Gries presents Goethe with a volume of his translation of Calderón and asks for his opinion on it. He then goes on to discuss printed tragedies, arguing that Eifersucht, das größte Scheusal could be considered a prototype of all modern tragedies of fate. He concludes by discussing the frequent editing of works undertaken by older poets, making reference to Voltaire’s Mariamne and Zaire, Calderón’s Mariamne, and Shakespeare’s Othello.

Matthew Arnold discusses literature and expresses happiness at his brother knowin about Merope. He praises Maffei’s version of Merope before commenting on Voltaire’s, comparing both versions with Alfieri’s and concluding that Maffei’s was ‘poetically the best tragedy of the three’. He then goes on to discuss Wordsworth, Shelley, and Coleridge and their popularity within England, remarking that the contemporary period is intellectually richer than Pope’s time but that modern poetry is inadequate. He moves on to discuss Ancient Greek literature, comparing it to Shakespeare, and offering his opinions on the works of Voltaire and Goethe. He adds that these thoughts will form the basis of his inaugural lecture.

A note at the beginning of the commonplace book records that ‘The Collection was commenced at an early Age, and consequently in the first Pages many Things are inserted which might as well, and without any injury to the Book, have been omitted.’ There are headings used throughout, including: ‘Love’. ‘Mediocrity’, ‘Laugh’, ‘Deluge’, ‘Liberty’, ‘Sleep’, ‘Bees’, ‘East India Company’, ‘Gold’, ‘Women, ‘Wit and Humour’, and ‘Impeachment. Sources quoted in the commonplace book include Shakespeare, Addison, Burney, Pope, Johnson, and Rousseau. Much of the material was written during Owen’s time at Trinity College and so many of the quotations have a strong connection to Cambridge, including ‘Song Imitated from Voltaire by Mr Rough, Trin. Coll. Cant.’

Voltaire opens by addressing the news that Madame de St Julien is coming to Geneva, stating that he is astonished by and happy about it. He then asks if d’Argental has read two volumes of a work by a ‘misérable’ who argues that Shakespeare is the only good model of tragedy, noting that the author sacrifices the French to his idol as pigs were once sacrificed to Ceres. He expresses particular woe at the author omitting to mention Corneille and Racine. Voltaire bemoans that this author had gotten the royal family to subscribe to his work, asking if d’Argental had read his abominable grimoire of which there were still five volumes outstanding, before stating that they should not suffer this affront. Voltaire then states that what makes matters worse is that he was the first to speak of Shakespeare and show the French some pearls within his collective works (dubbed by Voltaire as manure), adding that he never thought his introduction of the French to Shakespeare would lead to the trampling of the crowns of Racine and Corneille He asks d’Argental to be as angry as he is. In the conclusion of the letter, he discusses plays to be performed in Geneva.

Notebook ‘1934’ includes 137 encrypted pages, plus the backs of the covers and unencrypted cover sheers. Gide discusses his notes on his readings (Dos Passos, Shakespeare, Hölderlin, Voltaire, Racine, Lamennais, Zola, Goethe, Platen, Schiller, Descartes, and Balzac), his reflections on music (Bach and Chopin), and his reflections on lierature (Goethe, Voltaire, the diction of verses, and Baudelaire).

The letter concludes with 2nd Baron Grantham writing that he is reading Shakespeare. French translation much inferior to it yet he likes it, done with good intention not maliciously or narrowly. Voltaire translates him [Shakespeare] whenever he can. Mentions looking into Corneille and Raiene. Will not pursue cold critic. Love to Nanny, Parkers and Pelhams. Advise him how Fritz is to be reimbursed for the Chair [Sedan for Nanny?].

Voltaire discusses Molière and Shakespeare. Voltaire writes that everything that de Champfort has written about Molière is worthy of him and the fine century in which he lived. He notes that de Champfort has rightly shown the injustices that were shown towards this ‘philosopher of the theatre’ and that de Champfort has skilfully passed over the obstinancy with which a débauché refused to bury a wise man. He adds that Archbishop Chamvalon dies soon after Molière and was buried pompously to the sound of bells and with beautiful ceremonies but that Louis XIV had great difficulty in preventing Molière’s body being thrown in the garbage. He notes that there was a comparable English scenario a hundred years before whereby the English constructed a magnificent monument in Stratford to Shakespeare, who Voltaire denigrates as being incomparable to Molière in both art and manners. He says that games in honour of Shakespeare have just been established in England and celebrated with extreme magnificence, with there being tables to seat a thousand people. Voltaire complains that genius is not encouraged in France with such profusion, noting that those that have sought to enlighten France have been greeted with persecution. He makes brief mention of Martin Fréron and Pierre Corneille before thanking de Champfort for sending him his work and concluding that it deserved the prize it had won. The letter is addressed to Mr. Renard, bookseller at the palace, for him to give to de Champfort.

Voltaire writes that Henry Fox was born to do good. He asks Fox to protect the Shakespear of France in spite of the war. He states that his proposal is modest and his work useful, adding that he, Corneille, and his offspring will be most obliged to him and his English generosity. Voltaire concludes by sending his best wishes to Fox’s son.