Molière, Le Tartuffe and Anti-Jesuit Propaganda ANDREW CALDER

Total Page:16

File Type:pdf, Size:1020Kb

Molière, Le Tartuffe and Anti-Jesuit Propaganda ANDREW CALDER Molière, Le Tartuffe and Anti-Jesuit Propaganda ANDREW CALDER Critics agree that when Tartuffe reassures Elmire that he is an expert in the science which has removed the need for conscience in Christians he is expounding his version of the probabilist casuistry made popular by the Jesuits and satirised in Pascal's Provinciales. There is general agree- ment however that Le Tartuffe is not a satire of the Jesuits particu- larly but of many kinds of religious abuse and hypocrisy.' The repressive zeal of Tartuffe and Orgon is viewed as an attack on Jansenist rigorism, and the unscrupulous machinations of Tartuffe and Monsieur Loyal are taken to reflect the conduct of the secret affairs of the Compagnie du Saint-Sacrement. I have come to believe, from reading anti-Jesuit pro- paganda in the seventeenth century, that the hypocrisy so skilfully turned by Moliere into a subject for high comedy was meant to be of a specifically Jesuit kind. The rigorism of the Jansenists and the little- publicised activities of the Compagnie du Saint-Sacrement hardly compare as subjects for popular satire with the Jesuits, who were regarded by many seventeenth-century Frenchmen as an army of papal and Spanish spies. In comparing Le Tartuffe with anti-Jesuit propaganda it is of course all too easy to talk of Moliere's play as if it were simply a polemical tract. I am aware that people who have never even heard of the Jesuits or the Jansenists can and do appreciate the genius of the play- wright who so entertainingly portrays the timeless human foibles of self- love, gullibility and hypocrisy at work. It is not my intention to oppose Moliere the satirist to Moliere the comic writer. If I concentrate on satirical elements it is because I believe that we still do not know enough about the contemporary religious abuses which nourished Moliere's comic imagination. The case for Le Tartuffe as a satire on the Compagnie du Saint- Sacrament is expounded by R. Allier in La Cabale des dévots.2 His thesis rests heavily on the argument that ,cabale' in a religious context would normally refer in the seventeenth century to the Compagnie du Saint- Sacrement (p. 389). In fact the word was used in many contexts and was certainly used frequently in connection with the Jesuits. In one anon- 1 For a recent summary of critical opinion on Le 7?7-?//c see J. SCHERER, Stmctures de Tartx#e, 2e edition revue et augmentée, Paris, Sedes, 1974. '-' Paris, Armand Lolin, 1902. ; _ 304 ymous anti-Jesuit tract, Instruction aux Princes de la Chrestiente de la maniere de laquelle se gouvernent les jesuites, translated into French in 1620, the author says the Jesuits ,n'avancent jamais personne s'il n'est de leur cabale, & interesse comme eux..." (p. 23). Moliere's use of ,,cabale" in Le Tartuffe (lines 397 and 1705) and even more in Dom Juan (V. ii), where the hypocrite says, "je verrai, sans me remuer, prendre mes interets a toute la cabale, et je serai defendu par elle envers et contre tous", has much the same force: it simply means a group of religious people working together to promote their own interests. Another argument advanced by Allier (pp. 391-2) is that Father Rapin in his Memoires names prominent members of the Compagnie du Saint-Sacrement as possible models for Tartuffe; as Rapin was a Jesuit and therefore an interested party his impressions (recorded more than twenty years later) should be read with caution. The major obstacles to believing the Com- pagnie du Saint-Sacrement to be the object of Moli6re's satire are that the existence of this secret organisation was barely known to most French- men and, as Allier points out, Moli?re's hypocrite is quite different in kind from the genuinely puritanical zealots of the Compagnie (pp. 407-8). The Jesuits on the other hand were frequently the objects of popular hatred, and there was a constant flow of anti-Jesuit writing in France throughout the seventeenth century. The major cause for hostility to the Jesuits was their reputed disloyalty to France. Accusations of Jesuit dis- loyalty come under three main headings. The Society was Spanish in origin (its founder St. Ignatius of Loyola was Spanish and it flourished particularly in Spain) and the Jesuits were said to remain loyal to Spain. Secondly, because of their special vow of loyalty to the Pope they were accused of putting Roman interests before the interests of the Gallican Church; the Jesuit campaign against Jansenism which was constantly to- pical in Paris from 1656 to 1669 was seen by many as an attempt to weaken the Gallican Church and strengthen the authority of the Pope. The third and most bitter accusation was that by preaching and en- . couraging regicide they were responsible for the assassination of Henry III, for two unsuccessful attempts on the life of Henry IV and for his assassination in 1610. These and many other accusations appear over and 3 over again in anti-Jesuit tracts throughout the seventeenth century.3 3 These tracts are too numerous to attempt a full list; they include: Etienne PASQUIER, Le catechisme des Jesuites: ou examen de leur doctrine, Ville-Franche [Paris], Guillaume Grenier,1602 and 1677; Antoine ARNAULD (father of le grand Arnauld), Le franc et véritable discours du Roy sur le restablissement qui luy est demande par les j6suites, s. 1., 1602; A. ARNAULD (le grand) or F. HALLER? La theologie morale des Jesuites ... representée par leurs livres, Cologne, Nicolas Schoute, 1659. The large .number of anonymous tracts include: Memoires et advis .
Recommended publications
  • Dossier De Presse
    Atypik Films Présente Patrick Ridremont François Berléand Virginie Efira DEAD MAN TALKING Un film belge de PATRICK RIDREMONT (Durée : 1h41) Distribution Relations Presse Atypik Films Laurence Falleur Communication 31 rue des Ombraies 57 rue du Faubourg Montmartre 92000 Nanterre 75009 Paris Eric Boquého Laurence Falleur Assisté de Sandrine Becquart Assisté de Vincent Bayol Et Jacques Domergue Tel : 01.83.92.80.51 Tel : 01.77.68.32.16. Port. : 06.48.89.41.29 Port. : 06.62.49.19.87. [email protected] [email protected] [email protected] Matériel de presse téléchargeable sur www.atypikfilms.com SYNOPSIS William Lamers , 40 ans, anonyme criminel condamné au Poison pour meurtre, se prépare à être exécuté. La procédure se passe dans l’indifférence générale et, ni la famille du condamné, ni celle de ses victimes n’a fait le déplacement pour assister à l’exécution. Seul le journaliste d’un minable tabloïd local est venu assister au «spectacle». Pourtant ce qui ne devait être qu’une formalité va rapidement devenir un véritable cauchemar pour Karl Raven, le directeur de la prison. Alors qu’on lui demande s’il a quelque chose à dire avant de mourir, William se met à raconter sa vie, et se lance dans un récit incroyable et bouleversant. Raven s’impatiente et appelle le Gouverneur Brodeck pour obtenir l'autorisation d'exécuter William. Mais comme la loi ne précise rien sur la longueur des dernières paroles et que le Gouverneur Stieg Brodeck, au plus bas dans les sondages, ne peut prendre aucun risque à un mois des élections, on décide de laisser William raconter son histoire jusqu’au bout.
    [Show full text]
  • Course Catalogue 2016 /2017
    Course Catalogue 2016 /2017 1 Contents Art, Architecture, Music & Cinema page 3 Arabic 19 Business & Economics 19 Chinese 32 Communication, Culture, Media Studies 33 (including Journalism) Computer Science 53 Education 56 English 57 French 71 Geography 79 German 85 History 89 Italian 101 Latin 102 Law 103 Mathematics & Finance 104 Political Science 107 Psychology 120 Russian 126 Sociology & Anthropology 126 Spanish 128 Tourism 138 2 the diversity of its main players. It will thus establish Art, Architecture, the historical context of this production and to identify the protagonists, before defining the movements that Music & Cinema appear in their pulse. If the development of the course is structured around a chronological continuity, their links and how these trends overlap in reality into each IMPORTANT: ALL OUR ART COURSES ARE other will be raised and studied. TAUGHT IN FRENCH UNLESS OTHERWISE INDICATED COURSE CONTENT : Course Outline: AS1/1b : HISTORY OF CLASSIC CINEMA introduction Fall Semester • Impressionism • Project Genesis Lectures: 2 hours ECTS credits: 3 • "Impressionist" • The Post-Impressionism OBJECTIVE: • The néoimpressionnism To discover the great movements in the history of • The synthetism American and European cinema from 1895 to 1942. • The symbolism • Gauguin and the Nabis PontAven COURSE PROGRAM: • Modern and avantgarde The three cinematic eras: • Fauvism and Expressionism Original: • Cubism - The Lumière brothers : realistic art • Futurism - Mélies : the beginnings of illusion • Abstraction Avant-garde : - Expressionism
    [Show full text]
  • Stéphane Braunschweig Théâtre De L'odéon- 6E
    de Molière 17 septembre 25 octobre 2008 mise en scène & scénographie Stéphane Braunschweig Théâtre de l'Odéon- 6e costumes Thibault Vancraenenbroeck lumière Marion Hewlett son Xavier Jacquot collaboration artistique Anne-Françoise Benhamou collaboration à la scénographie Alexandre de Darden production Théâtre national de Strasbourg créé le 29 avril 2008 au Théâtre national de Strasbourg avec Monsieur Loyal : Jean-Pierre Bagot Cléante : Christophe Brault Tartuffe : Clément Bresson Valère : Thomas Condemine Orgon : Claude Duparfait Mariane : Julie Lesgages Elmire : Pauline Lorillard Dorine : Annie Mercier Damis : Sébastien Pouderoux Madame Pernelle : Claire Wauthion et avec la participation de l’exempt : François Loriquet Rencontre Spectacle du mardi au samedi à 20h, le dimanche à 15h, relâche le lundi Au bord de plateau jeudi 2 octobre Prix des places : 30€ - 22€ - 12€ - 7,50€ (séries 1, 2, 3, 4) à l’issue de la représentation, Tarif groupes scolaires : 11€ et 6€ (séries 2 et 3) en présence de l’équipe artistique. Entrée libre. Odéon–Théâtre de l’Europe Théâtre de l’Odéon Renseignements 01 44 85 40 90 e Place de l’Odéon Paris 6 / Métro Odéon - RER B Luxembourg L’équipe des relations avec le public : Scolaires et universitaires, associations d’étudiants Réservation et Actions pédagogiques Christophe Teillout 01 44 85 40 39 - [email protected] Emilie Dauriac 01 44 85 40 33 - [email protected] Dossier également disponible sur www.theatre-odeon.fr Certaines parties de ce dossier sont tirées du dossier pédagogique et du programme réalisés par l’équipe du Théâtre national de Strasbourg. Collaboration d’Arthur Le Stanc Tartuffe / 17 septembre › 25 octobre 2008 1 Oui, je deviens tout autre avec son entretien, Il m'enseigne à n'avoir affection pour rien ; De toutes amitiés il détache mon âme ; Et je verrais mourir frère, enfants, mère, et femme, Que je m'en soucierais autant que de cela.
    [Show full text]
  • Translated by Richard Wilbur Directed by Makaela Pollock
    Translated by Richard Wilbur Directed by Makaela Pollock All original material copyright © Seattle Shakespeare Company 2015 WELCOME Dear Educators, Tartuffe is a wonderful play, and can be great for students. Its major themes of hypocrisy and gullibility provide excellent prompts for good in-class discussions. Who are the “Tartuffes” in our 21st century world? What can you do to avoid being fooled the way Orgon was? Tartuffe also has some challenges that are best to discuss with students ahead of time. Its portrayal of religion as the source of Tartuffe’s hypocrisy angered priests and the deeply religious when it was first written, which led to the play being banned for years. For his part, Molière always said that the purpose of Tartuffe was not to lampoon religion, but to show how hypocrisy comes in many forms, and people should beware of religious hypocrisy among others. There is also a challenging scene between Tartuffe and Elmire at the climax of the play (and the end of Orgon’s acceptance of Tartuffe). When Tartuffe attempts to seduce Elmire, it is up to the director as to how far he gets in his amorous attempts, and in our production he gets pretty far! This can also provide an excellent opportunity to talk with students about staunch “family values” politicians who are revealed to have had affairs, the safety of women in today’s society, and even sexual assault, depending on the age of the students. Molière’s satire still rings true today, and shows how some societal problems have not been solved, but have simply evolved into today’s context.
    [Show full text]
  • Download Teachers' Notes
    Teachers’ Notes Researched and Compiled by Michele Chigwidden Teacher’s Notes Adelaide Festival Centre has contributed to the development and publication of these teachers’ notes through its education program, CentrED. Brink Productions’ by Molière A new adaptation by Paul Galloway Directed by Chris Drummond INTRODUCTION Le Malade imaginaire or The Hypochondriac by French playwright Molière, was written in 1673. Today Molière is considered one of the greatest masters of comedy in Western literature and his work influences comedians and dramatists the world over1. This play is set in the home of Argan, a wealthy hypochondriac, who is as obsessed with his bowel movements as he is with his mounting medical bills. Argan arranges for Angélique, his daughter, to marry his doctor’s nephew to get free medical care. The problem is that Angélique has fallen in love with someone else. Meanwhile Argan’s wife Béline (Angélique’s step mother) is after Argan’s money, while their maid Toinette is playing havoc with everyone’s plans in an effort to make it all right. Molière’s timeless satirical comedy lampoons the foibles of people who will do anything to escape their fear of mortality; the hysterical leaps of faith and self-delusion that, ironically, make us so susceptible to the quackery that remains apparent today. Brink’s adaptation, by Paul Galloway, makes Molière’s comedy even more accessible, and together with Chris Drummond’s direction, the brilliant ensemble cast and design team, creates a playful immediacy for contemporary audiences. These teachers’ notes will provide information on Brink Productions along with background notes on the creative team, cast and a synopsis of The Hypochondriac.
    [Show full text]
  • Course Booklet
    On joining King’s you will be part of the most amazing peer group in the country. Welcome You and your fellow students will support, encourage and challenge each other through two years of outstanding teaching, learning, leadership and From the Associate Principal If you are a current student at King’s you will already know character development. and Director of Sixth Form that the staff here will go the extra mile for you, but whilst the fundamental ingredients which make us such a successful Dr Andrew Reay You will be able to achieve outstanding Academy remain, Sixth Form life is very different. You will be given greater autonomy and responsibilities, both for your own qualifications and go on to the best We are delighted that you are considering King’s Leadership Academy Sixth Form. This guide will not only development and for the well-being of others. For example, universities not just in this country but give you the information you need about the courses smart business dress is the order of the day and there is a across the world. that are best suited to your interests and aspirations, but Sixth Form Study Centre, IT suite and informal study area to also a deep insight into Sixth Form life. Most importantly, mark the distinction between life in the Sixth Form and the it will give you the confidence to know that by joining rest of the Academy. You will also be taught in even smaller King’s you are making the right move towards a very groups, have more self-directed study time, so that you are bright future.
    [Show full text]
  • Dossier Pedagogique
    banquet d’avril Directrice artistique : Monique Hervouët 06 11 11 21 88 [email protected] www.banquetd’avril.fr DOSSIER PEDAGOGIQUE LE TARTUFFE de Molière Mise en scène Monique Hervouët Création Octobre 2011 SOMMAIRE LE TARTUFFE de MOLIÈRE Mise en scène : Monique HERVOUET Compagnie banquet d’avril Coproduction : Le Grand R / Scène Nationale de la Roche-sur-Yon Avec Loïc AUFFRET Loyal /L’exempt/ Laurent • Mise en scène par Monique Hervouët Ghyslain DEL PINO Tartuffe Solenn JARNIOU Dorine Marion MALENFANT Mariane - Note d'intention : Monique Hervouët............................................................p 4 Glenn MARAUSSE Damis - Hypocrites......................................................................................................p 6 Jean-Pierre NIOBE Cléante - 3 Versions, 2 interdictions...............................................................................p 7 Hélori PHILIPPOT Valère - Résumé...........................................................................................................p 8 Hélène RAIMBAULT Mme Pernelle - L'auteur..........................................................................................................p 9 Gwenaël RAVAUX Elmire - Préface-avertissement de Molière à ses censeurs...............................................p 10 Didier ROYANT Orgon Scénographie Emilie LEMOINE Lumière Yohann OLIVIER • D'une mise en scène à l'autre (1907-2008) Chargée de production - communication Elise MAINGUY Administration Danièle OREFICE - Tartuffe à l'épreuve du temps..........................................................................p
    [Show full text]
  • The Comic in the Theatre of Moliere and of Ionesco: a Comparative Study
    Louisiana State University LSU Digital Commons LSU Historical Dissertations and Theses Graduate School 1965 The omicC in the Theatre of Moliere and of Ionesco: a Comparative Study. Sidney Louis Pellissier Louisiana State University and Agricultural & Mechanical College Follow this and additional works at: https://digitalcommons.lsu.edu/gradschool_disstheses Recommended Citation Pellissier, Sidney Louis, "The omicC in the Theatre of Moliere and of Ionesco: a Comparative Study." (1965). LSU Historical Dissertations and Theses. 1088. https://digitalcommons.lsu.edu/gradschool_disstheses/1088 This Dissertation is brought to you for free and open access by the Graduate School at LSU Digital Commons. It has been accepted for inclusion in LSU Historical Dissertations and Theses by an authorized administrator of LSU Digital Commons. For more information, please contact [email protected]. This dissertation has been microfilmed exactly as received 66-744 PELLISSIER, Sidney Louis, 1938- s THE COMIC IN THE THEATRE OF MO LI ERE AND OF IONESCO: A COMPARATIVE STUDY. Louisiana State University, Ph.D., 1965 Language and Literature, modern University Microfilms, Inc., Ann Arbor, Michigan THE COMIC IN THE THEATRE OF MOLIHRE AND OF IONESCO A COMPARATIVE STUDY A Dissertation Submitted to the Graduate Faculty of the Louisiana State University and Agricultural and Mechanical College in partial fulfillment of the requirements for the degree of Doctor of Philosophy in The Department of Foreign Languages btf' Sidney L . ,') Pellissier K.A., Louisiana State University, 19&3 August, 19^5 DEDICATION The present study is respectfully dedicated the memory of Dr. Calvin Evans. ii ACKNO'.-'LEDGEKiNT The writer wishes to thank his major professor, Dr.
    [Show full text]
  • Tartuffe, by Moliere, Translated by Richard Wilbur Presented by Perisphere Theater Resources for Teachers and Students
    Tartuffe, by Moliere, translated by Richard Wilbur Presented by Perisphere Theater Resources for teachers and students January/February 2018 Created by Heather Benjamin and Bridget Grace Sheaff, 2017 Context for Tartuffe PLOT The story takes place in the home of the wealthy Orgon, where Tartuffe—a fraud and a pious imposter—has insinuated himself. He succeeds in winning the respect and devotion of the head of the house and then tries to marry his daughter, seduce his wife and scrounge the deed to the property. Tartuffe nearly gets away with it, but an emissary from King Louis XIV arrives in time to recover the property, free Monsieur Orgon and haul Tartuffe off to jail. His Frontispiece of the one of the earliest duplicity, lies, and overall trickery are finally exposed printings of Tartuffe, depicting the most and punished. famous scene, from a 1739 collected edition of his works in French and English, printed by John Watts. —Dramatists Play Service summary PLAY STYLE Molière’s dramatic roots lie in Old French farce, the unscripted popular plays that featured broad characters with robust attitudes and vulgar ways, emphasized a strong physical style of performance, and were an entertainment staple in the town marketplace and on the fairground. He was, likewise, greatly influenced by his interaction with the Italian commedia dell'arte performers who were known for both their improvisational skills and highly physical playing, and for the everyday truth they brought to their lively theatrical presentations. The “new brand” of French comedy, which Molière developed and perfected, featured the vivacity and physicality of farce, tempered by a commedia-inspired naturalness of character.
    [Show full text]
  • THE SEVENTEENTH CENTURY PAUL SCOTT, University of Kansas
    THE SEVENTEENTH CENTURY PAUL SCOTT, University of Kansas 1. GENERAL Orientalism and discussions of identity and alterity form part of an identifiable trend in our field during the coverage of the two calendar years. Another strong current is the concept of libertinage and its literary and social influence. In terms of the first direction, Nicholas Dew, Orientalism in Louis XlV's France, OUP, 2009, xv+301 pp., publishes an overview of what he terms 'baroque Orientalism' and explores the topos through chapters devoted to the production of texts by d'Herbelot, Bernier, and Thevenot which would have an important reception and influence during the 18th century. The network of the Republic of Letters was crucial in gaining access to and studying oriental works and, while this was a marginal presence during the period, D. reveals how the curiosity of vth-c. scholars would lay the foundations of work that would be drawn on by the philosophes. Duprat, Orient, is an apt complement to Dew's volume, and A. Duprat, 'Le fil et la trame. Motifs orientaux dans les litteratures d'Europe' (9-17) maintains that the depiction of the Orient in European lit. was a common attempt to express certain desires but, at the same time, to contain a general angst as a result of incorporating scientific progress and territorial expansion. Brian Brazeau, Writing a New France, 1604-1632: Empire and Early Modern French Identity, Farnham, Ashgate, 2009, x +132 pp., selects the period following the end of the Wars of Religion because this early period of colonization gave rise to some of the most enthusiastic accounts as well as the fact that they established the pioneering debate for future narratives.
    [Show full text]
  • Wider Reading and Discovery Lists for A-Level Helping You Fulfil Your Academic Potential
    Wider Reading and Discovery Lists for A-Level Helping you fulfil your academic potential These lists will give you a broader understanding of your chosen subjects, compliment your core reading and enable your academic success. Whatever you study, you should be developing your reading, comprehension and critical thinking skills. However in depth subject knowledge can’t only be found in books, journals or periodicals. Discover more by visiting museums, galleries, theatres and academic institutions, stimulating your imagination and enhancing your core studies. 1 Contents Art – page 3 Biology – pages 3 and 4 Business Studies – page 4 Chemistry – pages 4 and 5 Computer Science – page 5 Design and Technology – page 5 Drama – pages 6 and 7 Economics – pages 7, 8 and 9 English Literature – pages 10 and 11 French – page 11 Geography – page 12 History – page 13 Law – page 14 Maths and Further maths – page 14 Media Studies – pages 14 and 15 Philosophy and Ethics – page 15 Physical Education – page 16 Physics –page 16 Psychology – page 17 Spanish – pages 17 and 18 Sociology – page 18 Other places for curious minds – page 19 2 Art Texts to read Story of Art by Ernst Gombrich History of Beauty by Umberto Eco Shock of the New by Robert Hughes Steal Like an Artist by Austin Kleon The Art Book by Phaidon Press Ltd. The Art Forger by Barbara A. Shapiro Ways of Seeing by John Berger Broad Strokes: 15 Women Who Made Drawing on the Right Side of the Brain Art and Made History (in That Order) by Betty Edwards by Bridget Quinn Seven Days in The Art
    [Show full text]
  • Tartuffe Or the Hypocrite by Jean Baptiste Poquelin Moliere
    Tartuffe or the Hypocrite by Jean Baptiste Poquelin Moliere Tartuffe or the Hypocrite by Jean Baptiste Poquelin Moliere Etext prepared by Dagny, [email protected] and John Bickers, [email protected] TARTUFFE OR THE HYPOCRITE by JEAN BAPTISTE POQUELIN MOLIERE Translated By Curtis Hidden Page INTRODUCTORY NOTE Jean Baptiste Poquelin, better known by his stage name of Moliere, stands without a rival at the head of French comedy. Born at Paris in January, 1622, where his father held a position in the royal household, he was educated at the Jesuit College de Clermont, and for some time studied law, which he soon abandoned for the stage. His life was spent in Paris and in the provinces, acting, directing page 1 / 151 performances, managing theaters, and writing plays. He had his share of applause from the king and from the public; but the satire in his comedies made him many enemies, and he was the object of the most venomous attacks and the most impossible slanders. Nor did he find much solace at home; for he married unfortunately, and the unhappiness that followed increased the bitterness that public hostility had brought into his life. On February 17, 1673, while acting in "La Malade Imaginaire," the last of his masterpieces, he was seized with illness and died a few hours later. The first of the greater works of Moliere was "Les Precieuses Ridicules," produced in 1659. In this brilliant piece Moliere lifted French comedy to a new level and gave it a new purpose--the satirizing of contemporary manners and affectations by frank portrayal and criticism.
    [Show full text]