TARTUFFE by MOLIERE
Summary and Commentary
Act 1 scene 1
Moliere’s skill of exposition demonstrated in this first scene
Critics have praised this first scene for the skill of the exposition as he reveals all the background necessary for the audience’s understanding.
The stage setting and the dress of the characters will show that this is a well-off, middle class, Parisian family. Although Orgon, the master of the house is absent, we meet Elmire, his young, glamorous second wife and learn of her socializing lifestyle through the disapproval voiced by Orgon’s mother Mme. Pernelle. Because the latter also feels the need to express critical opinions about her own two grandchildren, we get an introductory view of Orgon’s children, Damis and Mariane. (As the widowed Orgon has remarried a younger wife, Elmire’s relationship with Damis and Mariane is that of a stepmother not too different in age from her husband’s children by his first marriage.}
The central character, whose name gives us the title of the play, has not yet made his entrance, but he is the topic of much of the discussion in this first scene. We learn that Tartuffe is a religious man with strict and narrow views who has come to reside in Orgon’s home.
The dramatic situation, actual and potential, is sensed in the strong opposition to a man called Tartuffe, who is not present. This hostility to him comes from Elvire, Damis and Mariane, along with that of their protective family maid, Dorine. They are unhappy that the head of the family, Orgon, has put this man of religion in control of their lives.
We also meet the children’s uncle, Cléante whose role will be quickly recognized by those familiar with Moliere’s plays. We immediately see that Cléante is the calm, balanced character, who acts as the voice of reason. Such characters have traditionally been referred to as Molière’s “raisonneurs”, but other critics dislike this label, as we will discuss later.
SUMMARY OF THE PLOT |
COMMENTARY |
Mme. Pernelle is leaving in a hurry. Her daughter-in -law, Elmire cannot keep up with her. She attacks each one in turn. Dorine, the maid, is cheeky and has too much to say for herself and interferes Damis is, quite simply, a silly young man. Marianne looks innocent but Mme. P strongly disapproves of what she gets up to on the quiet. Elmire, unlike the children’s’ late mother sets them a bad example. She is extravagant, over-dressed for a serious wife. Mme. Pernelle respects Cléante but not his ideas: Damis suggests sarcastically that Tartuffe fares better than they do in her eyes: Mme. Pernelle says Tartuffe is a good man and is to be obeyed : Damis protests at the way Tartuffe tyrannises the household and forbids all entertainments. Dorine says Tartuffe is in complete control and regards everything as a sin: Mme. Pernelle insists that Tartuffe is saving their souls. Damis says Tartuffe angers him. Dorine tells how Tartuffe came to them in poverty and now he has made himself the master of the house. Bluntly, she accuses Tartuffe of hypocrisy: Dorine asks why Tartuffe has stopped them having visitors and suggests that Tartuffe is jealous on seeing Elmire with other men. Mme Pernelle says people are gossiping about the constant visitors that they are having. She knows these visits are harmless but they must avoid causing gossip. Cléante says you cannot stop people gossiping. All you can do is to ensure that you live a good life. Mme. Pernelle says that Orante (a pious lady) condemns Elmire for socializing. Dorine says that this Orante is virtuous now that she is too old herself. Mme. Pernelle dismisses this as pure fantasy and she says that Tartuffe has been heaven sent in order to stop their way of life. |
Mme. Pernelle represents the perennial generation divide- members of the older generation are always shocked by the behaviour of the next, conveniently forgetting that, years ago, they faced the same disapproval of new ways.
Dorine’s cheeky character
The character of Damis.- his grandma thinks that he is silly Mariane’s character – her meek manner. But her grandma thinks she may not be so innocent Elmire’s character. She dresses as if she wants to catch the eye of other men, suggests Orgon’s mother.
Mme Pernelle hints that her brother in law “Cléante” is a free-thinker –“un libertin” in 17th century French terminology. Incredibly, the central character, Tartuffe, only appears in Act 3 Scene 2, but he gets a big build-up in the scenes that precede!
Damis is quick to anger. The dramatist’s skill in “Preparation” Dorine makes no bones about it that Tartuffe is a hypocrite.
Preparation for a situation of illicit love in the familyhome The malicious gossip of supposedly proper people. Cléante is always the voice of common sense and his morality is based on reason –rather than religious decree or social code. Dorine’s good sense in the exchange with Mme Pernelle Picture of the social background
Comedy of language. Mme Pernelle is talking of the Tower of Babel, but is unaware of her error.
Comedy of situation. Having lectured everyone about good behaviour, she gives a very bad example of her own. |
Act 1 Scene 2
The family goes out to see the irascible grandmother off. Cléante and Dorine stay. Cléante says he doesn't want to be told off and so he won't follow “la bonne femme” ( the old
lady ) Cléante says Mme. Pernelle is taken in by Tartuffe. Dorine says that Orgon gives Tartuffe everything. Tartuffe is a glutton and eats as much as six. We see the crude humour of the servant girl as she illustrates Orgon’s infatuation: She says Orgon quotes all Tartuffe’s sayings and regards everything he does as a miracle. He is paying out money to him all the time. Even Tartuffe's servant preaches at them and asks them to throw away their ribbons and their mouches. He was furious that Dorine had pressed her lace bodice in her holy book.
Act 1 Scene 3 Elmire and her two stepchildren re-enter. Elmire tells Cléante he was lucky not to have gone to the door and not to have had to listen to Mme. Pernelle, Damis asks Cléante to speak to his father about his sister Marianne's planned marriage to Valère because Tartuffe is turning Orgon against it. Damis has a personal interest in this, because he wants to marry Valère’s sister.
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The character of Orgon – As with Tartuffe, we have got to know him before he comes onstage. The historical and social background Orgon had fought bravely and loyally for the king during the Fronde rebellion. The character of Dorine The social background
Elmire had come down from her sickbed to see her stepmother, but goes back upstairs, when her husband arrives. |
Act 1 Scene 4 Cléante greets Orgon but Orgon says he wants news of his home. He asks Dorine how people are Orgon quickly asks Orgon is full of concern for him, and says : but Dorine puts her mistress first and insists on telling Orgon that the previous evening Elvire had been sick and unable to eat. Orgon asks: Dorine says Elmire has not slept the night long. Orgon asks: Dorine says that Elmire has had to be bled by her doctors. Orgon asks: Dorine replies that Tartuffe, to fortify his soul and to make up for Mme.’s blood loss, had drunk four big glasses of wine for breakfast. Orgon replies: Finally Dorine says both of them are well and she adds sarcastically that she will tell her mistress of his concern for her convalescence. Act one scene 5 Cléante begins to chide his brother in law. Can he not tell that he is being laughed at? He asks how he can be so infatuated by Tartuffe. Cléante tells how Orgon rescued Tartuffe from poverty. Orgon interrupts to say that Cléante does not know Tartuffe. He tries to describe his virtues, but is speechless at first; Orgon boasts of how Tartuffe has made him indifferent to things of this world but ironically he only succeeds in showing inhumanity: Cléante is shocked by these inhuman sentiments. Orgon describes with naive admiration Tartuffe’s ostentatious show of piety in church Orgon admires Tartuffe’s restraint because he always wants to return part of the gifts that Orgon makes him, And when he refused, Tartuffe distributed the money to the poor before his very eyes He tells how he took Tartuffe into his house and how Tartuffe shows great interest in his wife warning him of men who take advantage of her: Orgon marvels at the way in which Tartuffe finds sin in the least thing. He accused himself of killing a flea too angrily during his prayers. Organ says Cléante talks like a free thinker and he'll get into trouble. Cléante replies that he is asking Orgon to make the distinction between true religious devotion and ostentatious pretence. In a speech which is often quoted to show Moliere's own ideas, Cléante preaches moderation. Dans la juste nature on ne les voit jamais; Organ then shows his closed mind by refusing to argue sensibly. Instead in a childish jibe, he accuses Cléante of pretending to know everything. Cléante stresses his respect for piety, when it is sincere; He finds hypocrites odious - people who use pretence to gain credit, wealth and social standing: Cléante criticises these people whose words are belied by their lifestyle. Hypocrites who pretend to be acting in God's name when they perform acts of malice. Cléante says that the devotion of true Christians is quite different. True Christians are humane and moderate. True Christians are charitable to others’ failings and do not band together to form power groups for the purpose of intrigue. Organ’s reaction shows him totally unwilling to listen to reason. His ears are closed to all Cléante’s words and he wants to get away: Cleante moves and to meet the previous request made to him by Damis, he tries to confirm that Orgon intends to keep his word and see that the marriage contract of Valère and Marianne goes ahead. Orgon, is playing an obvious game as he repeatedly refuses to answer Cléante’s question. Finally Orgon says ominously, that it is the will of heaven that will be done. Cléante leaves in order to warn the young lovers |
Relationship of Elmire & Orgon Orgon immediately shows that he has little concern about his wife’s health, because of his preoccupation with Tartuffe Tartuffe- a (mocking) description of his appearance. 234 Comedy of character: The absurdity of the contrast between Tartuffe’s pose as a self-denying man of religion and the sensualist self-indulgence of his actual lifestyle. The stage representation 252)The irony of Dorine is totally lost on Orgon, distracted by his obsession with Tartuffe.
Comedy of Character
Comedy of language
Comedy of character Character of Tartuffe- The Pharisee.
Cléante denies that he is a free-thinker. Free thinking became progressively more and more dangerous in 17th century France.
The Golden Mean These lines are known by heart by students of Moliere
Cléante says that there is nothing more admirable than a good and sincere Christian Historical background
Preparation
. The Company of the Sacred Sacrement was also known as the “Cabale des Dévots” 397
Character of Orgon |
Act 2
ACT II - Scene I - In this scene there is scope for rich comic effect as the mood of the scene changes quickly from: One can imagine the rapidly changing facial expressions of the two characters - Thus there is Potential for Comedy of physical action He checks that there is no-one in the room adjoining, because this is an ideal place for someone to overhear them. The conversation begins with complacent, sentimental exchanges between father and daughter. There is dramatic irony at this stage as Mariane assures her father of her respect for his authority happily assuming that the confidential meeting is to discuss Valère’s proposal (the audience already suspects Orgon’s motives). 0rgon had told Mariane that she had always been dear to him and that he liked her sweet nature. Mariane says she is very grateful for his paternal love Orgon continues that to deserve her father's love she should seek only to grant his wishes. Mariane still thinking he is talking of her fiancé Valère assures him of just that. When Orgon asks her opinion of Tartuffe, Mariane says that she will say what Orgon wishes her to say - eager to pass on to what she assumes is the real purpose of their meeting. It is then that the mood of the scene changes with a bombshell from Orgon who asks her if she will tell him that she would like to marry Tartuffe. Mariane is staggered that Tartuffe is the man her father proposes for her husband. Orgon is equally staggered that she cannot recognise how suitable his own proposition is. This mutual bewilderment is expressed comically in broken exchanges. Mariane is almost dumbfounded with shock Angered by her reaction, Orgon tells Mariane that exercising his rights as her father, he has resolved that Tartuffe will be her husband. If this scene had continued between Orgon and his heartbroken daughter, it would have been more tragedy than comedy, but at this point Orgon turns to see Dorine standing there and has to interrupt himself. ACT II - SCENE II Dorine says she didn't believe the news that she has just heard and treated it as just stuff and nonsense Orgon asks what is incredible about it. There follow comic exchanges as Dorine repeatedly expresses her disbelief while Orgon becomes more and more angry. Finally when Orgon is about to explode, she says that she believes him, but in terms of the maximum personal disrespect; Orgon interrupts her, in a state of fury warning her against taking liberties with him. However she continues to do so by taking it upon herself to advise her master that they can have a discussion without losing their tempers Nevertheless her own words are provocatively frank Her second argument is that a wealthy man like Orgon should not give his daughter to someone who is penniless like Tartuffe. Orgon says that Tartuffe comes from a good family and that his poverty has come about because he is uninterested in worldly things. In fact, Tartuffe is a nobleman and Organ is helping him to regain his rights with the financial aid Organ is giving to him. At this stage Dorine's arguments become more serious and well-argued than we would expect from a servant. She takes up a favourite theme of Moliere that forced marriages only lead to trouble. Her argument is that a woman who is forced to marry a man she doesn't love cannot be expected to remain faithful. 507 - Sachez que d'une fille on risque la vertu Orgon will not listen. He is not willing to take advice from a servant He says that he knows what's best and he is the father. Dorine argues that being religious is not a matter of putting on a show to impress others. Orgon refuses to take advice from a maid and paints a picture of how Mariane and Tartuffe will be happily married - like two turtle doves: But Dorine says fidelity will not feature in their marriage Orgon says that’s a terrible thing to say (of his daughter), (However the stage note tells us that Dorine will interrupt the moment Orgon turns his back.) Before he can say a word to Mariane, Dorine says she is only speaking in his interest 543 - DORINE. - Je n'en parle, Monsieur, que pour votre intérêt. Orgon demands her silence : Dorine agrees not to speak but she says that won’t stop her speaking. Orgon moves to his daughter and Dorine moves from centre stage but she continues to mutter asides to the audience at each of his remarks., shutting up immediately when Orgon turns round to her. Orgon is recommending Tartuffe to his daughter, but cannot finish because of the adverse comment muttered by Dorine. Finally Orgon turns round to Dorine again, arms folded and the lady’s maid lets herself saying sarcastically that Mariane would be well off with Tartuffe. She says that no-one would get away with marrying her to someone she didn’t and a woman has always a revenge ready after the wedding celebration. Orgon reminds her of her promise of silence and Toinette says she was only talking to herself. Orgon says he will give her a smack if she carries on and takes up position to administer it as he resumes his talk to Mariane. Dorine stands silent as he waits with his hand at the ready. Each time he looks at Dorine she straightens up, her lips sealed. Orgon continues and waits for a retort but none comes. He invites Dorine to speak one little word but she says she has nothing to say to herself. Orgon finally finishes his statement saying that Mariane must act with obedience to his wishes and show total deference to his choice It is Dorine who immediately speaks out. - She’d be darned if she would take such a husband. She ducks Orgon’s blow and runs away. Finally, Orgon exasperated by Dorine is too upset to continue and leaves the room. ACT II - SCENE III Dorine asks why Mariane hasn't said anything to defend herself. Timid Mariane says that a daughter has to accept a father's will. Dorine asks her if she really loves Valère and casts doubts on her sincerity. Dorine dismisses this solution of Mariane with an ironical comment: Weakly Mariane says that it's up to Valère to solve the problem. Dorine says that Valère stands little chance with Orgon. Mariane is horrified and, forced by Dorine to face reality, she finally asks for help. Mariane’s fiancé, Valère arrives. ACT II - SCENE IV Mariane, confirms that her father has decided this, having changed his mind and Mariane gives Valère no indication of her own reaction. Valère is surprised by her reserve and has to ask her what her opinion is. Hoping no doubt for a passionate declaration of love on his part, she asks him what he would advise. Valère is now unsure whether her lack of emotion shows indifference to him and judges that his self-respect requires him to show similar indifference. Mariane says that she accepts his recommendation. Each of the lovers is petulant with the other and accuses the other of wishing the match with Tartuffe. The exchange becomes increasingly heated. Valere says that doubtless she had never loved him Valère says there is some-one else who would be pleased to accept his love. Mariane says that he will easily find consolation. Valère says that to be spurned in love involves our honour In the ensuing exchanges there is comedy of physical as Valère repeatedly pretends to be taking leave of Mariane for good, expecting Mariane to call him back, but Mariane does not play the lover’s game. Valere says he is leaving her and will never see her again. Marianne merely says “Bye!” Dorine who has stood at one side to watch the lovers’ antics with amusement now intervenes to stop this folly. She tells them to think about avoiding the marriage instead of quarrelling. She has let them quarrel to see how far they would go. The lovers stand apart and Dorine talks to one and then runs across the stage to talk to the other. Finally Dorine gets the lovers together joining their hands. Dorine's remarks about the folly of lovers. Even then the argument seems to be about to break out again as each blames the other for the previous misunderstanding. Then Mariane asks what they can do to avoid the unfortunate marriage. They should get the help of Cléante and Elmire. Dorine tells the lovers they must not be seen together and she pushes them off in separate directions as they linger in their fond farewells. |
The traditional theme of a Molière play is an opposed Marriage. In ACT II - Scene I , this basic conflict is made clear to the audience
Preparation Damis later uses the room for just that purpose
Orgon’s character
Historical background
Orgon’s character – He is so deluded that he genuinely believes that Tartuffe is a good match for his daughter. Comedy of situation- The abrupt change of mood: from cosy niceties to mutual incomprehension.
Comedy of language Comedy of Situation: 3rd change of mood, when Mariane finally understands what her father intends. On Mariane’s part, there is despair and on Orgon’s there is violent anger at his daughter's rejection of his choice of husband. Orgon’s character
The intervention of the cheeky maidservant permits the comic treatment of what is a very serious and sad situation.
The character of Dorine Historical Background
The character of Valère Dorine has in mind one particular person in mind who is a religious Pharisee such as this.
Earthy Dorine says that a wife denied love by forced marriage will find it somewhere else.
Comedy of Situation
Comedy of physical action
559 Dorine invents a mocking pun to ridicule Tartuffe.
The physical sparring onstage between Orgon and Dorine continues.
A final comical physical act as Orgon aims a blow at Dorine, who ducks it
The comic observations of Dorine Mariane’s character: Her acceptance of the duty of obedience of daughters Mariane’s timidity Mariane Well aimed irony from Dorine, deflates Marine’s over-dramatic expedient, one reminiscent of a heroine in contemporary Précious literature The manners of the time. Dorine uses withering irony to remind her charge how physically repugnant Tartuffe actually is.(645)
Dorine uses vivid imagination to make her irony tell, mocking the humble married life deep in the country,which is all that Tartuffe will be able to offer her.
Comedy of language
This is a scene involving a complicated misunderstanding between two lovers. Such scenes were a standard feature of 17th century European comedy. Molière choses to include his lovers' tiff scene here as it provides some escape from a very serious situation. Even though each of the lovers is talking of the breakup of their love, everyone on stage, including Mariane and Valère know in their hearts that the pair of them are just being silly, through the emotionality and insecurity of young love. Historical Background. Why does Mariane not show her love for Valere more clearly? According to the manners (moeurs) of 17th century France, the honour of each of the partners was at stake in a love affair, Mariane is aware that she will lose countenace if she shows more interest in Valère than he shows to her.
Comedy of physical action - He pretends to walk out on her, expecting her to call him back. Comedy of physical action
Stock comic situation of two characters in a quarrel standing at different sides of the stage with a go-between going from one to the other- This is another standard routine in contemporary comedy.
Dorine gives her very true verdict on the folly of young lovers |
ACT THREE - SCENE ONE Damis is in a furious temper. His language is very strong. He calls Tartuffe a"fat”: (An insulting word meaning a self-inflated show-off. Dorine had used this word to describe Tartuffe’s servant in Act 1 Scene 2) Dorine tries to calm Damis. She adopts a more retrained approach in the face of this unruly young man. Dorine says Orgon has done no more than suggest the idea of the marriage and she tells Damis to let Elmire help, as Elmire has some influence over Tartuffe, who is amenable to her and might have a soft spot for her 833 Elmire already intends to question Tartuffe about the marriage. Damis says he wants to listen to the conversation that will take place between them. He won’t say a word Dorine refuses saying she knows how quickly Damis gets angry. Dorine expresses her exasperation with Damis. As Tartuffe enters, Damis hides in the adjoining closet. |
Character of Damis Dorine is perceptive and recognizes that Tartuffe’s vulnerable spot is the attraction that he feels for Elvire, who can influence him.
Dorine recognizes that Damis has the temperament to ruin the women’s strategy. Note the dramatic preparation
Dorine finds Damis exasperating. |
ACT 3 SCENE 2 He tells the family maid, Dorine, to cover her bosom, revealed by her low-cut dress Impertinently Dorine says that Tartuffe is easily excited. She could see him stark naked without being tempted. Dorine informs Tartuffe that Elmire is coming to have a word with him. Elmire enters and Dorine says she will leave the two of them on their own. (But the audience knows a third person is eavesdropping.)
Act 3 Scene 3 Tartuffe greets Elmire piously. He asks her about her health and he says he has prayed for her recovery. She says the fever is now over. Elmire deflates his exaggeration but politely. Unintentionally raising his hopes, Elmire tells Tartuffe that she is glad that they can speak without being overheard. Tartuffe explains that he had criticised the visitors to the house not out of hatred but out of a rush of zeal. As he explains he squeezes Elmire 's fingers tightly. Elmire cries out: Tartuffe says he wouldn't hurt her and now puts his hand on her knee instead. She questions him about it and his explanation is unconvincing Elmire tells Tartuffe that she is ticklish and she moves her chair back. Tartuffe moves his chair back up close to Elmire. Now Tartuffe starts to handle the lace on her bodice admiring the needlework. Elmire brings these antics to an end by broaching the subject she wishes to deal with. She asks if it is true that Orgon is going to give Marianne’s hand to Tartuffe in marriage. Tartuffe says his hopes do not lie in that direction. Elmire chooses to disregard this sexual overture and pretends that he means by this that he is only interested in religious things. But Tartuffe tells her that his heart is not made of stone.
Tartuffe goes on to declare his love hypocritically cloaked in religious terms. 933 NB also the balance of the last two lines. It has a studied antithesis that could be typically found in the declaration of love of a 17th century courtier. Elmire has no illusions that this is a “galant” declaration. Moderately, she reproves Tartuffe and tells him that he should resist temptation. (It is not in her interest to quarrel with him! Tartuffe tells her that although a man of religion he is still a man. Tartuffe puts the blame on Elvire’s charms because of which his religious self-mortification has pushed into the background Tartuffe offers Elmire his love Typically he is offering her"devotion" although he had previously referred to these passions as “tribulations” Tartuffe now represents the secret deception that a man of religion can provide as a moral advantage Tous ces galants de cour dont les femmes sont folles Elmire asks Tartuffe if he isn't afraid she will tell her husband. Elmire says she will not divulge his secret but he must on his side do something for her. He must press for the marriage of Mariane and Valère to go ahead. ACT 3 SCENE 4 However, Damis is in full cry. His talk is violent. Damis is looking forward to the pleasure of revenge. ACT 3 SCENE V Elmire is angry and leaves the room saying that there was no need to disturb her husband by such matters and that it is enough for a woman to be able to look after herself. She tells Damis that he shouldn't have spoken out.
ACT 3 SCENE VI Pathetically, he tells Orgon to drive him away from his house. Orgon convinced by outward display, as always, now turns on his son accusing him of a false accusation. As a hypocritical pose, Tartuffe tells Orgon to listen to his son and makes a show of defending his accuser, Damis, out of apparent selfless Christian charity. Tartuffe falls to his knees in a dramatic gesture of humility and asks Damis to heap abuse upon him. Orgon shouts at his son and tries to lift Tartuffe up onto his feet. Deeply touched Orgon begins to threaten his son physically. At this Tartuffe goes on his knees again begging mercy for Damis. Et je vais me hâter de lui donner ma fille Organ tells Damis to beg Tartuffe for forgiveness and when Damis refuses Orgon chases him out shouting to be given a stick to beat him. ACT 3 SCENE VII With a quick prayer to heaven, Tartuffe uses his feigned Christian sanctity to fire Orgon's resentment further. 1142- All this reduces Orgon to tears and incites him to an even greater outburst of anger. He runs to the door after his son and cries out: He goes to pull Tartuffe to his feet from his prayers. In this scene we see how Tartuffe is in complete control of Orgon and can gain anything he wants from him. Tartuffe says that it would be better, if he ceased to live in Orgon’s house, because next time Orgon might believe these suspicions. Orgon insists that he stays on at his house and so Tartuffe agrees to stay even though he claims this means his self-mortification. Also Tartuffe ensures that he will be able to see Elmire again by asking for the opposite. Faire enrager le monde est ma plus grande joie Tartuffe accepts saying that God's will should be done. Orgon expresses his admiration for this holy man with the three words that have become the refrain of the play. Orgon is hoping that the envious people around them will die with anger. End of Act 3 |
Comedy of manners Dorine Her sharp down to earth humour
The theatrical representation
Elmire’s character Dramatic irony. The people in the audience know what the Tartuffe on the stage does not know- that Damis is listening Comedy of language Throughout the scene, Tartuffe will use religious language for his absolutely profane purposes – the attempted seduction of another man’s wife.
Comedy of physical action
Secondly he fondles her knees
Thirdly he chases her, still seated, across the room as she slides her chair away from him to keep her distance Fourthly he handles the bodice of her dress.
Comedy of Character Comedy of language Historical background Comedy of language Comedy of Manners
Moliere, praised by many for his good sense, would have, no doubt, chosen neither. The historical background Comedy of situation
Elvire’s character (1015) The character of Damis The historical background Damis is exuberant at the idea of getting his own back on Tartuffe and is incapable of tact.
Comedy of situation
Tartuffe the hypocrite
Stage representation- Tartuffe's pious kneeling of a sinner Comedy of character Comedy of physical action Orgon The historical background. Orgon disinherits his son 1139. Note the tyrannical rights of the father of the family: Sons could be put in prison, daughters enclosed in a convent for disobedience.
This serious moment becomes bitterly comic because of the following portrayal of the mad absurdity of Orgon's (religious) delusion. In this scene with two men alone together, we see the depth of Orgon’s obsession for Tartuffe and Tartuffe’s ruthless skill in exerting his control over Orgon Comedy of physical action The comically conflicting emotions of Orgon in the previous scene continue with full force. Tartuffe is weeping copiously over the supposed wrong done to Tartuffe but simultaneously manages to be in a furious temper against his departed son. He is still pulling Tartuffe to his feet who still persists in kneeling down.
Tartuffe’s complete control of Orgon 1162 Tartuffe the total hypocrite He says that by staying on in Elvira's company he will be mortifying himself
Comedy of situation
Comedy of character. The evil pleasure that Orgon gets out of unknowingly making a cuckold of himself.
Comedy of language – |
ACT 4 - SCENE ONE Cléante says the scandal of the expulsion of Damis is detrimental to Tartuffe's reputation and first of all he asks Tartuffe to show forgiveness to Damis whatever he may have doneto his reputation. Even if Damis had been guilty, Tartuffe, as a Christian, should forgive Damis. Cléante asks if it can be right to cause a father to throw out his son and asks him to bring about reconciliation. Tartuffe replies that he would forgive Damis himself but heaven's will must be done, and letting his self-interest show, he says if Damis comes back, he, Tartuffe,will have to go. Tartuffe says that people would claim that he did it because he felt guilty or because he wanted to keep Damis quiet, under his control. Cléante says these excuses are exaggerated and questions his right to speak for heaven. Cléante goes on to ask whether it matters what other people should think. Tartuffe merely maintains that it is God's will. Cléante now changes his tactics and deals with the legal position. He asks whether heaven advises Tartuffe to take the inheritance which Orgon's whim had given him and to which he has no right. (Cléante’s reply stresses that Damis is a rightful heir.) Tartuffe escapes from his arguments by claiming he has some religious observations to perform in his room. ACT IV SCENE II ACT IV SCENE III Orgon comes in triumphant. Like a child, he taunts them with the marriage contract. Mariane pleads pathetically on her knees. She begs Orgon to relax the authority which he has over her Touchingly she begs her father for mercy. Orgon replies that he is moved but as a Christian turns his heart against human frailty. Orgon says this is a poor reason for choosing convent life. The more repugnant she finds the marriage the more merit she will gain as a Christian by this act of mortification. Orgon silences Dorine's and Cléante’s protests. At this point Elmire intervenes to put him right on the events earlier in the day. She tells her husband he must be very much taken in by Tartuffe to believe his version of events. Orgon says that he can see what is obvious - (1321) He is also convinced that if Damis`s story had been true Elmire would not have been so calm about it all. Elmire maintains that hers had been a reasonable reaction to a simple avowal of love. Elmire believes that a lady replies to such avowals of love with a discreet coolness. Orgon says that he knows that all the family is trying to lead him on a false scent. Elmire in exasperation offers to show him he is wrong. Orgon however still argues and Elmire expresses her impatience with her husband. Elmire is irritated that her husband accuses her of deceit and she tells Dorine to bring Tartuffe. Dorine is hesitant, thinking it will not be easy to deceive Tartuffe. However, Elmire says it is easy to deceive someone who is in love with you. Vanity makes people fool themselves. Elmire tells Dorine to bring Tartuffe down and asks the Cléante and Mariane to leave. ACT 4 SCENE IV Elmire persuades Orgon to get under the table, hidden by the table cloth Her husband is bemused by it all but smugly believes that he is putting his wife in an impossible position and that he is about to prove her imposture Elmire tells Orgon not to be scandalised by what she is going to say, as she is going to make Tartuffe drop his hypocrite’s mask. Elmire tells Orgon it is up to him to put a stop to things, once he is convinced by what he hears, to avoid her being exposed to undergo anything unpleasant. D'épargner votre femme et de ne m'exposer
Act IV Scene V Tartuffe enters and Elmire tells him to close the door and make sure no-one is listening. She tells Tartuffe that she was upset by Damis's entry that morning and she did her best to calm him. Luckily all is now well. Tartuffe's reputation with Orgon has saved the day; and Orgon says that they must be together. Elmire tells Tartuffe she is going to open her heart to him and apologises for her forwardness. The wily Tartuffe is suspicious and says that she's changed her tune since earlier that day. Elmire says she was bashful of declaring her love before. She claims that if she wasn't sympathetic to Tartuffe she would not have tried to restrain Damis from revealing the truth and she would not have listened so long to Tartuffe's avowal. Tartuffe says that he appreciates these sweet words but he suspects that this is just her tactic to try to turn him away from the marriage to Mariane. He asks Elmire for a bit of love now, He will not be sure unless she grants him some real token of her favours. Elmire coughs to alert her husband.
Tartuffe in the same precious language says the only way he can be sure of the glory and kindness of her love is by having enjoyed it. Elmire expresses her amazement at the tyranny with which his love controls his heart. She asks if it is proper for him to take advantage of a weakness felt for him so forcibly Tartuffe finally reveals his true self. He says that But Elmire says that she is fearful of the strictures of heaven He tells her to fulfil his desires and leave the question of sin to him. He asks Elmire why she is coughing so much. Elmire explains that she has an extremely bad cold and Tartuffe agrees. Elmire has one more coughing fit and when her husband still does not emerge from under the table she starts to conclude that Orgon needs her to go through with it to the end. Elmire says that she is going to have to give Tartuffe everything since otherwise she will not be believed. She cannot pretend to be pleased to have come to this point and is not doing of her own will. However, with some-one very obstinate and unwilling to believe without more convincing evidence, she has to make up her mind to give people what they want. If the consent she is giving causes offence, too bad for whoever forces her to do it. The fault is certainly not hers. Tartuffe eagerly accepts responsibility to go ahead on these terms and Orgon makes no response from under the table. Luckily, Elmire has the presence of mind to think of a pretext for stalling procedures. She asks Tartuffe to open the door of the room to check that her husband is not nearby. Tartuffe says there is no need because he can fool Orgon, just as he wishes, so that he doesn’t believe his own eyes. Elmire insists however and Tartuffe goes out to check. ACT 4 SCENE VI1 When Tartuffe is out of the room, Orgon comes out from under the table. He says that Tartuffe is an abominable man. Orgon says that he had been so overwhelmed he had not been able to come out earlier. She hides Orgon behind her as Tartuffe reappears. ACT 4 SCENE VII Orgon shows himself and we can imagine the physical comedy in the shock displayed by Tartuffe. Orgon justifies his delayed intervention by saying that it had taken him a long time to be convinced of the villainy of Tartuffe. Elmire apologises for the trick that she has had to play on Tartuffe and says that she was forced to do it. Tartuffe tries at first to use the same hypocritical routine that he had used in the morning to deceive Orgon, but the latter will not allow him any words and orders him out. At this, Tartuffe reminds Orgon that the house belongs to him. (1558) He accuses them of trickery against him and says he will show them he is in control and can avenge heaven.
Orgon says that the gift of his property has now been made and he has also another big worry. End of Act IV |
The following is a serious scene as Cleante expresses the voice of reason, talking alone with Tartuffe.
Cléante makes a forceful Christian argument- forgiving those who trespass against us. This the argument of a true devout person. Cléante wants a humane Christianity He sees religion as reason in its most perfect form see Lettre sur l’Imposteur: Tartuffe's hypocrisy is made blatant in his reply.
Cléante finds it inadmissible for people to claim to act with the authority of God. 1219 and argues that what people might wrongly construe about a good action is irrelevant.
Cléante now gets down to practical matters. He tells Tartuffe that he has no moral right to accept the gift of all Orgon's wealth and property. Tartuffe’s deceitful justification for keeping Orgon’s wealth is that he does not wish it to get in the wrong hands! Cléante has been totally frank and clear about his opinions Tartuffe has no counter argument. The next two scenes show the deeply sad situation on which this comedy is based. Elmire, Mariane and Dorine come to ask for Cleante's help very urgently
The depth of Mariane's distress
Orgon’s character: His cruelty to his own daughter. The note above line 1293 is: "se sentant attendrir" but he resists these natural paternal feelings Historical background (Difference between the truly devout and the falsely devout) Orgon’s form of Christianity is inhumane making a virtue in suffering and self-abnegation for their own sake. 1313 Elmire roundly attacks her husband over his blind obsession for Tartuffe, so that he denies the fact of what happened toay
Elmire's calm had helped deceive Orgon into thinking that nothing serious had happened between his wife and Tartuffe Historical background contemporary manners Elmire's reactions show the relaxed morals in 17th century French society Elmire's shows gentle tolerance of human failings, and has confidence in her control of the awkwardness caused by such situations. Signs of Organ’s paranoia.
Elmire’s impatience with her husband.
It is Elmire alone who sets the trap for Tartuffe.
Elmire is a good judge of human psychology in sexual relationships -1357- perhaps from personal experience. Elmire is decisive. She takes control and makes her husband do what she says. Elmire is not behaving like the lady we would expect of her. However in a critical emergency, she has no other course.
1381 Preparation for the future situation when Elvire is on the verge of being tartuffed! - It will be for Orgon to emerge and stop proceedings. (We will see how that works out!)
Comedy of Situation
Historical background As mentioned above, in the contemporary code of love, the woman should not show her feelings too early. 1409 Tartuffe is not easily fooled
Tartuffe’s deduction is absolutely right about Elvira's motive. 1446
1447 in spite of his flowery language, Tartuffe's sexual intentions are clear. Comedy of situation Historical background - Preciosity In the Précieux language of the time, “ma flamme” means “my love”
1479 When Elmire asks Tartuffe how he can reconcile what he wishes to do with her with the strictures of religion, Tartuffe allows his hypocrite’s mask to fall. 1481
Religion Elmire’s cough comically reminds us of the husband under the table and the closeness she is getting to a climax - that she had never considered reaching.. Tartuffe’s frank statement of the principle of hypocrisy 1502 - 1504: Comedy of physical action
Comedy of situation
Elmire’s irritation with her
Elmire's presence of mind 1521
Comedy of situation - Dramatic irony 1524 Orgon’s laborious thought processes can’t cope with this, to him, totally unexpected development 1529
Elmire’s biting sarcasm against her slow-witted husband's refusal to accept what he was hearing under the table.
Orgon's excuse for having been so slow to react 1547
1551 Elmire is a lady and regrets having to have needed to play this deceitful game.
1561 Tartuffe has put his mask back on and has the effrontery to accuse Orgon and family of imposture, asking them to repent from thoughts of throwing him out. |
ACT V - SCENE I
His wise brother-in-law, Cléante, wants to discuss the problem as a family. Orgon says that the cassette is the most serious aspect. The life of his friend, Argas, depends on the treasonable papers in the cassette. 1587 Cléante says Tartuffe had such a hold over him that Orgon should not have expelled him. Orgon is angry about the deceit that had tricked him and now goes to the other extreme of blaming all religious men. Cléante reproaches him. Cléante says Orgon is now making a great mistake and makes a speech about the distinction between false men of religion and true men of religion. 1615 Et qu'aveque le coeur d'un perfide vaurien /Vous confondiez les coeurs de tous les gens de bien. Cléante tells him to leave it to the freethinkers to make sweeping condemnations of people of religion. Again he advocates the golden mean of moderation in all things.
ACT V - SCENE II Damis is as usual violent. He says that it is up to him to dispose of him. Cléante tells him that violence is out of place in contemporary life. ACT V - SCENE III Orgon describes how he gave Tartuffe everything and now Tartuffe has tried to seduce his wife and is now in the process of ruining him, thus reducing Orgon to the state of poverty, in which Orgon had found Tartuffe. Dorine ironically adds the stock epithet for Tartuffe : She says that good-living people are always picked on and repeats, what she said previously that the reason that the family hated Tartuffe was because of their irregular way of life Mme. Pernelle is deaf to Orgon as he repeatedly tells her that he had seen it with his own eyes, while she repeats that it is just malicious gossip.1670 When Orgon in exasperation asks if he has to tell her a hundred times that he saw it himself. His mother tells him that appearances can deceive. She says he should have waited longer, before passing judgement. Dorine is amused by the irony of Orgon frantically defending himself against a rigid attitude that had been his until very recently. Cléante says that they are wasting time and must decide what they are to do. Elmire doubts that Tartuffe will show himself up by carrying out his threats, in the face of public knowledge of his misdeeds. However Cléante believes that Tartuffe will manage to justify himself and would have the support of the cabale,a sinister organization: Cléante tells Orgon that he should not have pushed Tartuffe so far, knowing what he could use against them. Elmire says that if she had known Tartuffe was in control, she would not have done what she did.
ACT 5 SCENE IV M. Loyal enters (He is a stranger to the family. Speaking to Dorine at the door he uses the language of a man of religion.) He won’t give his name but claims that his errand is for the good of the family. In the sweetest manner M. Loyal introduces himself and then tells them he is a bailiff and he is there to carry out a court order. Orgon starts to explode, but M. Loyal asks him to calm down as it is only a summons for Orgon and family to clear out, putting all their furniture outside, to make way for other people to move in immediately as the house belongs to Tartuffe. Orgon can’t believe he has to leave his home M. Loyal explains that M. Tartuffe is the true legal owner and he. M. Loyal, is in possession of the deeds. Damis intervenes to threaten M. Loyal with a thrashing. The latter orders Orgon to control his son, against whom he will make charges, if necessary. Dorine in an aside makes a pun on the bailiff’s name: M. Loyal hypocritically, says that he is doing this out of respect for them. He didn't want anybody less respectful to do the job, Orgon asks what could be worse than ordering a man out of his own house. M. Loyal tells them, as if it is a big concession that they don't have to move out until tomorrow. He will take the keys now and stay all night. 0rgon gets very angry and Cléante has to restrain him. When Dorine recommends a few strokes of the walking stick on his worthy back, M. Loyal says the law can be used against women too. As he leaves, the pious hypocrite wishes them joy from heaven until they meet again. Orgon does not reply in the same spirit: ACT 5 SCENE V Now even Mme. Pernelle is convinced that Tartuffe is a scoundrel. Dorine sarcastically plays the part that Orgon and Mme. Pernelle have played until now. She says that they have all misunderstood Tartuffe. ACT 5 SCENE VI, Valère, Mariane’s lover, arrives to tell them that he has heard from a friend at Court that Tartuffe has handed the casket with the evidence of treason over to the King. Cléante sees that this is Tartuffe's way of making sure he gets Orgon's goods. Valère has already made arrangements for Orgon's escape from Paris and Orgon is saying his goodbyes when Tartuffe arrives with a royal police officer (Un exempt).
ACT 5 SCENE VII
Orgon denounces him angrily for this final act of treachery. Tartuffe replies with his usual religious hypocrisy. Cléante and Damis denounce him. However, Tartuffe has a new defence - that he is performing his patriotic duty to his King. Tartuffe boasts that his mission is glorious, because he is acting for the greatest power in the land. Organ reminds him of the personal gratitude that Tartuffe owes to him Tartuffe replies sanctimoniously to Organ. This time, however, he is talking of his total devotion not to his God but to his King, for whom, he proclaims, he would sacrifice everything and everyone including himself. Elmire denounces him as an imposter 1885 L’imposteur! Cléante, with his persistent logic has two questions to ask of Tartuffe: (2) And after hewas driven out of Organ's house? Tartuffe refuses to argue and tells the Exempt to carry out his duty. The plot now takes a dramatic and unexpected twist Tartuffe, stunned, questions the Exempt who says that it is to Orgon that his explanation is due. The Exempt explains the reason for the King’s surprise decision. By clever questioning the King had discovered that Tartuffe was a famous criminal using a false name. It was the King’s wish that the Exempt should be present at Orgon’s house so that it would be seen to what extreme Tartuffe would push his crimes. The King had taken action to restore to Organ the money and property that he had made over to Tartuffe. Also the King had pardoned Organ's offence in hiding his friend’s casket because Organ had been loyal to the King during the revolutionary years of “La Fronde”. The Exempt says that the King in his wisdom knows how to reward people for their good deeds and he remembers, rather than the wrong, the good that people do. The Exempt says the King admires the true and hates the insincere. Souhaitez bien plutôt que son cœur, en ce jour, Tartuffe is silent and defeated. Orgon says he will do these things. His immediate priority is to give Mariane’s hand in marriage to Valere. |
N.B. The affair of the/cassette heightens the drama as it increases the tension in this unhappy family. The evil imposture of Tartuffe has led them into this most menacing situation. The affair of the cassette also allows Moliere to bring an intervention by the King into his play and gives Moliere the opportunity to make a number of extremely flattering references to the Louis XIV, on occasion present in the audience. Tartuffe’s persuasion of Orgon to hand over the casket had drawn on Jesuit casuistry. He told Orgon how to convey an untruth without actually telling a lie. 1587 There are some critics who find the “raisonneurs” in Moliere’s plays somewhat tiresome. The first remarks made by Cleante1593- 1600 might seem a somewhat pointless piece of being wise after the event. Reminding us whom Damis takes after, Orgon’s first response was anger 1604. Cléante (1609) the reasonable man always advised reason i.e. commonsense The truly devout Cleante’s sermon on "true" religion1609 - 1628 is inappropriate at this dramatic moment of the play, but Moliere thought it necessary to defend his motives in writing the play, having come under attack from some sections of the Church.
Yet again, Cleante (1624) recommends the “golden mean” – "le milieu qu’il faut".
Damis enters 1629 , perhaps comic in his predictability of character. Historical background Dorine can’t resist a joke, at Mme Pernelle’s expense, at the darkest of moments (1657) Mme Pernelle- stubborn and closed-minded like her son, still refuses to accept the truth about Tartuffe.
Dramatic Irony We have already seen the dangerous folly of those who refuse to see the obvious evidence before their eyes. Comedy of language Comedy of situation –Dramatic irony (1695) Cléante (1697)needs to keep the family focused on solving the immense problem. Elmire has faith in the civilized values of high society Cléante (1703)rightly believes that people like Tartuffe do not act alone. He talks of a Cabale. Historical Background
Elmire regrets that her trick on Tartuffe has come to this
Historical Background
Comedy of character
Damis (1767)responds as always with threats of extreme violence Dorine’s wit (1772) M. Loyal is another scoundrel with an hypocritical religious exterior.(1773 - 1778)
Dorine (1803) The down to earth servant shows M. Loyal only the amount of respect that he is due to.
M. Loyal, (1809) like Tartuffe hides his malice under the cloak of religion.
When Mme Pernelle finally accepts the truth about Tartuffe, Dorine (1815) enjoys some more irony by pretending he has taken everything they had only for their own good. Elmire (1825) still has hope in winning over public opinion.
Orgon (1847) is always extreme in his reactions, but he has had a big dose of bad luck (and bad judgement) all the same!
In truth, from the dictatorship of 17th Century France a lot of people chose to escape, but Moliere would not deliberately mention that to his patron, the King. The new Character, who accompanies Tartuffe is L'Exempt, a royal police officer does not speak at first, leaving Tartuffe to announce the arrest of Orgon for treason against the King.
Tartuffe (1867)is still wearing the mask of a hypocrite., saying that he will not allow himself to be embittered by Orgon's insults Religion Tartuffe's new higher loyalty; To the he King (1880) It was Organ who had voiced to Cléante these same sentiments of submission to a higher loyalty in Act I Scene V (277- 280). Then he had said he would sacrifice his loyalty to his family to a higher loyalty. Then the loyalty had been religion. Now (1881)Tartuffe uses the same terms with respect of loyalty to the King. Elmire calls Tartuffe "the Imposter". (1885)Note that “L’Imposteur". is the second title of this play. Dorine’s well-stated judgement (1886) shows her to be more than just an ordinary family maid Here Cléante is strongly asserting his role as the defender of reason
When abslute authority reigns, there is no call for explanations. A sudden surprise for the audience as the plot of the play takes a totally unexpected twist The historical background There is a prolonged hymn of praise for Louis XIV from 1907 -1945, which to modern audiences reveals the obsequiousness due to absolute rulers of whatever kind. The Deus ex machina Sycophancy to the King (1941 +) was a feature of the court of Louis XIV, the "Sun King."
Cléante (1951) is charitable and forgiving. (Some people may find him a bit sanctimonious here !)
(NB The plot of the play was the stock theme of an opposed marriage. The marriage is now approved and the play ends happily).
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THE END