Tartuffe Script Analysis
Molière’s Tartuffe was first performed in 1664 in the Palace of Versailles and initially published in French in 1669. It is written in rhyming verse and couplets, each line sharing the same amount of syllables. The play is five acts long, though all of the action takes place over the course of one day, remaining in a single setting- Orgon’s household. Many of the situations and stock characters prevalent in Tartuffe come from the Italian comedic traditions of Commedia dell’arte. Although the play is associated with French Neoclassical tradition, Molière’s background and education through commedia techniques heavily influenced his works. Mariane and Valère might be modeled after the innamorati, the young lovers, Madame Pernelle or Orgon could be the pantalones, this type is described as petty with a high status in the social order, Dorine is potentially the colombina, or mischievous maid trope. Molière’s experience and the defining qualities of the characters seem to indicate that their foundations were derived from commedia dell’arte stock. The quick witty humor of the characters is also in commedia style, though the actors would have a script for this play, which is unlike commedia technique.
Depictions of various commedia dell’arte stock characters.
Since Tartuffe was written and performed in Neoclassical France, it follows many of the guidelines set forth by neoclassical style. A few of these include- the value of verisimilitude, or unity of time, place, and action, and prohibition of elements such as chorus, soliloquy, and deus ex machina. The play occurs within one day, so the time within the play would progress as the day continues, though the setting remains consistent and it follows a linear, cause-and-effect-type plot. Orgon believes Tartuffe to be saintly and well-intentioned, despite the opinions of his relatives, and hands over the deed to his fortune and estate to the man. Eventually, he finds out that Tartuffe has tricked him out of his house and intends to evict the family. Luckily, the King sees through the criminal’s ruse and has him arrested, restoring the deed to the rightful heirs. There is no use of chorus within the play, nor are there moments when any character is truly talking to themselves. Dorine speaks aloud at one point, when Orgon forbids her from talking, and claims she is talking to herself, though it’s more of a moment of comedy as opposed to a true soliloquy, when she might have the stage to herself or speak to the audience directly. These prohibitions are observed within Tartuffe, though it seems that deus ex machina has been used, in a sense, to wrap everything up at the end. When the officer comes, the audience anticipates that he will take Orgon away to prison, however, he reveals that the King knew about Tartuffe’s plan all along and has foiled his malicious plot. His rescue of Orgon and his family seems to be an employment of deus ex machina, as it is a relatively easy way to resolve the complex conflict that the family has been involved with. The Cid, by Corneille, was another very popular play of the time period which critics claimed did not strictly follow the neoclassical rules for dramatic construction. Despite this, it was highly successful and became a valued part of the dramatic/literary canon, as did Tartuffe.
Image from a 2017 production of Tartuffe at Grand Canyon University.
Molière claimed that the play was an attack on hypocrisy and those who exploit religion for their personal gain. However, many of the show’s most ardent critics swore that it was an attack on religion overall. This theme is evident in the actions of the titular character, who is presented as a good-natured and respected holy figure. The heads of household in the play trust him and regard him as a saint, though he is proven to be corrupt and takes advantage of his reputation. Mme. Pernelle even believes him to be sent from the heavens. Another theme throughout Tartuffe centers around the impossibility of fighting slander. Rumors and criticism will always be around. Trying to fight it sometimes only gives way to more content for people to speak about or hate. Molière experienced plenty of this in his personal life. This is initially brought up by Cléante in the beginning of the play, when he’s talking about the gossip being spread around by the neighbors. Throughout Tartuffe, the value of hearsay and the reliability of testimony is questioned.
Frontispiece and title page of an old printed copy of Tartuffe.
Citations
Britannica, The Editors of Encyclopaedia. "Tartuffe". Encyclopedia Britannica, 27 Mar. 2020,
https://www.britannica.com/topic/Tartuffe. Accessed 17 November 2021.
“Description of Commedia Dell'arte Characters .” Italy Mask,
https://www.italymask.co.nz/About+Masks/Commedia+dellArte+Characters.html.
Haugland, Charles. “Playing with Verse: Ranjit Bolt's Delightful New Translation of Tartuffe.”
The Huntington Theatre, https://www.huntingtontheatre.org/articles/tartuffe-articles/Gallery/playing-with-verse/.
“Tartuffe Broadway @ Circle in the Square Theatre - Tickets and Discounts.” Playbill, 1996,
https://www.playbill.com/production/tartuffe-circle-in-the-square-theatre-vault-0000003228.
Timmel, Lisa. “Moliere,Tartuffe, and the Scandal That Created Modern Comedy.” The
Huntington Theatre, https://www.huntingtontheatre.org/articles/tartuffe-articles/gallery/the-scandal-that-created-modern-comedy1/.
Wilson, Edwin, and Alvin Goldfarb. Living Theatre: A History of Theatre (Seventh Edition).
Available from: Yuzu, (7th Edition). W. W. Norton, 2017.
Image Citations
Merrill, Laurie. “Audience Enriched by Wealth of Laughs in 'Tartuffe'.” GCU Today, Grand
Canyon University, 27 July 2021, https://news.gcu.edu/2017/10/audience-enriched-wealth-laughs-tartuffe/.
sfsoul7734. “Commedia Dell'arte: Introduction of Stock Characters.” The Art of Comedy, 18 May
WriteWork contributors. "Fiction Vs. Reality: A comparison of themes in "Tartuffe" and
"Candide"" WriteWork.com. WriteWork.com, 19 April, 2006. Web. 17 Nov. 2021.
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