4. ^ Mahomet Act IV scene IV Seid speaking To serve my God, to please and merit thee, This sword, devoted to the cause of heaven, Is drawn, and shall destroy its deadliest foe 5. ^ Mahomet Act V scene II: Palmira speaking to Mahomet "What joys, what blessings, or what happiness can I expect from thee, thou vile impostor? thou ****** savage! This alone was wanting this cruel insult to complete my woes: eternal father, look upon this king,this "holy prophet", this all-powerful god whom i adored: thou monster, to betray two guiltless hearts into the crying sin of parricide; thou infamous seducer of my unguarded youth, how darest thou think,stained as thou art with my dear father's blood, to gain palmira's heart? But know, proud tyrant, thou are not yet invincible: the veil is off that hid thee." 6. ^ Mahomet Act V scene V: Palmira speaking to Mahomet "I die: and dying hope a God more just than thine has yet in store a state of happiness for injured innocence " 7. ^ Rebecca Joubin, "Islam and Arabs through the Eyes of the Encyclopedie: The "Other" as a Case of French Cultural Self-Criticism," International Journal of Middle East Studies, Vol. 32, No. 2. (May, 2000). 198 [/QUOTE]
Insert quotes…
Verification
Post reply
Discussions
Interfaith Dialogues
Mahomet (play) By Voltaire
This site uses cookies to help personalise content, tailor your experience and to keep you logged in if you register.
By continuing to use this site, you are consenting to our use of cookies.
Accept
Learn more…
Top