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Tartuffe character analysis essay
Tartuffe character analysis essay
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Tartuffe creates most of the obstacles for himself, as opposed to Candide who runs into them parse. Tartuffe creates every obstacle he has for himself, from beginning to end. With that being said, he creates the obstacles for Elmire and Orgon and at the end of the play the obstacle creates itself for him from someone else and that’s where his optimism subsides. The obstacles that he doesn’t create at the beginning of the story are the characters who don’t believe him such as; Damis, Dorine, Elmire, and Cleante. They create a diversion for Tartuffe that ends up being useful in the long run. Tartuffe is more of a plan person, he creates plans and then uses them to get what he wants. That’s where his optimism subsides. He creates the plans in hopes of them succeeding. That’s what optimism is. That’s what Tartuffe’s optimism is. He chose the people who wanted to pick out and how he wanted to go about it and started from there. Tartuffe creating the obstacle of him admitting his feelings for Elmire, “I felt that I must hide from this temptation:/You. My feelings threatened my salvation” (41). This moment …show more content…
was a moment that Tartuffe either planned really well or didn’t plan at all and accidentally started falling in love or fell in love with Elmire.
This obstacle was created by Tartuffe, but that is to say, Candide is gullible, yes; but, Tartuffe is too when he believes Elmire would reciprocate his feelings, “But now I’ve spoken, and I hope you see/My ardor that is there” (54). That’s where Tartuffe doesn’t create an obstacle, this one is created for him. Candide, we see as someone who uses all his adventures as a reason for believing in good, no matter how bad they get. When he sees Pangloss again, like mentioned above, and Pangloss is in bad condition and even tells him Miss Cunegonde is dead, he still has a decent outlook on life—well, he tries to and it pierces through even though such bad things have happened. From the moment Candide is kicked out of the only place he knows, he tries and does the majority of the time to keep a positive outlook on life. I believe this is why Candide has a happier ending when it comes to when both of the stories end. Candide has a significantly better outcome for himself, he ended up finding a reason to keep going, getting back together with Miss Cunegonde (even though he realizes she isn’t attractive anymore) and starting his garden. Essentially, that is where Candide resides, starting his garden and cultivating that. That’s one of the strongest endings of a story that I have read thus far. Because, although, he does have to replant his garden, he still has such a bright outlook on cultivating it with his friends—or the ones he has left, considering all of his senseis have died previously. He has to be his own sensei. When you think about the quote ‘we must cultivate our garden’ from Candide and how Tartuffe would use it in a petty state of mind. His version of cultivating his garden is getting what he can for himself from innocent others and then prospering on that until he gets caught. It’s a toxic version of the quote, coming from Candide who we see uses in such a bright and selfless manner. More than likely, what comes with optimism is the ability to be gullible, and Candide contains that, Tartuffe does not. He is doing it onto other people that are gullible as opposed to Candide’s situation. That is also where they falter. It could be because of how they grew up as well, one can assume that Tartuffe had possessed this quality since he was young or adapted them from someone throughout his lifetime. Candide grew up in a fairy tale land, where nothing bad ever happened and they lived a content and happy life. There’s a good reason he possesses the gullible personality trait and there’s a good reason Tartuffe does not. That brings me to the self-righteousness of Tartuffe, he feels the need to show off the things he has like they matter, when they simply, in most cases, do not.
Tartuffe mentions the first time he shows up in the entire play, “Laurent, lock up my scourge and/hair shirt too” (39). He feels the need to even mention what he has while Dorine is around like it should matter to her or anyone. If he is going with this plan of being a priest, he shouldn’t have to scream what he has. With him being a priest, you see a sense of self-righteousness right off the bat. After Elmire pretends to admit she likes him back, he also gets some sort of
confidence: And I know how to exercise those fears. To sin is not as bad as it appears If, and stay with me on this, one can think That in some cases, heaven gives it a wink (55). The confidence that you see that Tartuffe has taken on is out of nowhere, but once he thinks he’s got her, her starts to become conceited about it. Most of the relationships he has encountered or even made between Orgon are not real. He is out for himself and you see that when he ends up getting the deed, and almost the house. Orgon thinks this is honest and true friendship, but Tartuffe is merely just out for himself in the long run. One thing that makes Tartuffe very successful…almost, is the fact that he’s so optimistic. He is so set on this goal, that he almost accomplishes it. That’s a fairly good trait to have when you’re doing something as what he is accomplishing. That is where I see Tartuffe and Candide are similar: they have a goal and they go for it in hopes to accomplish it and that’s optimism to me. Candide wants so badly to get to Miss Cunegonde and he does quite a few times, and then loses her and then gains her back again; but, ultimately, his goal is to be with her and he does. The difference is, Candide loves Miss Cunegonde and he is using his optimism for a selfless act. It’s a self-fulfilling objective he has coming for him, and along the way you see things such as when he met up Pangloss again and he “promptly led him into the Anabaptist’s stable, where he gave him a crust of bread” (105). Even when Candide is doing badly, he is willing to help others, even if it means less for him because he knows it’ll come back to him a positive way. Tartuffe knows the outcome is going to be more than likely bad, I believe, but he’s optimistic that after this last con, he will be able to live in lavish and won’t have to be worried. Tartuffe ends the story in a bright way, but in a different sense of the word. He ends his story caught. For some, they may think that’s a bad ending for Tartuffe and for others that is the best way to end the story. It is a happy ending indeed, I’ll say! Tartuffe finally gets caught and it is said that he has been doing these said actions for a while “For every sin, but why squander the time/To list them or the aliases he used” (67). It was only a matter of time before Tartuffe was caught, he was going to leave a trace of his bad doings somewhere and the King just so happened to follow them. If Tartuffe didn’t use his abilities for bad then I believe the story would’ve ended differently; but, alas, he did not and that is why the story ended the way it did. Tartuffe and Candide are quite similar in their optimism, but one faltered where one gained and one could say, ‘don’t bite the hand that feeds you’ and that’s one thing Candide never did. These two characters teach us the different outlooks on optimism, there’s not only the definition version, but you can be optimistic about pessimistic ideals or even about illegal ideals as well. Optimism is not always associated with something good like Candide’s outlook. In the end, they do show us that not all optimism leads into a happy ending. In Tartuffe’s case, he slipped up and even though he was so close. His optimism got him far enough until he started to gloat and over step his boundaries. That is what was important in Tartuffe’s case. Once you over step your optimism in certain situations, it starts to seem unrealistic and you accidentally end up with the opposite. You have to be practical like Candide was. His optimism was about himself and others as well. You rarely see a moment where Candide isn’t practical or takes his luck, the little of it that he gets, for granted. He knows his limits and that’s important.
Tartuffe is the embodiment of the seven sins masquerading as the exact opposite. His gluttony is on display in scene four when Dorine informs Orgon of his overconsumption. Tartuffe has blinded Orgon to his nature and made him disregard his wife’s wellbeing. Lust and Envy are most likely his greatest follies, leading to his ultimate downfall. Tartuffe accepts Orgon’s daughter as his bride and lust after his wife. Tartuffe makes no attempt to deny the engagement which was conscripted because of his position to Orgon. Tartuffe under the guise of making sure Elaine stay pure reporting her every movement to Odom uses the opportunity to confesses she is his “peace, my solace, my salvation on you depends my bliss-or desolation.” (3.3.79-80) He demonstrates his pride when attempting to seduce Elmire comforting her concerns by telling her “if Heavens is all that holds you back, don’t worry. I can remove that hindrance in a hurry.” (4.7.95-96) Tartuffe so entranced with getting what he wants, he makes the same mistake as Lucifer, calling for action against Heaven. Tartuffe is the embodiment of sloth, acting indifferent towards others in his pursuits; from Elaine being ill to feigning defense of Damis. Tartuffes’s final stop on the “how damned are you” show culminates with wrath and greed. When he is confronted by Orgon after lusting for his wife, Tartuffe divulges his intentions to acquire all Orgon’s
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.
Throughout the entire play the majority of the events is based upon dramatic irony. This form of irony is developed from Tituba. The reader knows that Tituba is not a real witch, but a different cultured woman. The readers also know that Abigail is using Tituba as an escape to prevent herself from getting in trouble, and then on. As the irony continues this allows the reader to develop feelings and opinions towards the characters. No matter if one may have
In this scene Damis, Orgon’s son, has just spied on Tartuffe and Elmire’s, Damis’ mother, talk. In their “talk” Tartuffe declares his love for Elmire and she, much like most of the characters fall for his foolery, says nothing negative toward it. When Orgon’s son tells him the news, Orgon is in disbelief, he speaks to Tartuffe. Tartuffe explains that yes what Damis said was true but twists his words in a way that makes it seem less sexual and more just kindness towards Elmire. Since Orgon has fallen into Tartuffes traps; he is one Tartuffes side and is in disbelief that his son would try to “tarnish the purity of” Tartuffes virtue. Throughout this scene Orgon keeps scorning his son on his falsehood. Each time Damis tries to interject with anything Orgon cuts him off. This lazzi is most commonly compared to a lazzo of silence seen in Commedia dell’arte. A lazzo of silence was usually seen when “Pedrolino is dumbfounded when his master shouts at him for something he thought was told of him.”1 As other characters entered the scene they would also start shouting at Pedrolino for various randoms things which would keep him quiet. This is very similar to when Orgon is shouting at his son for “mistaking” Tartuffes advances on his wife as sexual rather than friendly. Damis is left silent whenever he tries to interject and is shut down instantly keeping him quiet for the greater portion of the
Don John dislikes Don Pedro because Don John is the illegitimate brother, a bastard child. This means that he isn’t recognised by the court of Messina or by anyone. Although Don John is of royal blood, his royal blood would’ve been respected but not him. In those times, Don John would have had the social status of a prostitute. This is no fault of Don John, but only because his parents weren’t married when he was conceived. Don John is always so gloomy because he isn’t respected, he says to Conrade “There is no measure in the occasion that breeds, therefore the sadness is without limit”. Don Pedro the legitimate brother is highly respected by everyone and is probably very wealthy, Don John would have had nothing. Don is jealous of his brother because of all the admiration he gets from others. In Shakespearean times, everyone would have expected Don John to be evil because he was a bastard. No one would been surprised when Don John tried to ruin Claudio’s hopes of mar...
In the reading, Tartuffe is a con artist who uses religious hypocrisy as a deceit to trick Orgon and gain access to Orgon’s family and legal documents of the house. Tartuffe’s deceit is blatantly apparent to the readers and several characters in the story like Cleante, Dorine, and Elmire. In one particular scene, Orgon learns about Tartuffe’s deceit with the help of Elmire, stating “What an abominable man! I can’t believe it! I’m overwhelmed!” (Moliere 82). This scene is significant because Tartuffe represents religious hypocrisy by using his fake piety as a method to manipulate others as a way to achieve his devious goals. Moliere attacks this idea of religious hypocrisy because he views it as a danger to French society. In the journal article titled “Tartuffe, Religion, and Courtly Culture,” the Emanuel S. Chill explains how the character Tartuffe is based on a group of religious people in France called the Cabale des Devots” (156). The Cabale des Devots was a fundamental Catholic group that persecuted the Huguenots, the protestants, in France by depriving them of their rights, leading to the mass emigration. Furthermore, the historical event is mirrored in Tartuffe when Orgon and his family are nearly evicted from their house. Moliere uses this part of the story to reinforce his idea that religious fanaticism is dangerous by inserting
In Moliere's comedy, Tartuffe, the main focus of the play is not of Tartuffe, but of Orgon's blind infatuation with Tartuffe. It just so happens that the title character is the villain rather than the hero. Orgon is Moliere's representation of how a man can be so blind in his devotion to a belief that he cannot make accurate judgment as to the sincerity of others who would use that belief to deceive him. Tartuffe easily achieves total power over Orgon's actions because of his gullibility. However, as the play progresses, Orgon's view of Tartuffe changes and results in Tartuffes removal.
From the end of Act I, the point at which Hamlet judges it may be prudent to feign madness - to "put an antic disposition on" (I.v.181) - much of the first half of the play concerns characters trying to determine why the prince's melancholy has evolved into seeming insanity. Each of the major players in Elsinore has a subjective impression of the reason for Hamlet's madness; indeed, in each of these misconceptions there is an element of the truth. At the same time, however, the nature of these selective perceptions provides insight into the characters who form them. And finally, these varied perspectives are notable in their effect upon the dynamic of the conflict between Hamlet and Claudius, and upon the king's increasing paranoia.
Don John plays an essential role for nearly all of the trickery and deception in this play. He acts like a catalyst and an instigator for trouble, whose sole aim is to marmalize the love and happiness between Claudio and Hero. Shakespeare uses foreshadowing of Don John’s villainy to display the trickery and deception: ’It better fits my blood to be distained of all than to fashion a carriage to rob love from any, in this, though I cannot be said to be a flattering honest man, it must not be denied but I am a plain-dealing villain. I am trusted with a muzzle and enfranchized with a clog: therefore I have decreed not to sing in my cage. If I had my mouth, I would bite, if I had my liberty, I would do my liking.
Hamlet is a tragedy that takes place in Denmark. The play is based on the myth of Amlet and retold by the great William Shakespeare. Hamlet is a world renown and thought provoking play that captivates its audience as it follows the struggle of a doubtful and temperamental prince to avenge the death of his father who has been murdered and replaced by his uncle Claudius. The captivation of the play can be attributed to the protagonist of the Hamlet and his two foils Laertes and Fortinbras. It is not common for the prestige of “Hamlet” to be partly attributed to characters with such small roles. The prevalent presence of Fortinbras and Laertes is no accident, it is something executed byWilliam Shakespeare so that we may learn more about Hamlet. Without Laertes and Fortinbras we wouldn't have any reasonable characters to compare Hamlet to. In Hamlet, Laertes and Fortinbras act as Hamlet’s foils. In a story the foil is a character who is superficially similar to the main character but differs by significant character traits. These similarities and differences are what accentuate main character. Hamlet, Fortinbras, and Laertes have a lot in common when it comes to the situations that they find themselves and how they initially intend to respond to those situations. Be that as it may, each of these “avenging” sons sees their situation in a different light and attempt to avenge their fathers in different fashions. The foils similarities and differences are used by William Shakespeare to highlight the potential paths Hamlet could have taken on his crusade for revenge.
Elmire understands that she is a woman and that men see her as a sexual object. She actually uses this to her favor. She uses Tartuffe’s affection for her against him. She makes him look like a fool after she seduces him. This woman understands that gender roles for men and women are very different and that she can use men to get her way. This gives Elmire a type of freedom. Elmire is an independent woman that knows how to get what she wants. In the play Elmire wants Tartuffe out of her husband’s house. She does not understand why everyone likes him so much. Elmire has an idea; she decides she will seduce Tartuffe. When...
With this ending and the treatment of Don John throughout the play, it is clear that he will never be able to mingle positively without suspicion, and with other characters. His harsh sentencing for deceit is hypocritical as almost every character in the play, from Don Pedro to Leonato himself have deceived people, albeit not with bad intentions like Don John. His reputation ever since he was born has dictated his life and his only alternative to being called an untrustworthy bastard is to become a “plain-dealing” villain, to forge himself his own identity. Although everyone believes he is a conniving villain, Don John’s just forcing himself to be one; to prove he has his own identity among the “posh” people of Messina even if it is antagonistic.
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.
Internal and external struggles influence people to action, be it swift and daring or cunning and low. In Shakespeare's plays, the events around and within a character often combine to cause a character to act in a manner that would be considered out of character or unnatural for the person. Shakespeare uses these characters to provide the audience with a lesson or theme; to give them something they can apply to life and see learn from. In Othello, the character he uses as an example is, in fact, Othello. Shakespeare informs his readers of how doubts caused by rumors and lies can lead to the breakdown of even a once noble person.
Orgon is deceived because he cannot or refuses to see Tartuffe for the con artist he is. Tartuffe is hugely successful for most of the play because he is so good at wearing a mask of piety to cover his deception. Orgon regards Tartuffe as his religious guide and is blind to the fact that Tartuffe is deceiving him.