Without a doubt, Tartuffe is one of the most ostentatious, hypocritical characters anyone can encounter in literature. He is a textbook definition of a hypocrite with his behaviors contradicting the morals he claims to hold. Furthermore, based on Tartuffe’s dialogue and decisions, he is an embodiment of irrationality, yet somehow Tartuffe justifies all his contradictions between what he says and what he does by presenting rational-like defenses. It is here where a distinction can be made about Tartuffe’s motivations. Is Tartuffe merely a hypocrite by deceiving others with a facade of piety? Or has Tartuffe deluded himself into buying into his deception as well? One interpretation of Tartuffe paints him a cult-like figure, dominating Orgon’s …show more content…
Arguably, Tartuffe is not only a hypocritical buffoon, but also a delusional cult leader who has somehow bent his claimed morals into excusing his irrational behavior. In Act I, Scene I of Tartuffe, Dorine asserts one of the first characterizations of Tartuffe, which is “everything [Tartuffe] does is hypocrisy” (35). Before Tartuffe even enters the stage, the audience can already infer what type of man he would be, one that presents himself as a pious saint while behaving sinfully. Tartuffe warns of the dangers of the flesh, and the mere sight of Dorine’s uncovered chest offends him to the point of asking her to cover up, but he is more than willing to engage in unholy activities with Elmire’s flesh. Simply put, Tartuffe would make a religious claim, which would be accurate in nature, implement it strictly to the point of being overly prudent, …show more content…
During the moments where Tartuffe reveals his true intentions, he retains his religious rhetoric. Tartuffe does this when he intends to be involved with Elmire, when he does not allow Damis to return, when he brings the household under his ownership, and finally when Tartuffe attempts to have Orgon arrested. In each of these scenarios, Tartuffe defends his actions with his religious speak even after his mask of being a simple, pious beggar was ripped away. For example, when Tartuffe threatens the family with his newfound mastery of the estate, he mentions how he would punish them for attempting to kick him out, and how he had a way “of avenging [the] affront to Heaven” in order to cause the family regret trying to get him to leave (77). As Tartuffe comes closer to nearly conning the family, he becomes more unrestrained and acts invincible as though he got away with his plan before its completion. Ultimately, Tartuffe becomes as bold as to attempt to arrest Orgon, so he could have complete mastery over the house. Since he was blinded sided by his own power, he neglected the consequences of bringing the King into the situation. Due to his past crimes, the tide quickly turned on Tartuffe, and when the officer went to arrest him, Tartuffe could only respond with a surprised, “Who, me?” (87). Tartuffe deluded himself into believing and trusting in a seemingly
The role that King Louis XIV plays in Tartuffe, although not a character himself, affects the whole outcome of the play. King Louis XIV was an absolute monarch and was responsible for restoring order in society. The age of reason, 1660-1805, was a time to restore order while finding humor in those who stray away from order. King Louis was responsible for ensuring the safety and order of the country, and we come to learn that his power spreads much further than suspected. By divine right and being an offstage presence, King Louis XIV has the ability to control and assist everyone, whether it is warranted or not.
While reading Tartuffe, I was constantly dumbfounded by the prevalence in the world today of Moliere’s, comedically portrayed, accusations regarding ignorance in arranged marriage, social class dynamics and religious hypocrisy. Moliere created the characters to the complete contrast to what society saw them as, which was intriguing and comedic. He also displayed the average practices, such as planned marriage, to be disgraceful and shameful. Lastly, but most prevalently, Moliere saturated the hypocrisy of religion by later in the story revealing the religious character’s deceitful and malign nature. In this essay, I will be using historic and literary theory to examine Moliere’s interesting views of such practices and the satire involved.
His betrayal is so authentic that it is maddening. It is head-spinning to think of the lengths that Edmund has gone to just so he could have title other than bastard. Even his redemption with Edgar is a bit too improbable. With all that Edmund had done to their family, you would think that Edgar would not easily accept him back with open arms. Edmund is a true villain with his dramatic and outrageous betrayal.
As well as, this recognition of Tartuffe's false nature reveals the severity of Orgon’s arrogance. Moliere highlights within the second half of the play, the extremes of pride and how mankind struggles to face it. The theme of pride is accentuated by Orgon’s nature, especially, during
52-59 ) In Tartuffe there is no allusion to Louis XIV’s name. However, the happy end of the play with the controversy solution is attributed to the benevolence and omnipotence of the king who eventually saves Orgon and his family. Even though the Sun King never shows up in the play, the King’s officer does not arrest Orgon for treason, as Tartuffe was expecting. On the contrary, he takes the responsibility to arrest Tartuffe by acting as Louis XIV’s mouthpiece, Our monarch–to resolve you in a word
Cléante, the character who is the voice of reason in this story, sees right through Tartuffe façade. He is well educated enough to recognize a fake. In this conversation Cléante is trying to convince his brother-in-law that Tartuffe is a fraud but Orgon is unable to see it: The true believers
Literary Analysis of Incantation Alice Hoffman 's powerful story takes place during such a hard time; the Spanish Inquisition in which our protagonist, Estrella de Madrigal faces an arduous decision between her best friend and the Spaniards. “Estrella de Madrigal thought she knew herself: daughter, granddaughter, dearest friend. But the truth is rare in this cruel, unforgiving century in Spain.” In the novel “Incantation,” Alice Hoffman has developed a meaningful yet a ubiquitous theme of how the infamous jealousy can destroy a person in many forms uses the literary devices such as simile and personification. Hoffman 's use of simile develops the theme that jealousy can destroy a person in many forms.
In “The Tragedy of Hamlet, Prince of Denmark”, William Shakespeare uses the sayings and behaviors of many of his minor characters to show his audiences the true characteristics of the protagonist, Prince Hamlet. This literary device is called a foil. A foil is a character whose traits help to clarify the character of the protagonist. In this famous play, Prince Hamlet has many foils. Laertes is the most effective foil to Hamlet because of how his life and reactions compare to that of Hamlet.
Orgon, however does not see that Tartuffe is truly not who he says he is. It is not evident to him. Damis tries to tell him the truth of what he has just seen and heard, but Orgon is not having it. “Orgon's desire to retain Tartuffe is a function--a reaction and an invitation--of others' desire to be rid of him, of which Damis’ desire is the most strident, the most like the desire of his father in its imperious violence”(Mckenna). Andrew Mckenna illustrates how Orgon tries to protect Tartuffe from his family.
He tells the manciple to leave the cook alone and tells the friar, "in company we wol have no debaat," when he begins to tease the summoner. Unfortunately, his emotions often get the better of him, and he thinks without speaking, creating more problems than he solves. This is seen when the pardoner tries to sell fake relics to the rest of the travelers, and the Host becomes enraged, forcing the knight to
However, as the play progresses, Orgon's view of Tartuffe changes after refusing to see the fact that Tartuffe is a hypocrite and won't believe it until he sees it with his own eyes near the end of the play. When he hides himself listen in on the conversation between the two, Tartuffe and Elmire. And later, when Madame Pernelle returns, Orgon tries to tell her about Tartuffe but she won't believe it.
Throughout Molière’s ‘Tartuffe” the true intentions of multiple characters are consistently questioned. Different characters involve themselves in self-made delusions for specific reasons, causing the label of ‘hypocrite’ to become a significantly used word. This use of the word ‘hypocrite’ throws everything off balance, forcing the audience to question every statement/event deciding whether or not they are truly sincere. Moliere’s use of hypocrisy when describing Tartuffe brings immediate awareness to the text involving central theme of reason verses emotion, deciding whether or not a characters actions were based on their pure heart or their greed.
She uses Tartuffe’s lust for her as an advantage. Orgon refuses to believe anyone unless he has physical proof. Elmire uses deception to bring Tartuffe’s downfall and succeeds. Orgon refuses to listen to any of the men, but this time it is woman who uncovers the truth. During this century woman were still considered inferior than men, however Elmire contradicts that.
Jean- Baptiste Molière’s play “Tartuffe” is an unquestionably humorous comedy. The play defines the hypocritical acclaimed “Christians” we have in society. Daily, many people are blinded by admiration of religious figures who they believe are Gods disciples and can lead them to the gates of heaven. In “Tartuffe”, the author uses irony, satire, and tone to uncover a man follies of unreligious faith, the lust of women, money, and power.
In the play Othello, William Shakespeare creates an elaborate tragedy with various in depth characters, enhancing the story with powerful characterization. Iago, the main antagonist of Othello, exemplifies Shakespeare’s use of characterization to create in depth and complex characters. Using his manipulative nature, intellectual mind, egotistical attitude, and dishonesty, Iago controls the other characters in order to achieve his goal, leading Othello to succumb to an overwhelming jealousy causing his downfall. In order for Iago to gain control of the characters in the play, he manipulates Othello, Roderigo, Cassio, and more to believe false information and turn on one another.