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Tartuffe the Articles in This Study Guide Are Not Meant to Mirror Or Interpret Any Productions at the Utah Shakespeare Festival A Study Guide to the Utah Shakespeare Festival Tartuffe The articles in this study guide are not meant to mirror or interpret any productions at the Utah Shakespeare Festival. They are meant, instead, to be an educational jumping-off point to understanding and enjoying the plays (in any production at any theatre) a bit more thoroughly. Therefore the stories of the plays and the interpretative articles (and even characters, at times) may differ dramatically from what is ultimately produced on the Festival’s stages. Insights is published by the Utah Shakespeare Festival, 351 West Center Street; Cedar City, UT 84720. Bruce C. Lee, communications director and editor; Phil Hermansen, art director. Copyright © 2011, Utah Shakespeare Festival. Please feel free to download and print Insights, as long as you do not remove any identifying mark of the Utah Shakespeare Festival. For more information about Festival education programs: Utah Shakespeare Festival 351 West Center Street Cedar City, Utah 84720 435-586-7880 www.bard.org. Cover photo: Michele Farr (left) and Robert Machray in Tartuffe, 1993 Contents Information on the Play Synopsis 4 Characters Tartuffe 5 About the Playwright 6 Scholarly Articles on the Play Slithering Between Illusion and Reality 8 A Memorable Imposter 9 Attacking Hypocrisy, Not Religion 12 Utah Shakespeare Festival 3 351 West Center Street • Cedar City, Utah 84720 • 435-586-7880 Synopsis: Tartuffe Madame Pernelle is visiting her son Orgon’s house and uses the opportunity to criticize all the members of the household and to praise their boarder, Tartuffe, because he is a man of such holiness and zeal. The others object to Tartuffe, maintaining that he is false and hypocritical, but Madame Pernelle will not enter- tain such thoughts. Instead, as she leaves, she admonishes everyone to follow Tartuffe’s precepts. After Madame Pernelle leaves, Cléante, who is Orgon’s brother-in-law, and Dorine, Orgon’s daugh- ter’s maid, discuss the situation and their boarder and agree that Tartuffe has beguiled not only Madame Pernelle, but Orgon as well. Orgon’s son, Damis, adds to the situation by wondering out loud if his father, after being influenced by Tartuffe, will still allow his daughter, Mariane, to marry her love, Valère. Damis is also concerned because he wants to marry Valère’s sister; thus he asks Cléante to question Orgon about his earlier promise to allow the marriage to take place. Orgon arrives and seems much more concerned about the welfare of Tartuffe than anything else around him, including his wife’s illness. Cléante tries to discuss Tartuffe with Orgon, but fails and discovers that Orgon is only interested in singing Tartuffe’s praises. When he questions Orgon about the intended wed- ding, he dodges the issues and refuses to give a direct answer; however, when his daughter arrives, Orgon tells her that he wants to ally Tartuffe with his house and that this can best be done by Mariane’s marrying Tartuffe. Mariane is so shocked that she cannot believe her ears. After Orgon departs, Dorine, the maid, reprimands Mariane for not having refused to marry Tartuffe. Mariane’s beloved, Valère, arrives and accuses her of consenting to the marriage. Dorine listens to them argue and then, after they are reconciled, promises to help them expose Tartuffe’s hypocrisy. Damis, incensed about Tartuffe, is also determined to reveal Tartuffe’s hypocrisy, and, as he hears Tartuffe’s approach, he hides in the closest. Elmire, Orgon’s wife, arrives, and Tartuffe, thinking they are alone, makes some professions of love to her and suggests that they become lovers. Having heard Tartuffe’s plans, Damis reveals himself and threatens to expose Tartuffe. When Orgon arrives, Damis tries to inform his father about Tartuffe’s proposition, but Orgon is so blind that he thinks his own son is evil in trying to defame Tartuffe’s good name—and he immediately disinherits his son. As Orgon and Tartuffe leave, Orgon reveals his plans to make Tartuffe his sole heir and also his son-in-law. Cléante later confronts Tartuffe and tries to reason with him, but Tartuffe will only respond in religious clichés, and, as soon as the opportunity presents itself, he hastily excuses himself from the room. Orgon and Elmire arrive, and when she hears Orgon’s plans, she extracts a promise from him to hide in some concealed place and observe Tartuffe’s actions. Orgon consents, and Elmire sends for Tartuffe. When he arrives, he is accosted by Elmire, and soon he begins to make not only declarations of love to her but also derogatory comments about Orgon. Finally convinced of Tartuffe’s hypocrisy, Orgon emerges and orders him from the household. Tartuffe then reveals that legally he is now the owner of the house, since Orgon has signed over all his property. Alone with his wife, Orgon reveals that he is frightened because, earlier, he had entrusted some secret docu- ments to Tartuffe’s care--documents which could ruin Orgon’s trusted position in the court. When Orgon’s mother arrives, he cannot convince her that Tartuffe is a hypocrite; it is only when news arrives that Tartuffe is having the entire family evicted that Madame Pernelle is convinced. Tartuffe brings with him officers of the court, but, as the family is about to be evicted, an officer reveals that the king has seen through the hypocrisy of Tartuffe and has ordered him to be imprisoned for this and for other crimes. The king has also restored to Orgon all his rightful property. 4 Utah Shakespeare Festival 351 West Center Street • Cedar City, Utah 84720 • 435-586-7880 Characters: Tartuffe MADAME PERNELLE, Orgon’s mother, is totally deluded by Tartuffe until near the end of the play. ORGON, husband of Elmire, son of Madame Pernelle, and father of Mariane and Damis, is the cen- tral character of the play and comes entirely under the influence of the hypocrite Tartuffe. Yet, whereas Tartuffe is the obvious hypocrite and scoundrel, Orgon is a much more complex charac- ter. Thus, Orgon’s religious fanaticism seems more directly correlated to his basic nature, which is characterized by Cléante as being extravagant and uncontrolled in all respects. Thus, having once adopted a life of piety, Orgon tries to become the epitome of the pious person and goes to absurd extremes both in his words and deeds. In contrast, when he discovers the hypocrisy of Tartuffe, he reverses himself and determines to hate and persecute all pious men. ELMIRE, Orgon’s second wife, is reasonable and represents the opposite of her husband throughout most of the play. DAMIS, Orgon’s son and Elmire’s stepson, uses his common sense to see through Tartuffe, but when he tries to prove him a hypocrite to his father, he is disinherited. MARIANE, Orgon’s daughter, is in love with Valère and is being forced by her father to marry Tartuffe. VALÈRE, Mariane’s suitor, is rejected by Orgon in favor of Tartuffe. CLÉANTE, Orgon’s brother-in-law, tries, usually unsuccessfully, to get everyone to view things with calm and reason. TARTUFFE, a hypocrite, is a superb scoundrel who can don any pose and become a master of it. As a religious ascetic, he convinces Orgon and Madame Pernelle that he is a devoutly pious and humble man; his obvious hypocrisy, however, is apparent to the audience. Tartuffe’s superiority lies in the fact that he can accurately analyze the weaknesses of his victims and then exploit these flaws for his own advantage. He is no simple or ignorant charlatan; instead, he is an alert and adept hypocrite who uses every means to bring about his success. DORINE, Mariane’s maid, is a stock character found in many of Molière’s comedies and, in fact, has become a type found in comedies of all periods. She is the wise servant who sees through all pre- tense, and, while being the inferior in terms of social position, she is the superior in any contest of wits. Utah Shakespeare Festival 5 351 West Center Street • Cedar City, Utah 84720 • 435-586-7880 About the Playwright: Moliere From Insights, 1993 Molière is generally considered to have been the greatest comic dramatist of France and the author of some of the most brilliant comedies in all of theatrical history. His real name was Jean-Baptiste Poquelin, and he was born in Paris in l622, the son of an upholsterer who prospered by rendering his services to the French court. Educated at a Jesuit school where he was graded as an excellent scholar, the young Jean-Baptiste declined to take up his father’s vocation, flirted with a study of law, and fell in with a troupe of players with whom he acted for thirteen years through the provincial towns of France, often in skits of his own author- ship derived from old Italian comedies and stock farces which later, in Paris, he quickly polished and expanded into the plays that have come down to us. It was during this early career as an actor that he adopted the name Molière. In l658 his troupe came to Paris and had a chance to appear before King Louis XIV and his court. They began their performance with a short poetic tragedy of Corneille. The troupe was so much more suited to comedy than to the bombastic tragic style of the time that the reception was disastrous--until Molière modestly introduced a farce of his own, The Doctor in Love, and theatrical history was made. Molière and his company (of which he was the leading actor, direc- tor, manager, and playwright) immediately were “taken up” by the court and subsequently quickly became a popular success throughout the country.
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