Moliere “Tartuffe” and its Indirect Foreshadow for the Future
“Tartuffe” was written by Moliere and was successfully performed for the first time in 1664. “Tartuffe is said to stand for so many contradictory things” (Bold). With the passing of nearly six centuries, this play has demonstrated the idea of authority, given examples of how authority can be manipulated, and “is said to be a mere fact of history” (Cardullo). With respect to the modern denotation of the words authority and hypocrisy and key examples given from the text, it could be argued that the play presents specific examples of authoritative manipulation that could be considered a foreshadow to futuristic occurrences such as: producing a counterfeit reputation by using religion
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as a justification; using ignorance of others to one’s advantage; causing others to withdrawal their objections by interspersing intimidation in the form of threats; and finally establishing the need for regulations or higher authority like seen with the King. Firstly, the modern denotation of the word authority, according to the Webster’s New World Dictionary, is “the power or right to command, act, etc.” (“authority”). Secondly, authority is also depicted as “the ability to influence outcomes through force, coercion, or persuasion, and through legitimate or non-legitimate means” (Howson). With this in mind, in modern society there is a propensity for everyone to want authority. Like, for example, the fight for authority that is seen in the following conversation between Argon and Tartuffe: “You shut your mouth and leave this house at once” says Argon (Moliere 4.7.18). “You’re the one to leave, you, acting like the master” replies Tartuffe (Moliere 4.7.18). This conversation between Argon and Tartuffe illustrates a key example from the text that illustrates a fight for authority. This fight for authority, however, is an indirect foreshadow to phenomenon that has interspersed itself in modern society. Secondly, in terms of hypocrisy, it is defined by Dictionary.com as “a pretense of having a virtuous character, moral or religious beliefs or principles, etc., that one does not really possess” (“hypocrisy”). In the text, Argon directs the statement “You are a traitor and a liar...lust after my wife” to Tartuffe (Moliere 4.7.6-8). The realization that Tartuffe considers himself a religious man introduces the concern of legitimacy when considering the accusation that Argon proposes. However, described by a “penniless scoundrel”, Argon’s accusations prove to be legit statements (Hada). For example, as Tartuffe is describing his love, or lust if you will, to Elmire, the issue of heaven is brought up by Elmire; Tartuffe simply replies by saying “To sin is not as bad as it appears…heaven gives a wink. When it comes to certain needs of men” (Moliere 4.5.94-97). This statement from Tartuffe essentially proposes the idea that heaven pardons a man when certain things are needed. With the modern definitions of the words hypocrisy and authority elaborated with certain examples given from the text, one can now rectify the assumption of Tartuffe being a hypocrite. “For example, in terms of religion, Tartuffe is believed by Argon to be a believer of a version of Christianity, of which is depicted by Tartuffe to be a religion that promotes everyone to look at one’s existence as a gift” (Baker). Dorine in the play quotes: “What a fake! What an imposter! What a sleaze!” (Moliere 3.2.5). This quote exemplifies the idea that Tartuffe is a hypocrite by implying that Tartuffe is simply justifying his actions on religion within the context as a way to cloud the judgment of others. With that said, evidence suggests that Tartuffe is portraying a counterfeit reputation through “blind faith” (Crawford”). On a second note, Tartuffe also establishes this fake reputation by using ignorance of others to his advantage.
“An example would be Tartuffe donating blood to Argon’s wife Elmire when she became sick with the fever as described in the text” (Moliere 1.4.1-35). Though normally an act like this would be viewed as heroic, however, Tartuffe is just “distorting reality” (Saur). In other words, Tartuffe distorts reality in making everyone think that he saved Elmire in the good deeds of a religious man when he really done it because of his deep love for Elmire. With that said, it can be stated that everyone around Tartuffe is ignorant of his true intentions- “his deep love for Tartuffe” (Moliere …show more content…
4.5.1-146). It could also be argued that Tartuffe’s counterfeit reputation of being this perfect man has really subdued, if you will, Argon. This deep desire that Argon has for Tartuffe has influenced Argon into losing trust in his family. “For example, when Elmire tries to elaborate to Argon that Tartuffe is a hypocrite and not the man that Argon believes him to be, Argon simply doesn’t buy the claim” (Moliere 4.3.1-90). “In fact, his doubt is so strong that Elmire has to influence Argon to hide under a table while Tartuffe and herself have a rather convincing conversation” (Moliere 4.4.1-29). “Moreover, in terms of Damis, Argon’s son, Argon also refuses to believe him when Damis tries to convince Tartuffe of how much of a fake and hypocrite he is” (Moliere 3.6.1-80). With these examples considered, evidence supports the claim that Tartuffe has successfully subdued Argon and supports the statement that “Argon is eager to believe in Tartuffe” (Baker). Argon and his deep desires for Tartuffe formulates the idea that his daughter Mariane should marry Tartuffe. “In fact, Argon believes that he has chosen someone that has the highest rank” (Moliere 2.2.152-153). Though nearly every other character in the play rejects of this idea, including Mariane, Argon remains strict toward the idea. “However, in terms of Mariane, her reactions are simply believing that she must die if the marriage goes through” (Moliere 2.3.113). Elmire on the other hand wishes to change Argon’s mind. Therefore, this is when she came up with the plan to once and for all present Tartuffe’s true colors, as is described earlier. However, after Argon came out from under the table, his reactions were anything short of furious. For example, Argon quotes “I swear that is the most abominable man! How will I bear this? I don’t think I can. I’m stupefied.” (Moliere 4.6.1-3). This drastic change in attitude toward Tartuffe could be considered nothing but a climactic moment in the play for Argon. In fact, this change is a turning point in the play for Tartuffe and Damis, because Damis’s exile is revoked and when Tartuffe returns, Argon starts shooting insults using words such as “traitor” and “liar” (Moliere 4.7.6). From here, the rest of this scene is purely a struggle for authority. With tempers flying, even Damis uses “unlawful Threats” as a form of intimidation (Murphy). For example, Damis in the discussion says that he will “break his face” (Moliere 5.2.4). Moreover, Damis also says that he “will murder him and do it with such joy” (Moliere 5.2.9). With success thought to be reached in terms of Elmire, once Tartuffe leaves, Argon then has the realization of the lockbox, where the lockbox is, and the consequences associated with the lock box if certain people find out about it.
With this in mind, it is safe to say that one problem has been solved in terms of Argon becoming aware of Tartuffe’s true character, but now that Tartuffe has left, the bigger problems may have just began. In fact, Tartuffe is discussing the issue with Elmire and says that “I think my troubles may have just begun” (Moliere 4.8.7). In other words, “Argon fears Tartuffe might use its contents in a way that illustrates the scoundrel he is”
(Hada). With the lockbox the primary concern for Argon, Argon soon realizes that his previous wish of retrieving the lockbox before Tartuffe can use its contents has been abolished. “This realization occurs when Monsieur Loyal shows up and asks to speak with Argon” (Moliere 5.4.1-2). With Argon accompanied by an outrageous case of anxiousness, he tells Elmire “he’s come to reconcile us, I just know” (Moliere 5.4.13). “After a conversation with Monsieur, Argon is made aware that Monsieur is there with ten other men to serve a warrant that gives Tartuffe the right to seize the property” (Moliere 5.4.30-31). From here, Argon is officially being proven that Tartuffe is not the man he thought he was. It could even be argued that Argon believes his life to be over in some ways. However, as the plot progresses, the tables turn for the positive for Argon and his family. “For example, after Tartuffe finishes confirming the facts that the monarch already knew about him through dialogue, Monsieur concluded that Tartuffe will be arrested without bail” (Moliere 5.7.1-50). As described earlier, according to the Webster’s New World Dictionary, authority is “the power or right to command, act, etc.” (“authority”). With this denotation emphasized, its significant to realize that authority in this case was important, because it was the higher authority that made right of the manipulated reality in terms of the king reversing the hypocritical actions of Tartuffe, and the king ordering the arrest of Tartuffe. With Tartuffe and his “religiously mocking” betrayal officially abolished from Argon’s life and family, Argon grants the permission for his daughter, Mariane, to marry Valiere (Moliere 5.7.11). One could even argue that the manipulation that Tartuffe caused in Argon’s mind or thinking has officially been abolished as well. With respect to the modern denotation of the words authority and hypocrisy and key examples given from the text, it could be argued that the play presents specific examples of authoritative manipulation that could be considered a foreshadow to futuristic occurrences such as: producing a counterfeit reputation by using religion as a justification; using ignorance of others to one’s advantage; causing others to withdrawal their objections by interspersing intimidation in the form of threats; and finally establishing the need for regulations or higher authority like seen with the King. Throughout much of the text, the play illustrates many examples of a fight for authority, as have been described. However, as seen in the scene with Argon and Tartuffe arguing about who should leave and who owns the house, there is always someone with higher authority that can see unlawful manipulation such as the trickery that Tartuffe tries to pull on Argon and his family. With that said, the overall manipulation of authority and other unlawful or hypocritical actions that Tartuffe commits throughout the play presents an indirect foreshadow to modern sociological phenomenon. Moreover, the connection to modern society that the play portrays exemplifies that “Tartuffe” “is said to be a mere fact of history” (Cardullo).
Jean-Baptiste Poquelin Moliere wrote Tartuffe during the beginning of the Age of Enlightenment. One of the main characteristics of the Age of Enlightenment was a push towards using reason over emotions to make decisions. The leaders of the enlightenment truly believed that the world could be made a better place if people did this. In Tartuffe, when the characters use their emotions to make their decisions they find themselves in undesirable situations. While those who let their emotions rule them find their lives spinning out of control, there are other characters in the play who try to approach them with reason and logic. Out of these characters the lady’s maid Dorine stands out as the voice of reason.
This one-sided portrayal is achieved through animal imagery of a “usurping boar”, as Shakespeare’s pro-monarch propaganda highlights how duplicitous representations of reality may influence a society, regardless of context. Comparative study of RIII and LFR reveal the contextual influences on the portrayal of power and the duplicity of humanity, as these values transcend regardless of era. Shakespeare and Pacino highlight that to learn connections of texts is to dissect each text and create appreciation of the other, which reshapes the perception of an individual, facilitating a deeper and more enriched understanding of the play and the docudrama.
Moliere’s Tartuffe assumed set of social conventions were shaped by all the characters within the play, however the authoritative figure was established depicted by the father, Oregon. Oregon’s character assumed the role of king or lord of his household. He believed that as the head of household, he had the right to rule over his kingdom as he saw fit. His kingdom had to run smoothly in order for it to be effective. No matter how harsh, unfair and painful it was for his, wife daughter or servants. In the social arena there is always a central powerful family, or first family that everyone in the community aspires to be, or in more recent term “keeping up with the Jones”, “or the one with swag”. The title, position and authority was so entrenched in their social community, that it came down to even choosing one’s mate through arranged marriages. We see in Moliere’s Tartuffe, that authoritative power was as precious as gold, in the realms or patriarchal power that was prevalent in the 17th Century, political and economic power, and also religious power (in which Oregon) wanted association
Examining the difference between reality and appearance is strongly manifested in this story. The author has made an impressive account of what is really happening to families whether during the earlier days or the modern times. The story of Tartuffe is a great lesson for every person that people should not be easily deceived by first impressions and the story of the Monkey King showed outspokenness along with truthfulness in intentions.
Out of the plays that we could have chosen to produce, I have decided to go with Molière’s, “Tartuffe.” This play is a comedy that comes from 17th century France and is heavily influenced by two large sources of experience for Molière. Those sources are the rules and structure for a play put in place by the French academy and the lessons of improvisation taught by the Commedia dell’Arte. This piece is written in fives acts that are in a unique alexandrine style of verse which have 12 syllables in a line and usually ends with rhyming words. The reason I chose this play is because, in my opinion, things like television, movies, plays, and other forms of media and entertainment are meant to transport you away from all the bad things happening in real life and focus you on something fun and/or interesting. I find this play to have a lot of fun moments that can be mined for even more comedy and I think it has the good chance to keep a large audience entertained for a long period of time. To accomplish my goal I will use elements of situational comedies, France in the 1660’s, and one of Molière’s plays, “A school for girls.”
This was the age of reason. People at this time began to apply rational thoughts to figure out and understand nature and to guide their human existence. In Moliere’s Tartuffe, this ideal is expressed through the character of the king. In the end, Tartuffe has brought an officer of the king back to take Orgon away. However, in Tartuffe’s attempt to get Orgon arrested, the king saw through him and reasoned that Tartuffe was the one to be accused and put to trial.
It is in the duality of Orgon, the believing subject, and Tartuffe, the manipulating hypocrite (or impostor), that Moliere takes his digs at the extremes of enthusiastic belief. Tartuffe plays the role of a man whose greedy actions are cloaked by a mask of overwhelming piety, modesty and religious fervor. Orgon is the head of a household who has taken Tartuffe in. We laugh at Orgon because everyone else (except his mother) knows that Tartuffe is a fake. All of Orgon's relatives warn him of Tartuffe's gluttony and of the false nature of his pious proclamations.
These two plays show dramatically the struggle for authoritative power over the characters lives, families, and societies pressures. The overall tragedy that befalls them as they are swept up in these conflicts distinctly portrays the thematic plot of their common misconception for power and control over their lives.
Weakness in Tartuffe The play "Tartuffe", by Moliere, is a work that was created to show people a flaw in their human nature. There are two characters who portray the main flaws presented in the play. Both Madame Pernelle and Orgon are blinded to the farces of Tartuffe and must be coaxed into believing the truth. The fact that Orgon and Madame Pernelle are too weak to see the truth is an important theme of the play.
Moliere rocked the 17th century French world with his comedy "Tartuffe" in 1664. Although, religious factions kept the play banned from theatres from 1664-1669, "Tartuffe" emerged from the controversy as one of the all-time great comedies. Tartuffe is a convincing religious hypocrite. He is a parasite who is sucking Orgon, the rich trusting father, for all he is worth. Orgon does not realize that Tartuffe is a phony, and caters to his every whim. For instance, he reneges on his promise to let his daughter Mariane, marry Valere. Instead he demands that she wed Tartuffe, whom she despises. He also banishes his own son, Damis, from his house for speaking out against Tartuffe and all of his son's inheritance is promised to Tartuffe.
Macbeth is a play revolving around many key ideas observed in Shakespeare’s time with various messages communicated to the audience successfully, despite the lack of the cinematic effects present in today’s literature entertainment. The interweaved themes of immoral ambition and corruption are displayed throughout the text, unveiling the corruptive nature of one’s excessive greed for supremacy, affecting both themselves and others. This idea in Macbeth is successfully conveyed to the audience in Shakespeare’s time through the literary devices of characterisation, soliloquy and plot.
William Shakespeare’s “The Tragedy of Othello” shows how a manipulative villain can create chaos within a society. The play was written around the year 1603 and takes place in Venice Italy before it is repositioned to Cyprus. This Shakespearean tragedy shows the effects of jealousy, love, desire, betrayal and passion in a society with an imbalance of power in a race, gender, and social position.
William Shakespeare’s tragic drama Othello presents to the audience a picture of many different shades of morality and immorality. It is the purpose of this essay to elaborate in detail on this thesis.
In comparing the two productions together, one must look at the evolution of the play from the sixteenth-century to modern-day. One aspect is the cultural views. As discussed before the sixteenth-century view of Jews greatly differ than that of modern-day. It is because of the influence of World War II that many perspectives have changed. Radford’s production resonates with the tone of sympathy were as Shakespeare’s echo with rightful justice. There is a grey area that Shakespeare leaves and Radford teeters between his modern interpretation and the classic take.
The play, Othello is one of the most famous tragedies composed by William Shakespeare during the Renaissance period. It powerfully portrays a world where the acts of evil ultimately vanquishes fidelity, nobility and integrity. The central themes jealousy and manipulation embodies the foretold tragedies and the downfall tragedies of the characters due to one’s insecurities. Through the use of literary techniques and figurative language, Shakespeare has effectively explored the themes of jealousy and manipulation.