The Shakespeare Theatre of New Jersey 2018 TARTUFFE: Know-the-Show Guide

Tartuffe

By Molière Translated by Richard Wilbur

Know-the-Show Audience Guide researched and written by the Education Department of

Artwork by Scott McKowen The Shakespeare Theatre of New Jersey 2018 TARTUFFE: Know-the-Show Guide

In this Guide – Tartuffe: An Introduction...... 2 – The Life of Molière...... 4 – Richard Wilbur, Translator...... 7 – Tartuffe: A Short Synopsis...... 8 – Who’s Who in the Play...... 9 – Molière’s France...... 10 – Chronology of Major Events in Molière’s Life...... 11 – Molière’s Theatrical Style...... 12 – Alexandrine Verse...... 14 – The Major Works of Molière...... 14 – Quotable Molière ...... 15 – Miraculous Happy Endings! Deus Ex Machina ...... 15 – Commentary & Criticism...... 16 – In This Production...... 17 – Explore Online...... 18 – Sources & Further Reading...... 19

Tartuffe is presented by special arrangement with Dramatists Play Service, Inc., New York.

1 The Shakespeare Theatre of New Jersey 2018 TARTUFFE: Know-the-Show Guide

THE BANNING OF TARTUFFE religious men in power that it was banished from “Tartuffe was first performed on May the public stage for half a 12,1664, at Versailles in front of Louis decade. XIV and his court. It was immediately Tartuffe:An Introduction suppressed; although the King approved of Tartuffe centers on a the play without reservations and was, in fact, a staunch champion of Molière, the In 1664, a play was performed that was considered so blasphemous middle-aged family man, religious right wing (led by the Company of and so offensive that it was closed immediately following its opening Orgon, who takes into performance by a select group of powerful officials and clergy. Its the Holy Sacrament, which included some his home a man that he of the most powerful men in France) banned author, dubbed “a devil in human flesh,” was so hated for the believes to be incredibly free performances in public theatres for the scandalous views he seemed to have presented in the play that many pious. The guest, a con man next five years. Even so, in 1667, Molière of the people in power attempted to have him run out of town. Though named Tartuffe, turns out produced it again under the title of The these attempts failed, his theater was closed and later demolished to be anything but pious. Imposteur (adding two acts and changes) by critics of his work. The scandal surrounding the play only served Rather, he is discovered to during the King’s absence at the siege of Lille, whereupon it was immediately stopped to increase the public’s interest in it. Secret readings of the play be a lascivious and self- and further showings were forbidden. began to pop up in private homes throughout Paris. In response, the serving man, who uses his offended clergy declared that anyone Over the next year and a half, the play was welcome to con his foolish doubtless the talk of the court and town, and found performing, reading, or viewing host out of house and home, many performances and readings of it were any production of the play would be all in the name of religious given at private homes. However, it was not immediately excommunicated. What was piety. With its hypocritical until 1669 that the ban was lifted and the this play? Was it an outright attack of the titular character, Tartuffe play was freely performed in the form in which we have it today.” King? Did it decry the political decisions was perceived as an attack Percy Addison Chapman, made by men in power? Was it a tell-all of on both the church and The Spirit of Molière the sinful acts of the court or church? Did men of religion, and it made it denounce God? It was none of these Molière a pariah in certain things. circles.

The play was Molière’s Tartuffe, a witty From its first presentation in May of 1664, Molière’s scathing satirical tale of a hypocritical con artist comedy has invoked both riotous laughter and severe criticism. and the fool who blindly falls under his Considered to be one of the greatest French playwrights and an spell, and it so disturbed many of the exceptional comic theatre artist, Molière’s keen sense of timing,

Artwork by Scott McKowen. 2 The Shakespeare Theatre of New Jersey 2018 TARTUFFE: Know-the-Show Guide

witty dialogue, and rich social commentary have left audiences rolling in the aisles for centuries. Despite their popular appeal, most of his MOLIÈRE ON TARTUFFE’S CRITICS plays met with some form of vicious criticism. Many of them satirized prominent social or political figures. None of Molière’s other works, “I have no doubt, your Majesty, that the people however, brought about the level of fervor from his opponents that was I paint in my comedy will use all their influence inspired by Tartuffe. against me…Whatever face they put on it, it is not the interest of God which moves them. They For some, religious hypocrisy may seem an unusual topic for a comedy, have shown this well enough by attending other but not for Molière. He believed that the purpose of theatre was first comedies of which they approve. Those comedies and foremost to entertain. Secondarily, comedies were meant to attacked piety and religion itself, which they do instruct the audience how to be better citizens; in this case, by showing not care much for. But this one [Tartuffe] attacks them what not to do. Molière used the art of theatrical comedies to them, and shows them for what they are. And unmask social pretenses and to present men as they truly were. His that, they cannot stand. They will never forgive work elevated comedies — previously considered lesser, insignificant me.” entertainments — to a level of respect formerly reserved for only the great tragedies. MOLIÈRE’S PREFACE TO TARTUFFE When seeing Tartuffe, there are many lenses through which to view the play. The collection of dramaturgical information “If the purpose of comedy is to correct men’s vices, I do not see why any included in this guide highlights historical and social issues group of men should have special privileges. If this were so, it would have that will help one understand the context in which the play was a far more dangerous social consequence than all the other vices, and we written. We encourage you to take advantage of as much of this have seen that the theatre’s great virtue is its ability to correct vices. The material as you are able. It is important, however, to keep in mind most beautiful expression of a serious moral is most often less powerful Molière’s first and foremost notion of his work: than that of satire; and nothing reforms the majority of men better than the portrayal of their faults. To expose vices to everyone’s laughter is to deal “Isn’t the great rule of all rules simply to please, and them a mighty blow. People easily endure reproofs, but they cannot at all hasn’t a play that has achieved this goal done what is endure being made fun of. People have no objection to being considered appropriate for it to do?” wicked, but they are not willing to be considered ridiculous.” Jean-Baptiste Poquelin, a.k.a. Molière Jean-Baptiste Poquelin, a.k.a. Molière Translated from the French by Richard Kerr.

3 The Shakespeare Theatre of New Jersey 2018 TARTUFFE: Know-the-Show Guide The Life old. Shortly after her death, his father remarried. Catherine Fleurette, his second wife, died three years later. At 15, Jean-Baptiste was left Molière alone with his father; a man whose business provided little interest to the imaginative boy.

of The elder Poquelin’s shop was located very near two important theatrical Jean-Baptiste Poquelin, sites of the day: the Hôtel de Bourgogne and the Pont-­Neuf. The Pont- popularly known by his Neuf was not a theatre in any traditional sense. It was, actually, a street stage name Molière, was a and bridge on which local comedians performed antics, short plays and French playwright who is now farces as an enticement for the crowds to purchase the medicines they considered one of the great were hocking. Young Jean-Baptiste reveled in the antics of the players. He masters of comedy in Western was exposed to the more traditional romantic tragedies and broad farces Literature. An accomplished of the day while attending the Hôtel de Bourgogne with his maternal artist in almost every aspect of grandfather. the theatre, Molière was not only a brilliant playwright, but At 14, Jean-Baptiste was enrolled as a day-boarder at the Jesuit College de also an accomplished producer, Clermont. Molière received an exceptional education there, particularly director and actor. His works excelling in humanities and philosophy, and eventually qualified to not only transformed French become a lawyer. Here, he also made several important contacts with classical comedy, but influenced highly influential aristocrats, including Armand de Bourbon, the cousin Portrait of Molière dramatists worldwide. by Charles-Antione Coypel, 1730. of the future King Louis XIV. While at school, Jean-Baptiste’s education heavily stressed Greek and Latin, and he advanced rapidly in rhetoric and CHILDHOOD & EDUCATION humanities. His education, however, was not limited to the classroom. Born to Jean Poquelin and Marie Cresse in Paris on January 15, 1622 Young Poquelin joined a handful of his fellow students on an independent (one year prior to the First Folio printing of Shakespeare’s collected course of philosophy under Pierre Gassendi, a leader of free-thinking plays), Molière was the eldest of six children. His father was a skilled intellectuals. upholsterer and named as one of the eight valets de chamber tapissiers to King Louis XIII. Due to his father’s great standing in the French court, In 1641, Jean-Baptiste entered the court of Louis XIII as a valet-tapissier. the young Poquelin received many advantages, including an education His father had grown ill and the young man felt obligated to serve in his in some of France’s finest schools and access to the French court. His father’s absence. The title had been purchased for him. Jean-Baptiste’s mother, a very pious woman, died when Jean-Baptiste was only 10 years father, understanding his son’s lack of passion for the family trade, 4 The Shakespeare Theatre of New Jersey 2018 TARTUFFE: Know-the-Show Guide encouraged him to focus on law studies, an area of study which seemed small fortune left to him by his mother, and with the Béjarts and a handful to hold some interest for the young man. of the founding members of the Illustre Théâtre, Poquelin left Paris to tour as a strolling player through the provinces. His family was horrified. EARLY THEATRICAL TRIALS Friends and family members were not able to believe that a passion The focus on law however did not alter Jean-Baptiste’s love for the for the theatre could cause such a vast change in Poquelin. Later they theatre. In 1642, while traveling with King Louis XIII to Narbonne, would state that he left Paris not for theatre, but for the love of Madeleine Jean-Baptiste met (and, according to some scholars, fell in love with) a Béjart. It was at this time that Jean-Baptiste adopted the name of Molière, beautiful young actress named Madeleine Béjart, a woman who would possibly to spare his father the embarrassment of having an actor in the have a larger impact on his life in the years to come. family. The origin of the name is unclear.

Eager for a taste of the stage once more, Poquelin joined a troupe of The young band of performers would spend the next twelve years amateur performers who called themselves the Illustre Théâtre. The traveling from town to town, performing and honing their skills. During troupe presented free performances for the public on a converted this time, Molière began to write plays for the company. By the mid tennis court in the Faubourg Saint-Germain. The productions were 1650s the troupe had garnered tremendous praise in the provinces, in very well attended and the group gathered quite a following. Believing part due to the popularity of Molière’s first full-length play,L’Étourdi ou their success was due to their outstanding skills and not the fact that Les Contretemps (The Bungler, or The Counterplots). the performances were free, the troupe decided to begin charging a minimal admission fee. This practice was something held out only for In 1653, Molière’s troupe gained the patronage of the Prince of Conti, professionals, and the troupe had a rude awakening. The attendance and by the spring of 1658, the much-improved company ventured back numbers quickly dropped, and the handful that remained only came to to Paris. Upon learning heckle the performers. In an effort to save the company, Jean-Baptiste that the Duke of Anjou, took control of the troupe and asked Madeleine Béjart along with some the King’s brother, was of her siblings to join the troupe. He hoped that this infusion of more seeking a dramatic experienced performers would save the theatre from financial ruin. Over troupe for which he the next two years, the troupe performed in three different theatres in could patron, the troupe Paris, but failed miserably at each venture and Poquelin was eventually set about gaining an arrested for bankruptcy and imprisoned in debtor’s prison twice. The appointment with the troupe borrowed money from a friend to pay for Molière’s release, and Court. Molière’s father begrudgingly repaid the debt one year later. Portrait of Louis XIV, King of France and of Navarre (1638- Undeterred by the tragic fall of the Illustre Théâtre, Poquelin renounced 1715) - circa 1665-1670 (when his hold on the court title his father had secured for him, took claim of a he was patron to Molière. Painting after Claude Lefebvre. 5 The Shakespeare Theatre of New Jersey 2018 TARTUFFE: Know-the-Show Guide

Portrait de Jean-Baptiste Poquelin dit Molière two weeks, and in an attempt to run Molière out of Paris, she succeeded (1622-1673), by Pierre Mignard. in having the Petit Bourbon’s doors closed for good and the building destroyed. “The Sun King,” Louis XIV, was a fond admirer of the troupe however, and granted them use of the Theatre du Palais Royal, where the THEATRICAL SUCCESS: company performed until Molière’s death. They were given an audience with King Louis XIV (then only 19 years For the next 13 years, Molière transformed his company into the leading old) on October 24, 1658 in the French comedic troupe. His style of theatre heavily borrowed from Italian Guard Room of the old Louvre commedia dell’Arte companies, but Molière refined thecommedia Palace. Unfortunately, they made a themes and combined them with neoclassical French tradition. In serious miscalculation by performing addition, he adopted the Alexandrine, a rhymed hexameter commonly a tragedy (Corneille’s Nicomede, used in contemporary tragedies in order to create conversational and considered a second-rate work) instead relaxed diction. This fusion brought French comedy to an unmatched level of one of the company’s famed farces. of artistry and inventiveness. His later comedies such as The School for The King and the court were unimpressed. Wives (1662), Tartuffe (1664), The Misanthrope (1666), and The Learned Molière was able to convince the king, however, Ladies (1672) were steeped in social criticism and satire. With his acerbic to grant them the opportunity to perform one of his own plays, The and biting flair, Molière mocked the morals and manners of 17th century Love Sick Doctor. The tremendous success of this second performance France, while also offering insightful comments on human nature. Many granted Molière’s company — thereafter known as the Troupe de of his plays invited controversy, and a number of scandals arose around Monsieur — use of the Hotel du Petit Bourbon, considered one of the several of them. three most important theatres in Paris.

It was during his flourishing success in Paris that Molière finally married. With a knack for commenting on the French aristocracy, Molière’s His young bride, Armande Béjart, was the daughter of Madeleine Béjart, first play presented in theHôtel du Petit Bourbon was The Pretentious the woman who first caught his eye 20 years earlier. There is some Ladies. This work satirized Madame de Rambouillet, a woman who conflict regarding the relation between Armande and Madeleine. Some considered herself “the be-all and the end-all” judge of taste and culture historians list them as sisters. This was, in actuality, the lie the company in Paris. The play was such a tremendous success that Molière was able of actors presented to officials. The reason for this is open to speculation. to double the price of admission and was offered a special invitation to present it for the King. Louis XIV was so delighted with the play that END OF HIS DAYS: he offered the company a very large cash gift. Despite this success, Molière strove to raise the Troupe de Monsieur to the highest status in Molière made several powerful enemies in the court with his play. Paris, writing, directing and starring in many of the plays they produced. Madame de Rambouillet managed to delay performances of the play for In 1665, the goal was achieved. The company was awarded 6 The Shakespeare Theatre of New Jersey 2018 TARTUFFE: Know-the-Show Guide the coveted title of the “Troupe of the King.” RICHARD WILBUR, Translator

During the last decade of his life, Molière suffered from tuberculosis. RICHARD WILBUR (Translator) was born in New York City and He refused, however, to let his grave illness impede his artistic pursuits. received his B.A. from Amherst College and an M.A. from Harvard Molière died playing the title role in The Imaginary Invalid in 1673. University. He has taught on the faculties of Harvard, Wellesley, During a royal performance before King Louis XIV on February 17, Wesleyan, and Smith. Mr. Wilbur’s publications include six volumes Molière collapsed and suffered a hemorrhage onstage. He performed of poetry and two collections of his selected verse, a volume of his collected verse, translations of Molière’s four most outstanding the rest of the play but died a few hours after he returned home. verse plays, the musical Candide, for which he supplied most of the lyrics, a collection of his prose, and two books for children. His highly praised verse translations of Molière’s plays The Misanthrope, Tartuffe, The School for Wives, and The Learned Ladies have all been performed in New York and are frequently presented by resident THE SHOW MUST GO ON theatre companies throughout the United States, Canada, Australia, and Great Britain, including productions at Stratford, Ontario, Molière was very ill late in his career, and collapsed during a performance of and the National Theatre in London. He has also completed verse The Imaginary Invalid. Against the wishes of his wife and the other company translations of two of Racine’s great tragedies, Andromache and members, Molière continued the performance, saying, “There are 50 poor Phaedra. Among Mr. Wilbur’s awards are two Pulitzer Prizes, a workers who have only their daily wage to live on. What will become of National Book Award, Edna St. Vincent Millay Award, Bollingen them if the performance does not take place?” Award, Ford Foundation Award, Guggenheim Fellowship, and Prix de Rome Fellowship. He has served as both Chancellor and President of the American SCORNED EVEN IN DEATH Academy of Arts and Letters. In 1987 The local priests refused to take Molière’s confession, for actors had no he was named the social standing and had been excommunicated by the church. The soul second Poet Laureate of a theatre artist was considered so vile that Molière was not permitted of the United States, to be buried in holy ground. Four days after Molière’s death, Louis XIV succeeding Robert interceded and the famous actor’s body was at last buried in the Cemetery Penn Warren. Saint Joseph under the cover of night. Theatrical legend states that Richard Wilbur Molière was asked on his deathbed to renounce his profession so that he passed away in could receive last rites. He refused. October 2017.

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TartuffeA Short :Synopsis

Please note: Below is a full summary of the play. If you prefer not to spoil the To make amends for Tartuffe’s “wounded innocence,” Orgon signs over plot, consider skipping this section. possession of the family’s home and other estates to Tartuffe and he declares that the marriage between Tartuffe and his daughter will happen Orgon is a well-to-do Parisian haute bourgeois, living with his two that night. grown children, Mariane and Damis, and his second-wife, Elmire. Extremely gullible, Orgon takes a stranger into his home named Tartuffe Realizing the futility of reasoning with either Tartuffe or her husband, who claims to be extremely pious. Tartuffe’s hypocritical wiles have Elmire devises a scheme to expose the hypocrite to Orgon. She persuades completely hoodwinked Orgon and his mother, Mme. Pernelle. The Orgon to conceal himself under a table while she speaks to Tartuffe. other members of the household are unconvinced and urge Orgon to In this way her husband can witness the impostor’s advances on her. see Tartuffe (who has practically made himself master of the house) for Elmire’s plan works and Orgon sees the true corrupt nature of Tartuffe. the fraud he is. Orgon, however, sees Tartuffe’s outrageous demands as merely an intense and selfless interest in Orgon’s spiritual welfare. When in righteous indignation Orgon orders the con man from the house, Tartuffe reminds his benefactor that the house is no longer Orgon’s. He Fooled by Tartuffe’s scheme, Orgon heaps gifts and food and liberties has signed all of it over to Tartuffe. A bailiff presently arrives to evict on the visitor. He even offers Tartuffe his daughter’s hand in marriage Orgon and his family. At the same time, Valère returns with word that in hopes of solidifying Tartuffe’s connection with the family forever. Tartuffe has reported Orgon to the King for harboring property belonging Mariane is mortified for she is in love with Valère, an honest, young to a political fugitive. Valère adds that Tartuffe and an officer are on their man her own age. Dorine, Mariane’s maid, assists the young lovers in way to arrest Orgon. developing a plan by which they might expose Tartuffe. As Orgon is about to flee in Valère’s carriage, Tartuffe and the officer Meanwhile, Elmire pleads with her husband to abandon the proposed arrive. The hypocrite has at last overplayed his hand, however. Upon his marriage, but all is in vain. Seeing little hope in swaying her husband, appearance before the King, His Majesty recognized Tartuffe as a criminal Elmire goes to Tartuffe in hopes of defending her stepdaughter’s love for with a long record and many aliases. Tartuffe is arrested in Orgon’s stead. Valère, only to have the fraudulent man attempt to seduce her. Damis, His Majesty graciously forgives Orgon his indiscretion on account of his Orgon’s son, overhears this exchange and denounces the impostor. bravery in the recent civil war. Orgon’s property is restored, and Valère Orgon believes none of the evidence that is presented to him and and Mariane are free to marry with Orgon’s blessing. responds by disinheriting and banishing his son. 8 The Shakespeare Theatre of New Jersey 2018 TARTUFFE: Know-the-Show Guide

Costume rendering of Mariane by Costume Designer, Nikki Delhomme, 2018. Who’s Whoin the Play

ORGON (or-GAHN) – The head of a wealthy bourgeois household with a CLÉANTE (CLAY-ahnt) – Brother to Elmire; attempts history of successful military service; he is captivated by Tartuffe. to encourage the family to see things clearly Yes, thanks to him I’m a changed man indeed. and with reason. He is the voice of reason in Under his tutelage my soul’s been freed. the play. There’s a vast difference, so it ELMIRE (ell-MEER) – Orgon’s beautiful second wife; a level-headed and well- seems to me, reasoned woman who is shaken by her husband’s interest in Tartuffe. It is Between true piety and hypocrisy. eventually her plan that reveals Tartuffe’s true nature to her husband. Come now: let’s put my statements to the test, TARTUFFE (tar-TOOF) – An irredeemable con artist And you shall see the truth made manifest. and religious hypocrite; he manipulates Orgon and Madame Pernelle, and

quickly takes over Orgon’s household. DAMIS (dah-MEE) – Orgon’s son from his first marriage; in attempting to prove Hang up my hair-shirt, put my scourge in place, Tartuffe a hypocrite, he is disinherited. And pray, Laurent, for Heaven’s perpetual grace. No, I must stop that scoundrel’s machinations: I’m going to the prison now, to share I’ll go and tell him off; I’m out of patience. My last few coins with the poor wretches there.

MARIANE (MAIR-ee-ANN) – Orgon’s daughter from his first marriage; she is in DORINE (door-EEN) – The outspoken and saucy maid in Orgon’s house; one of love with Valère but is promised to Tartuffe instead by her father. the most level-headed and witty characters in the play. You know the depth of my affection for him; Those who have the greatest cause for guilt and shame I’ve told you a hundred times how I adore him. Are quickest to besmirch a neighbour’s name.

MADAME PERNELLE (per-NELL) – Orgon’s strict, pious, and opinionated FLIPOTE (fli-POTE) – Madame Pernelle’s maid. mother; she is also taken in by Tartuffe. He’s out to save your souls, and all of you M. LOYAL – A bailiff. Must love him, as my son would have you do. You’ll not make trouble, Sir, or interfere With the execution of my duties here.

VALÈRE (vuh-LAIR) – Mariane’s beloved suitor. Though each of us will do his best, AN OFFICER – Officer serving King Louis the XIV. It’s your true heart on which my hopes shall rest. Come, you are off to join the other boarders In the King’s prison, according to his orders.

9 The Shakespeare Theatre of New Jersey 2018 TARTUFFE: Know-the-Show Guide

the Italians, he formed the Academie Française in 1636. To strengthen French drama, Richelieu deliberately and successfully encouraged theatrical production in Paris. He also brought audiences back to the theatre by improving lighting methods, and he set up a strict system of policing theatre premises to rid them of Molière’sFrance pickpockets and brawlers. Richelieu built new theatres and encouraged French authors to write plays. France in the 16th century had a political history significantly different from that of England or Spain. This was a time of great unrest, partly due to religious In the first half of the 17th century, French theatre was a crude and inexpensive wars between Protestants (known at that time as Huguenots) and Catholics. form of entertainment, and acting was viewed as an impious profession. By the The civil war was finally brought to an end in 1594 when Henry IV, a Protestant middle of the century, with France’s cultural growth and Richelieu’s advances, who had ascended to the throne in 1589, converted to Catholicism. He French audiences shifted from the plebeian to the aristocratic. French plays and resolved religious strife by issuing the Edict of Nantes which granted religious French audiences now featured a diverse assortment of aristocrats, learned men, equality and tolerance. merchants, servants, and respectable women. A greater involvement in the arts meant a broader audience, and with a considerable difference in rank among During this time, France possessed only one permanent theatre, the Hotel spectators, theatre prices began to vary. The most expensive seats were located de Bourgogne. It had been built by the Confrérie de la Passion, a fraternity of on the stage itself (a practice that would continue into the 18th century), while the Parisian merchants and artisans. Created in 1402, its primary function was the cheapest seats were located in the pit directly in front of the stage. presentation of religious plays. By the end of the 16th century, the Confrérie ceased producing religious plays and merely hired out the theatre to companies By the time Louis XIV (1638-1715) succeeded his father in 1643, French society of actors. This kept the theatre booked and restrained groups of actors from had finally stabilized and begun to flourish. Economic prosperity, government performing in other areas of Paris. As Paris was the cultural center of France, backing, well-trained actors, and spectators with a deep interest in the material acting troupes had no choice but to perform at the Hotel de Bourgogne. all combined to begin France’s great theatrical tradition. Despite this monopoly, theatre troupes were able to flourish outside of Paris where they were free from the governing hand of the Confrérie. By 1673, the year of Molière’s death, there were five government supported companies in Paris: the Opera, the Italian commedia dell’Arte troupe, the Hotel Louis XIII (1601-43), the son of Henry IV, succeeded his father in 1610. Even de Bourgogne, the Theatre du Marais company, and Illustre Théâtre — Molière’s after being declared of age in 1614, Louis XIII was excluded from affairs company. The establishment in 1680 of the Comédie Française, the government of state by his mother, Marie de’ Medici. In 1624, he entrusted the French supported French national theatre, was a milestone in the history of western government to his mother’s protegé, Cardinal Richelieu, the head of the theatre. The theatre still stands today and is known worldwide for its presentation Roman Catholic Church. Cardinal Richelieu strengthened royal authority and and preservation of the plays of Molière. centralized control of the French government. To culturally restore France, he established standards in French literature and the arts. Following the model of 10 The Shakespeare Theatre of New Jersey 2018 TARTUFFE: Know-the-Show Guide Chronology of Major Events in Molière’s Life

1622 – Jean-Baptiste Poquelin (later called Molière) is born. 1636 – Cardinal Richelieu establishes the French Academy. 1641 – The opening of the first permanent proscenium-arch theater in France — thePalais Cardinal (later renamed the Palais Royal). 1642 – Cardinal Richelieu dies. 1643 – Molière abandons law and founds the Théâtre Illustre with the Béjart family. 1643 – Louis XIV, known as the “Sun King,” takes the throne at the age of four. 1644 – The Théâtre Illustre goes bankrupt, and Jean-Baptiste is briefly imprisoned for debt. Jean-Baptiste Poquelin begins going by the name of Molière.

1658 – Molière’s troupe performs in Paris and gains royal patronage. 1660 – Molière’s troupe is given permanent playing space in the Palais Royal. 1662 – Molière marries Armande Béjart, a relative of his longtime mistress Madeleine Béjart (see page 6-7 for more information). 1664 - Molière writes and performs Tartuffe. 1665 – Molière’s troupe becomes the King’s Men, the official troupe for court entertainment. 1666 – Molière writes The Misanthrope. 1672 – Madeleine Béjart dies. 1673 – Molière dies from an attack of tuberculosis following a performance of The Imaginary Invalid. 1680 – Molière’s troupe is combined with the Marais and Bourgogne companies to create the Comédie Française, the first national theatre.

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Molière’sTheatrical Style

In order to understand Molière’s style, one must also understand the literary and theatrical context for the plays he was writing; both the rules of French Neoclassicism to which Molière had to adhere, and the kind of playing space he and his troupe had at their disposal.

Neoclassicism in French literature began under the reign of Cardinal Richelieu after Louis XIII died and before the ascension of Louis XIV to the throne. The Academie Française defined theatre in a way that came to be known as the Neoclassic style with rules (derived from Aristotle’s Etching of the remounted performance of Molière’s The Imaginary Invalid by Jean Le Pautre, 1674. ancient literary manual, The Poetics) known as the Unities. The Unities consisted of time, action, and place. Two additional criteria were added way appropriate to their class. later — verisimilitude and decorum. Though the classical unities and neoclassic form were employed According to the Academie, correct drama should only have one throughout Europe, strict adherence did not occur until after the action, or plot, to the play. All of that action must take place in the foundation of the Academie Française in 1636. This is why Shakespeare’s same geographic location, and the scenic design should not attempt to plays and other works slightly preceding Molière’s time, like Corneille’s compress geographic reality or represent more than one place. Finally, The Cid have a more episodic structure where each scene has its own the action of the play must be resolved within a reasonable amount of specific time and location not necessarily related to the rest of the time in the world of the play (no more than 24 hours). Verisimilitude is scenes. Once the Academie enforced this set of criteria, however, most the aesthetic by which all elements of the play must seem real, probable dramatic literature on the continent (such as The Doll’s House and other and believable. The last element, decorum, referred to the way both the masterpieces) followed this schema until the mid to late 1800s. Molière characters and the actors playing them should behave. Poor characters frequently chafed under the constraints of these rules, and much of the should be portrayed as poor and should behave the way poor people genius of his comedy consists of his ability to stay just on the right side were perceived. Likewise, the rich should be portrayed and behave in a of Richelieu’s rules while infusing his comedies with the unruly, populist

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flavor of the Italian theatrical form known ascommedia dell’Arte. to foster a presentational, Another important factor in understanding Molière’s work is the stylized acting architecture of the playing space. When Molière won the favor of King method. Louis XIV, he was awarded use of the Salle du Petit-Bourbon, which Neoclassical was demolished not long afterwards in order to expand the Louvre. The set designs Salle du Petit-Bourbon was an indoor court theatre — a long gallery tended to use with a stage on one end. After the sudden ouster from the Salle du a background Petit-Bourbon, Louis XIV gave Molière the theatre of the late Cardinal painted with Richelieu, known as the Palais Cardinal (renamed the Palais Royal). a forced, This theatre, the first permanent proscenium stage in Paris, was built one-point for private court performances, but fell into disuse after the Cardinal’s perspective death. Molière and his troupe renovated the space and added more (to create the A side section of a theatre space utilizing a seating to make it more suitable for public performances. illusion of depth) chariot and pole method of changing scenery. and several The proscenium stages of the time were not very deep. The logistics doors, especially for farces like those written by Molière. For changes of candlelight did not allow them to be too far removed from the in scenery, chariot and pole systems were common in Europe, and audience, and the house lights were never extinguished during the renowned Italian scenic designer Giacomo Torelli was brought to Paris by performances. The shallow stage and proximity to the audience tended Louis XIV to install this Italianate scene-shifting technology. In essence, chariot and pole systems involved painted flats mounted on small dollies which ran in tracks just below the stage floor. Torelli installed the chariot and pole system in both the Petit-Bourbon and the Palais Royal, and it was employed by Molière’s company.

Molière’s troupe performed here for the rest of his life. After his death, his company along with another theatrical troupe joined to create the Comédie Française, the first and only national theatre of France.

The Comédie Française is considered to be the longest running state theatre in the world and still performs in the Salle Richelieu in the Palais-Royal complex in Paris. 13 The Shakespeare Theatre of New Jersey 2018 TARTUFFE: Know-the-Show Guide

THE MAJOR WORKS OF MOLIÈRE

Le Médecin volant (1645)—The Flying Doctor La Jalousie du barbouillé (1650)—The Jealousy of le Barbouillé Alexandrine L’Étourdi ou Les Contretemps (1655)—The Blunderer, or, the Counterplots, or The Bungler Verse Le Dépit amoureux (1656)—The Love-Tiff Le Docteur amoureux (1658), the first play performed by Molière’s troupe for Louis XIV (now lost)—The Doctor in Love Before Shakespeare popularized iambic pentameter in English poetry, Les Précieuses ridicules (1659)—The Affected Young Ladies Sganarelle ou Le Cocu imaginaire (1660)—Sganarelle, or the Imaginary Cuckold a common verse form was the Alexandrine. Most common in French Dom Garcie de Navarre ou Le Prince jaloux (1661)—Don Garcia of Navarre, or the Jealous baroque poetry, the Alexandrine line has 12 syllables and is divided into Prince two parts by a caesura, or a brief pause in the language. L’École des maris (1661)—The School for Husbands Les Fâcheux (1661)—The Mad (also translated The Bores) L’École des femmes (1662)—The School for Wives Morbieu! C’est une chose indigne, Iache, infame, La Jalousie du Gros-René (1663)—The Jealousy of Gros-René De s’abaisser ainsi jusqu’à trahir son âme; L’Impromptu de Versailles (1663)—The Versailles Impromptu Et si, par un majheur, j’en avais fait autant, Le Mariage forcé (1664)—The Forced Marriage Je m’irais, de regret, pendre tout a j’instant. Gros-René, petit enfant (1664; now lost)—Gros-René, Small Child La Princesse d’Élide (1664)—The Princess of Elid Tartuffe ou L’Imposteur (1664)—Tartuffe, or, the Impostor Although Alexandrine rhythm perfectly emphasizes the elegant cadence Dom Juan ou Le Festin de pierre (1665)—Don Juan, or The Feast with the Statue of the French language, it does not have the same effect in English. L’Amour médecin (1665)—Love Is the Doctor Therefore, Richard Wilbur translated Tartuffe into iambic pentameter, Le Misanthrope ou L’Atrabilaire amoureux (1666)—The Misanthrope a verse form that is particularly conducive to English speech patterns. Le Médecin malgré lui (1666)—The Doctor in Spite of Himself Mélicerte (1666) Each line of iambic pentameter verse has 10 syllables which divide into Pastorale comique (1667)—Comic Pastoral five “feet” of unstressed-stressed emphasis. Le Sicilien ou L’Amour peintre (1667)—The Sicilian, or Love the Painter Amphitryon (1668) By God, I say it’s base and scandalous George Dandin ou Le Mari confondu (1668)—The Abashed Husband L’Avare ou L’École du mensonge (1668)—The Miser, or, The School for Lies To falsify the heart’s affections to us; Les Amants magnifiques(1670) —The Magnificent Lovers If I caught myself behaving in such a way, Le Bourgeois gentilhomme (1670)—The Bourgeois Gentleman I’d hang myself for shame, without delay. Psyché (1671)—Psyche Les Fourberies de Scapin (1671)—The Impostures of Scapin La Comtesse d’Escarbagnas (1671)—The Countess of Escarbagnas Les Femmes Savantes (1672)—The Learned Ladies Le Malade Imaginaire (1673)—The Imaginary Invalid

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Miraculous Happy Endings! Quotable THE DEUS EX MACHINA Molière Tartuffe ends, despite the seemingly inevitable doom of Orgon and his family, with a happy ending. Salvation comes in the form of judgment from the King quite out of the blue. Theatre scholars refer to this type of miraculous reversal “Nothing reforms the majority of men better than the of fortune as deus ex machina. portrayal of their faults. People easily endure reproofs, but they cannot at all endure being made fun of. People have Deus ex machina quite literally translates as “the god machine” and originates no objection to being considered wicked, but they are not from the Greek theatre tradition. The god machine was a rope and pulley willing to be considered ridiculous.” mechanism designed to ‘fly’ gods into a scene. This was usually used at “It is not what we do, but also what we do not do, for which moments of great chaos. The god would fly in and, with little effort, fix the we are accountable.” problems of the mortal world. This tradition expanded and continued well into the Middle Ages. From its origin, however, deus ex machina has come to refer “Writing is like prostitution. First you do it for love, then for not only to the physical “god machine,” but also, and more commonly, to an a few close friends, and then for money.” event of miraculous and harmonious resolution brought on by an outside entity.

“If the purpose of comedy is to correct men’s vices, I do not This is not a tradition or a technique that ceased during Molière’s day. The see why any group of men should have special privileges.” convention still is used in our times. Examples of this include the arrival of the rescuers at the end of The Lord “ ... when you portray men as they are, you must use of the Flies, or when the Eagles nature as your model. People want these portraits to look arrive at the end of The Lord lifelike, and if you do not make people recognize your of the Rings to aid Frodo and contemporaries, you have accomplished nothing.” Samwise. Molière said that nothing displeased him as much as being accused of basing his characters on particular persons; and insisted that the characters he depicted were invented— ”phantoms, actually, imaginatively delineated for the spectators delight.”

“One dies only once, and, it’s for such a long time.”

15 The Shakespeare Theatre of New Jersey 2018 TARTUFFE: Know-the-Show Guide Commentary & Criticism “Tartuffe is only incidentally satiric; what we experience in reading “The sensible people in Molière’s plays constantly advise foolish or seeing it, as several modem critics have argued, is not satire but characters to be reasonable and to avoid extremes, to adapt themselves to a “deep” comedy in which (1) a knave tries to control life by cold public opinion, to do nothing to provoke anger.” chicanery, (2) a fool tries to oppress life by unconscious misuse of the George Kernodle, highest values, and (3) life, happily, will have none of it.” The Theatre in History Richard Wilbur, translator

“[Molière] shows men through their foibles, vain, gullible, self-obsessed, “[Molière] achieves comedy and the ability to laugh, but out of personal and it is his achievement that under the impact of laughter, by solvent knowledge of anger and frustration at the outrageous wickedness of the comedy, we experience the moment of truth, feel the compulsion of world.” reason, and share his compassion for common humanity.” George Kernodle John Wood XV, actor and translator The Theatre in History

“In the 17th century world of Louis XIV’s France, Molière’s world, society was compelled to assume a mask, to act a part. Molière put a mirror up to that society. The point of interest for Molière and for his audience was when the mask slipped and the underlying person appeared. This distinction is never absent from Molière’s plays.” W.G. Moore, Molière: A New Criticism

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In this Production RIGHT: Model of the set design by Brittany Vasta©2018.

BELOW, FROM LEFT TO RIGHT: Costume design renderings for Madame Pernelle, Damis, Orgon, Elmire, and Valère by Nikki Delhomme©2018.

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Explore Online

View Laurent Tirard’s filmMolière on BBC, starring Romain Duris as Molière; think of it as the French version of Shakespeare In Love. http://www.bbc.co.uk/programmes/b00nvsz4

Learn about Molière’s royal patron Louis XIV of France, The Sun King through videos, articles, pictures. http://www.history.com/topics/louis-xiv

18 The Shakespeare Theatre of New Jersey 2018 TARTUFFE: Know-the-Show Guide Sources Further& Reading Bellinger, Martha Fletcher. A Short History Of Drama. New York: Johnson, Roger and Guy T. Trail and Edith Neumann. Molière and Henry Holt and Co., 1927. the Commonwealth of Letters: Patrimony and Posterity. Jackson, Mississippi. University of Mississippi Press, 1975. Bermel, Albert. Molière’s Theatrical Bounty, 1990 Knutson, Harold C. Molière: An Archetypal Approach, 1976. Bradford, Wade. “Molière and Theater Superstitions.” Jan. 2016. www.thoughtco.com Moore, W.G. Molière: A New Criticism, 1949.

Bly, Mark. “The Visible but Invisible Gem,” American Theatre Mould, William A. “Illusion and Reality: A Resolution of an Old Paradox.” (Dec. 2000). Rollyson, Ed. Carl. Molière. Critical Survey of Drama. Brittanica Online Encyclopedia. www.brittanica.com and www.brittanica.com/art/lazzo Scott, Virginia. Molière: A Theatrical Life. Cambridge University Press, 2000. Calder, Andrew. Molière: The Theory and Practice of Comedy, 1993 Sellar, Tom. “What is so Rare as New Molière? American Theatre Daniels H. Daniel. Nine Molière Comedies in Fresh English. (Dec. 2000). X Libris Cooperation, 2010. Shelley, Mary Wollstonecraft. Lives of the Most Eminent French Writers. Gossman, Lionel. Men and Masks: A Study of Molière, 1969. Philadelphia: Lea and Blanchard, 1840.

Haight, Anne & Grannis, Chandler B. Banned Books 387 BC to 1978 Vogler, F.W. “Molière and the Comic Teuton.” AD, 1978.

Jacobus, Lee A. The Compact Bedford Introduction to Drama Second Edition. New York: St Martin’s Press, 1996.

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