Molière; a producing director's approach to Tartuffe

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Authors Keyworth, Robert Allen, 1918-

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Link to Item http://hdl.handle.net/10150/551398 .MOLIERE: A PRODUGIHG DIRECTOR'S APPROACH

TO TARTUPEE

■ ' "by .

Robert A » Keyworth

A Thesis Submitted Do- the Faculty of the

' : ' . / DEPARTMENT, vpF. :■ DRAMA

Ih Partial.Fulfillment of the Requirements , r v: For , the .Degree of

. : MASTER OF ARTS .

■ In the Graduate College

STATEMENT BY AUTHOR

This thesis has been submitted in partial ful­ fillment of requirements for an advanced degree at the University of Arizona and is deposited in the University Library to be made available to borrowers under rules of the Library.

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SIGNED: / Z

APPROVAL BY THESIS DIRECTOR

This thesis has been approved on the date shown below:

/ .3', /_ 9 ? PETER R. MARRONEY Professor of Dramatics Head of the Department of Dramatic Arts TABLE' OF CONTENTS

. PAGE " t .

Sources f or ; . b o „ a ©'* © © . Ax ’Tv

Til© DireGtor’s Approach to the Play .o o e ,© ® ■ 8

An. Analysis of the Plot and. . caiaraQters. of Tartnff © = „A ...... =,».,,. ; T9" . ; ■: The Prompt Book for Tartuffe . •© » © e o 37

Summary of the Rehearsal Period .„. V ; >. 110

The Director's Orltloal:Motes on. the Completed Production ...... v 123

Illustrations ©; © © 0 ' O & & O 6 © © O © ® © © © . . 127

Bihiiograpiiy .. v v.. a > ® ® © © © © & ©©©o © © © «133 CHAPTER I ' V t • Sources for Mo 11ere s Tartuffe

The sources of:the plot.elements and character types .us<^3 "by. Jean :Baptiste ; Poquelin^- In Tartuffe have

^•Ramon. Fernandez , Moll&re , ^ The Man Seen Through the Plays (Hlil and Wang, lew York, 1958TT”P» been dealt with at length by many scholars. Henry C.

Lancaster has this to say on the -subject of Tartuf fe:

As far as the plot is concerned» the essential elements are these; 1./the establishment of a hypocrite in a family where he. wins the husband's excessive admiration by his piety; 2. his attempt to seduce his benefactor's wife; 3. the trick by . which she convinces her husband of his hypocrisy. Minor elements are: 4.ithe interposition of his mother; 5« the father s plan to marry his daugh4 ter to the intruder; 6. the lover's quarrel; T. the peripetie brought about by the hypocrite's tell­ ing the truth in order to disprove an accusation; 8 the break between father and son; 9« the in- - tervention of the king and the events that mad e it necessary.2 . ' '

■ 2Henry C . Laneaster, A History of French Dramatic Literature in the Seventeenth Century, Part III, Vol. 2 (The Johns Hopkins Press, Baltimore, 1936), p . 624.

Lancaster further draws our attention to a 1929 note by M. Magendie that a novel published in 1624, Amours d' Aristandre et de Cleonice, by d 8 Audlguier, is the source for the first two plot elements noted above. The novel tells

, . • ■ . ' • ■ ' I . :V‘v : ' '■ • ’■ the 'story of a preacher named. Htparque.y f amed: f or his-

'holiness, hut who called himself a poof' sinner. This ,

hypocrite was ^entertained hy.va - certain Licidas and.' fell

: in . Io t b ' with.Llcldas” wife, Eurigehe; Hipafque,praised .

:her beauty and called.f idelity Van .invention of husbands.

The/wife remains silent when her•husband comes in prais­

ing' the holy m a n , f ather than-/disturb, him with a ;report

: Of .'the. affair.. She - is; later forced/ to. tell her husband

whose disbelief leads.Eurigene to Offer to prove the

/hypoorite'h’ guilt. ' She sends- .f or Blparoue who-: ask's that ;

hia desires be. .gratlfiedi at .once,„ ;• .The wife puts him .off 1 :

by . persuading' him to-wait untll night. When Hlparque

appe ar s? she - Oalls f o r , help's - but her husband , p u t . to sleep

by a magic .charm; fails to appear. The wife is then forced

to stab Hiparone » -’; ...

y»y- y: "Lahcaster, p . /;-6S4,

.The. writer of this paper' would point out that /.

,M6laSre s ; ih taking, over the1 plot element's of diAudiguier1 s

.story, subs. 11 tut ed,. /for the:, simple trick of the magic charm

the more-powerful' cbmedic. deyice of/ delaying the husband5 s ,

/appearance/ at"'the moment of the attempted seduction, even

/though, he 1 # present' /in the' room and has overheard/ all' that

has passed between the' t w o ;Thus: Ifo 1 i'eres Orgori demon- .

. strates, by ht0 refusal to come from .under the table/ where his. wife has hidden h i m , his blind -devotion to Tartuffe ; 'v.I": ■ V;1- .. and his tmwlllingness to believe ^ ■$ihat1,, he has heard . ih:. ; ■■

is slgnlfleant’ that Orgon emerges at last only :after':5ar-'

, tuffe;,says; of ^bim'i-:v ih;'V l;

- What sense is. there in.worrying about him? He is the type that you can lead by the nose, ' The type td^glbry in e Intimacies. . . ■ ■i He . can' she ■ anything, now and., not believe i t " v

moliere , Tartuffe, Translated by Morris Bishop (The ' Modern Library., h e w Yorky: 1957) V P / 2 0 6 : . • \ : ■ ■

■ U p . to the 'stabbing of - Hiparque 9 in d 8 Audiguier8 s .

'novel, we have the - first part of the main outline of

Tartuffe. At this point Moliere takes up another tale, ,.

Arblranv by d - Ou v l l l e ^ v :■ In • this' story a wife is. concerned

^Lancaster, p. 625. " . ■ •

to save her husband, from th e 'accusations of a hypocrite

who has tried to seduce;her,She persuades a King to- hide:

sends for the hypocriteexcuses her seeming anger on the

. occasion of their last' meetingand. induces him to speak .

of killing - the' King, who at once appears to confound: the :

guilty man. Putt ing these 'two; accounts' together, Mo He r e ’:

created the main outline of his' plot ,- 1 \ v ■ " . a

-: ;.:V: - ; 4

Lancaster "believes that the opening scene of Tartuffe with Madame Pernelle, seems to have been suggested by Sorel’s

Polvandre, and the quarrel between Mariane and Valere by N / n / Mollere s own Depit amoreaux. The:Depit amoreaux itself

^-Lancaster , p.. 625. had an Italian main source, but the scene of the quarrel of the young lovers, Eraste and Lucile, in the Depit appears ^ ' p to have been a happy addition by Mollere to his source.

. K« Turgeon and A. C„ Gilligan, The Principal Comedies of Mollere (The Macmillan Company, Hew York, 19B5)# p= 18.

The suggestion has been made by M. Martinenche that Dorine s intervention between the lovers in Tartuffe may have come from Lope”s Perro del hortelanO;3 and the famous scene in

^Lancaster, p. 625., which Tartuffe admits to being a sinner and begs .Orgon to forgive his son, Damls, is thought to have been suggested , 4 . by Scarron s Hypocrites, with the addition of the double

' ^Ibid. ;.. :

- ■ ' ;•' ' ^ y ' ' ' , .■ ■ kneeling already used by Mollere in le Depit amoreaux.

: ■ v -■ ' ■ : ■", ■ ■ ■ ^ ■ ■ : . Mollere utilized; other borrowings from himself: ' ■ ' '■ - • ■ -Z’ ' Orgon s brusque manners came from Boole des.Maris; his consulting of Mariane bn the subject of her marriage to 5

Tartuffe although he had already made up his mind from ...^ le'Marlage force; the Introduction of M m e . Pernelle at the • ' ■ ' ' / beginning and end of the play from Boole des femmes (the ' . ' V \ : .character of Chrysalde); Valere's suspicions of Marian©

from Sganarelle;■ and the contrast between.the manner of

Loyal and what he says from the character of Aleantor y 1 in le Marlage force.

■ i •. ■ .. Lancaster9 p= 626V

. Orgon1s repetition Of wLe pauvre hommel”2 was

*A. R,.Waller, The Plays of Mo Here (John Grant, Edin­ burgh, 1907), Pc 16.

declared by Tallement des Reaux^ to have come from an anec-

^Laneaster, p. 626.

dote' told of one Father Joseph. Lancaster states that the

abbe Roquette and other persons are said to have served, ■ ^ ■ ' ' ■ 4 . . ' ■ V ' ' ' as the original for TartuffeHe discusses only one,

4 . . ;V : ■:■ ■■.' ' ; Ibid. : .■ / .

however, Charpy de Sainte-Groix, who ha,d been a secret

agent of Mazarin,^ later a priest. This convert encountered

^Jacques Boulanger, The Seventeenth Century (G. P. Putnam" Sons, New York, n.d.), pp. 138-139» a charitable lady;' in::;Ohwch:v from her' an apart-'

ment in her /hohser-‘-.haar'•,which^ -’inoidentally1, Mo 11 ere llved--

fell In love with her daughter, • was on friendly terms all .

the while with the daughter's husband, and at last was ' ■' - ■' '' ' - . - : ' -V , ' ' ' ’ • ' -" - - v ' expelled from the honse .■ This may have suggested to Mollere

Orgon1 s meeting of-. 3?artuffe in, church . Other authorities1

i . 1-‘•Turgeon andv GElli'gan, \p.. 236.

suggest Spanish;sources'for Tartuffa, notably Aretlno® s 1 ' ■. i , ; ' f'1 - /. . Vi - 1 • ' ' „ ..... " ■ - Lo Inocrito. ' v 1 . ; : '! ; , ' V: V ■ , , V /. ■ ' • ' ' • ■■ , \ V l It Is possible to extend the search for Mollere s

Borrowings'; in - the; works . of' Rabelais, Corneille.,. and Rotrou,

among others but ■.it is the writer' s', view that , Important

"Lane ast Or V »v.:

as; these ilterary sdur

we know as Tartuffe lay In.the comic genius of.theplay-

Wright himself. 'Mollere, sensitively and acutely attuned

-to his world, living among.actors and the bourgeoisie on

the. one hand.and among the elevated personnages of the

Sun. King'S :i court: on the other, was able, to draw with great

veracity the characters of his play ,■ nearly all of whom

belong to a - single French family■ - . - -

^ ; ' ; , " " -r- ■ ' . • ^Brander Matthews. Mollere His Life and Works ( Charles Scribner's .Sops;, .Hew York, 1916) , p. 154» ■ . ' v . . ; ■ Reiigidti-B . hyp’d cr;is^;:was: in; the air» and there is

small, aouht .that the' activities of the Cabal (the Society

of the Holy-: Sacrament) . had' been known to Moliere, perhaps

,since the violent ontcry .on the occasion of the 'production - ■:'t ; ; v Y.. t.- -Vv' -'%: v. v:.v- ; :"v. - : ' ' of his::BC01e.''d'bs. femmes. This Society, a secret sodality.

1 Matthews ,, ■: p. 170.

/. for: '..Catholic propa-Sanda- had been in existence for

. over thlrty ;:y e h r s % ^ ,the: playwright decided to turn his

2-Fernandez, p„ 117.. 1 ill

penetrating.glance on the figure of the religious hypocrite

: 1 . ' In ' Short ,. whatever Moliere may' have :borrowed, from .

; :othe3?b> Me foun^ the. theme of his play, and the ■ f igures who

live it out 9 in the worId around him. His double ambition,

to advance; himself and' elevate comedy-5-— a dramatic. genre

3Ibid..

.well-suited to his talents--served as the necessary source -

of energy and courage to publicly attack the excesses of the

religious - zea,!pts of his time . - ■ ' . CHAPTER II'

The/Director1s Approach to the Play

V John. G-assner says of Moliere’s plays 'that they are

comedies of 'manners s. although he does qualify that descrip­

tion.1 One must agree that Tartuffe reflects to some extent

Ijohn G-assner, Producing the Play•(Dryden Press9 New . York, rev. e d . s 1953) , pp. 59-60.. - -

the prejudices, customs, fashions, and social gradations

of the .times , but we may not s 1 therefore, conveniently . '

.label, it a '11 comedy 'ofv/mahners" .? Accepting a narrow

% b l d C . p. 59..

. definition, we ''might, with equal freedom, call Tartuffe

'.a .domestic comedy, since if deals with the'.imbroglios'' of

the c h a r a c t e r s t h e ..plottings -of lovers and a servant, and.

' - the pounter.plots of their antagonists. . It may also be :'

nailed a''comedy of ' character-for it presents on the - stage

human''beings in whose, .reality we can believe, set in re--,.'. .

cognizable surroundings ^ That elements of 'farce are .

9lbid: ", P.' 59

.present may .not be d e niedand it is certainly satiric in

tone,bey en t o. the ,poInt': of - be ing:'"bit ter" . - . ; ib t v: ■: ^Perc?^ Addisbh Chapman, ~Tlie 'S-plrlt ofV]^lAerg (Princeton t&iirersity':Press ? 1940) s p„ 227. 4 - . - ; ' O / n ^^<474-0^7 . / ' : '' ■ ' ' ' ' - ■

;:4 - " 71i6- point- ;isy ns G-assner and others have made it ,

, that...a: play may contain all of the af orementioned elements.

It remains the task of the director to decide, which element

'is preponderant and to impose it by emphasis on the comedy

so as' to create an over-all tone. Tartuffe does, in fact,

contain all these elements, ■ As, to which should be selected for'emphasis5.the writer agrees with Chapman:

; His comedy is more comedy. of character than a :• comedy of manners, more a picture of universal, humanity than a picture of contemporary society. ■ ...Men 'gathered ..from Holiere-vthe impression, that 4' they were seeing themselves, but yet also and at

the same time man as, he m u s t "everywhere exist .1

1Ibid., p, 240.

Brander Matthews expressed a- similar concept of the play when .he wrote: " ..the interest is centered in the characters...The plot is what it is, solely because the characters are what they are .tl2 Allardyce Hi coll, writing ■ '

^Matthews ,4 p„ 152 .

'of the central figure,,: saye: 44 ' . .4 :: 4 4'

. /'4:'4 p o r ;'twc entire; acts Tartuffe himself does not 4 -.. 4: appear before u s , yet a powerful impression of his . , personality . is built ' tip. . .thus . the looming char- ' acter of his personality comes upon; us uith the greater fonce .. .

Allardyce licollt World Drama from Aeschylus to Anouilh (Earcourt, Ee%f York,; n.d;.) , p. 325.

- . In a discussion Of the characters in "Tartuffe,

■-.v.w . ■ / ■ ' ' . - ' , ;* ' ' /: ■. . ■' ■. ' ; ' " ■ • P ■ ;LancaSter, refers to'the play as a Comedy of character .

^Lancaster 9 p . 626;

, Ihere is;'.little:^ dPuht that what Is comic in Tartuffe a- rlSes = Chiefiy f rom the clash of hr111iahtly de1ineated: hharacters,»': ;Bven In those scenes-— -and there a r e .many - of , them-r--'which contain farcical action, the action is seen to he rooted firmly In character and: in real situations

3G-assner:, p. 50-

Considering the foregoing, the writer has.fixed as one of the chief directorial tasks the problem of aiding student actors■in their creation of clearly drawn.characterizations.

/ ' . . In order to achieve a unif ied expression of the play it will be necessary first' to .achieve a common agreement among the members of the ' company; as to the emphasis which '• shall be laid on the play, its purpose and.direction, and.

'the objects to be attained.‘ In preliminary talks' the writer: : V :!::.:; . 'tl.: V; -'i vi d, ; r;:. ■ 1 : : . ' . . ■ " . ' must point out to the company the necessity of distinguishing •II

■.-beWeeri: bhs two; great, ^characters in the play s Orgon 5 and

feand ■ to make clear why Orgon is a truly comic

. - figure while Tartuffe is much more subtly drawn•. and amusing ■.

- , to ;us- only • on-,the ; surface»^ : 'v '/ ■. I'':'!:-; ' ; ''-x

■.)'.’;:' \;.■ • Hatthews -, .p.. •' 15 ^ • ' : ^ ';■' :' ::: t-v, :: : \ it- ; ' ^ \ /: " ^ . • . ' . h / ^ : : z/l'-r-r %: : " ' V'-- ;"-n ’ ' ' . :: - ; Although the discussion thus tar seems clearly to -

v ;Wr-' ' ' ; ' ' ' , ' .. . . . x . ■ '; •point ,to Tartuffe^ s : being a comedy, nevertheless Brunetiere® s

claim that i t . is. ;:a drama'2 should warn the beginning director- : ;______:______■' :

/. n -Lancaster , p , 630 '■ ' 1 f - . ' ' ,

■ v: Of a serious problem vihich must be dealt with in the suc-

cessful production of this play-, n The staging of any legi­

timate comedy requires, among other essentials, the earliest

' possible establishment of the comic mood .^ In' Tartuffe. '' ' .f

yG-assner 5. p V. 428.

- where the .effect s : of ,-religious hypo erlsy is the central ’

thsme ,r'%where,, indeed ,. the Christian character itself is .

, held up to r i d i c u l e : 'and where the. dcminant figure is more

than somewhat sinister.,;;the early , creation of the comic

mood is of. ■ superiatiye ' importance . With this . in mind. It

will • .be- necehsary to search In the .opening scene for ’every h/f word' .and;; aiction:to

achieve.that reshit.

In the opening: scene and;thronghout the five acts

of the play, the: -farcicai elements must be; exploited for , - their humour in.such manner as to insure they are seen to ' spring directly from the characters and situations, and not from a desire on the part of the director Or actors to produce laughter for its own sake. This is a considera­ tion of some' importance in the playing of comedy in general,. and of Tartuffe in particular, in which certain exaggerations of character and action are clearly -present. The creation of the comic mood -depends in large measure on the credi­ bility of the characters and nothing will destroy it faster than . the. desire of the actor to- appear ',fUnhy,t .

1, -dasshery - pf ^28 . . ::v/ Comedy results not only from' the- words and actions of the Characters 'but ' also from a - cef'tain ..lightness of tones .a rhythm and variety In the presentation, a quality . . .' ' ■ /■ - q ■ : ■ : ;■' - ; ' -v ' . - ' ■ '■ ■ of effervescence. With the introduction of these qualities

2. Ibid . p.. 430, we come to the subject. of Hstyle11. It is not within the scope of this paper to detail the many styles in which stage plays may be presented , but the general areas must be touched upon and some; definition arrived at as to what . "style" means ln,aVt'tfee:atEi:o^l;Gs:es'ae0 '

In everyday life style- Is Qpmmonly understood to

"be more or less direotly -related . td' behavior and. appearance .

One: speaks of a person's "having style"/ and we seem to ;

mean by that expression ' that w e ,can d1stIngulsh one per­

son from, among many with .regard to their mode of dress, ’

their manner of.: speech'/ and their;' geas^S'lly; observable ■ ■: '/1

behavior..-G ,'Style g then/.appears to. beld 1stinguished from ; ' ;

more casual and less formal modes of doing and appearing.

In life, when ^ of speaking, a particular

manner of dress, and a,distinctive s e t ;of.'behavior patterns, we do so in order to, express something about ourselves,to :

the world, which views u s .; In'the theatre, the same basis

for the adoption of;style'pfevalls. By;theatrical "style"

one means the arranging Of stage'imoyement,'and the scenic •

' elements..lh a' balanced pictorial design1 which affords

' 1 lassher, pv 84.

aesthetic: plaasure - to: those who view the production. Its .

purpose is to aid the most complete expression .of the play , \

and to achieve unity . . .; - r : :

. ' The two extremes of style are the non-1 liusIonistic , presentational style, and the .illuSiOnlstic, representation^

al style. The first seeks to convey the .cOnteht of the play in theatrical terms which are primarily expressive rathef'than literal. The second seeks to create the illusion that experxenoe is mo t being “arranged/3., or H stylizedM ,

but that the contemtvof the play is being presented In a

“realistic111, or “naturalistic" manner .^ Tartuffe— indeed , I ' ' • . - ’. ' ■ ' :. ^ - : '' ' \ - / G-assner> p p » 71-72 .

any play'— 'may be produced in a variant of either, of these

two main styles of theatrical expression» However, since

the writer's production of Tartuffs is intended to retain

stylistic elements which gave pleasure to Moliere’s aud­

iences it will be necessary to review briefly the neo-classic

French stage on which the play was first performed for the

Paris public„

In the sense that the playhouse of that time had a proscenium arch, a front curtain, and a pictorial setting, p it was essentially similar to a theatre of today.. The

2Ibid , , p, 80,

" ...... "" .... ' ■ .... ' ” '•..... 11 ....r ...-f- r . 1-1 " r " " " 1 "' scenery used was composed, of side wing pieces. and back drops, and the front curtain was< used whenever required, to close off the stage from the auditorium. Despite the presence of the proscenium arch, the acting was present­ ational in style-— that is, the actors played far downstage, as. far away from the setting as possible Doubtless this 5

5Ibid , A 'V.;: ' ' 15

was flue g at least in p a r t , to the presence on the stage - / ;v / . ■ itself of a -noisy crowd of. gallants an$ dandies.1 The

-G-assner, p. 80

. instInct to be heard-— as well, as ssen— -probably drove , ■ ' \ ' : ' ' ' "• ' v . ' "■ . ' ' ■ ’ ■ " ' ' - Moliere-s comedians to a position down center from which

they could make themselves audible.

' / ' Opnslde.hing';the; physical characteristics of the .

Paris _ playhouse, of the mid-seventeenth century,;, it appears

that' Tartuffe may be presented today in much the same way

as’ it #a,sf offered to the playgoers of its time. ' The writer will, therefore, attempt to produce the play. aS;a ndn-illu- sionistlc, presentational comedy of character. ■ The Univers­ ity theatre available for the writer s production affords a.large stage (free of spectators), a flexible and modern lighting system,'and. excellent accoustics. The writer will keep his actors d owh-s t age ,.: as; in Moll ©re s'time but not so far that they move 'on.to the forestage area. 'Because experience indicates that comedy is best played in an intimate setting, a "false" proscenium will be used behind, the permanent architectural unit in order to reduce the-

Size, of the picture, plane the audience will see when the curtain .is ' open. ; Side, wings and. drops will'be: used ,: pos- : itioned so as to., somewhat, the space v in: which'the ; actlon/wili be ,pehfbrmed . .bfurtheryj:dtie to the relatively:.' ' V ■: ' 16

steep pitch of the auditorium floor, spectators from the

middle of the house to the last row see a great expanse-of

stage floor. This must he considered, in designing the

settings, for it. can he a distraction and draw attention .

away from the actors»

The furniture called for in Tartuffe is quite simple:

a table, with a cloth cover, some chairs , and a bench or

sofa are all that is required-; A single main entrance and

exit will be utilized by the writer, and this will be placed

on a platform which, will run the width of the visible area .

at the back of the stage. Just to the right of the center"

line of the stage— to avoid symmetry-— a door or archway will

be placed on the dowp^stage edge of the platform. This

niece Will be a profile set piece, free-standing, and

supported, by invisible bracing. Through,the open door, or

arch, will be seen a sky cyclorama,

By -elevating the entrance in this , manner, and by

drawing the eye of the audience to it-by means of lighting

and the positioning of the side .wings, the f irst -. entrance

of Tartuffe, which does not occur until the second scene

of the third act, will be emphasized', : Two. or three steps . -

leading from the platform at the rear to the main stage "-

acting areas will allow some variety-in the staging- of

movement throughout the e'ntire play. The design and decor

for Tartuffe will seek to create in the audience a feeling ,

of.lightness in mood through the use of a few architectural 17 set pieces which, are not heavy or massive in construction or appearance. 1

-G-assner, p„ 320.

The lighting will be designed so as to afford brilliant light over the entire acting area in support of the comic mood, and to emphasize the three main acting areas in which the writer intends to stage the most im­ portant parts of the action of the play; ie ., the entrance the. table area, and the area around the sofa, or bench.

Emphasis on these areas will be gained by intensifying the light falling upon them through the use of additional lighting instruments above the number required by good stage practice for ordinary stage illumination. Special lighting will be used, on the oyclorama to convey, by subtle changes in color, the passage of time from morning to after­ noon in the action of the play.

, Because of the necessity for masking off backstage work areas from the'view of the audience, it will be nee- ■ essary .to use two sets of black drapes on each side of the stage. To help offset the effects of this mass of black, the side wings and the entrance piece will be painted in a light color. A candelabra, of graceful design, will be hung from•the gridiron above the stage. Against this decor the actors will take their places in the sumptuous costumes 2 of the period. In this eonneotibn the writer- inteMs to; take some ;fv- / small liberties with regard to absolute authentlolty In. the

matter of Qsstmnes. . It would seem"deslrahle to avoid ; v ;-' \:/. :v 11 : .. 11,.:,^ , r _ . . wherewer 1^03311310 the excesses of costume and personal

adornment of the RestoraW^n Fe general3 particularly

Wlt& regard, tol the -dressi worh by m e n ,' Men’ s f ashiohs. at i : '

this ' time' were ■ more ■:sC'Gehtric than women1 s and this extra- .',

#agahGe "in dress 'neac in the petticoat • breeches^ v: ./■ '‘flaunted, by-,:lfascariile' in;MO 11 ere5 s Les Prebleuses'.Ridicules^

.■Brv'l'airfax .Proudf It ; #alhup,: Dressing: the-Part (ipple-: :: ■ tOh- deh'tiirytCrof ts ,v: Ihe .1 • rev ; Sd:; ,g- Hew: • Yo r k , ■ 195Q) 1 ■ p ^ : l87vv

The .writer f eels that modern taste would regard as effeml- ;

nate Ithls' affectation in dress and that such a state of mind

would be:;:detrimental to a full, .comprehension' of Tartuffe, . •

a play i n ‘Which a zealot has, to some extent at least, ,

imposed his strictures on the family .concerned,. Finally«,

since the Writer has determined to emphasize character

rather than manners., it follows that every element in the

play other than character must be subordinated,to .the end -'

that a. unity of effect shall be, obtained ; ;■ 1 : ^ . i v V CHAPTER III

An Analysis, of the :3?lofc: ■ and Characters of Tartuffe

Preparation for the production of Tartuffe in an

academic theatre hegan with an examination of the story to

discover the main line of the play which determines the

behavior of the characters and their choice of problems

in order to fulfill the theme. Stanislavsky has called

this the '’red thread" of the play-L, and this writer be-

%ikolai E. Gorchakov, Stanislavsky Directs (Funk and Wagnalls 3 Hew York 5 1954, t-rans» by Miriam •Goldina) 9 p. 401

lieves that a director and the members of his company

must come to share a common idea of what this essential

story is to be presented to the audience. When actors of

limited experience are involved, such an approach would

seem to be of greater than normal value, for in the ex­

perience of the writer, the most natural course of the

thought process of an actor is that he first considers

the challenges and opportunities his role provides, and

only afterward deals with the implications of the play.

He is thus apt to seize upon the most easily apprehended

facets of the role itself rather than to distinguish its relation to the whole play. This process often leads to

difficulty later when the actor seeks to deepen his con-

. ‘ ■ ... ■ 19 • ■ ' ■ ceptioti. An early, awareness of the complete story of the play appears desirable; neither is the director excluded,

from these considerations,for he may easily visualize

certain scenes as being more important than others and so

be led to slight, the necessary exposition of preparatory

scenes. : : ■■■■■ ' ■ X ■ : . Fortunately in Tartuffe, Moliere has lightened the

task for all concerned by his masterly exposition of a single plot line. On this subject Brander Matthews wrotes

Whatever view may be taken of the propriety of this untying of the knot, the conduct of the plot is masterly. In no other comedy does Molidre more abundantly display his technical skill, his. sheer craftsmanship. The action is powerful in its con­ ception, unswerving in its steady movement, and simple without bareness.■

*7 . \ /-Brander Matthews , Moliere, His Life and Works (Charles Scribner’s Sons, Hew York, 1916), p. 158.

Goethe was loud in his praise of Tartuffe, especially with regard to the opening, of which he wrote:

Only think what an introduction is the first scene J From the very beginning everything is highly significant and leads us to expect some­ thing still more important which is yet to come. p It is the greatest, thing of its kind which exists.

; ^Matthews p . 158 . 21

Of c o u e s @ the structure of the play Is not perfect.

For one thing, the resolution of the,action has been criti­

cized on the ground that the intervention of the king '

through the person of the Officer is an obvious case of 1 ' ; i ■■■'•"' :V1' x the use of the deus ex machlna. However, here Mollere s

. ^Lancaster, p. 630. practice is in accord with that of Shakespeare whose cata­ strophes were often as abrupt and as sketchily prepared for. A certain likeness between the conclusion of Tartuffe and that of Measure for Measure has been noted , the latter being another comedy of somber'cast in which, a mask of piety conceals lust ,- 'There■■ are: other faults, of lesser ■

■ ^Matthews ,pp. 15,6-157. ■ :;:f: importance, which become apparent upon -a close reading.. :;:

For example, there is no preparation at all for the realiz­ ation on the part of the audience that Qrgon has been away ,. from home, unless one can state that since he does not ap-, pear at all during the early moments when the family is gathered together,:we may. 'assume that he, is , if not absent from the. city, at least not in the house. . Madame- Pernelle’ s introduction of lthe'■ neighbors;■ into the ■cOnversatlon of Act

One:'" does not contrihute lo the structure. Nor do the later suggestions by Dorine on the subject - of delay ing the threat­ ened marriage of . Marlane to Tartuff e;. None of the devices ■ : 22

expounded eventuate in any action. In addition, Orgon

could not have disinherited his children; he might have

revoked the deed of gift, and although he has given every­

thing he owns to fartuffs,, the bailiff is going to put all

of Orgon1s furniture into the street.^

^-Lancaster , p » 630.

The last mentioned plot elements do not, however,

adversely affect our enjoyment of the action. With regard

to the denouement, Scribe (1791-1861) , the inventor of the

so-called "well-made" play^ was loud in his approval:

^G-eorge Freed ley and John A . Reeves, A His tory of the Theatre (Crown , New Y o r k , 1955) , P- 3>4l.

First of all it has one great merit: without it we should not have had the piece, for Moliere would probably never have been allowed to produce it, had he not made the king an actor in it. .Then, what a startling picture of the period this ending gives us J Here' is an honest man who has bravely served his country , and who, when deceived by the. most open and odious of machinations, does not find anywhere, in society or in law , a single weapon with which to defend himself. To save him the sov­ ereign himself must, needs intervene. Where can a more terrible condemnation of the reign be found than in this immense eulogy of the king??

^Mat thews, p p . 157-158,

The implication by Scribe that Moliere was condemning Louis

XIV1s reign is difficult to entertain seriously in view of 23

• . \ what is now known of Mo Here a relations with his sovereign

Chapman would not have agreed with Scribe on this point.

In his uncompleted study„ The Spirit of M o H e r e , Chapman

wrote:

What, makes the laughter of /MoHere at once so free, so profound, and withal so subtle? What gives'(it both the' heartiness of a Eabelasian guf­ faw and the acuity of a Volfairean smile? Is it not that to the waning value of the trlmphant per­ sonality’- as felt by: Rabeiais and the rising value of the understanding reason as felt by Voltaire is added a measure of satisfaction with the insti­ tutions of society as they existed?!

!Chapman, pp. 247-248. •

The writer inclines to the view that Scribe was right when

he said that the one great merit o f the ending of Tartuffe

is that without it we should probably never have had the

play.. In any event, neither the. minor discrepancies of

construct ion nor the use of the d.eus ex machine seems to

have had any ill effects upon the popularity with audiences

of 'Moliere1 s ‘hasterpiecellv Of all the, plays of Moliere 2 this one has the most public performances to its credit.

2 '■ ■ ■ - ' J. G. Lyons and CoIbert Gearies, Eight French Classic Plays by Corneille, Moliere, Racine (Henry Holt, Hew York, 1935) , p« 1- " ,/ ■ ■■ . ~ _~ ’

Considerations of plot aside, the writer phrased

the following ideas to. guide him in beginning a dramatic 24

interpretation of Tartuffe; if the play tells the story

Of the effects upon a middle-class French family in the

middle of the seventeenth century of religious hypocrisy

as personified in the figure of Tartuffe, it follows that

the primary task will he to create on the stage 'this family,

to delineate; its characters, reveal their foibles and follies- .

and passionate-, convictions, and to, show their relationships

to one another.and to Tartuffe, Accompanying this task

is the equally important: one of drawing Tartuffe with clear

and unmistakable strokes, and to set him in opposition to

the figure of his sincere gull, Orgon. Within this-broad

framework of emphasis the director must see to it that- the

point of view espoused by Gleante is clearly expressed in

two directions; to show Gleante5s appreciation of the

sincerely pious who, by their Christian actions, live out

their religious convictions, and to point up his penetrating

analysis of the public pietist, Tartuffe,

The next task is an examination of the gallery of vigorous characters Moliere has created in this play. It

has been said that only in Shakespeare can one find more

figures that are universally used as touchstones to show 1 the quintessence of type. In the case of Orgon, for example,

^Sheldon - Cheney, The TheatreThree Thousand Years of Drama, Acting and Stagecraft (Tudor Publishing Company, New York, 1936) , p,. 330 . -

X ‘ " - • • 1 '■ 1 ’ ■ Moliere has created in this sincere, pietist the perfect -■ ' ; ... ■ ■ . ' ; 25 picture of the gulled victim whose ass-like implication; of belief in his idol is as' amusing as it is amazing^ Tartuffe

^Charles Gowden Clarks, Molfere-Gharacters (William P. Bimtoo , Ed inhur^a , -1865) >, po 11#« success in obtaining mastery over.Orgon is consistent only with this honest/burgher*s compelling desire to be devout at whatever cost to, his family and friends." There can be no question that he-inspires the confidence of his friends— witness the.exiled Argas.entrusting to him certain documents of vital importance to him (Argas). Orgon himself tells us that,everything prospers with him; thus we may conclude that in business, also, he inspires confidence and reaps the commensurate reward» Dorine speaks of his loyalty to

Louis.XIT in the time of the Fronde, as does the Officer of the king in the final scene„ We know he attends church frequently from his complaint that he does not often see ': ■.

Valere at worship - •

So Orgon is pious, he is honest, amiable to a degree, worthy of confidence, prosperousj loyal to his sovereign

(if we discount the Jesuitical doctrine of mental reserva- tion involved in his giving to Tartuffe Argas1 documents in order that he might,. in the event of an investigation, take an oath contrary to the truth) , and yet with all these good qualities he is so duped by Tartuffes speech and ap­ pearance that he is able to. stifle his natural emotion and ' ■ '■ ■ ; , ■ . : , 26

'sense of honor s neglect his wifes break his word about his

daughter"s marriage, order her to marry a.man she does not

love, drive his son from the house, deprive both children

of their inheritance * and prepays-— by fleeing— to hamper

the administration of justice„ His religious belief has

become no longer an ethic to guide him in Christian action

but merely a matter of external observancesReligious

^Lancaster, pp. 626-627•

fervor has made of Orgon a selfish and foolish man.2 Nor ______. - — — - - — . ^Matthews, pp. 155-156.

can there be much doubt of his concept of the father as the

all-powerful head of the house. I say it because I want

to make it true,” he- tells Mar lane. "I’m your father.. That’s

enough I " Indeed, there is no evidence in the text that Or­

gon is possessed of any but the most firmly held opinions

on such matters as are of concern to.him. He.rejects ad­

vice , no matter in what manner offered, and believes■only

what he wishes to believe; he, is, in fact, obsessed, and' he

is a great comic character precisely because of this ob­

session. Any comic character, by Mollire's theory, is a .

hypnotized person, a man in isolation, helpless to communi­

cate with the rational.inhabitants of the world around him,

mentally deaf and blind, and radiant with a happiness and

■ . ' ■ " .. ■■ ■ ' - ,. , /■: ■. ■ ■ - % : , ' unwavering enthusiasm that keeps him spellbound. ; 27

^Fernandez3 p . 154.

'Fernandez points out that what is characteristic of a comic. character— -a man completely isolated from the natural, rational world,-with his soul at peace— is also characteristic of . the Christian character. Viewing Orgon with this in mind, we can more readily appreciate the arguments which re­ sulted from his appearance upon a stage. "The Christian isolation "becomes the paradigm of the comic isolation."^

1Ihld., p. 155 • ' ■ ______— : — ' ; : — : " r ” : y Orgon will be comic, then, to the degree that he exists upon the stage in: the person of the actor within this isolation.

The actor -will not need "to be funny," he will only need to believe what Orgon believes and express that belief with passionate conviction. "What, is comic in Orgon1 * s make-up will then emerge free of the actor8s"tricks

Against Orgon we place Tartuffe only to discover that he does fall quite, so easily into a convenient -.cate-

. \ gory» There can be little doubt that Moliere meant Tap- tuff e to be unmistakably, a hypocrite--and more than that, a religious fraud whose danger to the Christian community lay precisely in the fact that he used the language of the truly pious and imitated their public acts of devotion.

In a not©': referring to Tartuffe8 s address to Elmir©, "to > , 28 rectify the evil of the act by the purity of the intention” ,

Moliere wrote: "It is a scoundrel who speaks,"-1 The text

1 Brander Matthews, Great Plays (I). Appleton and Company, Hew York, 1901), p, 113. ~ reveals Tartuffe as a sensual and dishonest human being with hypocrisy as his .most striking vice, a vice which was a means O for him, not an end. He is a self-seeking adventurer who

■o' ' : . ■ Lancaster, p. 628, disguises his,greed behind a mask of,piety.^

^Matthews, Moliere, His Life and Works, p. 155.

If Orgon is unaware that he is comic, Tartuffe is completely aware that he is a hypocrite. He speaks of his hair shirt and his flagellator, but, as Dorine says of him, .

"His ears are rosy red, like his complexion," Her detailing of Tartuffe1s activities' to. Orgon when he requests to know what has transpired in his absence makes plain the kind of comfortable life Tartuffe lives. He drinks wine, eats ■ heartily", sleeps soundly, and belches after a “tasty bit of food. He warns Dorine to cover her bosom because of the guilty thoughts the. sight may awaken, yet he lusts after

Orgon’s wife. He comes between father and children, gets possession of Orgon1s private papers,‘seeks to acquire his property, and takes steps to have Organ arrested. His own 29

sensuality he explains as a religious emotion and his attempt

to cause Orgon to he put in prison is set forth as an act

to avenge Heaven. Finally he claims his 11 all-compelling’1

duty to the king forces him to exact the letter of the lax-v.^

1 Lancaster, pp. 628-629.

. Notwithstanding Tartuffe1s awareness of his own

oharaoter--an awareness shrewdly, put to use hy.him in the /

scene where he confesses to Orgon in order the better to

fool him^-he remains one of the most complicated and in-

'trieate comic figures in all dramatic literature. When he mingles religious and amorous imagery in his love-making

to Elmire ,: he touches the essence of the comic vision a- rising from the contrast between what he is saying and • ' : •; ;y; , y: ■ -n : - ; . ; ' what he is doing, and also between the denoted and connoted " - ' " i . " ' ' • p meanings given the poetic diction.

^Chapman, p . 205. .

Since Moliere gave to Tartuffe not a single aside, not one soliloquy in which to reveal himself, we must con­

clude that the playwright knew from experience and intui­ tion the effect this would have, and that this is part of

Moliere1s design. A director must decide then to keep the character ,of Tartuffe within itselfhe must recognize that the comedy which arises from our view of Tartuffe does so from the contrast between what he is and what he pretends to be. It will be necessary for the actor playing Tartuffe

to remind himself of the qualities of , arrogance and, pride

we sense in the character and to let this restrain a nat^

nral desire to appear comic. Certainly Tartuffe does not .

anywhere indicate 'he, sees himself" asanything but a serious

figure o ■ 4 clue, for'^the actor interpreting the role of

; Tartuf fe; is. hound^ _in:;SiItdtp',; ; :i %'

For neither;fflan;hor:angel can discern \ 'Hypocrisy»'-the only' evil that walks Invisible, except to God alone, By his: permissive wili, through Heaven and ' Earth.i . ' ': v" .> - .

^Matthews, p. 173♦

; On a par with Orgon, and possessed of his same

stubborness andi tehaclty, of opiniph, is Madame Pernelle, ' •

his mother. In every way - sh e; ■ r efle ct s her • ■ s on 8s estimate

of the "good1* ■MonsieurtTartuffe j with this exception--

that her age and - sex has made of her'an even greater dupev

-Lancaster ,■ pi 627..

Her language is rough and often violent, and her sharp

tongue falls on everyone who does not share her admiration

for the pipus interloper. She is a bigoted old lady who

■ \Ticoll, ;p. 325. : complains bitterly that no one listens to her, that she' ..

is not "edified ," and that she must listen to Dorine -make

speeches in the house of her daughter. All the while, of

course, she is herself speaking, almost without interruption

through all of that marvelously comic opening scene„ It is

characteristic of'Moliere's genius for striking a farcical

■brilliant directly fTom character that Pernelie takes out'

We- do not see Madame Perheile■;agaih until the ■ last

part of the fifth act, "but when we 'dp, we are delighted to

find the irascible old lady not one whit changed. On the

contrary, now, more than ever, she is for Tartuffe and

against all who would call his character and motives in

question', her blindness— once that; of Orgon:himself— now

..serves to Intensify our sense of his .former obsession, and

' allow's • us ' to: more fully en joy the sight of the now awakened'

gull unable.to convince Pernelle of the truth about•Tartuffe

j ;j p , ; -In -Elmire^t has provided a

young and pretty woman, fond of dress , not averse to ming- '

ling in pleasant society, a charming woman of placid temper>

on the best of terms- with her two, step-children, a woman--

to judge from her avoidance of her husband upon his return ."

from : the country— not entirely'still in love with him,■but ' dutiful .to\hlm and respectful to his. mother.1

^Matthews/ p. 155,

' - 7 'besplte these domes fie. 'v; : qualities , Elmire is' ^

.a. Woman : of . spirit when the occasion': sparks, her temperament

;and her ' gracious:^ restrained. manner gives way to a very \

■ frank; and- cool. d isplay o f " cburage .' Ho doubt her experience

;.ln;::©ntertaitiihg■»prior to the imposition of social stfic- v,-;

lures hy lartuf fe f prcvlded ,her with- the- wit and imagination : WW - - ; ' d’:' " t A.-A: ■'■ A / .."■, ‘. ■ 'needed to handle him when she judges the time to be opportune:

to expose him-'to, he r husband.. "She is a discreet wife^ and

;: ■ ?Clarka;Aptv-. 'AA'f, a A". \ . ■ 'A; '. ;

would not cause trouble if it could be avoided. Once a- ' : - ■ ■. : ■ . : ' .... ' : , ■- ' , roused however, - she proceeds: with remarkable deftness to

trap the foolhardy zealot. • : ,

... Her brother 9 Cleante, reflects her same placidity ' ' ' ' . ' ^ - : , ' ''A "% : ' .. ' ' " ' - , . ' .. and: air of common sense „J He is kindly, for giving > and

^Matthewss pi 155•

Intelligent9 and. as M. Michaud points out, he is the really

.religious figure in,: the play, expounding .with equal portions

of conviction and reasonableness: his views, on the matter,

•to b o t h ; Or go n and Tartuffe,. Some authorities take the A, A/'' - ,

'Lanoaster, p p * 627-628 , view .that Moliere9, in-order to meet the criticism. Wh i c h .

fell upon him after the production of the first three-act

version of Tartuffe in May^ . 1664, sought to "clarify his

own positloh; relative ’to. the questions in the play "by en­

larging the -role of - Gleante, the raisonneur of the piece ;

and his mouthpiece In the comedy.

-‘-Lyons and Searles , p >' 307.

. ' 3 - Anyone listening to Cleante1 s long reasoned ; speeches.,

'firht,;whth' O^dn^ then with Tartuffe, would agree that the .

playwright ;'evidehtiy had .enlarged^ the. r o l e . Oleante , ; ^:

' . 1 - ] ' " . .. , ^ <-* ‘ " ■ ; 1 . _ ; ... . ", *. ... , ' 1 1 ■ ■ * ,r y ■ though quick of mind himself, seems to labor the .points

of : his ‘;'anfeument -particularly': in ,"the • talk with: Organ. .;1;: .Ndrie-i;;

theless , it,Would be dangerous ^ in the view of this writer,.

to makev any extensive 'cuts in Oleante s . text lest the / ‘ . .

'balance between the - forces repres ented by Tartuffeand. ,

those by;Oleante himself , be .destroyed . Oleante represents.'

a rational , . detached, ;view. of the world which is inseparable

from 'Mplierei-s . own, and his sensible right-mindedness sets . .

into bold ‘relief the aberrations of Orgon and .Madame Per- ;

'nelle.

Marlane, Orgon's daughter by his first wife, is a

dutiful child, a■docile girl^ who .lacks the courage to rebel■

-Matthews ,.■ p , 155. 34

agatnBt ;a, masterful parent. :She possesses both charm and

pathos;; ^.'^quaPr9■lin$■■;.'pre:tt'lly''With: Talere , and: falling put

1 'Clarke j ,■ p;.: 121,1

■for the pleasure of making up again,^ As,a character she

■ITDid .

serves two chief purposes': to lead the spectator through

a light and graceful change of pace and mood in her love ■

scene,with: Talerey and to show u s , by her pathetic plea to

■Orgon, the depth of his attachment' to fartuffe. '

Doriheher maid , is a 'companion, not a .menial ,4

. z ^Matthews ^p, 155.> H " v;! ■ :

and ' she is as truthful as she■is impertinent, blurting

out the truths; her superiors dare: not utter aloud , She is, - — ——— ; 1 ^--- — — -— :■ "~r- 1 1;' Cierke^lp. 1^ ' " ; ;' .f v ' ' ' . ' '

indeed, the product of a patriarchal civilization, one

of those npper-class servants who has become almost one

of the family and is not afraid to act the pa r t .^ Her de-

fbanoaster, p. 6271 ' votldn;to Marlane and her appreciation of Elmire,is clear

through all the scenes in which she appears. Porine is a

: domic", cre.ations of the f irst order a n d ; although not in the 35

least ridiculous herself, is Mcontagious gaiety .Incarnate,

Inciting the ,audience to a comic view of events and persons

i ....- ■— — ■ Chapman, p. 205„ . , .

Her easyg unselftionsclous 'manner with all the persons in

the play is a large part of.her charm. / .

. ’ Damis , the young hot-head of the family, is drawn

as a typical young man, honest and.loyal,~ incensed with

^Lancastery P • 627:, ' ; . .

Tartuffe, the "canting criticas he calls him, ready at

•all times to take some violent action to set things right

for all concerned, brimful of generous indignation at

fraud and falsehoodand eager for a chance to avenge his

3Clarke, p, 121. . ' . admired stepmother's injured honor,

Valere., Ear lane1 s lover, is drawn in broad strokes; he is young, he is in love, he is remarkable only in bis

devotion to Orgon even after his prospective father-in-law has broken his marriage agreement. Through the convention­

al language of love-making acceptable in the Paris Theatre

•of Louis XIV*1 s time, a sincerity of emotion shines through the. traditional figures of speech employed by Mo Here in

the love scene.^ ;

^Matthews, pp, 164^165. ■ ■ ■ ■ '36 .

■ Monsieur Loyal, whom Clarke refers to as "the prosy

Norman”^ is a bailiff from the Paris, legal courts whose pro- _____ ^Clarke, p . 122. - :: '

vince of origin must have amused the French, the Normans

having had the. reputation for being sharp in practice and

of being fond of going to 'law.Again, the comic spirit

— r ------— ------— — — — — — , Matthews., Great Flays, p. 121.

springs from the discrepancy between M, Loyal's words ,

which are most obliging, and his actions, which are not.

He seems, in his manner of speech and diction, to mirror

Tartuffe, whom,in fact, he- represents in a legal sense.

Three characters remain: the Officer who comes

charged with the king s commands to relieve Orgon and re­ ward his fidelity; Flipote, Madame Pennells's. silent, long-

suffering maid who doses and. dreams on stage .until a sudden box on the.ear returps her to the awful world of her mis­

tress s power; and the mute Laurent, Tartuffe”s valet, de­

scribed but never seen or heard.

These are the characters of Tartuffe who,, when set

down together, make the . action and the .comedy of the play

come alive„ They are all believable .and they engage our attention without demanding that we become involved in their V . ' ' f ' ■ ' ' ' : ' ; ■ ' : . - personal fortunes. (1) Gross down left to down right. Take handbag from Fllpote, who follows her.

(2) Follow.

(3) Up to the door*

(4) Turn back.

(5) Look at others. 6

(6) Right, to DORIES. ■CHAPTER IV

The Prompt Book for Tartuffe

ACT I; ' : . ; y- r ■ MADAME PERHELLE , ELIPOTE 5 ELMIRE , ' MARIAM!, > " DORINE , DAMIS j CLEAMTio ■ ' \ MME .PERM. 5 : ' ' : Come : on , Plipote^ pom© on; 11 ve haci enough, (l)- ELMIRE; ' ^ • ‘ ' : : Mother, you walk so fast' I eain81 keep up. (2) MME PE & . & y'-''y';y':.;.:;:,:;y-^;:.-/^ Don't try to keep mp, them.. Ha! Daughter-in-law,! • Little X oare if you're polite with' mee (3)

ELMIREs "■ : V-y/tyv.,-' I: Want to he so with my hushand, 6s mo there ' tey, must you got I hope you’re not offended,. MME PERM.: ' ’ ^ Ihyt:t 1;,oah11 htan^ .the way that things are/ going!, (4 ' In' my ■ s On ’s house they/pay no heed, to me. :■ . : ■ I , am not edified:; not, edifiedi, ■ I give you good advi.oe.. Who pays attention^ (5) ' . Everyone, speaks/his mind s none shows respect. . ' . /This piade is, :Bediamf everyone Is king here. - y

DCRIME: ' ■ ■If-

MME PERM.: -; ; You, my dear,. y o u ’re just a paid companion, (6) A forward hussy, who talks a lot too much« You have to give your views on everything.

DAMIf But (1) Cross left to DAMIS.

(2) Down to MARXANE, on sofa.

(3) Back to center.

(4) ELMIHE down right. Sits left of table.

(5) Gross right toward CLBAHfE.

(6) Step in to MME PERNELLE. 38

MM2 PERN,s You are a fool, (l) P-O-O-L spells fool. • Your grandmother ? she ought to know a fool„ ■ And I have told your father a hundred times. You?re;Impudent, your character Is bad; And what h e ’ll get from you, my boy, Is trouble.

MARIAMEs I,think--'

MM2 PERM, s : - . : z , You think! The fool’s little sister thinks! (2) Butter won’t melt in that prim mouth of yours. Still waters, they are deep— and dangerous. And something hides;behind that mousy manner.

ELMIRE; But, Mother—

MME PERM.S Dear Elmire, I will be frank. (3) I find your attitude unfortunate. Your task should be to set a good example. Their own dead mother did so, better than you. (4) I disapprove of your extravagance; You get yourself all rigged up like a princess. A wife, my dear, .needs no such finery, If she would please her husband1s eyes alone.

CLEAMTEs But, madarne, after all— mm PERM.: v v ;■> ' ' You are her brother. (5) You have my reverence, esteem, and love. But if I were my son, her happy husband, I’d beg of you never to call again. The principles I hear you recommend Are not the sort that decent folk observe. I’m speaking frankly; that’s the way I am; And when I feel a thing, I cannot hide it.

DAMIS 3 There’s nothing wrong about Monsieur Tartuffe? (6)

MME PERM.: He is a worthy man with principles; And I admit that I am irritated To hear him criticized by fools like you. (I) Move left.

(2) Step in to MME FEREELLE vMEES : ' ■ V ' ' You w a n t ;me to permit a eanting eritie ■ v:; ;Tb come and play the tyrant in our home? ::We ' ean8t indulge in innocent amusement V ' - ; ; -': Unless that gentleman gives his consent?

DOR i m : - : V";./,;’ ti v t v \ , . ; If one, helieyes him and his prineipidsV; , ' - V ■ Everything that we do becomes s, erimb® ^ ' He checks on everything, he's' so sincere =

, m s 'EERHus /' Vit;:';;,; -: / i ^ And what'he ■ cheeks on is most properly checkedo . He wants to lead .you on the road to heaven* My son is well•inspired to make you love himV

DAMlBf ' ' A ; V- . : ^ : ; : V : , Grandmother^ look; ..Father can do his. utmost I ' Hothing - on; earth can make me love the f e l l o w ; Anything else. I 8 d say would, be a lie.. ; • :i Simply cannot stand him and his actions« . I can see trouble coming; 1 can see 18'11 haye a set-to.' with, that holy fraud. (1)

DORiiEs :,V' :; : .;:.v. ^ ■. y .-v,: V/:.;'-. ■; , : it seems to me' pehfecfly:.scandalous (2) h; That this outsider should take over things. V • He Game to US a beggar , with no shoes 9 . i ■ And all h is. clo the a '.were worth about ’ a -. dollar i ':But. that ' s, forgotten', now h e 8 s• found, his place; ■ ■ He has the final veto ; he' s the bos&V;'' . ;'

MME :PERlts-:' . ' / : / , • Mercy upon usl Things would be much better ' , , If .';alli;'hisv pious ' rules were put in force. ; ;

D o r i s e s , i : • >; V u,/'h''' . h,;: i/V He is a saint in your imagination^; • ' . . . ' In fact,'he's nothing but a hypocrite«

ME: PERS . S . V * ' What silly talk is: this.!

DORlSEs, : i' t . . . ' ' ■ ‘ :. ' ' . 1 wouldn t trust, him . ; Out of my sight; his servant Laurent- either.

MME -BERS.:. : ; ; . :. . , ■ i; ' ■ : '' ' > •- ; T h e 'sefvaht I don' t know; but for the master, • I guarantee, that he's a man of virtue. / (1) In close to MME PEHHELLE (2) She indicates ELMIRE.

(3) Cross to downstage end of sofa. 5

(4) Move downstage to near fromt of table

(5) Gross to center stage. 4o

And you dislike him, you cold-shoulder him Merely beteause he tells the truth about you* The one thing that he really hates is sin., And Heaven8 s advantage is his only motive«

DORIHE; ; - a / ' ; • Yes, "but why is it that for some time now./ ' He 'won11 allow us any visitorst What is so shocking in a friendly call, That he should, make a frightful fuss about it? And shall I tell you what I really think? (!) I think that he is jealous of Madame, (2)

MME PERN.: a % ' a . ' A ,4; Be guiet, youl Be careful what you sayl. . He's not the; only one who blames these visits. (3) All the commotion that these callers,make. Their carriages forever at the door, The noisy gangs of lackeys, hanging around, Have caused a lot of comment from the neighbors. . Oh , I will grant that nothing serious happens, But people talk, and people shouldn8t talk.

GLEANTE* 4 ' ' , ' ; ./ You want to put a stop to conversation? . ' Wouldn8 t it be somewhat regrettable (4) •; If.we; should have to give up our best friends, : Just because fools may say some foolish things: Even supposing we should bar the door. Do you think people then would cease to talk? There is no wall so high it shuts out slander, i 80 let's not give a thought to ;silly gossip. And let us try'to live in Innocence.;, A n d let the - talkers talk- just 'as they please=

DORINE? -4,,:- ■^4, A- '■ ..4'-; :" Otir neighbor Daphne and her little husband Are doubtless those who speak so ill of us. (5) • Those whose behavior is ridiculous .. a - , Always'are .first'/to-' see the faults of others. ' They never fail to catch'the faintest hint .: -; That mutual ' attachments may > exis t. 4 And then how glad they .are to spread the news, . Sugg®stlhg--oh,;A^ they suggest8. And others 8 acts ,; colored to suit their: tastes, . They put to use' to authorise their own. They think that Some resemblance, will appear To maskAtheir own intrigues with innocence; ''' ,Theg::hope .thiks; to' coufus® the, public censure And. make it . f all on good ahddill,, alike'.;; (l) Cross in to lORINE at center

v: f

(2) Take center, faces audience.

(.3) Cut to speed action. 41

MME PERHELLEs All these fine words do not affect the case, (l) Grante, for instance, leads a model life» She works for heaven alone; and people say That she condemns the customs of this house«

DORINEs There is a fine examplel That good woman! She lives austerely now, that8s true enough; But age has put this ardor in her soul. And makes her play the prude, despite herself. As long as men would pay their court to her, She made her graces work for her advantage. But her allurements ceasing to allure, She quits society, which quitted her, And with a veil of virtue tries to hide ■ The dimming of her antiquated charms. That is the classic fate of old coquettes; They hate to see their gallants disappear»■ Unhappy and abandoned, they can see ■ Ho other recourse than the trade of prude. And these good women with severity Make universal'censure, pardon nothing. : Loudly they blame the lives of everyone, Hot out of charity, but out of envy. Which can81 endure that any woman share , In pleasures time has thieved away from them.

MME PERM.: (to ELMIRE) . • That is the kind of nonsense that you like; Thus in your house we have to hold our tongues So that, my lady here can hold the floor. But I8ve a little speech to make myself, (2) And here it is: My son did very wisely In welcoming that pious gentleman; And heaven sent him here advisedly To guide your spirits, strayed from the true path. And you should heed him, for your souls* salvation. What he reproves has needed his reproof. • ; These parties and these balls, these conversations, Are all inventions of the Evil One. jThere one may hear' no edifying speeches, : But only idle words and songs and chatter, Often at some poor fellow man5 s ' expense. There you find masters in the art of slander.- Even the. man. of sense may. be upset • By the loose talk one hears in such assemblies All a great buzz of gossip and of rurnorU] (3) As a great preacher said the other day. These gatherings are towers of Babylon, (1) Gross to CLEAKTE..

(2) CLEANTE move to behind table.

(3) Cross up center to exit* (4) Give FLIPOTE a box on the ear*

(5) ELMIRE follow. Signal MRIANE and DAMIS to come.

(6) Cross to sofa. Sits.

, iV

(7) In to center. For people .merely babble on, he said. And then in illustration of his/point-- (l) And now Monsieur is Snlehering alreadyl G-o join/the funny men who make you laugh 1(2) My dear Elmire , good -by: I ? ve said - enough. --' This household has come down in my opinion. (3) ' 1 Twill be a blue moon ere I come again. (4) Wake up, woolgathereri Wake up, rattleheadl God's mercy' I will beat those brains of yoursl On your way, trollopl (5)

' 1 ' . ; ■ • . , ' ■ . ’ ‘ ' ' ' ' - : GLEM t E: i ‘ f / I wouldn' t, see her out >, / For fear I'd get another dressing-down., ‘ For really, that good woman— ' -: • ' ■ " ' ; . : , v • ■ > : E. ■ / ■ . ■ DORIWE S .. • E V / V ' It's toO: bad . ' ' . The lady . didn' t.'hear,.you call her good.- (?) . v She1 d tell you you are kind, to term her good, But she.' s not old enough yet to be good. .

CLEMTEs ' ■ 4 /;■; . Didn” t she get excited about, no thing8. .And isn ' t she crazy about . her. Tartuf f e'

DORIHEs i . V”.-"... In fact, that son of hers is; twice as bad.’ • If '■ you could see h i m ,: you' d ' be really. shocked. , He played, a fine part in the civil wars. Was faithful' to t h e 'King, through thiek and thin; , But now he acts as 'if he'd lost .his wits, • Since he has been bewitched by his Tartuffe„ • He calls him brother, actually:loves him More than his mother, son, daughter, and wife, '■ ■ Confides his secrets to Tar tuff e . alone,. And. .makes him sole 'director of his' actions; . Hugs, hfm and pats him tenderly; .he;-couldn* t . //Show more ' affection- for,' a darling, bride; Gives him the place of honor at his table', // : A m , beams to see him, eat: enough for six. / • He- saves the- best bits for Tartuffe alone And. cries "God bless/you*." when' the fellow belches ' /: And quotes him, apropos 'of-everything, . I' -, ;. / And makes, a; miracle of every, actloh, ’ . An- oracle . of evepyxSlightest.word.;. / ■. ■And, Tartuff e knows, a good thing, when he. sees it , :...Buts-' dnE.ah 'act/,: the,ybetter:::to’;fool his dupe'; . "1:'; His/ hbly 'manner pays h , ■:. ' ,. e.While he makes :;bqld:;,toi eriticize/us all. . ;;'/ V ' (l) Gut to speed action.

(2) Remain in archway.

(3) ELMIRE AND MARI ARE go out. DAMIS down to CLEANTE

(4) Rise. (5) DORINE to exit, hooks off right. 6789

(6) Return down right quickly.

(7) Put coat on chair, right of entrance.

(8) Start off, (9) DORINE starts out. ' [Even that hoy who serves him as. a lackey ' ■ ; Takes it upon himself to give ns lessonss ;' ; And leetures ns. with angrys popping eyes, - And, throws away our. rlbhons, rouge «, and, patches „ The rascal' tore to bits a neckerchief . '"WeM._. put to press in some big holy book, Baying we made a criminal connection — » ■ Between, the devil's toys and holiness(l)

; (Enter 1LHIRE, HABIAHE: , DAMISV) ' ' 1

>(2^ ; ■ ' ; V': , Lucky for you you didn't come and hear The speech she made us , standing in the doorwayG : I saw my husband, but he didn11 see me I 'think 1 811 wait for him in the upstairs parlor=(3)

GLEAHTE ; . v, ■ : : \ : ' : : Hot to waste, time, I s 11 wait to see him here = (4) I merely want to greet .him and be gone«, (5) '

'vDAHISr' ::" v- ; rtC : ; ; .i;:: ^ ' : . Bring up the question of my sister- s marriage, l 8 ve ; an ‘Idea Tar tuff e is against it® ' He's swaying Father, making difficulties® You know; l8m personally vlnterested. As Valero and my sister are in love, " - I'm more than fond myself of Valere's sister= : And if I had to-^ -

DORIHE- - ‘ : . He's coming, (b)

' (Exit DMIS, Enter ORGOH,)

■GRSOHS : . • . Good morning, brother..(7 )

CLEAHTEs I was just leaving (8 ) I'm glad to see you back = And did you find the country all in bloomf (9)

ORGOHi , : . . . . ‘ i : . ^ V': , B o r i n e , Just wait a minute , please, Cleante, Until.I have a chance to inform myself . About the household news.during my absence, (To Dorine ) ■ ; ' Everything's been all right, the past few daysf How5 s everyone? What has been going on?- (l) Down to left center. ORGON move center

(2) Face front.

(3) To DORINE.

(4) Face front.

(5) To DORINE.

(6 ) Face front. ;mR$m;:;v:v;/v ■ : v ■,:v ' , . / Twoy days 'ago ^ ;lad.jv;Mia'. a fever, (1 ) v.' • And a bad headache s really' terrible» .;

ORG-ON “ ; /■ And Tartuffe?

'BORIEE;.; V ' / i; V V ...... \ >: fartuffe?;: v #e fat and -red^fabed a healthy color»

ORGomy- • : A:;"";A: . ■ Poor fellow A (2)

BORIHEs - ■ ’ . ' ' - ■ She had some nausea In the evening, A and couldn81 touch a single . thing at supper,» Her headache still was a real torture to her

WON: ' •: "aA.' :yt:'\AA; x 'A'" :.., And Tarthffef 1( 3 v' ^ -A'y;-^y

DORINE: . - - .Ate his supper in her presence, And piously devoured two partridges, Also a hash, of half,a leg of mutton.

ORao®a;v'-A":. '.,At-:.. ' A': A . . : A,Poor .-fellow

/DORlMtA : . A ■ During all the following night ' She did not shut her eyes a single moment => A A It was so very warm she could not sleep; : ;: ■ : ''Me' had to sit beside her until morning. . " '

ORSON: • . .And lartuffe? tS:) lA;:y ■ Ay A . ; : A,:;: : '..y DORINE: W - A ; y. ^1A': ; ;r: . ^ -y'A'yt'A': ■ \ Oh ,y sleepy enough: • '• i .A He .went, right-af ter.'dinner to his room, . Immediately he got in. his warm:, be d ,. And peacefully slept until the following day

ORSON: : ^ v ■■ A.Ay A:; Ayr, s ■ . - . /Poor fellow! .. (6i A A-A ' • ■ y /■, ■ DORIRE: She listened to our arguments, (1) To DORIEE.

(2 ) 'Face front. y

(3) Exit through arch.

(4) In to ORGON.

(5) Move left.

(6 ) Cross toward C1EANTE. 45

Arid had the doqtor give her a good, hleedlng, And after that she felt a great deal better«

q w o N : : Arid Tartuffef (1 ).

DQHIHEs : • ; .■ .. ; V ' ' . : ' , W h y ,: he cheered up . very nicely. ■ ■’ To fortify his spirit against trouble And to Make up for Madame* s loss' of blood, He:, took at lunch four: glasses f u l l ; of wine.

b m o H : - \ v' :> ; ' ' Hoor fellowl (2)

D O R i m : 4% pp : !:;: . : ;; ' , . Now both are doing very well.. 1*11 tell Madams the sympathetic interest , You*ve taken in. the :news of;.her recoveryo (3)

GhEANTEs V ; ' She•S laughing In your face, my dear Organ; (4) : Arid:while I wouldn't want to make you angry 9 I*m frank to say she has good reason to. - I can't conceive such an irifatUation. (5) : / This fellow"must cast some uncanny spell _ ■ - ^ Which paralyzes all your common sense, : • After you've rescued him from poverty, To think you've gone-so-far-**

W O k t :-: ;: v, : i : : - ""r . ■.. : EnoughGlearite'. ' - , . r . You do not know the man you're talking of. :: 4 k ; > , : . . .' GLEANTEs. : . : : ' ' ' ' - ' ' : ; ' . Well, I.don't know him personally,, it* s true, . But I know Well what kind of man he-is. . \ ' Y.' ' Brother-in-law, you would be charmed to know him. (6 ) : .You Would he simply overwhelmed with pleasure. ' Be *: s, a man who'.. .a man who... well, he* s a man'.; ■ ' Follow his teaching's»: you gain peace of mind, You learn to see the world as so much filth. . . My talks: with him have changed me: utterly5 ‘ : . .He.* s.'taught me, to despise wordly . attachments, ■ H e ' frees' my. soul from earthly love and friendship;' ' If brother and children, mother and wife should die, . : It 'Wouldn't bother me as much as that.’. (Briaps .'his fingers.) (1) Sit at left of table.

(2 ) To center. GLEAM'S % ! Th e a e ,&en t imep. ts are what, I- call humane<

y : -: . - v.: /.^ ^ ^ . - . -v:. ^ If irtiu,-d been pres.ent when we .made acquaintance, • You® d have become his friend 5 the same as I®. _ . • 'He used.'to come'to our church every day, And. kneel near me,- with such a gentle air! ; :, / And"everyone; in church - would .notice;': him . ,y: ■ Beoausb/'of:’ the ferve^ .he-1 prayed® .. • He sighed; so..deebhe 'made; such cries of transport And every now .and; ' then h e 8 d kiss the floor! . ' then I/wab .going o u t , he8d run ahead" : ; : v :• , To offer me holy water at the door.:. . .• ; His servant • lad , no less.; devout than h e , Told me about his life, his poverty» I made him:presents; but with modesty t. ; He always' fried; to give me back a part® , .- "This is too much!" he'd tell me® "Twice too much! ' X don11 deserve to have you pity mel,s , ' And when I would refuse to take them back, - f /He1 d glve'them'; to the; poor!; X^saw him do it! .,, :;. t 1 TW'nC; 1^eaV'eii tixat; made; me bring him to my house ; r And since that time, everything prospers here® , •. He censures' everything, and for my honor - ; ' He thkes'an; active interest in my' wife, r ' r. i ; :: ■ Warns me when people look too kindly at her-- (l) • ,V: He8s twice as jedlous of her as X' could be® ■ i You can81 imagine his religious scruples!;' ' The.merest trifle is- a sin to him; . Ho thing1 s too insignificant to shock him. ' Why, he accused himseif the other day ;; ' Of capturing a flea while he was.praying, ' • ,. And pinching it to death with too much' anger 1

GLEANTEs ^ -fv;'. ■■■ . ' ' . Good; Lord,; my - dear Orgon, ;I think you8 re crazy ! (2 ) : , ' Or are you trying to make a fool of met' ; What ;do:you - think that all this nonsense . means?

ORGON? ' ' . ■ . ' . Cieante, this sounds to me like irreligion! f ; . (You! ve /had; some .tendency . to'" that'- aiready'; i : ; :Ahd . as' live warned you a good dozen times. , ;' You811 get yourself ih trouble some fine day® -

GLEANTE: - G r': . ■ :' - ' , ' ' .;.; ; X 1ve' heard that kind of talk from others like you. They want to•make the whole world blind like them® It1 s irreliglon just to have open’ eyes8, (1) Gross behind table.

(2 ) Down right.

(3) Sit at right of table -e 47

If you’ re not taken in "by mummery, ■■ They say you've no respect for sacred things . You cannot scare me with that, sort' of lansuage.. (l) ' I know what I s a y , and . heaven can see. my • heart. - . ¥e aren't befooled "by such performances; ' There'.s false devotion like false bravery. , An:d; as you see upon the field of honor : The really brave are .not the noisiest ones, ' ; ; v The truly pious,•whom we should Imitate, , :• Are not the ones who show off .their devotion, Isn't there some distinction to "be made Between hypocrisy and piety? 'V ... , It seems’ you want to\.tr'ea|:. them;''Wth''.;@illkeV' ■: Honor the mask as much as the .true face, ■ : / : Make artifice equal sincerity, : t Confuse the outward semhlance; with the truth, vBufoEstSem thenShantpmoeitually with. thd person, / Take counterfeit money on a par with'gOld« Really j. humanity Is most peculiar l ■ . ' y .. Men won' t remain- in the mean middle way; (2) The houndarles of reason are too narrow» /: _ _; They force' their character' heyond its limits.. And. often spoil even most noble aims • . . ■- '■ , By exaggeration, carrying things toofar. (3) " All' this ,; Orgon, is. only said in passing,

uORdOMi ^-yy • % ^ ^ , : .. Cleahte^''ybu are; no; doubt a reverend doctor, All of man's .wisdom has been lodged in you, .. You are the world8s one wise, enlightened sage, ,, The/bracley the Cato of our times, . And all.Mankind,‘ . compared, with yon, are fools,;

CBEAlST® : y.Y'y . No, Orgon, I am' not a reverend"doetor, Y And the world's wisdom is not lodged in me. But there is one thing.that I do well knows '' To'tell the difference between true and. false e And as I see no kind of character ,. ' ' ; More honorable' than true deVOtioh is , ... .' ■ Nothing more noble and more beautiful y • '■ Than fervent, genuine, holy piety, ■ y,i So I find nothing bn earth more odious ■ - Than, the false show of whited sepulchres ,' These charlatans, these public- pietists ' ' - - Hhose 'sacrilegious • and. perfidious' manners Deliberately'betray /and parody - All; that men hold .most hallowed and mos t sacred, y. These are. the people who for mean advantage , Make piety their trade:and.merchandise, ' (l) Cut. As examples of piety those personages lack point for modern audience.

. •' \ ; 234

(2 ) Hise.

(3) Start off.

(4) Cross behind table to ORGON. te&:. W j to "buy:: ore<i and offices.;;, , Rolling their eyes ; - 'Their, Pilgrim1 s progress takes-: the road to heaven As a- 'short; easy .way to worldly fortihie-o" ' ■ • ' v: We see them pray out; for almsj y , They preach of solitude 3 hut stay at courts .:; -vAhd- With their holy zeal they keep their vices; ;■ g ■ They're vengefnl / faithiess , treacherous , and tricky :.And to destroy an enemy, they cover : ., V V \ . Their savage , hate with heaven6 s interest , - v g . '' And when they hate 9 they1 re the more dangerous s ' Because they take up weapons we revere, ' - - Because their' fury, - to geheral applause, V .'; - Takes an anointed sword to stab our backs, . ' The 'type ithat :1 .describe is all too common, ’ . - ■v- ,■ _But the, true, pietists - can be recognized, ; ' -, ^ ■, ; , LTakei/Ar ist on ; for instance, Per land re , , Oronte, Alcidamas, or Polydore, g ' Bo one's suspicious of their genuineness^ (l) ; Such 'people don’t go trumpeting their virtue, They doh61 put on a nauseating show, - ; •. ' ' For their devotion's human, reasonable, ' : . : hThey do hot censure all the acts of men— . ■. ..Therels too much pride- in taking on that role. They, leave the high .talk to their imitators,

. .And' by their actions set us an example, . ; g ■ g g ''They don't see evil everywhere abounding; Indeed, they1 re lenient toward their fellow men, ■^!3fcey:d.on1't;'form/ pressure groups. to push intrigues; , : gSC lead - a good life--is their, only aim, : ''::g;,^ b , itiiey don't pursue- the,sinner with their hate; , . The •sin and not the sinner is their target , g l;: '., ; They, don’t espouse the interests of heaven 7 g- g: ': With ' gheater .zeal: than ’heaven does 'itself, ' V; : ■ ■ That is the. kind of people. 1 admire; - ■ - , hw ■ They areg the models we should Imitate; . g .g- g •-: ;. ', Andho be.- .frank, .your man' s, not one of them,, ,• Although, 1-'know .you praise him ln good faith I think you're taken in by false-appearance, - 7b'.

QRGBBi ,' ’ v ■ "gb ; " 7 ';-g'':'b;::'ggg:'b g ,'7'g:; g-'g ' 'b_.:,;gb7'b - 7 : ■ Cleahte> you” ve,: how' entirely f ihished.f (2 ) bg’'g,

OmABTE:; g : 'b-'7:7'7;7' • • ■: b.gb-'^b.-u;:. "'7 b; %g77 • ' 'Yes,;' :::b,' "'.g.:, ggvbi, ,- ug-'bb-b.,- , -b - b-.g ,.:,'g.: ' ''Vbghb gb,

:GRPOB;s,g ' 7 ' 7'g: : , . - :b,,g';7 7 b';,';:'; ■'77.7.gig am your humble,servgnt ,■ (3) b l e a b t e s - b-<:g 7 Just a momentv (-4) " ;:7'7' 77. - , (l) Start off.

(2) Follow.

(3) Move to arch.

(4) Follow.

(5) Mount steps.

(6) To foot of steps.

(7) Turn away.

(8) ORSON looks at CLEANTE.

(9) Start off.

(10) Stop and look at CLEANTE

(11) Turn to go Let's^ deal with something elss. Ton have consented ' That young Valere should ■have. your daughter5 s handt

, ' \ '■ ■ ' ■ ' ' GHG-GN: ' ' Yes. (1) : •' ■ : . ' "'/A 'A. :;'V • : CLEANTES;:: A /. " ■; A , , And what5s mo r e , you*d even set the day. (2) / /r^A;/rA^':;A::A A ^,A -'

G l Ia STE sA:''" A.\,' ' " a . -. A$^ it "OOstDoned? (4) / A : . GA;A< -A , ^ A,-^ , . ..A ; : ORGGR: (Salts) ■■ ■.. \ . : '.A • - •; :: >a : .a I don’t know why. (5)

'GmASTE: A . :;a '; / %', : ^another Idea? (6) . ,

ORGONs ' ' - . .v 'AA\.\: A, .Perhaps ® , ■. - • GLEASTEt : ; v . You hint you5d go: hack on your word.

ORGOS: (Salts) ' I won't say that. (7) / ■ . ' ' ■ V ■ " ■ ■ ' . : . - . : GEEANTEs • There is some obstacle To keep: you from fulfilling your engagementf (8) ORGOHs . : V May he'. (9) ■ ,. / ■ ' . . ■ ,; . '.A-- ■ . : .: ; .; . CLEANTE?; ' ' .: Why must you beat around the bush? / 'Valepe has asked me to inquire about it. ORGONs ...... • , How fortunatei (id)

GLEASTE: ' ■. ■, A What shall I tell him* then?' ^ ORGGS : . ■ ; ' . : Whatever you like, (ll). y ' (1 ) Turn to go32

(2) Go off left.

(3) Return down center.

$4) Turn and go off right.

V 50

CLEANTE: V But It' is necessary. Id know- your plansSo what are they? (l)

ORG-OHI To follow The.; will of heaven.

GLEANTEs : :1:'. want"td.S0tv ' t h :elear o-/ ■ '! 1 * ‘ . . . , ydn.'ve' glVen':.%al@W You'll keep your "V' ‘v;:v-: '"I'l ;':l ..1.::. "1:; ...., ■: word? -:■ * ■ PHOOH S ' : . ; Pood-hy, (2)

/ ■ ( ' ■ - • ■ ' . . ■ . : ' " • ■ CLEAETE? (.3) ; I fear that oourtship's in for trouble; And I must tell Valere the look of things» (4) (1) Pacing as lights come up. (2) Enter along back platform. Wind clock on hall table.

(3) To right drape.

(4) Gome down center.

(5) To center.

(6) Face audience.

(7) Gross down left, move chair at left of table to face inward; sit.

(8) Turn away. GEG-ON , (1) M R I A H E . (2 )

-ORGONS . ; Mariane 1

HARlANEs ■ Father?

ORGOET: . , ■ ; :y Gome here,. ' I want to speak . Ih conf ihenoe o: m R l A H E s : Ihat are you looking for? (4).

ORGOHs ' . . , ; ' ' , - ■ . / . _ I want to see'if there6 s an eavesdropper there, For that's the kind of place they choose to hide In. No, it's all right. (5) Now, Mariane, my dear, You've always had. a gentle character, And I have always "been most fond of you.

.BBRliNE s , ; /:; ' . : ' I have Toeen very grateful for your love. (6)

ORGONs . ; :: : / Excellent, daughter. ■To deserve my affection You should be ready to accept my judgments. (?)

,, ■ ' ' , ; ' ' . ' ^ : 1 , ' — / ■ ' ■ ^MARIANE: d . v.. ':;; : .:;X'd''v: V' • ; ' ; ; . I’ve always d, one so, and 1' m Rroud of it. : n

ORG'Olt " :: ; Splendid. Now tell me, what do you think, of Tartuffef

mRIANE: .1 ’ What do I think? (8)

ORGONs ' ' ' ■ / • -. Y e s , Don11 speak hastily. (1) Sit on sofa.

(2) Enter unnoticed. Pause in arch; then to right foot of steps.

(3) Rise. Move down left.

(4) Rise.

(5) In to ORGON.

(6) Moves down left. (7) Turning back

(8) Gross down right in front of table. 52 MBIAHB.S Dear me V I think whatever you think I should, (l)

DORINE: # ) v ' : ' -'-V ' ' ■ ' ORG-ONi : Well said. Now- this1 Is what you,ought to think» . He Is a man of most unusual mdrit; ■ He•moves your heart, and you'd be overjoyed To have me pick him.out to be your husband.

MARlAHEs - ■ " Eh? y ORGOMs " v ’ ' , .Whatt,.'; ,, ,• ; ;•

MARIANS; . . What did you say?

ORGONs What?

MARlANEs

Did I hear rightly?

. :■■■■ ' ' ■■ ' ' - ■" ■■ ■■■ •:■■■• ■ GRGONs What's this? (4)

MARIANS: ; Who is it you say that moves my heart? (5) ' Who is it that it would make me overjoyed To have you fix upon to be my husband? '

■ ORGON: ■ - v : ■ ■ Tartuffe, , : .

" MARIANS: ; ' 4,4- , \ ^. ; ■ . ■-v ' V . , Oh, no, no, ho, it's impossible, (6) Why do you want to make me say what's false? (7)

ORGON: G ''4' / . ■ ' : 4 I say it because I want to make it true, (8) .I have decided on it, that's enough,

MARIANS: , " - ; . : . ; , / ', Father, you really mean--' , • (1) Gros ac- in to H&Rl&BE= Sees DORIES. :' :.

(2) Turns; to DORIIS- who has moved down right of / '' table/.on his cross,, ■ ■ .. V ; . .

(3) pross to , in front:' of table/

' V *. 1

(4) Move a step toward DORIES - Clench fist,

■<; ' ■ ■

(5) Move closer.

K-,

(6) Raise hand, to slab' DORIES

(7) Cross in front of ORCOE.to a position between ORCOE, ; • : ; : , 53

ORGON: Yes, it’s my purpose To make Tartuffe a member of our family, (l) He'll be your husband, I'm resolved on that. And your desires— (2) What are you doing here? Your curiosity Is certainly excessive To make you listen to our private talk.

DORINE: I'd heard the story— I suppose it started Out of pure guesswork or some chance remark— (3) That this peculiar marriage was afoot; But I've been saying it's all poppycock.

ORGON: You mean you find it unbelievable? (4)

DORINE: So much so that I don't believe you now.

ORGON: I know how I can bring you to believe it. (5)

DORINE: Yes, you're just being funny. I know you.

ORGON: I'm telling you exactly what will happen.

DORINE: Rubbish!

ORGON: My good girl, it's not rubbish at all.

DORINE (to MARIANE): Do not believe a word your father says. He's joking.

ORGON: I tell you—

DORINE: No, whatever you do, Nobody can believe it.

ORGON: I can't hold in— (6)

DORINE: All right, then, I'll believe you, if I must. (7) (1) Walk a few steps to right,.

(2) Turn toward center.

(3) Organ make gesture of impatience.

(4) DORIWE to MARI41E, put arm around her. 54

But how a sensible-looking man like y o u , With a big beard in the middle of his face, Can be so simple-minded—

ORGON: Listen to me. You have been taking certain liberties here Which I don't like at all, I tell you frankly.

DORIME: Now, let's not get excited, sir, I beg you. Is your idea just to look absurd? A bigot has no business with your daughter; He has a lot of other things to think of. What good does such a marriage do to you? How comes it that you, with your property, Should choose a beggar son-in-law—

ORGON: Be quiet 1 That's just the reason why we should revere him! (l) His poverty’s a worthy poverty. Which properly sets him above rank and wealth. He's let his worldly goods all slip away, Because he'd no concern for temporal things, Because he loved eternal goods alone. But my financial aid will help him rise Out of his troubles, regain his property, Estates well known in his home territory. (2) He is a landed squire, a gentleman.

DORINE: Yes, so he says. His vanity about it Is unbecoming with his piety. When you take up a holy, innocent life, You shouldn't boast about your name and rank. Devotion should imply humility, Which doesn't fit with smugneww and ambition. Why be so proud? (3) ...But you don't like this talk. Let's treat his person, not his noble blood. Doesn't it trouble you that a man like him Should be possessor of a girl like her? (4) Shouldn't you think about the decencies, Forsee the consequence of such a union? You're putting a girl's virtue to the test By forcing her to a distasteful marriage; And her desire to be a faithful wife Depends upon the qualities of the husband. The men who wear the horns are just the ones (1) Look at ORGON.

(2) Gross toward him.

(3) Gross "behind him as he moves to MARXAHE on his next line. 4

(4) Turn to Borina. 55 Wlib ■ force their . wives to be--what they become It1 a; ha M indeed'' for 'a woman to be faithful To certain husbands east in a certain mold, (l) A father who gives a girl to a man she hates Must'; be .responsible for her mlatepsi.;. So think; how dangerous ;your .project is! (2)

ORG-ONs ; . And so you want, to teach me about life! . .-w

DORims'-'' ' ,.:V , -''i' V You could do worse than follow my advice«, (3)

QR0OI1 ; ;: ; f . w w % . , Daughter';,:' wetli waste no 'time with/all thid nonsense, I k n o w w h a t ’s best for you; I am.your father. It’s true that I had pledged you to Valere, ' But now I hear that he plays•cards'for money;: Further,, I fear h e ’ s somewhat, a freethinker« ' ./I-;do not- see him frequently in church» , ■ " '

D O R i m : ; ; , ; ; . ' ' • V . You think he- ou^it ; to go tb@ne just when you d o , ' . Bikb thbse; who only want to catch-your attention^ orgoh ■ ■ . . .. t'-,' t-, • - : . .-Iv.didn’t ask your views upon the matter, ' ' (to MARIAKEI) ; - .; • The other man has made his peace with heaven. And that’s the greatest wealth;a man can have, : This marriage;'Will be rich in every blessing, ' '.. And filled with pleasures and with satisfactions» You will be faithful, in your mutual joys, ' Just like a pair of little turtle doves, 'There’ll iiever be an argument between you; , You111 make of ■ him whatever you want; to make , •.;'';

DORIIEs ; ' ; . . ' All that she’11 make 'of him is a horned monster, DRBOHi; r, 'po v if: hi' f • ■ ; What talk is thisf (*) ;• '

DORINES ' „ . „ f... , / ' f.;; . ...'ipit'f • ,'. ' " I. say he has the ibuild' for iti-i :' f .The'Stars have doomed h i m , and his natural fate Will be more powerful than your daughter’s virtue =

ORGONS \'f;ihi ;;iii;" ; i • . ; Stop interrupting me , and hold; your tongue, ■ And don’ t go meddling in what’s none of your business (1) Interrupts ORG-ON whenever he turns to speak to his daughter.

(a) Whirl and face DORIES..

(3) Turn back to MARIAMS

’ ?■ \s.,

(4) Turn to DORIHE.

(5) Gross toward her.

(6) ORGON turn back to daughter.

(7) ORGOH turn to DORIES.

(8) Threaten to slap DORIES. DORINEs : ' :, : , ; Ifm only speaking, sir, for your,own good, (l) '

QRaoS:: . // /' - ^: V That' 8 alltoo kind of you; and so , be. silent o

DdRTMis ■ ' r J::;; %, v ;? If I didn’ t love you-- : ' . > •:

I don81 want to be loveS« (2) ■

::DdRIlEy.::y.v' ' ; v '■ IWant tO' love you, sx^ j In spite of yourself ,. dRddit ,, . ' : ' :/ ■ V . O);/: :V; ■ ./W \ DdRllBs . : ^ ' 'Y - '■ -■'..'■■•■■■ ■ - : '""1.. . Cherishing your honor» I can11 bear . ■ ' The mockeries you'd lay yourself open to, dRddN: Y '■ ; Yc/, v: h; ; . . h..': ■ ,Y-;.;"': . ■ Y ' ' ' : ,v You'Won’t shut up? (4 ) ' . Y

DdRim:: • %:\Y j i ; ; ' ■ . ' . My ophscientipus dutyiYYY ;Y: - ■ ,, . Is not to permit you to make such an^ alliance. ' ^ Y- ■CmOm, ; Y; : ' y • j! . , . . Will yOu shotYOpyou sha&ei Your impudence*?— (5)

PdRIHEs;; W h y , you’ re so holy , and ■you fly in a rage I -

,QRdOR?, ; y . . , ', . y ;■,. v , y : You drive me oiazy with your balderdash, And so I. order you to keep your mouth shut. _: v

RdRlMEr v . ' , ■ ' : Y ' ' ' ; -All right (6) ' - y But even when s ileht, 1 can think. dmdN: , tYYV v./ -:'/ Think if you like ;. (?) , ; : . But ' take good care you don81 • Y: . Utter a w o r d , or else-?-(.8) A, (to. MR i i i E ) y . Y : ■ As a sensible man, ' : ' , I ’ve thought the matter' out. (l) ORGON turn to her, she falls silent

(2) Face front.

(3) Gross to her. DORIHE s It drives me mad Sot to be able to speak» (l) ORGOSs ' _ ' t. '. Although no .dandy, .. , iartuffe has looks-™v -

DORISEt ' - r /;' : - : ^ ^ , : ;;; ■■■ , All righlb 9:: If - you like them hard = ■ ' 1';

ORGGS:'' ; hi''' '' 'V; . f And even if you had no -sympathy For his other gifts— - . v 1

'DORISE" ' (.2) ' yy'- : X . ' : Oh , what a lucky girl l ■': If I were she, I would make sure no mam Would marry me "by force and escape scot-free; Jh'd I ; would prove, soon after the ceremony, Ihat' a woman always has her vengeance ready *

ORGQS (td: DORISEl s (3) - . ' Bo , you won81 pay attention to my orders?

.Do r i s e s '""'"" ; : V : , What&s your ohjection? I'm not talking to you«

0ROOS: -yy ■ ' lyy : ' ■ y y .-Then what are you doing?

DORISES y 'iv'.l'y' .yy. . Talking to myself.

ORGOSi y ' ■ Excellent, So , to., punish, her insolence - - I'll have to give her a good slap in the face. (Raises his hand and poises it for a "blow,"but when­ ever he looks at DORIHE she stands still and mute) Daughter, you ought to think well of my project-— Believe the husband— -Whom I've chosen for you--- - '(to DORISE) . yWhy don't you talk to yourself? -

DORISEs y : yy . ' : ' ; I"ve nothing to say.-

ORGOSs . yy Just say one little word!

DORISE S ; y- -y . yy y • y I don' t feel like it* . - (l) Raise hand.

(2.) In closer to -ORgOH. ORG-ON chase DORIME as far as archway, turn and speak from there. 34

(3) G-o off right. MARIANE sit of sofa.

(4) Gome down to center. o m o m ■■■ ; ; \ ; ■; , I was all ready for you. (l)

DORISES ■ . , . ■ . , ' ; v l s m not so dumb. . ;

0R60E ( to mRIANEj : / Y: In short, Mariane, you owe obedience > And you must show respect for my opinion.'

DGRllRs . ' , ; . >■■■..; ■ , Y': ' V Y' Y't ' 1 r; " ; You8 d never make me agree to such a husband. (R:' vOieOHg’ "yYY'Y'Y/Y . //-: ■■ ' Y ' Y-YY'Y That forward girl of yours 9 Mariane, is a pest, And she provokes me to; the sin of anger.Y : Y Y I8minno state to carry on pub talk;• Y ■ Her insolent speech has got me all excited 3 And I must take a walk to calm myself, ( j )

MRIAHES :: ';YY:-: " : V - ■ ':Y'^ ;:;::Y ':.,:.Y Y ; ' lhat can I' do against his absolute power?

DORIES: ' i • •Anything^in the face of such a threat.

M m iM E t ■ ' ; Y - ' : v -' - -- Y Y' - . / ■ . ,And,whatt Y Yvv-rYY ; - :'Y : ' - Y, Y Xh'h • ' ' . ' ' . V- : 'Y Y' DORIIES • , Y ' . . Tell him a heart can(t love by proxy; The marriage is for your sakenot for hi s ; And since you are the person who's concerned. The. husband ought to please, you and not him; And since he finds Tartuffe so fascinating, , He is the one who ought to marry him. m R l A m : ; ■ I know; but Fs-ther is so masterful ; '■ ; I8ve never had the courage to oppose him. h O R I p r y ;V, : Y ; ; Y Look here; Valere has made his formal suit; \ v How let me ask you: Do you love him, or don't you? (i) Gross to clown right, center

(2) . :$nrh iDBch;. to- MEIIAHE. : MRlAHEs V • ' Oh, you8re unjust, Dorinel You know I love him You have no/heason. even to ask the question8 Haven’ t I poured it out a hundred, times, And don’t you know the greatness of my love?

DORINE s I never know'if one is quite sincere, If your great love is really genuine.

MARIANE-: ■ :■ . / V' ' ' You do me a grea,t wrong in doubting it. I thought my feelings were sufficiently clear«

DORINE: U : : In short, you love him? MARIANI: v / ' ■ , ... ' Yes , and. passionately., .

DORINE: ' . - . . . . ■ ■ . ' And it would seem that he loves you no less?

M R I A N E n , ■; '• vV- ; . ;'A -i; thinkd

DORINEs - : Ahd. youiihOith.;a eager. . . To he united' in marriage?

■MARiAMStV-i X ' .I"; .. ' Oertainly. ' - ; , ; '

DORINE: .. , : , About 'this' other proposal, what’s your plan?

M&RIA1E: To kill myself, •if.:I am; driven to it,

DORINE: ' Splendid! ’' (I): ; : A''" :: ' I hadn’t thought of that way out. To escape from trouble, you only have to die. A marvelous remedy— (2) It makes furious, Whenever I listen to that kind of talk„

MAR M N E : ■ • : . . . ' ' , •; Good heavens, what temper you get into! You don' t, much sympathize; with others' sorrows, (l) Gross up left to endof sofa

(2) Sit "beside IBRIAElEo

(3) Rise and cross to up center=.

(4) Of OSS "behind table to down right

(5) Gross left In front■of table

(6) Rise and cross toward DGRIEE. DORIES: y. - j; : . : , I don1 -t OiueM..S3rmtia,thlae with those who drivel, (l) ■ .And then go limp, like you, when the teat comes,

:'MARIAM s;': f ;S/ ' -v ■ /i/: - {i ..C: '' ; vdiat can I do? . 1 " m-naturally timid-- . '1 -

DORIEES- ' / : v: . % '■■ But love Demands a firm, courgeous heart. (2)

MARIAEE: ,; ; ' 'V l' ■. ’ . - 1 I have been constant, answering Valere’s love. ' But he must ask, and gain, Father8s consent.

DORIES: v B " ' ' ' ' B . ' But if,:your father is a perfect crank, /Who's so infatuated with Tartuffe He disavows, the marriage he agreed to , ■ Is that a thing to blame your suitor for?

MARIAMS: B ' : . .v If I- refuse Tartuffe with open.scorn, : Won' t I: reveal how deeply I8 m in love? Brilliant though Valero is, shall I abandon For him my modesty, my daughterly.dauty? Do you want me to display my loye to the world ?

DORIESi;: B n : ''I/:'':-'''!: . . . 1: N o , I .want; no thing iat: all. .(3)r':l ' b ; • B I see you'wdsh-i B":: VV B- 1 ' ' . : ' /.B So beand nOw I think of it, - ■ : I'm wrong,:in :w^ » - .. Why should I argue against your Inclinations? The match . would seem an advantageous one . ' Monsieuh Sdrtuffe|b :Ho*s not :a nobodyl (4) ' ; Monsieur' Tartuffe! 'is: not the kind who needs . . To stand on his head ■to get applause and money „ 6n,e wouid: be lucky, indeed to be his wife. ; Why],, everyone is -giorifying himl ' He1s noble--in his own home town. And handsome1 , His ears are rosy red,: like his complexion*. You will be, alT. too happy with such a husband.

MARIAMS :B B . Yes, but— : ' ■ ■ , , . . , - „ , : 1 1 ' : , DORIME: - ' ' . What ^ecstasy; will .fill your soul, (5) •When/you are wife ’fp. that good-looking man..

.MARIAMS :: Stop, if you please, this agonizing, talk, (6) (1) Start out.

(2) Follow. Stop DORINE near archway

(3) Turn away

(4) Out front . And give me counsel ,Ww to escape the marriage«, I've made my mind up; I 811 do anything.

DORIHS : ; , J ■ ' N o a good daughter should obey, her father, Though he should.choose a monkey for her mate„ ;You8ve, a fine futurej what are you grumhling fort You'll have a coach to perambulate his city, ; Which you811 find rich in uncles, aunts, and cousins Whom you will be delighted to entertain. You811 be received in high society. You'll call upon the Lord High. Mayoress, ■ And on the Lord High Tax-Collectoress, - '; Who811 seat,you honorably on a kitchen chair. And you can hope for a'ball at carnival time, An orchestra consisting of - two bagpipes , ■ ' And sometimes■ a marionette show— with a monkey l, However, if your husband— ■ m R l A N E r . • h i '.. i You8 re killihg me!' ; Stop it", and. help me -with some good advice.

DORlNEi:. \ ■■ ■ ■;.:■ ; , \ y. , ;; ' ■ You must excuse me. (l) , .

:MARlNE:V.v‘'v ■ :' , : ■ ' ^ - - ' V Oh , dear Dorlhe, 1 please 1 (2)

;DORINEz v : V ; , , ' ’ ' To punish you, the marriage must, go through. MARINE S ; , .: : \ : ... ■ Dorine! ■ . v ; - bORINE; . ; V,:. : ■ ■■■ .;'■. • : ' y Mo! , ' ' . : . , : ; ; :

MARINEs_ Y;' , ' ...... : : u Y , . If i state my opposition— • ' '■-<' . : ■ 1 V' ' '.Y-.'. ; ' ' . » 'Yd,;:'; ' - "" -'Y' ' Y .... ' . . ' . v ' ' ' ' : . Y . DORINE : . . ; . V i ' Tartuffe's your man. You must put with him. (3)

: : : '. ' I have confided everything to you. So n o w - .

DORINE: Y .V u Y':: ; " ' V ' Y ■ Y ." N o . You will be tar tuff icated.. (4). . (l) Start up steps. (2.) Stop her. Bring her backv down left.

(3) VAliSBE enters along platforn and stops in archway

(4) MARIAHE cross down far tight. DORINE go up to left of archway.

(5) Gross down far left; face, MARIANE.

/

/ 62

M&RXA3SE: ' ... V ' . . //k .Since my unhappy destiny can81 move you, I must surrender- now to my despair. And. .from despair my heart will take advice. -1 know the infallible .remedy- for' my woes .... (1)

D O R i m f : n l, : , Here $ here.,, come back. (2) v ;;i/:■ ' ' - . f . I' ll put aside my anger.. I must take pity upon you after all.

MARIAIES:. : If they insist,on making a martyr of me, , . ..y: :C' I tell. yo u ,. Dorine,. that I 'shall simply die . ( >)

DORiBis ;■ ' . : Don' t worry. :: If we're, clever enough, we can Prevent it...But here's your lover, your Valere. (4) ■ ' X . ; ' ' ■ / ' ■ . ■ . ■ ■ l (Enter VAIEHE .Re speaks.' at first jestingly.) v'mEBBEfi;:v ; '//"'y- '/i-..;1;;.' l Mademoiselle, a story's going round That's new to me. Very fine news, no doubt. (5)

. MA R l M S s . VFnat’ s that? X.: :..n : ' :.. ' • : -V.',: VAlERE;i • ':;1: That you're to marry Tartuffe„

MARIANS.: ; Trulp . . ■ My father has this,idea in his head.

■ ML E R E f ■■ . , ; SI-'.'■■■..-a'- ' xl: : v; ';■■ v Your , father, mademoiselle-'- ' . . .

MARIANS^' 1 ' ' Has changed his purpose, •' . • . And. he has just been making this proposal.

-f,:; ■ ... Seriouslyf- - . X-x/ ' /1 :

MARlANEt : : ., : ;' '• ' ' . Yes, seriously indeed. ■ He has come out in favor of this marriage. (1) Turn away

(2) Turn away.

(3) Sit right of table

(4) Out front.

(5) Turn back.

(6 ) Rise. 63

: : ■ v ■ ,•:! " . : . 1 ' ■ . ; , V4ISREs ..% ''c'- . ' . And what is your opinion on the matter, , Mademoiseile:? '-v :''V' ''V;' y. - y, '

• . I don’t know»

- ' v : ' >.■ -; r mLERE-s - ' : V;- . Frank at/least; You don81/ know1? m R I A l l t ; .No. ,v, X •. VALERE '• .No?.

MARIANEs - ' V /r - / /.: / - ' ' ¥hat is your advice? ' ..

VALERE.;: . / . ' /- .: / ■ >Jhy, my advice is to accept this husband, (l) MARIANE: '• • That’s your advice? X ■ v ■ ■ , ' ■ : . - . • ■' : YALEREi - - 3108., : , '•■ v::. . ■ . . .

MARIANS-:- ,Really? (2) - : m i ^ R E t ; : - 3/' \ V - Certainly. It is an opportunity not to be scorned. MARIANE S ' /; ; ■ '.Well> I am very glad to.have your counsel. ,(3)

7ALERE : , " . , I, think you’ 11 follow it without much trouble. (4) m a r i a n E", _ : \ . ;3- ; ', /: V .. /With no,more,trpuble than you had in giving it. ‘VALEREs . . b , ^, /.: I gave.the advice only to give you pleasure. (5) MARIANEr / \ ! , . And^ I, shall follow'it to give you pleasure. (6) p:// 3//43:-//-///:-3 3p 3 V/ v /-/: ./\;\r-/:''::3 ; ' (1) Gros s to-right of archway.

(2) Ri s e , cross to VALEtiE.

/ A

(5) Turn away to in front of table

(4) Turn away left.

(5) Turn in to her.

(6 ) Turn away. DORIHE' Casiae): ; . ; ' ;v . ' v- '; We811 soon find out how this is' going to end„ (l)

YALESEs ;So this is how you love.me? Xou deoelyed me When you-- HARIANES ; I beg you not to talk of that» (2) You told, me outright, that 2 ought to accept \ The man who is designated for my hushand.; : . And i say that's what 1 intend to do„ Since now you give me that excellent advice0

VALEREs Don’t try to excuse yourself by quoting me; You had already formed your resolution. And now you5 re seizing on a frivolous pretext To authorize yourself to break your word.

MARIAHEI 7 / : ■ -' bY , 7 ; : - Well said; it’s true. (3) v a l e r e s : Certainly. And. your heart Has never felt any real love for me.

MARIAM! s v ... ' .. ' \ ; Oh, dear! Why, you may think so, if you wish. ■■ V /■■ - -■ ■ ' VALEREs ; - ' • ;. ; • 7 • : ■ Y e s , if I wish.! You think you’ ve wounded me ,: (4) But maybe I have other plans in mind. I know where I can get a better welcome.

MARIAM!: : V 7 ^ . I don’t coubt that. Anyone would admire ' Your character. ' ■ x ^ - ■- ■ : 7 ■■ ■• 7 : ' ■■ - VALEREs : : 7 . ■ . . Let’s leave my character out. (5) 77 It’s not so wonderful; indeed, you prove it. 7 But there’s another girl who may be kinder; (6 ) She won’t be ashamed to take me bn the rebound, - And gladly she’ll console me for losing you.

MARIAM!:' - ' ' The loss is. not so great. The consolation Ought to come easily in this shift of partners., (1) Sit at left of table.

(2) Cross to her.3 4

(3) Start off and return.

(4) Start off and return. 65

.WEREg ; ' ; ' . . % I'll do my very best, you may be sure. . Nobody likes to know he1s been forgotteno . In. sucti a eases the beat is to forget, And if you can't forgetpretend, to do so, it is unpardonably'weak, I think, . To display love for one who abandons us. :

M im & m t i : -it' / i That :is a very lofty:sentiment. (1)

m i E R E : : , ^ ' Y.ou're right. I should be generally approved = (2) ■ 1& You would like to have me keep forever My love for you unchanging in my heart, 1 See you go happily to another's arms, And seek no solace for my cast-off love?

M M lM E t ; . , Vv V.' ’ V-- ' Why,• not at all 1 That’s just what I desirei I wish that it were all arranged alreadyI

^ " r ; '; y ; v : ' : . v ' : ’You1 d like' .thatf -1 ': x v : 1

MARXAHEs Yes.

'YALEi^g;' I ’ve borne insults enough.t - I’ll'try immediately to satisfy you.

MAEiANEi. ' ;, ; :: ' 1 G o o d . ;■ f fivl ; ■

YAlilREg B:) • v' ^ \ : , ; Remember at, least: that you’re the one ' Who 'is driving -me to this expedient.

-MARiANEs. . .: f .i; ' -;; ; : : Y e s : . d ^ ; . ' ' ; ; . ;

m i E E E : ' (# ■; :. r And, nemdmber ‘ that; my/Pu^P056. i6 . /'':;;.To’i'.^6li'6W:■ your, example

MARIANE3 hr pi.'.:/: 'r::"/ ■ p ' If you like. , , ”' n

Y A L E K E s ; EnoughYour trishes, will be carried out. V (1) VALERE start off.

(2) Return quickly.

(3) All the way downstage.

(4) Turn away.

(5) Remain.

(6) VALERE start off, stopped "by DORINE.

(7) Down to center.

(8) Start off.

(9) Halt. ■M&RIAHE % ■ Fine'8, (1)

/, VALERES ■ \ ' Bo this is the last time that you’11 see me.

'MARIAKEs Excellent!' ■ V VALEREs(2) Uh? . ■

• ;MRIAME: What?

•VALERES Did I hear you call me? (3)

MARIANE s . You - must he dreaming, (4). v ■VALERES • ■ W e l l , I'm on my way, (5) ■ I bid you farewell.

M ARlAMs . . ' , ' , V ' , - . Adieu, sir, (6) ' . V ,

D O R I M s ' (7) . " As for me, /' ; ' '' I think you both are addled in the brain, I 8-ve let you squabble to your heart's content To find out where you'd land yourselves at last Monsieur Valero! ,' ■ \ : ' .•■ ' ■ ' V : : ; ' ■ VALERES':' ; ■ • What do you want, DOrine?

•DORIMs . '■ Gome here!.

VALERES ' ' : ■•.■. . - : Eo no , she8s put me in. a fury,.. 1 8 m; vdolng what she. wanted, (8) . don81 restrain me DORIMS ':•■• •-; : • . ■ . ■ V , • - Btopl '; . : : y. % :

.VALERES - ; ' No, the matter's-. settled, you can seeV (9) (1) Start off. -

(2) Run to MARIANE.

\ \ L

(3) Return quickly.

(4) Start off. '

(5) Leave MRI4ICE and rim to VELEEEo

(6) Pull at them, one with each hand ' . Itial. ^ • .;■ ; ■■■■■'; /'-"X:'- V. ' . m R l A E E i ..." '■ ' . ; ■■'.'• : . . ' My presene© seems to irritate him; • : , The best thing is for me to leave him alone» (l) ' m B i w i ; ; : ' \ . V./.' ^ Where are you going? (2) - m R i m B : , , :'. '■ ’ '. ' A/:' - ■ ■; i Let m e . alpnel. x-, . v . ■ v:,,' t .

DQRIHEs ' ; Come Back! ■, ' ■ '' y.. ■■ ’ M&R141ES ' ■ , . y - There*s no ns© trying;to hold.me back5 Dorine* (3) m L S R E z ■ ' • : x' ;. ./ •■•..> ' . ' y Clearly it. tortures her to look a t . me „ I*b better free her from that poinful sight« (4) D0R1RE: (5) '; ' ' y X y ' v,:.x;’yx ,;'x : ' What the deuce1 You * 11 bo nothing of the sort * ' Stop all this nonsense! 'Both of you come herei (6) mbERE; 'yy; ;■; y '• ''^'xy ' x : ■: ■ ' : - : What* s your idea? ' x ; . ' ' „ . ' >/ .•

M i m m H E i . y x :y x ,x. , What, do you want to do? i; ' lORiisE *;' :x v., yy''i: / ..x..' : ' ; ^ y.-' Make pexace between you and get you out of trouble o - (to.VALERE). x ,; ^ y .. y You must be crazy to get in such a quarrel® v yy' yxx • 'X,;., ■ ' x . VILERE : ' : y: ; ' • ' y ^ ■ ■_ : : ; y • V bidn* t you. hear the way ■ she talked to .me?' . .

DGRIME® (to W m iA M )A : You must be; crazy too, to get so angry®

M M i i w E s y V .. y \.y:'' V: -x. y - . x . Didn*t you see the way he treated me?

DORiai 5, (To ymLERE) . You*re crazy, both of you. I can bear witness Cl) Offer hand.. d

(2) Offer hand.

(3) Gross to right of lovers. .fhe. only thing she wants is to be yours „ . (to mRlAKE) ;-. t ■ vh t : : ' , ■He loves you only, and his one, desire, ’ Is marriage with youI' ll stake my life on that MR1A1E;' (to :#h2R# - ; : Y :; s T V'; ■ ■ ; Then why did you 'give mie your horrible advice? .

: MLERfe (to;-M m iM E} ■ ; -r .W ■ ; And # i y ; ask my advice- on auch , asuhjeetf : ■ h‘

DQRIHE $ v : ■ v ' , -y '.. ; ' - y-.' 1 said yoh ’ were both crazy , ■ G-ive me your hands s ' .. (to: mLERE:)y:yy;: y.'; - ' h.-: ' . - . ' /- .Yours , now, : - ■ - - ',v v ■ h--.’ . 'y'v .,h n V^'' . '■mLEREth-:'it';-/' ' ; ::h ; ; / ; ' ■ Way give you my hand? . (l) ;• ;;.',:' ;

:DORIHE '(to m R I g m ) , ; j - h;//: - . / Sow give me yours« - y'■ ■h;./'■'•■h : : ; 'h-: ■ f m R i A m &^ - - / /: ’ / / ' ' : vh- ''u ^ y-- W a t is the sense of this? (2) '

M i M E i ' ' h V.' ; h V ' y : : . Come 0h-,y step .forward., ; ■ You’re both in love more than you real!ze = (3) --tEiSRE (to iytoiiKg) iv > y , - Yesy, -but don’t do things so reluctantly , , • - ' ''■ And give a man at least a friendly look, , RoRiREs , The.fact is.lovers are extremely crazy! .-x'.:;yy' :• '1 / miSRE (to: M4RlA$E) sh '. 'i u ' /' - 1/ v-' ■'y--/\.Haveh:’. t: :I:- reason. :::to complain of you? ■ . ’ ■;/: . Tell me sincerely, wasn11 it unkind : To/amuse yourself -by hurting me so much?' /'■:,, ' . 'v - v ■'

MmiAHE1! ../ .h-g:■ , .V.■ ■ ' ■ / I'-X- : But you yourself,aren-t you the most ungrateful-

DdSiiEiv:;'?;- - ''t-/; 'y. i '’y':; V/;''h'-::::: - u;;-;./;'v'y''--'v -VvY;--1 / Let ’ s leave this., argument to another time, : v ■ And think- of f end ing off that fatal /marriage.," ’ - ■- #R1ARE: h- V'', .: 'y-'./"/ ; ^ y . " , / -v';; ; '' - ' ,//:: ;'>/-/-' But have you- any idea how to. do so?! ' (l) Gut. Lines introduce possible actions which never eventuate. Tempo close to curtain accelerated.

(2) Start off holding her hand.

(3) Start them off.

(4) Push each by shoulder. (5) V&LERE go off right; M R I A E E off left; DORIME is seen in archway as lights fade. ,69 DORINE: " ■ '•■■■ ^ : V: \ , . / / ■ ' . There are a lot of things that we can 3d;. Your father's talking nonsense, -he’s not serious.

: .;v jButthe best thing for you is to pretend . To gently yield to his fantasticality , So-;that s ;Ih' dase : of crisis , you can easily Keep on postponing .the wedding ceremony. : You can' cure many things by gaining; time. • 'First you will take as your excuse some illness, ■.will;'stride suddenly and cause delays; J:And then you'll meet an omen of misfortune. '■ You’ 11 pass , perhaps , a , funeral in the street,,; . Or break a mirror, or dream Of muddy water« The-great -thing is •that nobody can bind you / „ ''■"tTovahyone without .your;'s (l)- ; •'But put: of prudence s it would be advisable That you two shouldn’ t' be caught talking together. : - b ( t o / m m # i . - v.: rp/ : |JOw: go, and use the inf luence of your friends , To help you get .the ■ girl;, who :Was promised you. ' . ; And ..we' shall make her bro ther work For us ; • 'And. her - stepmother,: she ’ 11, be on our side. ' . ' ^ 'Wdd^by. . 't:' ; ; ; ' '' '• V ■".

' : ' ■ ' . - ::■■■.■ VALERE's (to MMIAHE). . . . • Though w e 511 ail.‘do the most ■ we can, \ ;lyvgreatest hope- ahdcconfideneellie: inyyou. (2)

MARIAHE: I can’t be sure what Father may decide, But I shall never be anyone’s bride but yours o . ' A ■. ■ - V ■ ' ' . ■ ' V •' '■ ' . ■ . VALERE.; , - You make me. very, happy 1 In spite of all-

BORIHE s . ; ; Lovers are never tired; they talk forever.■ dome oh; get going.. (3) mLEREr . ■ ’ A Finally— A- ■ DORINE;' . ' - . . . ' : ■Talk, talk, talk! (%): , ■ ■ . : You go. "out this way; you go out the other. (5) (l) Gross from up left to down right center, toward DORINE.

(2) Turn away left to sofa; sit.

(3) Cross to upstage end of sofa.

(4) Gross down right to center.

(5) Cross hack to upstage end of sofa. ACT III

■ •V > '' '

M M X S : • '. • .. . . ■ . k ,Now let a bolt of lightning/strike' .me aead (l) .' Call me a scoundrel, anything you please, ' ' If: any talk of duty will hold me back, If I don8t take some action to settle things„ .

D C R i m f . V . ' " ; : lust take it easy, calm yourself a little<> . . . Yourvfather has merely talked about the matter® People aoh' f .execute all they propose! ' There-s many a slip between the cup and the lip,

DAMXSs • ■ . I’ve got to stop that swine8 s conspiracies; (2) I've got to tell him a few simple facts„

DORINE: \ ' ;I; tell you, take- it easy ; let your stepmother - Handle-the fellow', as she floes your fathero She has some ; influence on .Tartuffe8 s mind. h' ; - He acts in a .very obliging way to her) , Maybe-he has a kind of weakness for her. Lord knows I hope.sol That would be convenient! (3) For your sake she will have to interview him, . Learn what his feelings are, point but to him What dreadful troubles he will bring about ■ .. If he encourages Orgon in his purpose. (4) . His valet says he 8 S' praying; I couldn81 see him, - But h e 111 be . coming down, in a moment. or two« 1 So go out , please.; let .me arrange the matter.

DAMIS; . • " . I can be present during the. interview.

;'BORINi'! V?:. -:' I ■■ ; ’ :■■■' ■’ .'No.., they must be alone.. (5) V, ■' ■ v-: .. l k .

.MMISr;: ' I will keep quiet. 70 (l) Sit angrily on sofa*

(2) DAI41S rise. DORINE push him out right. DORINE move down in front of table.

(>) TARTUFFE stands framed in arch. Looks off left.

(4) Start down steps.

(5) Turn to him.

(6) Move swiftly to her, handkerchief extended

(7) Accept handerchief. 89

(8) Tuck handerchief in bosom.

(9) Gross down left in front of him. DORISES ■ Sq^sejaS©'l ■ I know, how you: can get excited, ■And ■ that! a the way to ; ruin everything* Go on! ::. ; ■'

DAMiBs ■. ■ 1: - : - r :want to aee,9 and I won11 get angry* (l)

DORISES . ; ■ '- -■:> /"'■ Oh, '.what a nuisance you are!'. H e ’ s coming! • (2) V/i ■ Get out! . ■' ''D ' : 1 '■•■■ : V '

" / :■ ' .'' . '• ' ' %:/' ' ■: : ■ ' '. y' - ■ ■ ': ■ ■ . ■ .. ■ • (Enter IARIWFFE) (3 ): ' : ^ ■

TARFWFEn..^:;: - ,: :■:'/- vvx..G V ' ■' v' .y':; ■ ' : Put::my■ hair1/ shirt away and my flagellator, Laurent; and 'pray for heaven’s continual grace. ‘ : y 'If. anyone wants me, say I'm'off to the 'prison' ’ " To give, away the charity given me =, - ,

DORISES: (aside) : '' ^ v^y-- -;:V; ■' D . ■ Eyewash :and affectation, if you ask me! TARTUFFE: ^ , .:^i:y;'' , 'n ' y : iy,.,,. , What do you .want,?' (4); "

Do r is e s ' y - -y ■ : ■ . ' .To tell .you’- (B), y ,' y.;'y".-- 'y,-. - :

TARTUFFE t> ^1 ‘ : /■ ■ ■ / . ^0h,, dear heaven!. (6)';. : : • Before you, spqak,' please take this handkerchief».

dorisE'S ■' ' :: ■' n':;.y : .,y ;yy- •; . ■■ ; : ; What?. (7>: y ' :, y .. •' - ■ yy.; .TARTUFFl? .,'y’ ■ :;' ' : y : , "l I n ■ : -y'y V,^ Gover that hosom which' T must -not see* '' Such sights as that are hurtful to the spirit, : : , And. they may,well awaken guilty thoughts. • -

DORISEs ■; ::"vy "" ' ::y:: ;::'.; ': ;■ ■ ; y. y :: yy:y You must he very sensitive to- temptation * . Flesh.makes a great, impression on your senses!(8) ' : Of course, X don8t know how you8re stimulated, y. ' y But I, am' not so .readily aroused* If I squid see you naked from head to foot,. I wbuldh't he• tempted, hy all the skin you've got.(9) (l) Gross to steps of archway». (2 ) ELMIRE appears;f ipi Entrance»- - BORIEE exit ■ past her. V . , ■' V-. (3) Cross up to hand her down the steps.

(4) Go to left of table, move chair out several ; ■ feet toward stage left; Remain, at back of chair. .' -"// - :

(5) Sit in chair» : ' ; ): ':p\ V''-v' ; ' ' p ’p -

(6) TARTUFFE .go back 'of table to get chair at right« • Bring this all the way to stage center and place it a few feet from EEM1RE« - . / p . 72

TIRTUFPE?' Please "be a little modest in your speech, Or I.must leave the room Immediately.

DORINE: ■ , . ' ' - No;no it's I who. will go, and leave you in . peace -;; ■ • But there is .something that. I have to tell you.. ■Madame Elmlre is coming to the parlor, And- she would like to have a word with you.

TARTUPFE t , , ■ :., . . Oh,, ve r y , gladly,

DORIMEV;(aside).' - ; , How he Ooftens dowril ■ v ^ 1 ^ ‘ ' Bides me, I think- that I'was right about him. TARTUPPE:, ' Vi T ; " -■ : ■ 8Bd/s; .ooming.'sooh?' ; ■

DORINE: v . ' g : ; ■ • I:think 1 hear her now. (l) Yes h here she is . : Y*811 ’leave: you two together. (2)

TARTUPPE: ,y :; ■ ■ , : . , i ; . , - May heaven5 by its high, omnipotent mercy, (3) . Forever grant you health of soul and body, And bless your days according to the.desire Of - one who is humblest of 'heaven* s .Worshipers! .'

ELMIREi ■ \ ■ . ' ' I’m deeply grateful for your pious wish'. Let us sit down, to be more comfortable..

■fARTUPPEs- v I hope you have recovered.from your illness? (4)

ELMIREr .- W , l,:: '■ y'--' . ; .,y ■„ 1.. It's better, thank you; the fever left me soon. (5) TARfUFPE: gin, \.'n;;\'' \ - n y ; ■ l':,;. ; , My pfayers:are all too insignificant To have brought this grace upon you from on high; .. . But .every 'supplication 1 ;:have made Has had as Object your recovery. V • \

E L M 1 R E : ’ YOur pious zeal took all too much upon it. (6) (l) Enter cautiously. Wait on steps.

(2) Look up left. MM1S cross right to behind drape.

(3) Move chair closer.

(4) Take her hand.

(5) Squeeze her hand.

(6) Slip hand free.

(7) Put hand on her knee. TARTUFFE: . ; , ' ’ " Your preelous health concerned me very deeply1, - . And to' restore It gladly I'd give my own.: :

M I R E ; :: ', \ : ' v: ' : ' You're"carrYlhg Ohrle tlan oharIty too far; But; If,m Ih&eht'ed; to ; y oil for your hindhese

;!t e T W F E t ;: ' ^ 1;.: : ’ : ■ ^ teat.X,have done Is less than you deserve0

ELMIREs : '/-'d : ;■ X - I wanted, to speak privately to you. , I'm glad we have this chance to he -unobserved»

TARTUI’FlS v : " -. .' - ' . . ; . - I am glad tep./: It' 8 very sweet to m e , . Madamey to. find/myself alone with you. ; . It is an .pppprtuhitx X've ; prayed for • (2). I " Without; success , [ until ,thls'! happy moment „ - •

ELMIRE: ' : I too have wished. a chance f or intimate talk ? . v When: you mi%it . speak from the heart, without disguise»

lARfUFFE?;': : X X ■ ;X X"'X" ' X. 'X'\ \ And what X wish Is , as. a dingular . grace, To lay my soul utterly bare before you, And vow to you that allXof my objections • To the visitors who come to pay you homage (3) Do not arise from any hostility, : ■ X: " ' But rather from the extravagance of my zeals . From my emotion— (4) ...

ELMIRE; , X ' -"d' X-/" 1: gladly ; take it so, _ y;;: • v X" .,:- -I'm sure my welfare .gives you this concern,

TARTUFFE: '• Indeed, madame d indeed;, such Is my ardor- - (5) •;

iELMlRE;. ’, : ' d . ■' .. X X - X . - ; , . Ouch l 'You are hurt ing me l (6)

TARTUFFE; " ,, > ; Excess of 'zeallv I ’d no idea ofdhurtIng you at alio I 1d rather.X..(7) V

(1) Move chair away. TARTUFFE follow.

(2) Move fingers around her neckline.

(3) Move chair right toward table.

(4) Move chair up to hers. ELMIRSS . ; V; '' : Tour hand--what, pray, is it doing 'there?.

tAr t u f s b i . ' ': ■■ 1 V ■ J Just feeling the material; so soft!

ELMIBEi : V ( ' A \ A: / . / .. stop ■f eeling it. I s m teny' tloSlieh ./(l)

T A R W S E l ;. ' ;: ;:v ;'v:/'-t;V : '-/X v ■ Really 5 this lace is. marvelously donel (2.) ; The modern needlework is. truly astounding. ;; 'There-s never' before "been anything to match it.

ELMIRSs. \ .. , . : . ; Quite so. But let us talk about our business. (3) v-1 ,hear my husband, wants to break his word, " v^;v\Ai^l;tiai]#y to you his daughter. Is that true? :

' ' T W n W f ■'''■ :'■ 'A'"t ■ v 'SetsJhfnt Butlfo: tell the truth s : ; ' Thati^.s I languish for* . v .itiselsewhere, that,.;!, see the; alluring charms ■ ' / "Of theVfellcity.tthat'1 ; / ,

ELMIRS s /■ ' ' • , . . I see; you do not love •the' things of earth.

TARTUSFEg ' ' . . " ' ■ ; ' The heart is my bosom is not male of stoneo

■ siyaiREgi^-A ; v .■ :::x:: I/ think that', all your longings turn to heaven , : , ''■■.■That^nbAMiiig.- upon this earth.tempts your desires. ■

TART'DFSE s V' ; ' 'Xx' " ■ X ^ X The love which draws Us to eternal beauty Does not exclude the love of temporal things> : #id 'easily our senses may be charmed By. the perfect vessels heaven has fabricated. Its glory is reflected in. such creatures x- xx- . As you, who show, its rarest marvels forth» - Upon your face are heavenly beauties lavished: .x To dazzle the ;eyeS:9 to fill the, heart with 'transport : ;; 1 Ov perfect beautyi (4);I , could not look; upon ,ybu: : Without admiring - in -Mou Mature/ s author, VX1, ' XXX' ■ ■■ And ;:;wlthOut feeling ardent love in my heart For this fair portrait of divinityl . • At first 1 trembled, lest my secret flame • (l) ELMIRE move chair closer to table.

(2) TARTUFFEr move:: chair again.

(3) ELMIRE move her chair and find she is against the table.

(4) TARTUFFE move closer,

- = ^ (5) Lean away from him; over the table»

(6) Lean against her, one arm behind her chair. 75

..■Should : "be a stratageni of the. Evil One; (l) . Even, ! was resolved, to flee your presence, A..possible obstacle to my salvation. , ::: But finally' I •realized., toy fair one, .' That there need by no guilt in such a passion, - That I can make it: chime with, modesty; ; . And so f let my heart follow its bent. (2) v - I know it is ':a- great audacity ' .For me to'dare to offer you this heart;. But my affection seeks all from your bounty, And nothing'from my own weak enterprise..(3) In ypu is, all my hope, my good, my peace; l On you depends my. punishment or. my bliss ; . ‘ . By your decree alone may I be happy,' If you are willing; unhappy, if. thatIs your wills(4)

E L M I R E l : . ; v ' " ' . . \ ' ^ This is: a. gallant declaration Indeed',',(5) . ; • But I must say I find it rather .surprising. I think you should have steeled,your'emotions better ■' ^Gonsidering what sudh.'a f ' I f . , A pious man like you, so widely known-" ;

TARTUFFE: • v''.'f ^'i'f . hhh''. ■' of:: If' ■ : "ih, pious thbugh; I b e , I'm still a man. (6) ■ - And- when,one glimpses your celestial beauties, . • The heart' is captured , and it cannot argue®. . : f 1 I: know such words from me may seem surprising, : . But after all, madams, l“m not an angel. . .If;you’ condemn the avowal I make to you, : ’ : You must accuse' your own bewitching charms . ; Since I first saw their more than earthly splendor <, You were the .sovereign of my secret soul, And the Ineffable sweetness of your glance: Broke the resistance,of myfstruggllhg heart. ... You conquered;:' al l ,. my: fas ting, pr oyerand tears; And all my vows were made to you alone.- My eyes:have told you this, so have my signs; \ . And now * for greater clarity .s.:my Words d : And if: you look with a: compassionate spirit , Upon ;th;e, woes., of :'your . unw'orthy. slave.,.. . v - If you cohsent:''to ' bring;; me . consolation, To condescend to my unworthiness, ' ; .- , ^ I'll , vow to .you, 0 lovely, miracle , . f f f : . f Immeasurable wership'and devotion,.. - . And in, my: hands1 your honor runs no risk, ‘ Nor- need it. fear . any disgrace: br scandal., :: .- These young court.gallants women dote,upon Are careless in:' their; actsfand vain of speech. (l) Pressed, against table,

(2) Ease back.

(3) Move in closer.

(4) Turn to him, use fan to keep him off.

(5) D&MIS emerge from behind drape.

(6) ELMIRE rise. TARTUFFE rise and move up left

(7) Gross to center. v': v;";v : ' ; ; '• .. ^ ' 76 .

..They like to boast about their.,amorous triumphs; jlaere are no .favors that they don’ t divulge; : Their inconsiderate tongues "betray their trust'. Dishonoring the'' aitar■ where they worship,;V , : ;i: , .Men, of' my stamp9;.'-howeverare; his.oreet; ■ ': With us one isialWays sure, of secrecy, , '- Th e .care-we take of our own reputations Is a guarantee to the person w e :adore. She who accepts our heart acquires in us. . Love without scanSal'i'pleasure without fear,

e l m i b s i (i) ;■ : , ' _%lm, fas clnated'; and,,: y'our ,rhetoric Explains itself in very lucii termso- Aren't you afraid'that Imay be in the mood ' 'To tell my hushand ahout your gallant longings, Ahi that this Information may disturb The warm affection that he holds for you? \ TARTUFFEI , ; ; ■ . 1 know that y o n are far. too merciful, (2) That you will pardon my .temerity; Pity-for human weakness will excuse The violence of. a love which may offend you. (3) ’■■v-.L6ok':'hh/ypur'.''mirr.6i*t';':yhu:"w±il..recognize A man's not "blind, he's pnly flesh and blood. V ■- ■ . ; . ' ' " 1 ' ELMlREty^v';.^: ' /p y;,'; , : '. : Another woman might take.it otherwise, . ' • .. ■ But I : will Show t h a t . : , ^ I'll nbt repeat the. matter to my husband, 1/ ' - .: But ylnr.return- i • 'thing of you j- (4) .; ;.' ' ; That's to urge:vopenly,y With no quibbling t a l k , The marriage ofValere and Marians,. ; ■ . And. to renounce the' unreasonable claim By which' you^d; wlh'her,.Who is pledged to •another. And— (5)' :■■■ . ' '

DAMlSs.. Ail"! i.' v,:;:' Z'" • • ho, madame, no! (6)' This news' must -be reported! I was conoealed there, I could hear everything1 And heaven1 s favor innst have led me there • To Confound the pride of a treacherous evilfoer,(7) To open a way for &e .to avenge myself On his hypocrisy and insolence, To und e ceive;my.father, and lay bare ■ . The soul of a .scoundrel who talks to you of lovel

'A (1); Cros s:,.. to DAMIS®

si

(2) Start off0 77

ELMIKEi(l) Mo, Damis; it's enough if he mends his ways. Deserving .the pardon which I offer him. . -I8ve promised it; don11 make me break my word. It’s not my character to make a scene» A woman laughs at such absurdities, ' And doesn't trouble her husband's ears about them

■DAMISh v" /\ m i : ■ ' You hu?e your reasons to’take matters thus, And I! ve my reasons to do otherwise. r It is ridiculous to try to.' spare himo f h- t ' His sanctimonious ISpudence too long Has gof the better of my just resentment; ; Too long he8 a roused up trouble in our house; ■ And far too long the rogue has 'ruled my father, And blocked my courtship as he has Yalere1 s= ' . It8s time that Father should be told the truth, And heaven has given me the means to do so„ To heaven I owe this opportunity; ' It's far^ too favorable,to be neglected» , Why, I8d deserve to have it snatched, away. If I held it in my hand and didn’ t, use it.

ELMlHEi : ; : ...'v; :/ Damis—" ;■■■■■.■ ’ ■

DAMIB*1 ; . h .. ' . . , . .-hi-' Please, I must' do what I think best. I’ve never been so happy as I am now! There8a- no use trying to force me to surrender The pleasure of holding,vengeance in my hand! : Ir m going ..to settle. things immediately---(2) And here’s my opportunity in person.

" ' (.enter opQ-OMj'. ; 1:;' v ’ : ■ . : .. ' . ■

Father, we’ re going to, celebrate your coming ■■ ■; With a tasty bit . Of news which will surprise you» ' You are-'Well. paid for, all, your kindnesses! ' Monsieur.has a special form of gratitude. - He’s just'revealed his zeal’for your.well-being, ■ Which aims at.nothing less.than your dishonor .. .1 have surprised him' making to Madame ■ ■ The insulting avowal of a guilty love. , . Her character is'gentle; generously She earnestly desired to keep it secret. Gross up to between Di,Ml3, and. ORG-Oli.

: (2 ) . Turn to D M I S C

(3) Gross toward TiRTUFFE a few steps=

(4) Lift eyes to Heaven.; Turn slightly to ORG-ON.

/;■ 78

But I uaxmot condone such .impudenee:. To keep you in the dark w o u M he an outrage.

ELM1HE;, (l)- : ; , \ / - ■I .think a ;wife ought never to disturb ■ ., \ , & husband & s peace with silly tales like these; ' ■ They have no application to her ..honor j' • ...'/ ' ' And it * s enough that we defend Yourselves» v . That’s what 1 think. (2)Damis,you'd have said nothing If I had had 'some influence over you. ' . (Exit EIMIHE) ' ' ■ ' Y;. Y . j : ; . . QRG-OH; ' ' Y'-' - Y; ' ;' ■ ^ Y;h':;Y ; :v;Y Y - y. ' h"'7"; Y Y Oh, heavens, is this strange story credible?' (3.)

TARTUPFEi ’(4):■ ■ - a,' "WYr Y,; "'iji Y-i?; ,Y;YY1 ■. Y a'Y'YYY. Yes, brother; I am a wicked, guilty man, .\ A wretched sinner full of iniquity, ■ Y"- The greatest, scoundrel who has ever lived. Each moment of my life has been polluted,, : It is a.mass of:orime and filthiness. I see that heaven, for my punishment, . ■ Chooses this circumstance to mortify me. . iowever great the misdeed I am Ycharged With,■ I will not pridefully defend myself. Believe their words , and give your anger heir. And drive me from the house likeY a criminal. - ho matter what may be my portion of shame, . ■ ; I have Ydeserved to suffer far, far more. ' :u

OmOE: ,(Td DAMIB) . : .Traitor1 And do you dare, by lying words, To try to tarnish his virtue's purity?

DAMIS: ; : . " ■ •; ; . What L - All this hypo critic blubbering , Will make .you disbelieve— ORGOiNYs Silenceyou .pest!

TARTBFFE: ' , . ' Y ; Y;Y . : ; . Ah, let him speak! How;wrongly you accuse him! ; You would do better to believe his words. ' Whyin this case, be favorable to me? ' How do you know of what I am capable? Y How,, can you trust, dear brother , my appearance?. Does my behavior prove me better in fact? Ho, n o , Y y ou let my outward semblance cheat you. (l) Gross up to between DAMIS and ORG-OM. Speak to DAMIS.

(2) Face front and kneel.

(3) On knees, twist torso toward ORSON.

(4) Kneel beside TARTUFFE. 79

Alas, I am far from being what men think1 I1m taken commonly for an upright man. But the truth Is that I am. nothing worth» (l) Speak> my dear boy ,,and call me Infamous, Perfidious , ■worthless, thief and murderer ,. Load me.with,names still more detestable; . .1 do not contradict, for I have deserved them. (2) I long, to suffer their sbame^up f ' ■ A s : retrlbutlbh :f or my- criminal l i f e ' ( / '' ' 1 tv:;-'' o r q o n ,(.$o sMTWiii:)t: - t ; .' ,?-.y ;.-a?;: v ' Bear brother , 'it1 s' , too much«(To ■ ■ ‘ - r Bamis), Your heart - s not moved : - .•■ : Traitor? ' . ; ft- "; .. •; - . x; " r . :; ■■■

b a m i s t ; ;: : , . , ■ . ' ".;. :v":: .; His talk can fool you to this point?

ORSQN: \ , / Silence, sooundreli (To. TARTUFFE) Brother, 1 beg you,stand. :vv :: ■ - V : (To BAMIS) , ; Rascali;'

BAMIS: ■■r V 'v:n'Vv . VA.. - ' : . ' • - ■ ; : . ' : . ■ He can- • ^

ORSON: ' i . , .. Silencel. .

b a m i s :. :■ I will go mad!

ORSON: , ' . ' , ■ ' . Just say a word, and I will break your head!

TARTUFFE sv _ • - , : ; Be. not ' enangered , ' brother, in Sod8 s name. For I would rather bear most grievous pain . Than have him suffer, the slightest scratch for me

.ORSON: (To BAMIS)fVv:: . i : ■ ■: . tlngrafe!; - :

TARTUFFE: - . v : ilff ' Leave him in peace.' If I must kneel To1 ask ..you- f or his1 pardon-- (3)

ORSON ' (To TARTUFFE) .S Alas, you8re' joking! (4) (l) TARTUFFE raise head, still praying.

(2) ORGON imitate TARTUFFE.

(3) _ TARTUFFE BOW HEAD.

(4) TARTUFFE gestures to restrain ORG-ON.

(5) Start off. Exit on word? ncurse11 . (TP DAMIS) ' \ Observe his goodness 1

MMIS-f ' Then-- ,

ORGOMs ; • ■ .Peace 1

'BAMIB: • v.;' m a t , I* r ' /; ’ ' ' - .ORGOHt : , , , ' ; ' v-.:^ ' y .: ■ . . : : ■ Enough!- v:v;y ;v ; : ■■ ' .j b I can see well the motive of your attack» You hate him, all of you; I see my wife, ' Children, and servants'baying after hime You’re using every impudent device To oust this, :h person: from my home<» ^ .But the more efforts,you.make to banish him, .■ The greater efforts I-il make' to keep him here. And now- I ” 11' ha s t e u to give him my daughter’ s hand To abase the pride of the entire family„ (l)

MMias; ' . . . . You think that you will force her to marry bim?

ORGONs i";'' ; , / "■•; • ■ : -";■ ; Yes, and to spite you, on this very evening. (2) , Oh, I defy you alll; And I will teach you U ' You’ll have to obey me! l 8m the master here. (3) . Now., take your words back, ruffian! On the spot Oast yourself at his 'feet .to ask his pardonl

, that 1 From, this '.scoundrelv, by whose trickeries--

Orsons' ■ ■ ■ . • " ; ' ■ ; .: .:;, - Ah, you resist , you knave! And you insult him! Give me a stick,' a stick! (4) (To TARTOEFE) Don’ t hold ' me back.!.' . • . ' .'; ! '■ ' N ■■ u': > (To DAMIS) Now you get out of this house this very • ' minute, ; . ' y -y. . And never dare to enter it again!

DAMISs . ; ■ ; ' . .y^ : All right, I 5Tr go, but— (5) ■ (1) Rise and assist TARTUFFE to rise.

VA

(2) Cross to chair left of table and sit, head in hands.

(3) Run weeping to door.

(4) Come down to TARTUFFE.

(5) Sit in empty chair next to TARTUFFE• . ' ■ " . , : : . f: ' ■' ' ; v ' ORQtim . : ; . /,< ■ ' ' V,; v.:.; ; . Quick5 get out of here! - . . - : ■ Reptile 9 I s 11 take your name out of my will;, - ,Aud for good measure you can have my cursel %>fhihk off epdihS, so a holylmanh: (i)': ^ v; : TARTtlFFES : ^ : \ 1 V ■ ■ ' '■ . ' May .heaven pardon him the pain he' gives me 1 ' (fo OR(jW) could you know hoxf grievous it ■ / is to see ■ ■ My- character blackened in my brother1 s eyesr— :

ORG-QNr . - ■■■■■■ '' " : - . ' lias ! ■. ' ' . • . . ' ' ‘ l • V

TIRIUFFE.: : ' . _ ■ 1. . ' The thought of this ingratitude' r Makes my. soul-suffer such a cruel tortures.a ; The horror, it inspires .. .My heart is torn Bp :thht; I cannot speak! I 811 die of it! (2)

OR#M:: ,...... ■gTillain! ' I'm: sprry I withheld,my .hand9 ind didn81 , knock' you down npon the" spot! (4) Brother 3 compose yourself; don- t be distresses

TARTUFFE.l. . ' ' ; v 1 . > = , .■Let’s hve no, more of these afflicting quarrels ' 1 see I bring dissensions to your home; I' think it best, dear brother: that I leave it

ORG-OM: • Y o u ’re joklngl (5)

TARTUFFE S Here I’m hated, and I see ,• That one;would tiring, my rectitude in question=

ORG-OHi . t,' : . : ■ lhat of :itf Do you think I listen to them?

TARTUFFE: :;V" 1 ■ . "• •: J’ Ah s they' ll continue surely . their campaign« These stbrles you repudiate today ’ Perhaps another time will be believed«,

ORION: Oh never? brother, never. i l

(1) Rise and start off, up eenter.

(2) Cross up to him.

(3) Turn hack down, then start off.

(4) Return quickly to sofa and sit.

(5) Come down center.

(6) TARTUFFE rise, right hand upraised.

(7) ORGON raise hand, then take TARTUFFE tenderly by the arm and start off. TAHTUFFEs . ' ' " Brother, a .wife.; ;' : r . ., - , Can easily 'besuile a; husband8'e minS o"

O E M s ' Eo , mo !, !■ ■- i

TAEFUFFEs . : ;. I’ll leave the house upon.the instart,. And thus remove all reason to attack me * (l)

OEGONi . . ^ " . Ho, you”11 remain; (2) my life depends upon it.

FAETUFFE: / . : • - Well, I ’ll remain, to. mortify my. spirit. (3) ' Btiil,if you wished it--. ; ■

m o w s \ \' . ' O h i ' • ■ . :: ■ ' ' ' V-t ; ' ;. ..

FAEFBFFE: , ; ■ ' , . ; . W e ” 11 say no more. (4-) ■ I see how I must now eonduct myself. - Honor is delicate, and as.your friend I ”11 avoid cause for gossip and - suspicion, ' And flee the presence of your wife; I”11 never

0R6-0HS No you’11 attend her, to defy them all.(5) My 'greatest pleasure is to -spite the,-World:. •. t : 1 1 - want y o u ' to ‘he seen with her constantly. And that” s not all; the- "better . to affront them I want to have no.other heir.than you. And so I ’ll take immediately the steps Fo make you sole inheritor of my wealth. - A good friend, whom I make my son-in-law, Is dearer to me than my wife and children. Will,you accept what I propose to you?

FAEFUFFEt (.6) , v \ ' • May. heaven” s will be done in everything!

OESONf ;. ; v ; ■ ' Yt.il' . : ., :; ‘ ■ ,• : Boor fellow! (7) Let’s draw up the document, - And let the: jealous;. drown - in their own bile! (1) TARTUFFE enters followed by CLEMTE as the lights come up. TARTUFFE move down left, CLEANTE down center.2

(2) Turn to CLEANTE. GLEAjSfE , TART W E o (l) y . ’ ■ •" ■ ■ ■ ■ ' ' ' \ GIE&NTE2 „■ ; The matter1 s common talk. You may "believe me, • ,The scandalous tale is not to.your advantage« ,. ■ • And 1- am glad I chanced to find you, sir , , To tell you. my opinion in a word. I won81 attenpt to weigh the;rights and wrongs, I will assume the unpleasant story8s true6 Granted that 'Damis .acted "badly toward, you, " 4nd, that his accusation was:5 unfounded, BhOuld' not a, Christian' pardon. the" offense-, ■ ■ _ Extinguishing • thus Damis8 . desire for vengeance? : ' ’.'.fed;- should, you let: this 'quarrel he the cause . Of the .. exile of a son from his. ■father's house? Let me repeat to you, in perfect frankness, That'everybody8 s scandalized about it. ' ... -And, if . you . take my advice, you will , make peace y And not let things be carried to extremes 1 / You'll sacrifice your bitterness to God, 'v. ;And bring the son back to his father's favor» ■

TARTGEEE: . Alas , for my part1 Would happily, do so. (2) I harbor no resentment, sir, against-him. I pardon him freely, blame him not at all; .. I longiWlth all my heart to do him good. But this is not in heaven's interest. If' he .returns :he r e , I must: leave the house. .' .After his unimaginable action . . : We:: .can81 associate without disgrace-. . - - :. G-od ^knows what people would 'cohclude about: it ?, ■ They would accuse' me: of sheer caiculation. . Knowing:my guilt,:theyid•say, 1 was pretending : ..Feelings of charity for my accuser. , .They'd say I fear him-and want to humor him ; , In order to persuade -him. .to keep silence. /

GLEAMTEs : " ' , . - ' ' ' YOU try to give me plausible excuses, "But all your arguments are too far-fetched. % y take heaven's interest upon yourself? (l) Turn away left. .. Does heaven need, you to punish ..malefactors? N o ,no; let G-od take care of his own vengeance; He has prescrIhed- forgiveness- for offenses „ -: ■yV Don31. he concerned about the world,3 s reactions I1. - ^ . yon are foliow’lng: heaven' s almighty orders: Will you let worry about what people say ’ Wipe out the credit of doing a good deed? No , n o ; let3 s rather do what .G-od commands , And let’s not. trouble with, other considerations

U R T U F F E f ' - : ' :■ . ' I ’ve told you that I pardon him -in• my, heart; . , Thus I obey G-od1 s holy ordinances« But after the scandalous insults of today, G-od does not order me to live with him.. (!) . -x'l ,1 - '-.f- " ■ ' v', GLEiNTEs;: ;:;v ; , . /-V:-.,. v .. r . : f . ■ ; &nd, does G-od: .Order ydu to lend yourself "T, -TO . the f ather8 s. a c t , - propted, by pure caprice> And to- accept the -gift o f : property To which, you-have no legal right at all'?

TARTUFFEf : No one who knows me well can have the thought That I am prompted by .self-interest0. All, this world's goods have little charm for me I am not dazzled by their deceptive glitter * . - , \ Tf I decide to accept from the fa,ther1 s hands - This gift of his benevolence3 the reason .; Is onlyI tell you truly, that i fear , • ' That all - this, .wealth, may fall in wi eked, hands, : :v That is possessors may be men- who make ■ ,, V, A criminal usage of it in. the world, . v ;Who will hot.-use i t , as my purpose is, For heaven's glory and for my neighbor';s.-ygood.

GlEANTEt " . . - : -' _ ' - , ' Your fears, my good sir, are sophistical. They may give, rise to suits' by . legal heirs, Let Damis be Inheritor of his wealth At his own risk, . without' your interference,' . Reflect, it* s better that he- sould. misuse . it , '''u Than that .you be accused of cheating him, ' ; I ' am' astounded that you could have heard . - - - This proposition made without - being shocked, • / .For ' are there any maxims of true piety ■ Which teach the robbing Of'legitimate.heirs/ I f . G-od has put in your heart an adamant • Objection to your living with Damis, Would not the best: thing be - for you to .leave (1) G-o off stage left, back of side wing piece.

(2) Turn down right.

(3) ELMIRE support HARlAHE to sofa. MARIAME sit

z (4) Down right t-o GLEANTE,

(5) Pause in arch.

(6) Down to center.

(T) Kneel by his side. Decently and with honor,, and not permit The son of the house to be forbidden the door, Against all common sense, and for your sake? Believe me, sir, your character would look Extremely strange—

TARTUFFE:' ' Sir, it is half-past three; ; And it is time for my pious exercises e You will excuse me if I leave you now® (Exit TARTUFFEj (l) -

GlSANTEs v - ■ . . i--.---.'; : y"; ;:(2) .. y . ■ ■ . ■■:, '('Enter^EEMISE,. ■'■jptftJAHE.,. ^DORIES), (3): : Z : DGRllEs • - vZZ ; v . . 'Z • ■ " ' . .Sir,. I beg y o u , won’; t you -help to save her? (4). , % For she is suffering from a cruel;grief» Z . . The.pledge of marriage that her father has made Plunges her in continual despair* He*s coming now; please, let’s unite our efforts And. try to upset, either by force or trick, " That fatal project which undoes us all®. (Enter ORSON.) (5) Z:; Z' : Z v, Z, ; '

ORG-OITs. : ' - ■ Z : : >. . . Ahl I*m'delighted to see you all assembled! (To MRIASIE) There’s something nice for you in this contract here = . : - :/ ;;.Z . " And certainly you know: what that implies® (6) ■

HARlAms; . (7) ' . : . Z4; ' ' : : / Z Z . Father, I call on .heaven, which knows my grief 1. v ,: -: By everything that can affect .your heart Z' . Relax a little.,thefrights;Zof ’:fdiherhopdy Z . \ . And aet: me free from this obedience®. : -. Do not reduce me, by your harsh command, Z To. cry to heaven against my bounden: duty <» Z Alas., don’ t make a long calamity Of the life which you. Father, have given me® ' Though you forbid -me to wed the one I love, In spite of all the fond hopes I had cherished, At-least— I beg your mercy on my . knees-.- Spare me the anguish of wedding one I hate. And do not force me to some desparate act By using all your powers- upon my person® (1) Move right, away from her. (2) MARIABE sink down. ELMIRE help her back to sofa.

(3) Gross down right in front of CLEANTE.

(4) Gross from MARIABE to ORG-ON.

(5) CLEANTE'move left to upstage end of sofa. ORdGB: (a-side) ' v.,, ■ , Courage, my heart 1 Down #ith human weakness!1

1B.R14EES • , . : , ' • vV':, ; T ® m hot distressed, by your affection for him; ; -• ■ Openly-ehow itj give him your property; : .And if ttknt* s not enough, give .him mine too. ' But do not give him, pray s my selfmy person! And let me. in'the austerity Of a convent ■ V Consume'the unhappy days allotted me/.

, y : Ahui: 'Zpulre one of those who; seek a convent '. As soon as a f ather, crosses them in love l:' (i) ; :: G-et upl (2)The more your heart recoils from him, ' ■' .All the more meritorious is the yielding., So mortify your senses, by this marriage;, .. . And let' S have .no more nonsense out of you! . ^ ■

. D O R I N E s ; ; r; V . ■ " v . - y 1 ' , ' ; v f ■■ ' ; But what— ' '; " ' t- ■ ' : ^ ::r - ' -'.a

ORG-oHti : ■ . Be silent!'; Speak when you're spoken to! . I won't .allow you to utter a single-word! ■".‘.z • : ' ' , ■ '... - ■ : , . ; . : ’ - . " ' ; . - CLEAHTEs . . ., ; . - . ■ ■ , If you811 permit me to offer some advice-- .

ORGOR: y ' . , ■ " X - , , Gleanteyour advice is perfectly marVelous, So .sensible I prize, it Very highly; (3) But. it's my privilege not to follow it. - ■ .

ELMIEEt (To QRGOR) .. ' . a - ■ ' X ■■ ’ ' a ' - -t ..Seeing .what8 s happening,- I'm almost speechless. (4) ■ I;am .amazed by your infatuation. ' You mus t be totally bewitched by him' : - lo-doubt your word about today's occurrence.

OROORs' ' y..;y .■'yy^y.V.y-tr.yXy;- . " - . / Ey precious, I believe the evidence. ,0); :. X I know how fond you are of my rascal son. ' ; -• . Olearly you ,Were afraid to disavow. . , The scheme he tried to work, on that poor fellow. You were too calm, in short, fo be.quite .convinvihg ... You8.4.have looked otherwise if really moved, x

ELMIREs ' .And. should a woman1 s honor he so stirred. (l) Gross to QRG-ONVS side. ■ '■ If som^pRe/ma^^s ' a&/^brQus-.'prdpoaal'?-•; '....A?i4. dops^ the sasgestion- then require ' : i,11 fidry glance and fleroG, abusive1 words? ' Why, all I do is laugh 'at such advances, I think that we should show our virtue calmly? ' 1/ I don8t-agree with those excited prudes Whose honor Is equipped with teeth and claws, ’ . Ready to scratch your face at the slightest word. Heaven preserve me from such purity l . . For Virtue needs no dlaholio look? • , 1 1ye noticed that a haughty, chilly No - As agrehuff Is mightily effeetlve\

omoN: ' V' ; 1■ You needn't, try to throw me off the track,,

:E1Z1RE$ ; ; ^ vl i:.; ; ' ':;;g ;';v- r.' g ' - \ . , ■ . -Your , gulllhillty amazes me! , ' ' 1, I' wonder If your ■blind faith would he shaken If I could make you wlrness of the truth=

W O N ? :■ u : : ' ; ' Witness# . /-'i.v' . ■ -u g

ELMIHB t ■:' ' Yes „ ■ : 1: . " v : /' ' ' v: - : :

ORSONS ; . ' .. 'V :■ , ''"^'■'^Nonsenset : v '; ' ■, v - ^

ER1IRES . u . , - u : V ■ '; . What If -I 'found a: way 1 ': : - To show you the fact under yOur very eyes? (l)

Or s o n s " ' ~ '■ "'Vu Fairy tales! ■ \ :

ELMIRSs v / ' ' L : iA’ , What a man! I - wish, you’ d answer . ' I don’t suggest that.you believe pur words. But let’s suppose that we could hide you here Inhere you could clearly see and hear everything. Then what would you say about your worthy friend 2

OROON: , ■ : I:’ d say. in that ease . . =18 d say nothing at a l l , ; For it can’ t. beV ■ :v

ELMIREt You’ve been too long in error. (1) Move away to center stage.

(2) Down to ELMIRE.

(3) DGRIME exit. ELMIRE cross to sofa, touch MA^IAME tenderly. (4) GLEANTE and MARIANE follow DORINE. (5) Pull table downstage a few inches.

(6) Look at table. 897

(7) Gross to ORGON.

(8) Crawl under draped table.

(9) During following speech ELMIRE arrange chairs and check table cover. . ■ ^ V- v '■ ; ■ ■ 88 ■ An# you’ve accused me far too long of falsehood, (l) 1 How for my satisfaction,/dn the spot ' I’ ll make you .witness tjikt we tell the, truth» DRG-OJI?:' ; ■ V ■ ' ' : ' .. 11 fake you u p . on tliat .-;: i We’ 11 see your tricks :J ; ;We’ il:-see What- you can do to .keep your promise, ELMIRE (Id' D0R1NE) :: - o''. : v Send, him in -here , - ' '

■ DORlWl ::(2)v " : ' ' . He* s 'clever, as a fox; . Perhaps It won’t be easy to decoy him, ■ ■' -

. ELMIRE: ' ; ; - -i ■ ' , - / - No ,' one is easily , fooled hy one’ s beloved , And self-conceit will end in self-deception, x-f HaV®' him; come down, (3) (fo 'CLEANIE AND m R I i N E ) v ^ And you two, ple'ase go out. (4) V . >(To ORGON): Pull up this table. (5) Now get under, it.

ORG'ON % ( 6 ) ' ' ' . - - ; ' What? . .. /: ; ■ : ' ;

ELMIRE: ' / ' ;.l; ' ' . . , . You will have to be concea-led, of course.

ORGON: I'; But why beneath- this table?

ELMIRE::'. ,, ; ; ' : - u ' ' ' i'l': ; o: - Gpoh heavens , don’t argue ! ' : - - I have' ray pl a n 3 you’ll see how it comes out'. Under the;table, I :say; and when you1 re there, : - Make sure that nobody can see or hear you. (7/

ORGON: . /: . , ■ • - , ' ■l8m very indulgent to you* I confess. I want to see;how you get out of this. (8)

ELMIRE: , (9) : - I. doubt if .you111 have any reproach. to make. - ■ .- But' I am going, to 'deal with a.^ticklish subject, . ' x '-80' 'please, d^ let: yourself be scandalized. ;: :W 1 say mus f-be permissible ;' y:,It’s only to convince you, as I promised, . ' Since I am forced to it, I’11 have.to use Blandishing words, to tempt him to unmask. Cross up to look through archway. G-o down right of table. Stand in arch.

Cross up near him. ELMIRE sit on sofa. ORG-ON peer out from beneath table. EEMIRE waves him out of sight with fan as TARTUFFE returns. TARTUFFE check closet and go down right. 89

And. smile upon his impudent desires ? ' • : And let him .±>e ; Aud.aclous'■ as;: he likes . . - As it' s for your sake., and for his confusion, That I* 11 pretend to yield to his: appeals, I'll stop as soon as you are quite conTineedl Things will go only so far as you may wish. ■ Your task will he to cheek, his hold'advances f ' When you think matters' have gone far enough. And you' must spare your wife.,, and not expose her To more than you need to disillusion you. ’ . ii: ;Your interests are concerned; yous . are . the.master* C D He's coming! Keep quiet! Don’t .let yourself he seen ; . ■ - ; ' ' : ' ' ' ■ n ; ... ■ v.v't:' - ' i In thr TARTllFFi)' •: (3). ' ' ■'A-;.

taetdffes ' > -. • ':;;'^ I understand you)wished to speak to me.

ELMIHEs / ;w;: ; : . ' : : Yes, I’ve a secret to reveal to you. (4) ' But first, please shut:that door hefore I speak? And. take a look: around, for fear of surprise. (5) We certainly don’ t want a repetition - Of what.took place a little while, ago.'-. ' That was . a di'sagreeahle , surprise, ■ : : / " And Damls put^ me, Into a panic for you. . • ; You saw that 1 did everything I could v-Ah. To cross his purpose and to calm him down, rn It’s true that I was thrown in such confusion . . . It didn't occur to me.to deny his words.-c. : ■ . ' : But heaven 'he;; praised / the result was1 all the better, . .. And everything ls":on. a surer footing. • ; , Your reputation is proof against all storms? : And now my hushand cannot be suspicious. '; . In order to show a confident face to slander,: He wants us to he constantly together. So now I’m able, without fear of blame, y - To be alone With you,here--and with the door shut. And.so I am at liberty to reveal. , ;. My fee lings--but perhaps I go too far. h ■ : ;f"

TARTUFFEly ; . . This' ta l k : is somewhat, hard to understand, A % f ^ M a d a m e .■:; You aeem .td. have changed considerably 0

:ELMIHEs Why, if you’re angry that I once rebuffed y o u , Little you understand/a woman’s heartI You don’ t know what it8 s trying to convey,' When it defends itself so languidly!' (1) Rise, go down left.

(2) Cross in to right of table.

' ■ y

(3) Cross back of table to position behind and left of ELMXRE.

(4) Move away left.

(5 ) Go to her.

(6) Slip away to down left. - Omr modesty, must-:.'.a^ays make a struggle . : Against the: emotions whioh may rise in us«, ' Eyen though overmastered by our feelings, ■:We always find" it :shamefulto; admit them® . - At first we.fight against them;' "but our manner. Ought to make evident the heart8 s -surrender® For honor ' s sake :vWe.. mu s t : oppose our longings >. • And our denials promise everything, (l) I am afraid Is na speaking all ■ too frankly, .And: showing small regard' for modesty; But: since I ’ ve come, into the open, tell m e , (2) Afould I have s truggled to hold: Damis hack? ; ; t ■> 'And would' 1, ;pl©aSe:i so graciously, so--long's „ . Have listened to the offer, of your heart? Woni'd' 1 have taken the, matter: as ,1- did , ,, v If I.had: no t .found pleasure .in your offer?::? ' » " ^ And When I. tried on my own part to force you lo refuse the’ marriage which had,, "been announced ; What Was the " import Of my urgendy , If not my personal interest in you,: .And 'my vdistress:.f or 'fear- the;'projected union Would divide a heart; I wanted to keep entire? , lARTBEFEs- Surely, madame , ■ it gives me. Joy extreme . ■ ' lb hear 'such words from, the "beloved lips;8 ■Their 'honey pours:Into, my senses makes '':: Undreamed-of sweetness flood through all my veins My highest aim.jiS; that of pleasing ■ you;' - My heart f inds its beatitude in your love; (4) ;-v And yet this heart now begs the liberty To dare to:-' doubt': 'its-: own - tell cityt , For I could think your words a mere device To force 'me . tp break off; a marriage arranged „ ■ And; to - ;explaln dffiiy s elf with: perf e ct •clearness ,; (5) I-shall not put my trust in your sweet words, . Until the . tangible favors which I long for - V - Will guarantee your word's sincerity, v':-;-d v And in my soul implant a constant faith . r ' In the 'dear bounties which; you would bestow;.,...; -

1LM1BEA:(Coughs to warn her husband) ' . , % m@#n? You want to go so fast. And push IdVe to its climax all in a moment? (6) ’ ; I've'forced' myself. to make a. fond admission; 'However, : that is not enough;" 'for; you. ; ' - ’ ", Y o u ' Won-.t. be satisf ied unless you gain . The final favors at the very beginning? (1) Move to behind ELMIRE, take her by waist»

v V

(2) Slip away to near table.

(3) Move to her and take her by the waist 91

TARTUFFEs The less one merits <, the less one dares to hope; (l) And talk gives little assurance to our longingd One easily mistrusts a promise of bliss; One has to enjoy it before one can believe it° Knowing how little I deserve your bounty, I doubt the happiness I dare aspire to. And I shall not believe a word, madame. Until you crown my ardent love with facts.

ELMIRES . ■- ' • - Dear mel Your love is acting like a tyrant! It puts me in an awkward sltuatiqn! It seems to set a fury in men8s hearts,; . ■ With such a violence it seeks its goal! Gan I not raise my hands: against your onslaught? Will you not give me even time to breathe? And is it decent to be so exacting. To give no quarter when you ask surrender? And thus, by your insistence, to abuse The inclination a person may have for you?

TARTUFFEs : If you receive my homage with compassion. Why, pray, withhold the tangible testimony?

ELMIRES But how can I consentwithout offending ' Heaven, according to your constant theme?{2)

TARTUFFEs y If it is only heaven that stands in the way. It8s easy for me to remove such obstacles, And that need not restrain your heart6s desire.

ELMIRES ' ; And yet they frighten us so with heaven's decrees!"

TARTUFFEs I can soon banish such ridiculous fear, Madame $ there is an art of removing scruples. It8 s true that heaven forbids some satisfactions,(3) But there are possible ways to understandings. To suit our various needs, there is a science Of loosening the bonds of human conscience. And rectifying the evil of an action By means of the purity of our intention. Madame ,. I shall instruct you in these secrets, If you will put your confidence in me. Content my longings, do not be afraid; (1) Move down right.

(2) Offer box.

(3) Gross in front of him to left of center.

(4) Follow to center.

(5) Start for her. All the;responsibility is mine..» , ..(ELHIRB.:coughs):: (1) ,' ■ v ' , You have a nasty/cough. :SLMIBE:f /:. ^ '-:/ ;//' It tortures m e » / . .v - ; . : : .f ■" TARTUFFEs. • . , ; Perhaps' you' d, care to accept a licorice '• cough hropt, (2) u ELMIRS s ; ^ - It's a persistent cold,,, and 1 6m afraid, , :v' u ■ ■.;/ , ' That all the cough drops in the.world won11 help lt/(3)

TARTUFFEs ; . . ■'/;;/'' /t:.///;''\Y : . ' ' ' ■Z/ '; ; Very distressinge ’ / •/': '.'// '// v"'

,ELMIRS i;..\ / ; ' ; .More than loan'say, ■ i

TARTUFFE: ■ ; : '-'/' / -t.: t : ,/ :• . ; -Well, anyway, I can dispel your scruples o' ; . / You are assured that I will keep the secret/ (4) ■Evil !does not exist until it's published; .: It?s ;wordly scapdal that creates, the offence; / And sin in silence is not sin/at all. /’

ELMIRSS (coughs} / - ,' -■/ ; ; ' :i/.' / /--;/ 'v/ /: - In short, I see.that I shall have:to yield, - /; Make/up my mind to grant you everything. ; Otherwise, I suppose 9 I can8 ! convince // ; One;, who . is (asking/ irrefutable' proof« / / '":/ Certainly I dislike to go so.far, I take the step against my better.judgment; ■ . But since I'm mercilessly driven to. it , ; Since no. one listens to my arguments, , / Slnce.(absolute. ,'eonvletloh As : demanded , , y : ■ : ' 1 must decide to satisfy all doubts „ ' - / , 'And if there's any offense in my consenting, . : ( The one. who :f orces me .must,- take the blame! Certainly I am not responsibleo ■ .

TARTUFFE l ' ' . / l : ' I take it on myself :madame. The matter--(5)

ELMIRE1 / : But, first, open the door a little, please; .See - If my husband ish't in the hall® (1) ORGON crawl rapidly f5jBtMIRE before rising.

(2) Push ORGON back to table.

(3) Go to embrace ELMIRE and find ORGON as ELMIRE slips down left. TARTUFFE whirl up left center.

(4) Gross up to TARTUFFE.

(5) Cross to side of wife. TARTUFFE: " "r V' ^v;''-.'V" - - . /What sense is there,in.worrying about him? Re^'is the type that you can lead by the nose s - %he type to glory in our intimacies. He can see anything now and not believe' it

ELMIKE: ^ ^ - .-v ^ .;,V-■ ^ t t:.:-;. It makes no difference, Please3 I® d feel much•safer ;• • If you,•would take a careful look around» ' ■ , (Exit TMTUFFE) (ELHIRE taps fan impatiently, looking at table-, - ORG-OH emerges from under the . table.) (i) ■. / 1 . V; • '

ORGONs .. Y ' : c ; •• -/tt /Vv.. •; '. ' Oh , what a bad,, abominable .mdnl' '• : r, 1 ‘ , I am astounded! I just can81 understand it, >’•. 1

EiMIRE: J • ' ''i .■ - ' V-----.; V-1 ; : ■ ,• W a t , coming out so soon? Don11. ab absurd! Grawl in again, no tiling has happened yeti' (2)' r; ■ ' i;; W y wait till the end to make quite sure, So you won1t have to trust to mere conjectures?

ORGOHS i • v / :. : - It v ' : ; .tip' - : . Nothing more wicked has ever come out of hell!

ELMIRE?/r •; • . ' , ;; ' tv. .tv. • . ' ' ■. •■' You shouldn91 be in a hurry to believe things s t v. So . why not let yourself be quite convinced? ■ Just take - your'' time'; •maybe you're still mistaken. . (As TARTUFFE returns', ELMIHE makes ORGON crouch : ■ behihd -iherV} t \ ; v

TARiUFFE: •: v , ' tt i.'- - ' ; .t: Oltf'-dlt'-t-''' :, •' • '•./ Everything8s:: working put,:,madame, for the best. " live, had a look into the neighboring 'rooms. ; There:® s no one there. And now,- to my delight— (3)

ORGON I .. \ i ■.'■l . ; '';v- ... v Hold or a minutel Don81 get so excited, . : : ;t:v-t ■ And let ■your passions run. away with you! i : Ahat1 >,Ypu. holy;:man^ you1 wanted to fool me! ‘v- How rapidly you yielded to temptation! " ' :: ; : ..Veddlng: my daughter and lusting, for my wife! (4) I®ve long'suspected thigs were not aboyeboard; -I:' I always thought;/that you would change your Style, (5) - But now the proof is carried far enough = : - I'm satisfied, •;ahd; this' is all I need. - ' •,;•' . ■ " : ' , / / . : ■ / / ■ ; ■ ' , ' : ' • • • , . (l) TARTtJFFE move down right center

(2 ) Point to door.

(3) Point at ORGON.

(4) Stalk out.

(5) Cross to ORGON.

(6) Move down right.

(7) Face front. 1 . ■ It's not my. nature, to have done all tills, (l) :, J ’: '■ X-Sut■ itt-e been forced to treat you in this manner. ^ ;(fo: bR(10N) : . ' ■: t > / Vihat , you can think-

, ORGQHf ■ : ' " ' , Y . V : : Come on, don’t ma-ke a fuss, ' : ' •• " ; Get out of here without another -word» i TARTUPPEt - t V V f:v' . ; : ' '. I Only wanted-^^ ;.■• .

ORGON: "PdereTs , no time for' talk, ' ' . . ' 'But now ^ this very second, .leave the house!(2)

IMTUPFES (3) t t ^ ‘ • You are the_ one to leave l Bon11 be so proud! ■ I will remind you', the house .belongs to m e ! ; 1 811 show- YotL:. that ::118 s uselsiss to resort ^ ^ \ To such poor shifts to pick a quarrel with- me! ' Y o u ’re in ,a had positlon to insult me , / : . -t. ' For I have means to "break and punish, imposture, To avenge'offended heaven, and make repent■ ' Those who dare say that I must leave the house! t ' \ : (Exlty#^ ' th ; ,

- ■ . . ' • ' • - 'ELMIRE: ' ’ W a t i s '"he " talking ahout f: W a t can he me ah?' (5 ):

.iORGON'S" . : Faith ,' I'Vam'worried, It ’s': no iaughing matter e (6) ELHIREs ;; What is it?

ORGOSiV • V • His talk has Shown me my mistakes. : 1;am disturbed about1 that deed of giftc

EimRE: . Vit • ■ 4. deed of gift? , i t , ; ORGOhV • 'd::'' ' W' \ - Yes; it8s been signed already! (7) But there8 s hother thing which bothers me, (l) Start out as the lights fade.

V V: 1 : ELHIHE £■': . ;.Wa,’bjl S; that%

ORG-OHi ; ' : IV;'V :r Is 11. tellv^Qu; i .watit to-'see: , - If, there8 ev a stron still upstairs« (l)

'.V : '; .. i

T; :vr

/-.r' (X) As lights come u p , CLEANTE start to leave the room. ORGON enter, hurry down left, turn and cross quickly to down right.

(2) Start back out.

(3) Stop ORGON up center.

(4) Move down center.

(5) Follow him. ■JiGT' Y ' v." V ■ G L m m E , ORGOE . . , (1) ; . y OimNTE:-, , : / ' ' Where are you hurrying to?

* ORGONV : How dii^ETBi'v>: y : :

C3RGGHi;':y: ; ^ y ■ ■ ’.;y> : A> V";V: -,:.■ :■■} . / ' It is the strongbox that alarms me most, v v, ,;M6re than the other matters all together, (4) ■

'GimETB': • /: ''':yty^y:y,y:. % : ^ / Bo the 'mysterious strongbox is important? (5) ; , f .0RGGN1 . My poor* friend, Argas , gave/- ih , ^ : -/^ '■ . ' Rledging me-; to.. the:;; utmost/nepnecy,/; ■: ' , t t y' ;. .feenyhe }was' exiled// hs /earne first' to m e ; y - / . - He said his life and all his p r o p e r t y ■:' May hang upon the contents 'of /these; ha-pShs»

# E # T E : ' ' / : ..^;y :'■■■ ■ ■!: - d :y Th why dldyyou entnust ./them to another? o w o m y : t : y ■'■■y;yy-.-;yd': ■"’■•d ■' t//.'y;':;"vy;y-:' / /, My motive was to keep my conscience easy a ■:i/ :'//':'I told, that scoundrel all about the matter./ . ■ And/then his: arguments persuaded me . ■ To let him keep the strongbox in his hands v:So• ■ that9 in' case of any investigationj . ■ ' I'd have^'^a ■ deny the/facts / .y ' ' . And thus my cons cience ? in security, . Gould take an oathycontrary- %b: they truth e ..y■

CLEANTE: ' It looks to me as if you’re in for it. / (1) Turn away right.

(2) Gross to sofa

(3) Bit.

(4) SAMIS to upstage end The: deed-:0f gift 9;' the transfer' of 'the strongbox— 1 have to tell you frankly what I think— : \ Were .Inconsiderate, ; to say the least = n ; r With these as evidence, he can Involve you deeply«. Since he has such- a weapon In his hands, You were imprudent to.push hi#'to. extreme;■ : You should have looked for some more subtle, method

ORSON: . h Wa t 1 - Under -all his outward, show of fervor',' ' To hide a treacherous heart;, an evil soull ('l)■' To think I picked him;up, a penniless beggarl ’ • Al l 'right,/';T" how rehcunee' all worthy men. (2) ; Henceforth/I'11 have a,terrible horror of them;. ' I'm going to be. a devil to them all! (3)

CLEANTE: y; ; h.hy : How:there you go again, getting excitedI '' ■ ; ' Yow^ be moderate in anything^ h ' : h You .never seem to find the sensible course; From one excess you fall into .the other«, ‘ You see yOur error:,:Viand /you.,recognlae ; : .'..That you were taken in by pi bus fraud; r But now., to correct yourself, what reason is" there ,v. That you should; fall into a greater error, ' And lump the': charac ter of . all worthy men ' - With the 'Character of a perfidious rascal? .:> ; Because a blackguard boldly takes you in,; / ^ Impersonating an' austere' believer,: . ' ’ • ' You would conclude that everyone' s like .him,'. ' t, ; And that, no true believer now exists? - Let the• freethinkers draw those false conclus1ons. . Distinguish virtue from its outward, seeming, : Never give your esteem too hastily , : : r. ' ; . - 'Keep' to the reasonable middle :wayI . 5: : v ■ ^ 1 Try not to, give your honor to impostors,' : . • But don81 insult genuine piety, ; r: ;h ' .■ And if you must choose one extreme or the. other, Let your fault be excessive leniency. . ; ': (Enter 3BMIB) (4) : j: i -i , i BAMIEt f': V' . ' IS;lt' true, father, that a rogue threatens:yon ^ r .. Forgetting all;; the, favors h e 8 s received, ;. ‘ ■ . And that he8 s now presumptous enough d ;1;-.;'' T o :use. your beneflts^as arms, against: you? v

ORdOls ; f : d " ,• -19 m, deeply grieved tod say my son,.it's true. X X (l) Cross down right to in front of table»

(2) do to M M I S .

(3) Down to ORGON. ELMIRE go down left, DORINE down right, and M4RI4HE to oenter between ORGON and PERhELLE. MMIS moves up right behind table.

(4) Down left to wife.

(5) Move left to ORGON. 98, DAMI8: - : ; ■ ' .. . 61ire: me ffclae word, 1 1111 go and cut his ears off! One shouldn11 waver before his Insdlenee» (l) I ’ll undertake to set you free of him; I811 fix him so he*11 never bother us» . I

That8 s a young man5 s solution, certainly = ( 2 ). Compose'yourself and don’ t get so excited« ; .bnder "the government we have today, . : _ Violence Is no way to settle matters^ ■ . (Enter MIRIAMS:, ELMIRE, DORXHE-. ) ■ Mmt mm , : . ' '• • V - .'t- ^ - itt ■ 1 lhat are these goings-on I hear aboutf (3)

■o s g o n s ■■ . : i Strange things' indeed I ’ ve seen with, my own eyes 9 , , ,% : .And' a strange reward .for all my kindnesses l -y v I rescue a man out of his.poverty. Give him a home, treat him like my own brother , y t .And every day I loadlhim with benefits , ., 0 ’ . , I give him my daughter and all my property; :; 1 :: At the•same time, the faithless, infamous scoundrel Foully proposes to seduce my.wife 1 (4) And still not satisfied with this base purpose, lyyt. He/ dares to use against me my, own favors , y yt:./ : / y ■ y -'And'trie's: to. ruin me:.^ .. ■ l t .' 1 8 ve given h i m , out. of my foolish kindness , , - - yyy.To thboW': me ' yy y : ' And bring -'me yd own t o the state in which I found him!

yy'yyyy- ;'r y-'y-ty yy.y.'iI.’ -, y . . ■ ^"Bbor fellow! y y ' dy,y... ■::

IME PERN. * : : : : y M y son,; 1: can t believe • v / : He could: have wished to do such an evil - thing . (5 ) :,

ORSONS y ;v ;';r.\yy; yy:", :: .r.: :: .:;,y- :y:y^'::y; - lhat! y y ii :y,. ■ y y: - • ' , yil-;.

1MME 'PERN. S > •; ' ,■ . : 'y . yy’5'.' . - ? y ’’:1 - - Men Of principle are always, envied. y

ORGONs ; . : : ■ ,1., y : ' . * ' '* , ' ' ' ; y' Mother:, please tell me ’exactly what you mean.

M # ' P E m . s : y: Y' :' :yh.',: y y-Y" d:'" ' y/-Y':;: "iY Y'Y:.y ly mean that, people here are very peculiar, Cross to center stage.

Sit on sofa. . And' I know well how eTerybody- laa : M m » >r v f >' m

ORGONS : : 1 ■ : '■ • - / ' And what has hatred got' toy do With''1 - ' •

HIE BERN. * ' v y ' ' : - / Ifhen you were a hoy, I told you a thousand times Virtue is always unpopular in this world; " The envious ? they will die , hut envy won8 to '

org-on: ■ '..."' : ' ' ' 'A/ : ' ' ; ; , .What has all that to do with the present • ease?

MME RERNAl;:: .'/.A, Ji; ' V; ; ; Surely,'people have made up stories.about him* .

'ORG-Ohs: ‘ V . ' ' : : . ' : :V: 1 told you that 1 saw everything myself l:

.;HME 'EERBAi' 'A'. ' , : A it A ■ A The malice of slanderers is most’exeessiveo-

' ORG-OHi A: ■ : - v , / . , . : A • ' You'11•make me sin through anger, Motherl I tell you I saw his attenpt at crime with'my own eyes*

■ A;,, a Many a tongue is ready to spread slander, ’ And.nothing in this world is proof against it» ’

ORGONS :■ ’ A /ilA A':.A A. . '’A ' A A” , teat you are saying makes no sense at all. I- saw himy J. pa y ,. with -my own eyes I saw himi I saw him .try to do iti Now do I have to Yell in your ears a hundred times; :"I saw him" ?' tMHE PERN.: A ; v-': ' A \ ; a . .. a;. A : Mercy! Appearances'are.' Of ten dePeptive,;. You canhot always, judge by what you see

ORGON: ; .A- ' A A y : ;■ ;"A;.’A a ’ -You* 11 . drive me-: brazy I ' (l) 1 .

MME PERN, t . . /■ a A'..; ,J ’ A ' ' False . suspicions•are common, ; ’ And:good is,often'ill ihtetereted>;(2|

ORGON: . A ■. .: - A ' . . ' . , ■ I should interpret then as a charity

'UnW,' of Arim# (1) Turn away right =

(2) Move down toward ORGON. The. attempt! h o : kis s ■:my> .wlhef:: " ‘V-: •MME BERN: - To accuse a. man, ’ f. ; - ' :. ;; . , • You have to have a full and sufficient/reason; • You ought to wait until you8 re sure .of things»

ORG-OIT: V h Y' :- ' ' • . V. .And how the devil can I. "be ahy surer? . I should have waited, until, before my eyes, He1So = sho, you pretty nearly iriade me say it.

MME PERN. : . : ' 1 ' :. ■ ' His soul is filled with a too holy zeal» ; I simply can't conceive the possibility . He could' have attempted the things that people.say®

. ORGOH ? ■ . ; G-ood. heavens, you put me into such, a .fury , . I don81 'know what I 1 d say ,' if you weren81 my mother! (l)

DORimi'is) : ; , It8 s only fair , good sir ; you wouldn' t believe us , , :• And now you find they won't believe you either, / - - . ... X ■■ ■': X- ■ ■. . '■ X'.. ' OLEAHTE: y /-hyX' ■'/ • We'.re losihg:;’; precibus, time in idle talk. We ought to plan our actions , and not sleep . : ' In view.of the threats that scoundrel has expressed, 1

DAMI.S s. . : ' ' ■ . • ' What! ‘X,So you . really; think' h e 8 d have the nerve—

'ELMiRElv V : X- ;X: X vt: X ' v / : : X . ■ Xv;‘t Oh,Xl doh81 ;thihk that p e 8 d take legal action, ■ For his. ingratitude-would be all too clear,

CLIAME: ; X ■ X : ' . ' , ' X v Don81 he toe sure, Ho doubt he has devices To get a show of reason on his side, ' For less than this:a powerful organization Has got men into a very nasty mess. . And IX repeat that since he holds such weapons, You never ought to have driven him so far.

ORGONS: ; X: ; ;'.:X X ; ' ■ :X ' All rightbut what could I do? At his insolence ' I simply couldn't hold my anger in. (1) ;• ORGOM down right. DORI# move to foot of steps o' During following speech CLEMTE move up ■ right center <,

it i v -t

■p"

(2) Cross down to' ORGONo

(3) . Cross to center, turn to CLEANTE*

(4) Move close to ORGOR9 turn him to face M.L05TAL ■ .: GLEAZTEs I wish with ail my heart we could patch up ; ■ : Some kind of outward peace between you ,two» ■: !

ELM1EE$ - . ' V : ■ v - V i.-. ' ; : ..' ; r: jI ■■ If I had' known he held such trumps in band I .wouldn"t have glTen him such provocation«' ■ (MOZSIEUR: LOYAL appears at door) . . . ' .

'CROOZS- (To PORIZE) ; : ; .p , p :'; ■ ' ihat does that fellow want7 ■ Find out and tell,:me ' I'm in no state to deal with callers mow,, (l)

: How do you do, dear sister? Will you arrange , t ’For ; me to ' speak' to the gentlemanf ■ -t :;

PORizEif;,; t p.' '..'■■■■■■■ v '; A d vHe’h ensagod»: .; . •" ' P ^ .. \ ;■ P', P '. " ' ; , ; I .doubt i f , he , can; talk to any one how,, , P/p t m, LOYAL:.: : ■ : • ■ . ; . P: :p : ;P:'p:.r ■ ;. : ; I shouldn' t like to intrude, upon him here 3 . P But;I don't think mytbuslness will upset him, : :■ 18 m, sure he'll find my news most int eras tinge P ■■/.BORlisi ■ d’ , - '::hP\ : ■it'v.’; ; p ;P';; p .>;p„ /Your' name? 1, - . ; :;,./ ■ • ,/ " .■/■■/p...’

•M,:l o y a ,l -s \tt/.; ^ ■ ; .’p-PrP:h.'p'.p;p.. : -Pt7''. p JustPleil him that .Monsieur Tartuffe p / ' ' Has sent me 9 with a most obliging message. ■

.BORlZli::v; (0)■'"; p; ": ; ; / ? ' ■:,; , ■ . ' ; ■■/./^'hepih-h; messenger--and quite soft-spoken-- / • From our ■Tartuffe. He says he has some news P,; . / /That ; y be glad - to h e a m ; OL&ZTE; -; ■/ .Vt'■ PP;'v 'P':" :/;:pp; r' :- v;P npd-' pO v/ p P / You;' d .better see . /: v,/'d;'' -: pP; : V ■, - , . , - Whp this man pi s; and what- he has to say*

' 0 # 0 Z ; ; . "tp f : -.Pp1 p-p" : r : :p:.p: Maybe h e 8 s'coming.; to patch the business up. (3) P How do; you thlnk I p u ^ t to act;; to him? P" t •; v tiizTE: • ' p,/;

(2) low to MMi: PERHELLE. (3) Turn to ORG-ON who has come down center. (4) IBRIAHE sit next to MME PERHELLE.

(5) Step in toward ' ■ ■ . • " 102

' And if .he offers peace, you8 d. "better heed him, h . loyals ; : v ' ’ ; Greetings, good sirl May hea-ven smite your foes. And shower its "blessings on you in abundance I

GROOM (To- GLEAME) t v ; : : ; v; - - ■ A civil openlngl' As I foresaw, This is a hint of reconciliation^

M. LOYAL: . : ' . : ■ ; v , ■ ': v : ' ' '' : Your . family -was; .always 'Atil; frequently^ I served - your honored father®

0R00M: - - ;■■■, - , I am ashamed, sir, and I ask your pardon; ' / ; / I cannot place you or recall your name ov' ;:

M. LOYAL: . ' ‘ , My name is Loyal; I'm from Mormandy (l) And I'm.a process server "by profession* p. for forty years Irve had the' happiness " •' Praise. God., (2) to hold ,that honorable office* ' And so I ’come , sir , with your kind permission, (3) To serve upon you this Judicial writ. (4)

lhat8. You ca#e here— '' ' • - .v

M. LOYAL: ' - : . ’ How, no excitement',' please. . -y It8s jusfc a little notice, of evi.ction. : You; and , your f a.mily must .quit the house , Remove your furniture, make, place for others, '- Without delay , deferment, or reprieve.

OROOM:::.': 7/ ... V . . ' v . / .:iGiat , :leave .this house! : ■ 1 ;

M. LOYAL:. If you will be so good. The house belongs ,:as .you. arewwetlkaware, To good Monsieur Tartuffe, beyond dispute. He is possessed of all your property By virtue of a contraot which I bear.

I am amazed to hear such impudence8. (5)

-y' , f . ? ■4

■ (l) Step in closer. 103

Mv LOYAL s . : Young sir, I have no "business here with you. But with your father, a reasonable man, ■ "Who knows. the duties of a bourt officer, ' ind, wouldn^t . think of contravening justice,..

OEOOHs But~“

Me LOYAL: ' /. - Yes, I know that not for a million francs Would you propose to defy authority, . And that, like a gentleman, you will permit The execution of my order here e

MMlSt , V . . .; . . You might-, well get a sound and wholesome caning On your black jacket, Monsieur Process Server° (l)

Me LOYAL: (To ORG-OW) Sir, bid your son"be silent or retire* I should regret to put in my report Manaees of assault and battery,

D O R i m : (aside) His name is: Loyal? I should say Disloyal,

Me. LOYAL: • - I have a. great respect for;upright men, And I agreed to serve this writ on you Just to oblige you and to give you pleasure, To keep the service from the hands of others Who would not feel my admiration for you, And would not act with my consideration,

ORGOWt - - ; ' . . 'v : .; . V . , What could be worse than ordering a man To quit his home?

Mo LOYALi ; . But 1 am giving you timee ’ I will suspend, monsieur, until tomorrow The execution: of the legal writ, I 111 merely come with a dozen of my men To spend the night, . without publicity =. And for form’s sake I’ll ask you, please, to bring me The keys of the house before you go to bed. (l) Move to LOYAL with clenched fiat.

(2) Stop OROON.

/■' (3) Move to LOYAL; stopped by CLEANTE.

z (4) Move in; stopped by CLEANTE, now holding all three back. r

(5) Bow to MME PEREELLE and ELMIRE, then walk to archway.

(6) Up to archway, then back down center. We'll take care not to trouble your repose} Nor suffer any impropriety. . v Tomorrow morning early you'll remove Your personal, possessions from the house. ■ My. men will help you; I picked sturdy ones To serve you in putting everything outside. No one, I think, could act more fairly with you. And as I'm treating you with great indulgence, I'll ask you for your .kind. Go^operatipn In not impeding my duties‘-v execution>

ORION: (l) / V ' V .Ho happily I'd give this very moment . My last remaining hundred golden;louis For the pleasure of landing on that ugly snout., The most enormous punch.in.history! : t Z ' ; ■ '' ' ' ' ' ' ' ' ' ■ OLEMTE: ‘ / Easy, don't spoil things. (2)

mmm% v : ■ , ■ ^ : . , At his insolence . ' I can't hold in; I've got an itching fist. (3)

DORINE: : , d . - V That nolle back of yours 9 Monsieur Loyal, ' Seems to demand a few good cudgel blows. (4)

Ml LOYAL:- : ■ ■' > :' ■ .Such words, my dear, may call for penal action. The law makes no distinction as to sex.' z ■■. ' ' ■ 1 ' . • ."; ; . ■ - ' . . ■ : ■ .CLEANTE:. Let's have no more of this, sir. , That' s enough. Give us that paper, please,' arid leave the house.

M. LOYAL: ■ v - ...... V,: : . ;. , ' , . . , An revoir, gentlemen. ( 5) God keep you in joy®. , tixits.) . ' r ■ :

-ORGONS : V; .'i'' x/''' - v ' - May he confound you, and the man who sent you® (6) Well, Mother, you see if I was right or not; -. And by this summons' you can judge of the rest.

Ml# PERN.: . \ \ ' "/ g - ' - V . . lorn flabbergastedI'm struck all of a. heap! (1) Gome down left of ORG-ON.

(2) Turn momentarily toward MARIAHE. DORINES '.Oh, really! Aren't you doing wrong to blame him? 'Glea,rly his purposes are for your, goohl 'He's showing how he loves his fellow man.; . He knows that often wealth.corrupts the soul« ' Out of purev charity, he would remove The slightest obstacle •to your salvation.

GROOM: - ' ' ' , ' Shut upV shut up! How often, must I say it?

'CLEMTEI ; • . Let's :think about the proper course to take. . . e l m i r e : .... / ; • :: - Oo tell the World of his audacity I y-.'v ' His act ion makes -the contract null and- void. Public opinion will be so aroused By his black treason that he can't succeed. (Enter VALERE) (l)/ . .

VALERE: . I'm sorry,, sir, to bring you any distress, /• ■" But I'm obliged.to by the pressing danger. An Old and excellent friend of mine, who -knows How I* m affected by all that touches you, (2) \ Out of regard for me has violated 1 v The secrecy he owes to state affairs e The news he, sends me' makes it very clear • That.you can. save yourself only by flight. The scoundpel - who 'befooled you for so long ''' - •. Has made an accusation to the Kings And. to support his. charges .;has delivered . The strongbox of an outlaw of the state, . Hhich you,, he says, have .criminally hidden, . • Flouting the, 'duty of a loyal subject. I don't know much about the crime alleged, ... Bu t ' orders to arrest, you have been issued». •, Tartuffe himself is .charged to accompany . .. ■ . ..The officer who is to take you prisoners. ' .

OimMiEl'y. . '- : . • ' ' Thus he: .gets armed support, 'to aid' his purpose . To take .posSissiou of your property» :/ • •.

. '■ • - ■ GROOM: . ■ • ' . y; Oh what ya wicked creature that .manyisl; . : f - mLERE:;:y:; 't',H Hb .'.'1 1 Any aelay ,:%8 .:;f a#a,l r, -sb/ ,1! ve brought y. (1) Start off with VALERE turn and come down center.

(2) Step down into room. OFFICER enter behind him

(3) Move down left of center. My- carriage to the door to whisk you off. And a, thousand louis for the'emersencyo. So don81 lose timei this is a knock-doWn blow; The only way to dodge it is to flee« , I'll guarantee you a sure hiding place, And I'll aGcompany you until the end.

ORG-OH,* - , . , . . ; . V . : : Oh, I owe everything to your kindly actions!. I'll leave my thanks until a better time; I pray that heaven may grant me the occasion , Some day, to recognize your generous service. (l) Gbod-by ,'my friends ; be sure to— - ■ ^ : ' . ' ■ • . : : • • V . ' ' - ’ ' • GLEAHTEs: ; ' ; ' . . ; . / : : . Hurry^ hurry1 . • Dear brother, we will take care of everything^-

(ORGON and TAIERE start to run off. Enter TARTUFFE and RODIOE OFFICER.)

TARTUFFE: (2) . - ' . ; • : ' > ^ ; ^ ‘ Here, here, good, sirl Don't run away so fast! , - ' , A lodging8 s ready for .you 'close at: hand;. - . - By the 'Ring8s orders you're a prisoner!;

ORGOH? - y \ ; ■ ' 'ury . ' ,, Scoundrel , you .'kept this Wicked deed till last!' \ And thus, you rascal, you complete my ruin! This is the crown Of all your villainies! . .

TARTUFFE: ' ' :V; :: : : v.-'V' I shall not be embittered by your insults. I have been taught by heaven to euffer all. (3)

GLEAETEt/ . ' . ... t . :' S o 'this is holy moderation, is it f; : b a m i s : ;' : . - ' , ' '' ' , ■ ; . : . Shameful to make of - heaven his accomplice! : ; : . : ■ ‘ TARTUFFE : ' , ■ ; .. You cannot move me by a show of anger, , For all T think of is to do my' duty.'; ■ . ' .

MARIAHE: . ' . , / y ' 1 y , y . .. : y - y ; " ■ Much glory you will draw from this affair, y>. : : ' And surely you/11 dereive much honor from itl o!

(1) Step in toward center.

(2) Look out front.

(3) Move down between TARTOFFE and ORGON.

(4) Turn to OFFICER.

\ 107 TARTIFFES Am aet-lon can be only glorious . \-:vli0aem It'11 s. commanded by. the royal power =

ORfiOH ? " • . - Have yon remembered that my helping hand Was all .that rescued; you from beggary? : v . ■ m -- ' , . ' P ■, ; lABTUFFEs - V/: ■' . ''V-; ' True, I may be beholden for some aid,, ;. • But my first duty is to serve the King = . ^ This sacred, just, and' all-compelling duty .; / Extinguishes; all'- gratitude in' my heart«, : To its compulsion I would sacrifice .. Vf - My friends, my relatives, my vrif ©--myself ! EUilREs , Imposter!

DORIWE: ' \ i: ; - ' How he treacherously makes . , v. . cloak and shield of a ll' that we revere! . (-1) ;; '

OhEANTE: ' ; ; ■ But if, this noble zeal which animates you ,': Is quite as perfect as you say it is , ; p- How comes it that it waited to appear Till you were ■caught addressing Orgon8s wife? ■ .And why did: you denounce him only when, • ; For honor* s sake, he. had to throw .you out? /. I won8t allege;--though; it might have held you back ; His gift to you of all his property; . But since you treat him now as a guilty man, . . Why did you Stoop-to accepting all his money? ■

TARTWFEs; (To POLIGE OFFICER) ■: - /'u ’ P pi ■ ' Deliver me, sir, from'all these railing words, ■ And execute your orders, if you pleasea (2) o f f i CER* ■ ■'' : ;;:\'\:i'-;;t':Tp';p':.; ; ^ B ; i -- ^ yes, 18ve delayed too long in doinP so,. (3) Aptly enough, you ask for it yourself, , So here8 s the execution; pfollbW me p, ;p- :/ ;’, . ,11 :.. To the prison pell - that;8;s^ ready if or 'yourlodging'^

TARTDFFEs ' p p ■ - p . -p, v ; .;- "p- i, ; , Wh a t , me,, sir? (4) p . OFFi™? ' ; ' . /.id ,:.v'p" P " 'ui-i ' ; You, sir , yes, ,.' 'ip - . ■, (1) ORGON clutch breast. ELMIRE cross quickly from down left to upstage side of ORGON.

(2) Take papers from TARTUFFE. TARTUFFEs. , . " . But why to prison? zOFFIGe r i , . ; - v; x It8 a not to you. I owe an explanation,, (1), ' (To ORGON) Y o u 8 ve had a. nasty, scare; but calm yourself : -.. . Our-.present. King is. enemy off;f,rau4j 1 • His. eyes can penetrate bis subject's hearts; ^ The art of charlatans, cannot delude him. 1 / ■ - And his great spirit, wise in the ways of men, Watches his kingdom.with discerning eyes. No on©' can take him easily by surprise, ' . And. his firm- reason yields to no excess = ■ To worthy men he gives immortal glory, ; i And. yet his zeal.for virtue is not blind® . His love for genuine faith does not eclipse The horror one should feel for false devotion® Tartuffe was not the sort to hoodwink him Who h a s ' avoided many a subtler, snare'® l . ‘ : Immediately he saw.in its true color .. . -;The bass conniving of that evil mind. This man, accusing you, betrayed himself; . I VAnd, by the retributioh o f 'high. justice , The- King: Identif led: him ,as ;a hopae ' / : - ' . . Already famous hhder another name, ■ . / : 1 And with a criminal record to his credit ,Lengthy enough ■ to fill a score of volumes® ; . r In short, HIS Majesty abhorred this:man's Mean and ungrateful treachery toward you® With this crime added to the ample list, The King commanded me to accompany him. Only to see what impudence would dare, And force Tartuffe to make you reparation® Now in your presence I shall seize the papers Of which the scoundrel has possessed himself ® (.2) ' The King declares the Contract null and void ; Which made . Tartuf fe a gift of all your wealth And finally he pardons that Offense - ; . In which' the, exile' of a friend..:; Involved you* ' Thuse he rewards your past fidelity', '' ' : ■Which, in the '.civil: war S:,1 ^ uph eld his nights | : And ' thus he proves his heart" ever remembers ■ To recompense; a: subject’s, worthy 'action® ; He Shows that merit8 s not"unrecognized, That he is mindful:more Of good than evil®

DORINEs -.' '-''''.v - .v May heaven be praised®. ( t ) ;Cut e,.:Replace& .^ there you are $ ' traitor ,M 1 The■ word, traitor seems to the writer

l ' . \ • : : / '. , ■ :: ■ ' '• . ' - • '■ *: ■ :' . Turgeonet al s. The Prizicihhl Comedies of Mollere ( New York; Macmillan, 1935 ) P» 346 •; , ,

to- fit more...comfortably.. Into the .framework of poetic .' diction previously assigned to Orgon, and.'avoids what 'appeared to- be a modern accent often connected with so. called -If:melodramao:- ; ,. 'V: ^ ' t - . . vv ... ■ y..'--;..: i - y / ; . ■ ■ - (2) Officer lead Tartuffe off., stage right» Cleante ;'.y y :-: 'erossy;to.' upst^ r: '.C3').:'-l.;^ndleateg'dePiart'lng. Tartuffe y

(4) TbuCh Gleante8 s arm. Turn ' .toy Elmlre, lead, her to center stage. Pace front* y : -V ' ' ^

(5) " Organ yiift '.'left, arm; to vindicate Valere. All look . ' .atyTalere and..Marianey •engrossed M 109

MME PERN.: ‘ ■ ' ' - ' Now I can breathe againI

ELMIREt . , - ; All' s well then' . ; .

MARlANEs ' Who would have dared foretell it!

0R00N: (To TARTUEFE) . / So now we've got you, villlan— ? (l) Z : " ■ , ' :CLE ANTES, ; ' .■ ; Brother, stop. (2) Don't stoop to any unworthy exultation, ' ' But-leave a wret.cheh. man to'hi.s wretched, fate; (3) . ■ You need not add to the pangs of his remorse. ' Hope rather that his heart may now be touched,: - To heed the call of virtue; that he may \ . v ' Detest his vice and thus correct his life. And move the justice of our King to mercy; , . While you shall kneel before the royal bounty,-' And pay.its due to the King'scclemency.

ORSON: : V . : y":: Well said, ind eed. (4) ' So let us , at his f eet, ' Joyfully, thank him for his heartfelt kindness. And after this first 'duty has" been:hohe f; '. ; There is a second claiming pur cohcern; -: : So by a happy' marriage we .shall crown . The noble-hearted ardor- .pf vyalere., (5) , ; a ■X . : CHAPTER V ; Summary of the Rehearsal 'Period

. The writer , iri ' consultation with the head; of the Department of Drama and his faculty, determined that twenty-

five rehearsal period s were available over a span of twelve

weeks for this production of Tartuffe. The total estimated

number.of rehearsal hours available was fifty-seven, in­

cluding time needed for casting the play. No time was ;scheduled for construct ion of s cenery as this'phase was to be handled by aUniverslty.stage-crew laboratory section Time was allowed , however, in the "technical" and "dress"

rehearsals for the training of the crews who would operate; :

the backstage effects during the run of the play. • ,

The first three rehearsal periods were utilized, to

.cast the play, from students in the be g inni n g - i and v.; advanced-

acting laboratory sect ions i During this time the director

heard; a; total of ^forty-two students^ try out; twenty-two. ' :

girls and' 1 wenty boys .' ' The level , of "on-stage" experience

in \this 'igrdnp rangbd -f rotii:x;no’ -appeafances tO; many:, . with: :. ;'

the average s tudent having'taken part in;very few publie

productions. x; ..v;-'--'’ - V ■

v ':/:x x fbur main oriter used as an aid to castings -

.1. the suitability of the physical attributes 'Of.the actor1

I-; ■ Note i •.' Hereafter', the word "act-or" refers>'to •performers ■ of;■ t; r:\fx "'• ■;f, nf'"

n o Ill for the role; : 2Y Indications of strength in the vocal at- tack, and a general:impression of vitality? 3° the register and'' range of the voice and ■ its appropriateness f or the re­

quirements of the character; and 4» the response of the actor to directorial suggestions« ■

.''All students were allowed to read for any roles in which they were interested. This practice made necessary

the use of a record in which was entered the name of the student, the name of the role, the evaluation by the direct­ or, and pertinent remarks. Using this record as a memory

aid, the director selected two or three persons to do a last reading for each of the speaking roles„ The final selections a were made to achieve^balanced.ensemble with regard to such

items as general appearance, voice balance, and interpret­

ative skill. ;

When the parts had been assigned, copies of the .

script were issued and the first rehearsal was called. Four hours were spent in the reading and analysis of the play.

The historical background of the period in which the play was composed was discussed and an over-all approach to the

Intended style of production was explained. In this connec­ tion, the staging of movement, the costuming, make-up, lighting, style of acting, and pace were discussed in gen­ eral terms . The play was then read through twice.

During the first reading it was apparent that some sindents;experlenced trouble in contro11ing their breathingj - 112

they were unahle to maintain a proper - level of voice pro­

jection In the longer passages of the text. Because of

this, the director focused attention on the problem at the start in order to emphasize the importance of reaching a oif solution.. An explanation was giyen^ textual analysis 3 and

%oteIn the.' proposed method of treatment for this,; paper i the writer indicated he would function as a teacher, as well as'director, when time permitted. of the necessity for good breathing to sustain the voice at. the projection:level. ■ (Projection level being that level of audibility In an auditorium below which an actor may not

.allow his voice to drop.)

... v. . With the foregoing in mind, a group of actors was . asked to read a short scene at a pace which they considered to be adequate to the demands of a comedy. The group was then urged to greatly increase the tempo of the reading and. the vocal projection. This exercise was repeated sev­ eral times until it became clear that some improvement had been secured, in clarity of expression9 tempo, and projection

Thus by, example, the company was shown that breath control and a. strong, attack can be developed by practice and put to use-, for dramatic eff ect. ' '

After this, the speech rhythms most suitable for comedy were dis cussed. These were identified as a certain lightness and quickness of delivery, a varying of the tone . and tempo, and the creation, of the illusion of rapid-fire <3 ialog-ue by the s w i f f picking up of 11 cues'-» The actors

Were' told of the ill effects produced on stage by slow ,

verbal responses coupled with a too rapid utterance of

lines. The belief that a "fast" reading will convince the -

audience something interesting is going on was denied.

The next business at hand: was the arranging of the

necessary entrances and exits of the various characters

in the scenes of the play, together with the most import­

ant movements within the acting area. For this purpose

the writer had sketched a ground^plan1 which indicated the.

^•See. Sppendix ;:B , . po ■. - : . • ^ : . y

placement of the scenic elements and stage furniture. At

this time an agreement was reached between director and ■'

actors that any. ^movernentarrived, at in the early rehears­

als could be changed later; that all were to feel free to

experiment with new ways to present the pantomime of the

play,

It was necessary before beginning.the "walk-through"

to explain, the .■intended, use of the front curtain in this

production . Play production techhiques of the neo-classic -

.French theatre , and . Moliere1 s custom of . havihg . .his actors

leave the::stage';to signal the end of an act, were discussed .

The c o m p a n y .was informed that the fropt curtain in this production would be used only at the start and finish of the performance;. - The first three acts were to be played with- 114

.-, oyt:; intermissaoil > using the /momentary darkening: of the stage

i.to indicate the end of an act. The intermission was to be

i taken at the third act f inale for the reason that. Tar tuff e: :

i has -bj'.then been ■ intnodnced; to the audience, and there is d a 11 looking Tor wandM; to- farther-plot developments . By these''■

: means': • the speed of presentatibh con Id be greatly in ere as ed .; :;

• With the/b in mind-,beast and director

- set to: work on the play scene by scene. It is not within ■ ./

the sc ope .of:; th i s paper to report: theSmallest 'details:. of ^

: directihg, /bht a shg^estlpn as, to . the: principal: problems-

: - in . the stag ing of each a ct - may prov e of value. In the ■

■ 1- first iabt four ma-lbr areas': of attention come to mind . The ':' b-"' b :..''bd;"' .b'b'--:'" ' " .b ;-.A_ , "'i.\ : 'b , .firs t problem: was: that of arranging an effect ike - stage: ■' dr,,

picture in the opening scene-in a natural manner with the

fonus pf: 'attention on^ladame: Pernell©;. To start with . only

: the: most general:d-lrectionsdwere :giyen: to the .actors. They /

' - - were told only to;. gropp themselves -as if' they had: been lis- ' x:

tening for some.time to Bernelie holding forth bn the sub- ■

d ject b f Tartuffe . :: .dl : ^ hd'' -:::d- - .. . 'dd b '

i ' ,. :, •MmebPernelle was,, asked to sit at one side of the d

table.jppposite.Elmire. The other-actors grouped themselves dd , around the. room, some, standing, some" seated:.. 'Berhelle. was , : -

: then asked, to 'bring her hand down, hard' upon the table as t

she rose ..in anger to utter her f irst line d This proved to

.' bet an ef f ec t ive bpenlng., - for the aud. ienb e firs t? saw .Pernelle' :

: in motibh ,,: walking with..■short, angry: stepsd toward her maid s t Fllpote i This movement had the virtue. of beginning the play with a decisive action, springing from character and line 9 which at once draws the attention of the spectator to,.;.the principal figure, in .the first scene.

■.. ' f l ■ The second problem was the matter • of Mme Fernelle s . slapping of her maidPlipote Was placed near the stage, archway and told to doze. Pernelie.delivers the slap and

Fllpote staggers off, followed 'by her■mistress and Elmire.

Mariane and Damis were asked to remain in the room until

Elmire9 noticing their lack of respect, signals them from the archway to follow her to‘the exterior door. This.device enabled five persons to exit in a very brief time, without creating undue traffic problems in the doorway.

The third major problem was Orgon1s first.entrance.

The effect needed was of Orgon at rest momentarily, framed in the. archway, so that the audience can get a good look , at him, • A meaningless, pause was out of the question so the following sequence was agreed upon. Orgon was given a cloak and hat to carry in with him. He was to discover

Dorine and 0leante in the room on opposite sides of the stage. As he came to a halt in the doorway, Orgon was to greet Cleante, glance,at Dorine with some show of impatience as she turns away, then step down to a large chair near' the back wall on which he places his cloak and hat., He then v - : :: ■/. ' ", ; ... , ■ goes.downstage to Oleante and the scene continues. II6

The fourth important action in Act One x-tas the cur­

tain speech of Cleante as he goes off, so he tell u s , "to

warn "Valere of the look of things.89 Special attention was

paid to the actor’s position on the stage as he delivered,

the line, and to the tone of voice and degree of projection

used. , This■ was necessary in order that Valere1s appearance

be prepared for and that the spectators should have no doubt

they were seeing the'-end of an act. '

The most difficult part of Act Two Was the staging

of the scene between the two lovers. It was decided to be- ; "5 gin this scene by having Valere and Hariane at the far sides

of the stage (after Valere8s entrance, of course) opposite

one another. During the quarhelthey could thus move in

and turn away alternately for, comic effect. They would, be

brought together in the center of.the stage only by Dprine's

interyentlon. Once Close, to: their adored one, each would

/find It ■ imposs ible to move awayiand: :Dorihe would f i M it

most difficult to separate- them. In this staging we found

the key to the humor produced .by two, pleasant young people

who quarrel for the sake of making up ,■ then fall upon each

other in an ecstasy of affection and forgiveness.

The third act provided the director with four major problems of staging. The first was the entrance of Tartuffe which occurs in the second scene. Because this appearance

is so long awaited by the audience, it was felt necessary . .117 -

to.,,'buildw it as much as possible. To begin with , the arch­ way through which Tartuffe was to enter had been placed on

a raised platform, thus insuring that anyone standing on .

it would be in full view of the audience. The setting and

lights had all been designed to aid in this focus of atten­

tion. Dorine, alone on stage when Tartuffe enters, was placed far down at the right. Tartuffe enters the archway upon the platform; he sees Dorine and turns to call out to

the unseen taurent, then he turns back to Dorine and starts a long cross down to her, a cross which gave to the actor

time to use his pantomime to good advantage and to the andience time to appreciate the details of his appearance

• A few moments later Tartuffe and Elmire are-alone on stage, and the Second- problem occurs. Elmire requests' they both seat themselves in order to be more comfortable„

The two chairs to be- used were at downstage right, separated by a tableThe director suggested that Tartuffe deliberate ly intensify the staging problem by taking the nearer chair and .placing- it almost in the center of the stage for Elmirs,

He then faced the problem of making a long cross to fetch the other chairas the requirements of the scene demanded he be seated .close to Orgon s wife. ' -He was asked to place his chair on the far side of Elmire, rather than placing it at the side closest to h i m , thus Elmire was put between

Tartuffe'and the table V • 118

At first the chair was placed too close to Elm-ire and a re-analysis of the scene was made - with the actors after which the second chair was put down on the stage at a distance from Elmire which would indicate that Tartuffe was being most correct at this point» The actor sueceded in doing these things in a' manner which seemed at once characteristic and credible. As the•scene progressed,

Tartuffe "began, to move his chair inch "by inch in Elmire's direction and she, in turn, moved; away until at last she was.halted "by the tahle«: .. .. . -

■At the start of the.ahove scene it is necessary for

Damis to re-enter and hide.in the closet. Stage directions

^ ' - - '. : ■ ■ ■. . ■■ in some editions of Hollere have Damis already hidden when .

Tartuffe enters, but this director chose a different stag­ ing, n The minor ..problem here Was solved ,by a method similar to the one applied, to the movement of the chairs. The actor in the role of Bam is was told lie must get himself into the room, cross behind Tartuffe and Elmire to the safety of the closet, and to do all this without once coming into view of the other actors, or making any sound„ In solving his problems on this • entrance, Damis created much comedy that might have been lost had the director staged the scene in such a way as to permit the easy unseen passage of Damis to the closeto

Ths Scene in which Tartuffe falls upon:his knees provides the third major•problem of this act, Once Tartuffe : v . ■ ' .."119 was down, the actor In the role of Orgon throw's himself upon his knees, close by his "brother's".side. He was then asked to arrange the positions of his torso, head, and hands in exact duplication of Tartuffe's pantomime.

(Earlier, Orgon had been requested to select certain phy­ sical characteristics' of Tartuffe to imitate in the open­ ing acts of the play,.) Mimicry was utilized once more in the final moments of this scene when Tartuffe raises a hand heavenward on the line; “May Heaven"s will be done--in everything.m Orgon was asked to imitate the raising of the hand to gain a further comedy point.

The fourth staging problem is the double exit of

Orgon and Tartuffe a.t the . conclusion of the above scene.

Various arrangements and; pantomimic actions were tried, but to no particular avail. At last the suggestion was given theuctor playing Orgon that he was to make a great contrast between his tone. of voice and manner when address­ ing Tartuffe, and when he utters the lines: 18. .-.And let the jealous; drown in their, own bile 1 ” He was to take

Tartuffe tenderly by the arm, urge him to come•along in supplicating tones, then deliver, in most un-Christian accents, the final line quoted above.

■This writer found three problems central to the successful staging of Act Pour. The first is the scene between Mariane, and her father (others are present) . . It was staged so that the daughter fell to her knees at the 120

.side of her- father' In. such a way. as to keep her face, partly

turned toward the audience. She Was. asked to make her plea

with the utmost sincerity as there is some danger that the

words put into Marlane's mouth might induce an inexperienced

actor to make them ^dramatic" in a pejorative sense. Great

sincerity is a prerequisite in this scene in order to sus-.

tain belief in the character of Mariane, and to point up

Orgbn's infatuation with fartuffe. One last problem with­

in the scene occurred when Orgon commands Mariane to get-

up. It was not desirable for her to rise unassisted and

something was needed to bring Elmire to her side. The

suggestion was made that Mariane feel she has lost every­

thing when Orgon says "Get upl", and that she sink, still

lower. This pathetic movement on her part would motivate

a quick cross by Elmire?wh o would then lid her to rise

and convey her to the sofa. '

The second main problem occurs when Orgon is hidden

under the table to entrap!Tartuffe. Avery small table was

used.and Orgon was asked to slip under it from the narrow .

end , being careful not' to disturb the cloth cover which '

hung to the- floor. Once, under, the table ? he was told he

must reverse his position, again, without disturbing the

cloth, for the purpose of making an effective exit from

his. biding place'. At the cue- for his. exit from beneath

the table, he .was asked to emerge 1 suddenly at the- most' rap-

' - id:crawl h e 'cquid manage. • He was to s curry i n 'this manner /. several feet: In ttie dIrectlon: , rising only when., it be,came necessary to avoid being too close to her when he stood'up>.

The last major prohlem in Act Four is the staging of Tartuffe's final speech and exit? and the curtain-line exit of Orgon and Elmire„ Tartuffe was placed center stage for his final lines, asked to speak them with great intensity and clarity ? then to walk, off at a rather slow pace in order ; to further frighten Orgon. Orgon, in turn, was asked to make quite clear the lines about the deed of gift and'the strongbox, for although we can connect the deed of gift _ with: Orgon s prior promise.to make Tartuffe his heir, the

Introduction of the.strohgbox is an,entirely new plot ele­ ment- and. demands that the; Idea,be barefully conveyed to the aud ianoei '"v , /. ' ' '' - '

Act five presents only one major problem, that of arranging the actors for the final scene with Tartuffe and. the King's Officer« Earlier parts of the act are not diff­ icult, no serious obstacles arising in the entrance of Mme

Pernelle and the menage.« . M • Loyal1 s entrance was easily staged for no one was up near the.door when he appears in it and coughs gently, to warn the company of his presence.

Loyal, like Orgon, raises his hand to Heaven. His manner is amiable , his words plausible, and his pantomln© grace- .. ful and restrained . .. . 122

Valere offered 110 great problem. He hurries in to

warn Orson?; .steals: a look at his: adored. Marian©, and re­

tires as Orgon starts to, follow him off. Orgon returns s

evidently to begin a farewell.address of-some length, is

interrupted by 01©ante, and the three start off a second

time. They are met in, the archway by Tartuff© and the

King's Officer.

The final staging problem was that of arranging

the several actors in such manner as to permit an unob­

structed view of Tartuffe .at the center of a "V" with the wide end toward the audience. . Elmire ws,s down left, where

Orgon had left her. It was necessary to move her back to her husband's side for the final tableau. This was done by having her go to him when he first comprehends that if

is - Tar tuff e and' not he who is going to prison. He turns downstage, clutches his breast, and Elmire moves to him.

■ Immediately before the closing speech by Orgon,

Tartuffe,is led away by the. OfficerOrgon compliments

Geffrey et K . Allouard s Oeuvres Completes de Mo He r e (Librairie Garnier Freres , Paris) , p . 7 6 . ' ~

• • ■ ■ - v : ■ " — ' ™ Gleante for his good advice, takes his wife by the arm,

looks fondly at Valere and Mar lane engrossed in one another and speaks the final lines of the play. Chapter VI

The Director1s .Critical Notes

on the Completed Production.

The . objectives of this production of Tar tuff e

'Were threefold: to achieve the most complete expression of

. Mollere1 s story; to satisfy the taste of a,, contemporary

audience; and.to instruct the student-actors in the tech­

niques of.character interpretation and portrayal.

- With respect to the expression Of the story, the .

writer feels only partial success was. achieved. in analysis

of audience reaction •indicated that ■too little attention ■

had been devoted by the director to "making clear the " ,

.precise relationship between Dorine and Orgon, and her .

status in' the household.. .1 • ' , ■ .■

' I t : muS't: also be, conceded that^^{iIoliere, s exposition of

the "sensible". "Christfan view:, in the two scenes between

Gleante ahd. Orgon / and between- the former and Tartuffe ,

might have benefited from directorial.re-interpretation'and

re-staging. Also, expository plot-line material was in some

cases weakened in preseratatlon due in part to the fact

that the actors involved ..were- not brought to a complete

understanding of the importance of the material.■

One example will ' serve ' to illustratet

123 124 in the scene which follows Mme Pernelle’s exit, Elmire re­ turns to complain of the lecture received by her at the street door.: She goes on to mention the fact she has seen her; husband but that, as he has not seen her, she will wait for him upstairs.. Two points heeded to be emphasized here; one, that Elmire was obviously : in no great hurry to greet - her husband , and two, tha,t he was outside in the street.

This is the first knowledge on the part of the audience that Orgon.is not in the house, and for these reasons the ideas should be clearly established.

The scene in which Orgon inquires after Tartuffe's health was not completely successful in production, ■ The director was unable to bring the actors to a realization of the precise timing and clearly delineated pantomime necessary to derive the full comic value from the exchange

What should have been one of the comic highlights of the play did not prove so in production,'

Another weak scene occurred when Orgon threatened to slap Dorine for speaking out of turn. Much time was devoted in rehearsal to this sequence, but again the direct­ or was unable to suggest the exact key Which the'actors . could use to penetrate the scene. A new approach might have helped this part of .the act.

■ Ho comment is offered here on the scene between

Talere and the daughter, or on Valere’s later entrance in

Act Fi v e , for the reason that the actor playing the role 125

\ ■ of Valera was a replacement and had only four days to get 0 up In the part. He received inadequate directorial help due to conditions "beyond the writer's control.

Audience reaction to the scene in which Orgon is hidden under the table made clear that the re-staging of

Elmire *s ,movement'so:. as to give her more favorable oppor­ tunities . to deal with the table;.while speaking to Tartuffe would have increased the comic values.

As to the satisfaction received by the audience from this: production* only a. subjective view may be express­ ed : ' the spectatbrs gave every indication of enjoying the / play; and there is little doubt in the writer's mind of the value to students in being introduced to the work of : a playwright of Moliere1s stature by viewing an actual production.

The writer is satisfied that many, of the student actors in this production increased their knowledge of handling comedy * of style of production, and of staging techniques» Actors who at the beginning of rehearsal were unable to move or speak in the manner suited to the char­ acters in this type of production became noticeably more proficient in these, areas. A general improvement through­ out the' company was noted in voice projection, diction, and in' the skill of the"actors in expressing ideas in a clear fashion. Much improvement was- also noted in the' use of precise pantomime. . ■ . In•general the writer feels that the careful atten­

tion paid to the many details of diction, timings voice con­

trol, pantomime, and character analysis, laid the ground­ work for the learning which eventually took place-on stage before the public, '' - l APPENDIX A

Illustrations STEEL

i------S*;X WALL

FLOOR PLAN-TARTU PPG /. 7% /. 8 #

Tartuffc /tis I - V PL-rife XI TtvtufXe. C leante Dorn'i© E I'htiT’e ^ine le /4c.T % &ZT Dnis 'Tdriu'f’fe. Qi-G-om Act .Ul t g o t i ELmn-e A c t T V s Plate IV TartJfe O - T a T - t u f f e . k-x

PUte T Tartu-ffe D ot-i he 'V&irri 15 Or'e-on O-ffj c e r T'&rt. mi fc /9c. t r % CJe^-nte /^la.r-«ane Va I ere. Terheli E j-m ire. A SELECTIVE BIBLIOGRAPHY

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Bishop, Morris. Eight Plays by Moliere. The Modern Library, New Y o r k , 1957.

Boulenger, Jacques. The Seventeenth Century. G.P. Putnam’s Sons, New York, n.d.

Chapman, Percy Addison. The Spirit of Moliere, An Inter­ pretation . Princeton University Press, 1940.

Cheney, Sheldon. The Theatre, Three Thousand Years of Drama, Acting, and Stagecraft. Tudor Publishing Company, New Y ork, 1936.

Clark, Barret H . European Theories of the Drama. Crown, New York, rev. ed . , 194-7.

Clarke, Charles Cowden. Moliere-Characters. William P. Nimmo, Edinburgh, 1865•

D’Angelo, Aristide. The Actor Creates. Samuel French, 1939•

Fellows , Otis E. French Opinion of Moliere (1800-1850). Brown University, Providence, 1937.

Fergusson, Francis. The Idea of Theatre. Princeton Univers­ ity Press , 1949.

Fernandez, Ramon. Moliere, The Man Seen Through the Plays. Hill and Wang, New York, 1958.

Freedley, George, and Reeves, John A. A History of the Theatre. Crown, New York, 1955.

Fulop-Miller, Gregor. Das russlsche Theatre. Amalthea- Verlag, Zurich-Leipzig-Wien, 1927.

Gassner, John. Masters of the Drama. Dover Publications, Inc., New York, 1945.

133 134

Gassner, John. Producing the Play. Dryden Press, New York, 1953.

______. A Treasury of the Theatre, Vol. I. Simon and Schuster, New York , 1951.

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Lyons, J.C., and Searles, Colbert. Eight French Classical Plays by Corneille, Moliere, Racine. Henry Holt, New York, 1932.

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______. Great Plays. D. Aopleton and Company , New York, 1901.

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______. World Drama. Harcourt Brace, New York, 1950. s Saintogne, Paul,and Christ, Robert W. Fifty Years of Moliere Studies: A Bibliography. 1892-1941. The Johns Hopkins Press , Baltimore, 1942.

Stanislavsky, Constantin. My Life in Art. Little & Brown, 1947.

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Stage Design Throughout the World. Theatre Arts Books, New Y o r k , 1956.

Tilley, Arthur. Moliere. Cambridge University Press, Cam­ bridge, England, 1921. 1%

Turgeon , F.K^., and Gilligan, A . C. The Principal Comedies of Moliere. Macmillan, New York, 1935. Walkup, F . P. Dressing the Part. Appleton-Century-Crofts, Inc., New York , 1950.

Waller, A. R. The Plays of Moliere. Vol. IV, 1664-1665. John Gant, Edinburgh, 1907.