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Quote Key

Character: Quote (Act
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Line)

Tartuffe Notes

Context & Setting

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1664 – Written, as “Les Plaisirs de l’île enchantée”
First performance at ‘Versailles fêtes’
-> Censored by King Louis XIV (probably influenced by archbishop of Paris)
1667 – Revised as, “L’imposteur” (later the footnote of Tartuffe’s title, “Tartuffe, ou l’imposteur”)
Performed only once
1669 – Finally revised as “Tartuffe” = highly successful
Voltaire was a huge fan of the play


INTERESTING FACT – The word ‘hypocrite’ is said only twice
! DAMIS: Quoi! la feinte douceur de cette âme hypocrite (1089)
! ELMIRE: Faire poser le masque à cette âme hypocrite, (1374)

‘Hypocrisie’ said thrice
! DORINE: Tout son fait, croyez-moi, n'est rien qu'hypocrisie
...
Specious, deceptive, or over subtle reasoning, especially in questions of morality; fallacious or
dishonest application of general principles; sophistry
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The application of general ethical principles to particular cases of conscience or conduct
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g
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• Verisimilitude















1
...
Something, as an assertion, having merely the appearance of truth
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g
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– an approach to
religion that is good, and what the real church would advocate in a person)
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Il attirait les yeux de l'assemblée entière,
Par l'ardeur dont au Ciel il poussait sa prière:
Il faisait des soupirs, de grands élancements,
Et baisait humblement la terre à tous moments (1
...
288)

•
•

Here Orgon describes Tartuffe’s previous behaviour, as he went to the church every day and prayed
humbly in front of everyone, (making his piousness clear to Orgon in order to fool him)
...
For
they love to stand and pray in the synagogues and at the street corners, that they may be seen by others
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But when you pray, go into your room and shut the door
and pray to your Father who is in secret
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•


CLÈANTE: Et comme je ne vois nul genre de héros
Qui soient plus à priser que les parfaits dévots;
Aucune chose au monde, et plus noble, et plus belle,
Que la sainte ferveur d'un véritable zèle;
Aussi ne vois-je rien qui soit plus odieux,
Que le dehors plâtré d'un zèle spécieux; (1
...
360)

Here we see Cleante’s fervour for a real piety, what he conceives to be a good approach to religion,
and an opposite to Tartuffe (a foil)
CLÈANTE: Et pour perdre quelqu'un, couvrent insolemment,
De l'intérêt du Ciel, leur fier ressentiment ;
D'autant plus dangereux dans leur âpre colère,
Qu'ils prennent contre nous des armes qu'on révère,
Et que leur passion dont on leur sait bon gré,
Veut nous assassiner avec un fer sacré
...
5
...



ORGON: Puisque enfin de son bien il s'est laissé priver
Par son trop peu de soin des choses temporelles,
Et sa puissante attache aux choses éternelles
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(2
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491)
•



Here Orgon talks about wanting Tartuffe to be able to rebuild his riches and his estate, highlighting
several key features of religion v
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‘eternal things – very churchly idea to abandon worldly possessions and
have more value towards things like love/kindness etc
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(3
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1044)

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•

Here Damis is referencing religion – i
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it’s heaven’s wish that he debunk Tartuffe and ‘undeceive’
his father => heaven’s wish that a traitor like Tartuffe is revealed (which is inherently true, but sadly
backfires on him completely)
Truth VS
...
(4
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1248)

•
•

•

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This is a fantastic scene to showcase the links between HYPOCRISY/RELIGION – wherein Tartuffe
justifies (or tries to) his inheritance of Orgon’s money
...
)
Mais on trouve avec lui des accommodements
...
5
...
This is why he is ‘l’imposteur’


TARTUFFE: La maison m’appartient, je le ferai connaître,
Et vous montrerai bien qu’en vain on a recours,
Pour me chercher querelle, à ces 4etour 4etours;
Qu’on n’est pas où l’on pense, en me faisant injure;
Que j’ai de quoi confondre, et punir l’imposture,
Venger le Ciel qu’on blesse, et faire repentir
Ceux qui parlent ici de me faire sortir
...
7
...

What’s significant here is the strangely religious language that he uses – in particular, he claims that
he wants to “Venger le Ciel qu’on blesse” (avenge offended heaven), implying that he actually may
believe that he’s heaven’s messenger, or something along those lines
...
1
...

DAMIS: Quoi! je souffrirai, moi, qu'un cagot de critique,
Vienne usurper céans un pouvoir tyrannique ?
Et que nous ne puissions à rien nous divertir,
Si ce beau monsieur-là n'y daigne consentir?(1
...
48)

•

Damis’ use of the words “qu’un cagot” (a false devotee, a hypocrite) so early in the play makes it
abundantly clear that Tartuffe is the hypocrite here
– sets the scene + says what everyone is thinking
– ensures the audience are aware of Tartuffe’s personality, long before he enters the scene

DORINE: Il passe pour un saint dans votre fantaisie;
Tout son fait, croyez-moi, n'est rien qu'hypocrisie
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1
...
5
...

Si l'on vient pour me voir, je vais aux prisonniers,
Des aumônes que j'ai, partager les deniers
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The stage directions are important as well (exclusive to the reader, but portrayed on stage as well)
that show that Tartuffe is only putting on his act when he sees other people, highlighting the fact
that it’s an act
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Tartuffe’s many possessions, not the first time in the play that we hear about them,
in stark contrast with religion (that advocates less attachment to worldly possessions)
...
)

TARTUFFE: Je tâte votre habit, l'étoffe en est moelleuse
...

TARTUFFE: Mon Dieu, que de ce point l'ouvrage est merveilleux!
On travaille aujourd'hui, d'un air miraculeux;
Jamais, en toute chose, on n'a vu si bien faire
...
3
...
Just a scene before, he
gave Dorine a handkerchief to cover her exposed breast, and not a scene later is he closely
examining Elmire’s dress, ‘the material is soft’ and also, ‘what fine lace-work’ (bolded respectively)
– showcases both his contradictory attachment to possessions/material things
– also highlights hypocrisy between acting religious (for Dorine’s sake), but sanctifying his own
actions when he wants something (Elmire)
TARTUFFE: Mais enfin je connus, ô beauté toute aimable,
Que cette passion peut n'être point coupable;
Que je puis l'ajuster avecque la pudeur (3
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951)

•
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Once again, Tartuffe sanctifies his own actions (when we know he would not allow anyone else to
do the same = the definition of HYPOCRISY)
“Avec la pudeur” – he says that it’s ok to be with Elmire as long as he remains pious, but leaves his
justification conveniently vague
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6
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Referencing Orgon’s ineptitude to spot T’s deceitfulness
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(4
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1217)

•
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Tartuffe tries to reason with Cleante that if he forgives Damis, then people might…
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His justification: people will think that his goodness is some sort of bribe to Damis, because out of
guilt he made some sort of loving-kindness and benevolence
...
7
...

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•
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Cleante has just made a perfect case against Tartuffe
=> why is Tartuffe, an apparently moral man, willing to be the hair of, an apparently immoral man?
Shouldn’t his religious zeal be affected?
=> Flagrant case of hypocrisy
Tartuffe has no words (AGAIN – as seen multiple times against Cleante’s absolute logic/truth)
Real ‘gotcha’ moment true to the context (ending scene + omniscient presence of King)




























Deception

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Huge aspect of the play as a predominant personality trait of Tartuffe’s
" His deception of Orgon + Madame Pernelle illustrates his personality as manipulative, and
thereby Orgon + Madame Pernelle are also seen as gullible/foolish/easily deceived etc
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Accablez-moi de noms encor plus détestés
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6
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g
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He doesn’t flat out accuse him of criminality, but
rather, puts forward his rival point of view of what Christian religion should be
TARTUFFE: Oui, mon frère, je suis un méchant, un coupable,
Un malheureux pécheur, tout plein d'iniquité,
Le plus grand scélérat qui jamais ait été
...

Je ne saurais avoir tant de honte en partage,
Que je n'en aie encor mérité davantage
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6
...
This is all TRUE
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(4
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1524)

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•
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Tartuffe finally insinuates to Elmire what he thinks of Orgon, that he’s a fool to be led around by the
nose
The culminating point in comedy of self-revelation
This is perhaps the only point in the entire play that Tartuffe says something that is wholly and
unguardedly truthful
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C'en est fait, je renonce à tous les gens de bien
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(5
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1606)

ORGON: Hé bien, ne voilà pas de vos emportements !
Vous ne gardez en rien les doux tempéraments
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(5
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1610)
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Orgon denounces all holy men as liars and deceivers
Cleante replies with a comment about Orgon is always jumping between extremes
This shows how Orgon is always at extremes, and exemplifies Cleante, who advocates a more
balanced and calm approach to religion

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ALSO, however, deceit is also aspect in other ways
" Elmire + Dorine advocate/employ deceit in order to reveal Tartuffe’s plot (Elmire’s plan to
expose Tartuffe to Orgon forces her to somewhat reciprocate his advances)
" Damis tells Orgon the truth about Tartuffe, only to have it back fire – the truth is not always the
correct solution, and one must be proficient enough to be able to lie and tell the truth
effectively
" Orgon is not a liar himself, and never suspects Tartuffe of lying either – does this suggest that
there is a link between being sincere and not being able to detect insincerity? Orgon is at heart
a good, genuine person, so his faults are somewhat forgiven by this demonstration of his good
faith and trust in his friend
...
(1
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23)
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Madame Pernelle accuses Mariane of being a liar, (amongst other things) with no evidence
Madame Pernelle shown to be a foolish character: presumptuous, accusatory, prone to believing
things easily etc
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Je trahirais mon cœur, de parler d'autre sorte;
Sur ses façons de faire, à tous coups je m'emporte;
J'en prévois une suite, et qu'avec ce pied plat
Il faudra que j'en vienne à quelque grand éclat
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1
...

Votre père se moque, et ce sont des chansons
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(2
...
800)

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Here Dorine advocates Mariane to lie to her father, Orgon, to humour him – as long as Mariane is
lying to do good, Dorine has no issue with deception

ELMIRE: Je ne redirai point l'affaire à mon époux;
Mais je veux en revanche une chose de vous
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3
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ÉLMIRE: L'erreur trop longtemps dure,
Et c'est trop condamner ma bouche d'imposture
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(4
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1353)

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Elmire says here directly that Orgon is being deceived and that she’s once and for all stepping in to
prove Tartuffe’s guilt
ELMIRE: Au moins, je vais toucher une étrange matière,
Ne vous scandalisez en aucune manière
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(4
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1372)

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Elmire is now forced to use deceit, as a last resort, to convince Orgon – she makes it clear that she
is being forced to lie, because she is no hypocrite after all
...
(4
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1411)
TARTUFFE: Le bonheur de vous plaire, est ma suprême étude,
Et mon cœur, de vos vœux, fait sa béatitude;
Mais ce cœur vous demande ici la liberté,
D'oser douter un peu de sa félicité
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5
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(Although
he’s immediately overcome with lust, using manipulation to make advances on her – i
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prove your
words with actions)
L’EXEMPT: Remettez-vous, Monsieur, d'une alarme si chaude
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(5
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1905)

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The King (serving as O’s foil) is not vulnerable to deceit, and is able to see through the trickery of
imposters
In this way, Molière is also appeasing Louis XIV, by telling the audience that such deceit and such
imposters are unrealistic in their contemporary France, because they live under such an omniscient
and wonderful King
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Moliere wishes to satirise and ridicule the fallacies of
religion, and therefore Satire becomes The Goal

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COMEDIC ELEMENTS/DRAMATIC IRONY – as The Method by which Moliere exemplifies the Satire
of Religion
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are highlighted, in
particular, the many detestable traits seen within the characters (Tartuffe, Orgon and Madame
Pernelle)
This segment will be about the Comedic Elements used by Moliere as a tool to showcase his
message/morals (and I will leave behind Satire as rather something up to you to decide upon)
(CONTEXTWISE)
Comedy was particularly heightened by the context in which the play was performed
– the audience (general public) would have had certain social and religious norms wholly integrated
into their daily lives
– e
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social structure in regards to citizens vs
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women
– Moliere very much ignores some of these rules for the most part of the play
– the audience would have seen this as controversial, but very amusing
Moving on, the two categories of Dramatic Irony & Comedic Elements both have different
methods and approaches, but essentially share the same goal => to ridicule HYPOCRISY and
DECEPTION
MADAME PERNELLE: C'est véritablement la tour de Babylone (1
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161)

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Here Madame Pernelle confuses a biblical reference (What she references is the legend about that
tower to reach god, where they get too close, and god makes them all speak different languages
suddenly – this is wholly irrelevant to what she’s saying) – she herself has made a mistake in
regards to religion while she is defending Tartuffe and saying that the rest should be religious like
him
This has comedic effect, because the Irony has highlighted the hypocrisy of Tartuffe’s recruited
follower (and already denotes him as some sort of fraud)

ORGON: Et Tartuffe?
…
ORGON: Le pauvre homme!(1
...
)
Dorine tries to explain the poorly state of Elmire, Orgon’s wife
Orgon is much more worried about Tartuffe than his own wife, particularly demonstrated in this
scene, where he repeats these two phrases consecutively, four times, in response to Dorine
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The
role reversal of the two is Ironic
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(1
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258)

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•
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Dorine’s sarcastic remark really wraps up the scene with a sort of punch line – “ok, I’ll go tell your
wife that you’ve been worrying about her”
Untrue, emphasising that he was not worrying about her, but about Tartuffe
...
(2
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519)
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After Dorine’s discussion with Orgon about Mariane/Valere’s wedding, she says that he should
really listen to her – this is the Maid telling the Head of the household to listen to her
It’s a huge role reversal, especially in the context of 17th century audience – completely ignoring the
class system, this controversy would have sparked amusement amongst the spectators (or readers)
ORGON: Cessez de m'interrompre, et songez à vous taire, (2
...
541)

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•
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Immediately following, Orgon becomes angry with Dorine, naturally – but the use of “taire”, a
whole 5 times within the scene is almost superficial, because it does nothing
Undermining his role as the head, and highlighting his lack of real power
=> Further emphasising his weakness as a character

MARIANE: Tout de bon?
VALÈRE: Sans doute
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MARIANE: Hé bien, c'est un conseil, Monsieur, que je reçois
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MARIANE: Pas plus qu'à le donner en a souffert votre âme
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(2
...
702)



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Emotional ‘Ping-Pong’!
TARTUFFE: Mais, Madame, après tout, je ne suis pas un ange; (3
...
970)

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•
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This line is significant to the play because it’s repeated in different ways by several different
characters (I will mention later)
Tartuffe explains to Elmire, that she can’t expect him to put away his lust, “I’m not an angel” he
says – the irony here is that he’s actually so much worse
...
This is really the ultimate hypocrisy, (religion allows him to do what
others are forbidden by religion to do)
ELMIRE (Elle tousse pour avertir son mari):
Quoi! vous voulez aller avec cette vitesse,
Et d'un cœur, tout d'abord, épuiser la tendresse? (4
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1456)


TARTUFFE: Vous toussez fort, Madame
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TARTUFFE: Vous plaît-il un morceau de ce jus de réglisse?
ELMIRE: C'est un rhume obstiné, sans doute, et je vois bien
Que tous les jus du monde, ici, ne feront rien
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ELMIRE: Oui, plus qu'on ne peut dire
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5
...
5
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Furthermore, when Tartuffe notices her coughing and offers her a drink, this break in the
passionate narrative is rather amusing, especially because Tartuffe returns right to hitting on her
immediately following
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Rentrez sous le tapis, il n'est pas encor temps; (4
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1532)

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Sarcastic remark by Elmire showcases her feelings of frustration and would have been very funny
for the audience, because they have been experiencing the same emotions as her
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4
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Extra notes about Comedy:
(From, ‘The Modern Language Review’ – Brian Nicholas)

Is Tartuffe a Comic Character?
" Comic characters are those that we laugh at, not those who are witty (denoting stupidity,
absurdity etc
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Unconscious ambiguity of his language, and his failure to keep up his appearance at all times
Said to happen 4 times in the play (By W
...
Moore, mentioned later):
1
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ELMIRE: …
TARTUFFE: L'amour qui nous attache aux beautés
éternelles,
N'étouffe pas en nous l'amour des temporelles
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Ses attraits réfléchis brillent dans vos pareilles:
Mais il étale en vous ses plus rares merveilles
...

D'abord j'appréhendai que cette ardeur secrète
Ne fût du noir esprit une surprise adroite;
Et même à fuir vos yeux, mon cœur se résolut,
Vous croyant un obstacle à faire mon salut
...

Ce m'est, je le confesse, une audace bien grande,
Que d'oser, de ce cœur, vous adresser l'offrande;
Mais j'attends, en mes vœux, tout de votre bonté,
Et rien des vains efforts de mon infirmité
...


ELMIRE: …




TARTUFFE: Ah! pour être dévot, je n'en suis pas
moins homme;
Et lorsqu'on vient à voir vos célestes appas,
Un cœur se laisse prendre, et ne raisonne pas
...

Dès que j'en vis briller la splendeur plus qu'humaine,
De mon intérieur vous fûtes souveraine
...

Mes yeux, et mes soupirs, vous l'ont dit mille fois ;
Et pour mieux m'expliquer, j'emploie ici la voix
...

Votre honneur, avec moi, ne court point de hasard;
Et n'a nulle disgrâce à craindre de ma part
...

De leurs progrès sans cesse on les voit se targuer;
Ils n'ont point de faveurs, qu'ils n'aillent divulguer;
Et leur langue indiscrète, en qui l'on se confie,
Déshonore l'autel où leur cœur sacrifie:
Mais les gens comme nous, brûlent d'un feu discret,
Avec qui pour toujours on est sûr du secret
...

" Also full of our favourite phrases, “pour être dévot, je n’en suis pas moins homme,” “je ne suis
pas un ange,” Tartuffe says, an ironically sincere statement
" 2
...

Chaque instant de ma vie est chargé de souillures,
Elle n'est qu'un amas de crimes, et d'ordures;
Et je vois que le Ciel, pour ma punition,
Me veut mortifier en cette occasion
...

Croyez ce qu'on vous dit, armez votre courroux,
Et comme un criminel, chassez-moi de chez vous
...

…




TARTUFFE:
Ah! laissez-le parler, vous l'accusez à tort,
Et vous ferez bien mieux de croire à son rapport
...

Tout le monde me prend pour un homme de bien;
Mais la vérité pure, est, que je ne vaux rien
...
)
Oui, mon cher fils, parlez, traitez-moi de perfide,
D'infâme, de perdu, de voleur, d'homicide
...

Je n'y contredis point, je les ai mérités,
Et j'en veux à genoux souffrir l'ignominie,
Comme une honte due aux crimes de ma vie
...
G
...
Act 4 Scene 5:

TARTUFFE: Si ce n'est que le Ciel qu'à mes vœux on
oppose,
Lever un tel obstacle, est à moi peu de chose,
Et cela ne doit pas retenir votre cœur
...

TARTUFFE: Je puis vous dissiper ces craintes ridicules,
Madame, et je sais l'art de lever les scrupules
...
)
Mais on trouve avec lui des accommodements
...

De ces secrets, Madame, on saura vous instruire;
Vous n'avez seulement qu'à vous laisser conduire
...

Vous toussez fort, Madame
...

" 4
...

La maison m'appartient, je le ferai connaître,
Et vous montrerai bien qu'en vain on a recours,
Pour me chercher querelle, à ces lâches détours;
Qu'on n'est pas où l'on pense, en me faisant injure;
Que j'ai de quoi confondre, et punir l'imposture,
Venger le Ciel qu'on blesse, et faire repentir

Ceux qui parlent ici de me faire sortir
...

The conclusion here is that Tartuffe is dangerous, because he’s kept in the background and is never
seen at work
Calling into question the validity of Tartuffe’s role as Comic character??
" Example 1 – can we really define Tartuffe as ‘dropping his mask’, in this scene?
" He is simply an accomplished performer and orator, and like any successful orator, he gets
carried away when he speaks, referring still to previous (and made up) religious activities –
which is actually quite impressive that he’s been able to keep up the charade and recall and
recite his previous history
...
Le Misanthrope (ou l'Atrabilaire amoureux) (1666)
Alceste – The protagonist and "misanthrope” of the title
...
He cannot help but love Célimène though he loathes
her behaviour
...
L'école des femmes (1662)
Arnolphe – A character who is so intimidated by femininity that he resolves to marry his young,
naïve ward
3
...
For these three ladies are
"learned"; their obsession in life is learning and culture of the most pretentious kind, and
Trissotin is their special protégé and the fixture of their literary salon
Armande – sister of Henriette (protagonist) and enthralled by Trissotin
4
...



SIMILARITIES
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•

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Tartuffe is undone by the element of love or sensual temptation – something seen in both the
characters of Arnolphe/Alceste (in ‘L’Écoles des femmes’ and ‘Le Misanthrope’ respectively)
" This is a theme used regularly by Moliere
" Denotes just how seriously this trait is seen as a weakness of human nature
" Tartuffe is completely betrayed by this agency (i
...
sensual temptation) in that his attempted
seduction of Elmire causes his immediate downfall – (especially considering that he’s been
duping Orgon for years in attempt to gain his trust)
Surface resemblances between the speech of Tartuffe + other characters,

TARTUFFE: Mais la vérité pure est que je ne vaux rien
ARGAN: Je ne suis pas bon, je suis méchant quand je veux

Similar in self-revelation
TARTUFFE: L'amour qui nous attache aux beautés éternelles,
N'étouffe pas en nous l'amour des temporelles
...
e
...


•

" A parallel example seen in ‘Le Malade imaginaire’, where Argan says, “Je ne suis pas bon, je suis
méchant quand je veux” – it’s a “deeply true statement that a character is forced into making”
" This is a clear example of Moliere’s method of putting his characters into situation where they
are forced to say certain things (in this specific example, it would be the truth of one’s own
identity, revealed in several of Tartuffe’s speeches – spurred by both his own weakness to
Elmire, and his pious bluffing, and on occasion, his inability to keep cool)
" The comedic value here = self-revelation
" Tartuffe’s deception = “tactical weapon dictated by circumstances, sometimes, admittedly, very
pressing ones”
" He knows the truth about himself already – in contrast with Moliere’s other plays, where the
comedy arises from the character’s lack of introspective and ability to recognise their own
criminality
" But Tartuffe is completely aware of his own personality, therefore cannot be wounded or
enlightened if he were to realise the implications of his self-revelations
...
g
...
g

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