Moliere's the Misanthropist

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MOLIERE’S “THE MISANTHROPIST”

CONTEXT

The playwright history knows as Molière was born Jean-Baptiste Poquelin in Paris in

1622. The young Molière likely established his affinity for theater at an early age, given

the cultural and theatrical fertility of the Paris of his youth. One should note, however,

that his plays are not entirely French-influenced, as he borrows from Spanish and Italian

influences as well.

Molière was well educated: he studied at the Jesuit Collège de Clermont and later

studied law. He even had a brief career in law, which may partly explain his inclusion of

lawsuits and legal strife in The Misanthrope. After a brief stint as a lawyer, Molière

turned his attention to acting around 1642, at which point he joined in creating the Illustre

Théâtre, a company whose success, although sporadic, gave Molière opportunity to

commit himself full-time to the theater. Though he is best known as a playwright,

Molière never stopped acting. His experience as an actor led to the creation of some of

the most intense character studies in theater at the time, plays that require great effort and

skill on the actor's part.

The Misanthrope (1666) is at least partially autobiographical, although the extent to

which Alceste mirrors the playwright is a point of contention among scholars. Molière

was likely involved in a lawsuit while he wrote parts of the play, and he is known to have

been in poor health, both of which may have given rise to misanthropic behavior. Nonetheless, it is difficult to imagine that Molière's misanthropy reached the extent of

Alceste's bitterness. The Misanthrope is far more sophisticated than a simple

autobiography, and critics have generally stayed away from searching for incessant

parallels between Alceste and Molière.

The farcical element of The Misanthrope is more subdued than in Molière's other

comedies, such as Tartuffe (1664) or Those Learned Ladies. Perhaps discouraged by the

1666 banning of Tartuffe, a play many found offensive because of its assault on church

hypocrisy, Molière embarked on a more serious study of human relationships with The Misanthrope. He does poke fun at French aristocracy, but this satire is overshadowed by

Molière's attention to those human flaws to which all are subject.

Although Molière typically worked within certain stylistic and traditional constraints, he

was unique in his quest to experiment and to create new types of theater. The

Misanthrope demonstrates Molière's twisting of the traditional farce or satire, which

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typically used flat stereotypes to make a broad comment on social or political issues.

Alceste and Célimène, along with the play's other characters, are more multidimensional,

their behavior more ambivalent. In The Misanthrope, Molière uses a style that allows the

audience to sympathize with his characters and to seek more subtle meanings in his work.

While Alceste is not a stereotype, he is an extreme, implying Molière's criticism of

certain human traits—a departure from his earlier attacks on broader class traits.

Additionally, The Misanthrope is distinct from Molière's other work in its relative lack of

movement. The fact that not much happens in the form of plot development forces the

audience or reader to pay particularly close attention to character behavior and

motivation.

Plot Overview

Alceste, a French aristocrat, raves to his friend Philinte about the corruption of French

society. Alceste identifies hypocrisy as one of mankind's worst flaws. Despite Philinte's

objections, Alceste insists that truth and honesty, no matter how painful, are essential to

true integrity. Philinte contends that honesty must be balanced with manners, arguing that

flattery might justly take the place of offensiveness. He believes that human nature

should be allowed its faults. Over the course of the conversation, we learn that Alceste is

presently involved in a lawsuit.

During the conversation between Alceste and Philinte, Oronte, a marquis of the

Court enters, proposing that he and Alceste commit to being friends. Alceste makes nosuch commitment, suggesting that they get to know each other first. Shortly thereafter,

Oronte asks Alceste to critique a sonnet he has written. Alceste reluctantly agrees. He

despises the poem, and scolds Philinte for flattering Oronte. When Oronte asks Alceste's

opinion, Alceste suggests that Oronte give up his aspirations as a poet. Insulted, Oronte

leaves.

Alceste confronts his love interest Célimène (whose house is the setting for the play)

about her recent behavior, which he considers inappropriate. He criticizes her for

entertaining too many suitors; she insists that her flirtation is harmless and that her trueaffections lie with him. Célimène's manservant, Basque, announces the arrivals of Acaste

and Clitandre, two marquises hoping to court Célimène. In protest, Alceste announces

that he will leave, but he does not.

All of Célimène's suitors, excluding Alceste, gather with her and her female cousin,

Éliante, to hear Célimène's gossip about the people of the Court. Célimène criticizes

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harshly, and her suitors are highly entertained. Alceste interjects during Célimène's

discussions to object to the hypocrisy at hand. Everyone dismisses his comments. Éliante

delivers her ideas about men in love, mentioning that Alceste's disposition is abnormal.

She contends that smitten men typically compliment those with whom they are in love.

An Officer of the Marshals of France arrives to inform Alceste that a lawsuit has been

filed against him by Oronte, who seeks retribution for Alceste's comments about his

poem. Alceste leaves to deal with the matter.

Acaste and Clitandre find a moment alone to discuss their affections for Célimène.

Acaste strokes his own ego, bragging about his youth, his wealth, and his appeal to

women. His cheerfulness dissolves, however, when he admits that Célimène does not

care for him. Clitandre and Acaste decide that, should one of them fall out of favor with

Célimène for good, he will step aside and support the other's courtship.

Arsinoé, a cantankerous older woman, arrives to tell Célimène that the people of the court have been talking about her "flirtatiousness." Arsinoé claims to have taken

Célimène's side in the affair, but she suggests that Célimène change her behavior

promptly to avoid further conflict. Célimène comments on Arsinoé's flaws, implying that

Arsinoé's pretentiousness is also a topic of conversation. Arsinoé takes offense when

Célimène states that the older woman's flaws might just be the result of age.

The dispute ends when Alceste arrives, at which point Célimène leaves. Arsinoé praises

Alceste's integrity and offers to use her influence to acquire him a position at Court. He

scoffs at her offer. She then tells Alceste that she has a letter proving Célimène's

deception of him. Alceste leaves with Arsinoé to see the evidence for himself.

Philinte and Éliante discuss Alceste's extraordinarily foul behavior before the Marshals of

France. Philinte can hardly believe Alceste's unwillingness to compromise, while Éliante

praises Alceste's commitment to his own value system. When their conversation turns to

Alceste's relationship with Célimène, Éliante states that Célimène is confused and does

not know whom she loves. Éliante admits that she would accept Alceste's advances if he

were to abandon Célimène at any point. Philinte then admits his attraction to Éliante,

saying he would be honored to be hers.

As Philinte and Éliante finish their conversation, Alceste enters, infuriated and seeking

revenge against Célimène for deceiving him by professing her attraction to another suitor.

Alceste proposes that he and Éliante strike up a relationship in order to make Célimène

jealous. Éliante cautions Alceste not to be hasty in his judgment.

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Philinte and Éliante exit as Célimène enters. Alceste berates Célimène for her infidelity.

She reacts calmly, calling him "foolish" and telling him to believe what he wishes about

the letter. Desperate, Alceste commands Célimène to tell him that the letter was actually

written to a woman. Célimène refuses this request, and Alceste rages about his

uncontrollable love for her.

Alceste's servant, Du Bois, enters, telling his master to leave immediately, as he has lost

his court battle and now runs the risk of arrest. Alceste leaves to find out more about the

situation. He finds Philinte, who counsels him to challenge the verdict issued against him.

Alceste refuses, stating that he wants the verdict to stand as an example of human

corruption. He announces that he will isolate himself from society forever. Before

leaving, he plans to test Célimène's love by asking her to retire with him.

Shortly thereafter, Alceste and Oronte confront Célimène, both demanding that she

choose between them. Célimène refuses to do so, stating that she plans to let Éliantemake the decision for her. When Éliante enters, she refuses to do Célimène's bidding.

Then, Acaste and Clitandre enter with a letter written by Célimène that contains insulting

remarks about each of the suitors. Arsinoé and Philinte return. The men read the letter

aloud, each of them declaring his wish to end whatever courtship he had with Célimène.

Eventually, Alceste is the only suitor remaining. For once, he is willing to forgive

Célimène, but he says she must first agree to live with him in solitude. She is shocked by

his proposal, explaining to him that she is too young to make such a drastic decision. She

agrees to marry him, but not to leave with him. Furious, Alceste renounces his love for Célimène. She leaves, and Alceste turns to Éliante, telling her that it would be unjust for

him to ask for her devotion. Éliante professes agreement, announcing her decision to

devote herself to Philinte. Alceste exits, and Philinte and Éliante follow to encourage him

to rethink his decision to retire into isolation.

Character List

Alceste - The protagonist and title character. Alceste is not a happy man. He is

unforgiving, incapable of coming to terms with the flaws of human nature, and quick to point out faults in others. He is not an evil man, however, and we may be sympathetic to

him given the even manner in which he dispenses criticism—to everyone, including

himself. The highly principled Alceste is brutally honest, which often offends others. He

cannot bear flattery or insincere compliment. Célimène is Alceste's greatest source of

agony: Alceste recognizes that love is his weakness and that he cannot reject Célimène,

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even though he abhors her behavior. His love for Célimène is the only force capable of

subverting his firm values. Alceste's age—he is probably the oldest of the characters—

and disposition set him apart from the rest of the company at Célimène's home.

Célimène - A young woman who is the object of desire of several men in The

Misanthrope. Célimène is the center of attention for much of the play. Her suitors—

Alceste, Oronte, Acaste, and Clitandre—all seek her affection, yet she makes no firmcommitment to any of them. Molière implies that Célimène might somehow belong to

Alceste, possibly through an arranged marriage, but this does not keep her from flirting.

Célimène is happy and confident, but not without fault; she loves to gossip, and she is

critical of nearly everyone she meets. She is careless in her insults, and she ultimately

stirs the ire of those who once loved her. Célimène seems to enjoy life for the most part,

but she is unwilling to give herself over to the conventions and decorum of her society.

Philinte - A polite and tactful man who is well adapted to the society of the play.

Philinte, who avoids the type of offensive straightforwardness that characterizes Alceste,

is almost so well adjusted as to come across as boring. Philinte lacks the sharp wit and

cleverness of many of the other characters, but is appealing in his selflessness. Philinte

bears a genuine concern for Alceste as he seeks to keep Alceste from destroying all of his

relationships. Philinte is also admirable for his self-control and patience in dealing with

the object of his affection, Éliante. In many ways, Philinte is the straight man to the

absurd and often comically disgruntled Alceste.

Éliante - The object of Philinte's romantic attentions. Éliante possesses a deepunderstanding of the French society in which she lives. She also demonstrates a keen

insight into the relationship between the sexes and occasionally offers a witty critique of

how men in love behave. Éliante is loving and compassionate, if a bit confused about

where her own desires lie. She shifts her affections from Alceste to Philinte over the

course of the play. Éliante is not shy, as she expresses her opinions of others when the

situation demands it. However, Éliante never reaches the extremes of her cousin

Célimène in gossiping and making fun of the people of the court. Éliante has found a

point of balance between propriety and conformity.

Oronte - An outspoken man who seeks to be an integral part of his society.

Experimenting with poetry, Oronte fashions himself a multi-talented man, though the

mediocrity of his poem calls this particular talent into question. Though he appears

confident, he reveals his insecurities when criticized. He cares very much about what

people think of him, and he even challenges Alceste in court for criticizing his poem.

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Like most of the others, Oronte is in love with Célimène. His love is not, however,

stronger than his pride, and he abandons Célimène after she insults him. Oronte demands

the honesty of those with whom he associates. Whether or not he can handle this honesty

depends upon the situation.

Arsinoé - A bitter woman who is older, unattractive, unpleasant, and thus unable to

attract men. Arsinoé masks her frustration with extreme manners and piety. She is openlycritical of Célimène out of jealousy, as she herself seeks the love of Alceste. Arsinoé is

also willing to betray the confidence of supposed friends, as we see when she tells

Alceste of Célimène's deception. Though Arsinoé does participate in the gossip and

rumor-mongering about the Court, it does not make her happy. Perhaps the only thing

that could make her happy—Alceste's love—is beyond her reach.

Acaste - A young and egotistical marquis. Acaste considers himself a prime

candidate for the role of Célimène's lover. He is unabashed in singing his own praises,

which may explain his confusion and frustration over Célimène's rejection. Acaste

demonstrates true anguish in speaking of his unrequited love for Célimène; he desires the

love of Célimène to such an extent that he strikes a deal with Clitandre to bolster his

chances of wooing her.

Clitandre - Another marquis chasing Célimène's love. Clitandre seems less desperate

than the other suitors for her affection. His greatest joy comes from his participation in a

gossip session with Célimène. Ultimately, Clitandre has enough pride and confidence to

give up on Célimène when she insults him.

Du Bois - Alceste's jittery, bumbling manservant. Du Bois's comic subservience to

Alceste is a major element of the farcical nature of The Misanthrope. Out of nervousnessin trying to tell Alceste everything, Du Bois actually says virtually nothing. Du Bois is of

little help to his master, regardless of his good intentions. His ineptitude attracts the

sympathy of his theater audience.

Basque - Célimène's manservant. Basque, a minor character, is loyal to his mistress,

promptly announcing the arrival of her visitors.

Officer - A messenger of the Marshals of France. The Officer requests that Alceste

present himself before the Marshals to justify his insult to Oronte's poem.

Analysis of Major Characters

Alceste

Alceste is the protagonist and title character of The Misanthrope, as well as the genesis of

the play's central conflict—the clashing of Alceste's value system with the status quo.

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Frustrated by the lack of sincerity and the prevalence of corruption in the society around

him, Alceste frequently lectures others about the value of honesty and the ills of

hypocrisy. Unfortunately for him, no one really listens. As one man among many who do

not share his views, Alceste is isolated. However, in spite of his isolation, he does garner

the affections of both men and women. Philinte seems to respect Alceste's integrity, and

both Arsinoé and Célimène demonstrate attraction to him.

Alceste's journey through the play does change him in some ways. By the end, he

shows a willingness to forgive, offering his hand in marriage to Célimène even though

she has offended him. Additionally, Alceste admits his own weaknesses, recognizing that

he, like everyone else, is prone to fall victim to love. Alceste, does not, however, change

completely; indeed, he ends up quite close to where he began, enraged at Célimène's

behavior.

Molière uses Alceste in part as a satirical device. The playwright shows that a strict codeof ethics cannot survive the society he satirizes. However, Alceste is more of a character

study than he is a symbol. He is multidimensional, as comic extremism and common

human emotion are juxtaposed within him.

Célimène

Although Alceste drives the action of The Misanthrope, the world of the play revolves

around Célimène. She is young, energetic, and naughty enough to pique everyone's

interest. Just as Alceste is set apart by his sour attitude, Célimène stands out by her charm

and wit. Nearly every man of the court has his eye on her. She has learned to operatewithin her society almost perfectly: she flirts and gossips enough to remain the center of

attention, with a knack for saying the right things to the right people. Célimène and

Alceste are complete opposites, and their relationship—especially his attraction to her—

is one of the play's great ironies. The fact that she cares for him indicates her

susceptibility to emotion.

In the play's final scenes, Célimène journeys too far in the direction of carelessness. Her

gossip comes back to haunt her when several of her suitors discover a letter she has

written that pokes fun at all of their faults. Eventually, all the suitors, except for Alceste,

desert her. Though confident, Célimène is unsure of what she wants. She never

demonstrates any intense desires or frustrations, which may explain her lack of a strong

value system. Célimène is sharp-witted in attacking others, but her ability to apply a keen

eye to her own feelings and intentions is dubious. She shows a proclivity to want others

to make decisions for her: after Oronte and Alceste ask her to choose between them, she

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turns to Éliante to decide on her behalf. In short, for all of her charm, Célimène lacks

maturity. Molière suggests that this maturity will be difficult to develop if Célimène does

not start taking more responsibility for her words and deeds.

Philinte

Molière blesses Philinte with a sharp sense of balance. Célimène may play society well, but Philinte respects this society. He is forgiving and he accepts that people are flawed.

Of course, this makes Philinte a bit boring, but also makes him a nice contrast to Alceste.

Philinte serves as an informal advisor to Alceste, suggesting that Alceste consider

moderation in his dealings with others. Unfortunately, Alceste does not heed his friend's

advice, and he continues to damage his social standings. Philinte is a selfless friend,

offering himself to Éliante conditionally, allowing Alceste first rights to her. Philinte is

also the only male figure in the play who does not compete for Célimène's adoration.

Ultimately, Molière rewards Philinte with the only successful relationship in the play. In the final scene, Philinte and Éliante share their feelings for one another and exit

together. The playwright implies that modesty and restraint are the proper code of

behavior. Such a code is foreign to Alceste and Célimène, both of whom are left unhappy

and alone at the end of the play.

In some ways, Philinte is a narrator. Much of the action of the The Misanthrope, aside

from his romance with Éliante, does not involve Philinte. He comments to Alceste and

Éliante on the more volatile characters as they carry the story along. Philinte's

temperament never really changes and his actions are never impulsive.

Éliante

Like Philinte, Éliante is well adjusted. She generally avoids gossip—in contrast to her

cousin, Célimène—and she seems content not to be the center of attention. Éliante

distinguishes herself from Philinte with her wit and her shrewd observance of human

behavior. Where Philinte might abstain from comment, Éliante jumps in with a well

thought out opinion. She delivers an intelligent critique of the way men behave when in

love, and she offers a balanced analysis of Alceste's behavior. Éliante also stands up toher cousin when Célimène requests that Éliante choose a lover for her. Éliante refuses,

forcing Célimène to get herself out of her own mess.

Éliante's only noticeable weakness lies her ambivalence towards Alceste. She appears to

feel some sort of obligation to Alceste, even agreeing to become his lover so that he

might avenge Célimène's deception. Ultimately, though, Éliante decides that her heart lies

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integrity with tact. Philinte serves as exemplar of Molière's prototype for proper social

function. Philinte understands Alceste's frustrations, but realizes that venting those

frustrations publicly will only bring trouble.

Molière's characters also demonstrate a tendency to deny their own flaws. By wearing the

mask of "excessive piety," Arsinoé buries her own social ineptitude. She is not pious for

the sake of piousness, but because she cannot accept her inability to attract men.

Likewise, Alceste denies his love for Célimène (though not always) by carrying on about

her deplorable traits. Ironically, the characters often use their criticism of each other to

help them deny their own faults. The suitors, especially, are often so caught up in gossip

that they have no time for self-reflection.

The Irrationality of Love

A large part of Alceste's angst derives from his inability to harness his love for Célimène.

He knows of her faults (and reminds her of them frequently) and he knows that her valuesand manners do not mimic his. Yet he loves her still. Alceste, whose life proceeds

according to a strict, rational code of ethics (rational in his mind), learns that love is not

reasonable or rational. Alceste often curses the hold that Célimène has upon him,

recognizing that, although he is strong-willed in maintaining his version of integrity, he is

still victim to human emotion. In this way, he cannot separate himself from the mankind

that he abhors.

The Misanthrope searches for the proper balance between reason and love. Molière

would not likely advocate giving oneself completely over to "the irrationality of love."Some tact and observance of decorum is certainly necessary. But, one must be assertive

in satisfying one's emotions. Part of the comedy of the play derives from the romantic

dormancy of the suitors. They show up at Célimène's house and essentially sit around and

wait on her to bestow her affections upon them. At least Alceste actively discusses his

attraction to Célimène, however angst-ridden that attraction may be. Philinte may be the

only character who gladly accepts love's irrationality. He and Éliante appear truly happy

at play's end.

The Rationality of Compromise

For Molière, Philinte is the portrait of rationality. He understands that living among

others requires tact and discretion. Philinte has opinions, but he reserves expressing them

for occasions in which he will not offend others—quite the opposite of Alceste's

behavior. Molière does make a distinction between morality and rationality. We might

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argue that Alceste is more moral, or at least more true to himself than Philinte. Philinte is

clearly more rational, understanding that one must compromise, even compromises one's

own set of values in order to satisfy others.

Just when one might think that Alceste has learned something about the art of

compromise, he exhibits a comic resistance to striking a deal with Célimène. In the final

scene of the play, Alceste asks Célimène to abandon society with him—a ridiculous

proposal. Célimène, not wanting to resign to isolation, proposes that they marry but

remain in Paris. Alceste refuses what is probably the best outcome that he could have

imagined at the beginning of the play. One could argue that Alceste refuses Célimène's

offer only because it represents a compromise. Alceste cannot stand not to have it his way

completely.

Motifs

The Legal System

The Misanthrope is strewn with mention of court cases and legal battles. Alceste is

involved with two lawsuits, one with Oronte before the Marshals of France and another

about which the audience knows little detail. Additionally, Célimène briefly mentions her

involvement in a lawsuit. Molière uses the French legal system as a metaphor for societal

constraint. Alceste's personal relationships are strained, just as his standing before the law

is threatened. On a figurative level, Alceste's misanthropy separates him from the other

characters. More literally, the court demands Alceste's physical separation from society.

Alceste's personal offenses translate into legal offenses.

Letters

Célimène's letters provide impetus for much of the dramatic action of the play. Alceste's

discovery of a letter to Oronte supposedly drives him to confront Célimène about her

infidelity. Later, the suitors discover a letter from Célimène that insults of them, resulting

in their abandoning her. For the character of Célimène, these letters represent another

level of superficiality. In the company of her suitors, Célimène is flirtatious and friendly,

a cover perhaps for her true opinions of them. Her letters are a symbol of the distance

between the social Célimène and the private, critical Célimène. With the writing and

distribution of letters, Célimène is able to distance herself from her more offensive

thoughts.

Deal-Making

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The men of The Misanthrope attempt to impose some kind of rigidity to human

relationships and emotion by seeking commitments with one another. Oronte hopes to

secure Alceste's friendship with a handshake, an act that appears ridiculous given the

differences between Oronte and Alceste. Similarly, Clitandre and Acaste attempt to strike

a deal over their attractions for Célimène: if one of the men falls out of favor with her, he

will step aside to better the chances of the other. With the motif of deal-making, Molièreexposes the disconnect between formality and emotion.

Symbols

Célimène's House

The openness of Célimène's house parallels her own personal openness to the advances of

her suitors. Men are allowed to come and go freely, and Célimène does not show any

discretion as to who comes and who goes. Beyond its role as a symbol of Célimène's

flirtatiousness, the house serves as a conduit for the action of the play. The fluidity of entrances and exits moves the play along and provides the opportunity for interruptions

and discoveries.

Oronte's Poem

Oronte's poem is one of the more satirical elements of the play. The poem acts as a

testament to the pretentiousness of French aristocracy, implying the false confidence of

aristocrats like Oronte. Oronte's poem is comically bad, calling into question the

intelligence and ability of the upper class. Perhaps Molière is demonstrating the existence

of the upper class by inheritance alone and not by merit.

Alceste's "Rustic Solitude"

The "solitude" that Alceste seeks—a physical separation from society—represents his

attitudinal and moral separation from the other characters. This solitude might also

represent Alceste's delusion. Indeed, it would be difficult for him to totally retire from

others' company. Alceste deceives himself in thinking that such a retirement is a feasible

alternative, an alternative he creates because he cannot bear the reality of having to find a

way to exist with others. Philinte understands this; as the play draws to a close, hefollows Alceste in an attempt to convince him not to leave. While Alceste insists on the

honesty of others, he deceives himself.

Act I

Summary

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Act I, scene i

Alceste, a French aristocrat, argues with his friend Philinte about the proper way to treat

those for whom one has little respect. Alceste insists on brutal—total honesty—criticizing

Philinte's notion that such honesty might be rude or inappropriate. Philinte suggests that

Alceste be more accepting of human flaw and not so critical of the behavior of others.

In his talk of honesty, Alceste reveals that he is presently embroiled in some sort of

lawsuit. Philinte, attempting to find fault in Alceste's theories of human relationships,

points out that Alceste seems to turn a blind eye to the faults of Célimène, the woman

whom he is presently courting. Alceste counters, stating that he does recognize

Célimène's faults and points them out upon noticing them.

Act I, scene ii

Oronte, another of Célimène's courtiers, appeals to Alceste, praising Alceste's honorable

qualities and suggesting that the two men become friends. Alceste is hesitant, stating that

they should not make any sort of friendship agreement until they come to know each

other better. Oronte then proposes that Alceste offer his critique of a poem Oronte has

written. Though reluctant at first, Alceste ultimately agrees to hear the poem.

Alceste reacts with disgust as Oronte begins his recitation. Philinte, on the other hand,

praises the sonnet. Out of earshot of Oronte, Alceste berates Philinte for flattering the

poor writing. When Oronte finishes his recitation, Alceste suggests that he give up

writing and stick to what he does best. Alceste presents an example of what he considers

good poetry. Insulted, Oronte challenges Alceste to write something better that what

Oronte has presented. Alceste turns down the challenge.

Act I, scene iii

Philinte criticizes Alceste for the way he has treated Oronte. Alceste cuts Philinte off,

demanding that he leave. Philinte refuses to leave, telling Alceste not to "be absurd."

Analysis

At the opening of The Misanthrope, we immediately learn that the play will have at leastsome elements of farce. Molière's protagonist, Alceste, is comically extreme. He rants

about the flaws and failures of humankind, allowing no exceptions. The playwright

suggests that such behavior, however right or noble it might be, will not fit well in the

world of the play. We learn that Alceste is embroiled in a lawsuit, suggesting that he even

reaches the extreme of breaking the law. At first, Alceste is the caricature of the

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disgruntled old man, telling Philinte, "I find mankind so odious that I should hate to have

it approve of me" (I.i). Molière later clouds this initial characterization as the play

evolves. He begins The Misanthrope in much the same way he begins his other comedies,

but later acts reveal an experiment with form and style.

In the first scene, Molière establishes Philinte as the straight man to the

misanthropic Alceste. Philinte is a voice of reason; he understands that politeness and

forgiveness are just as important as honesty. For Molière, Philinte exemplifies the proper

way to navigate French society. The playwright also uses Philinte to buffer our harsh

opinion of Alceste. We might believe that Alceste—if Philinte has befriended him—must

not be all that bad. Philinte also pushes a message of greater society's indifference to an

individual's gripes. Though Philinte agrees with some of what Alceste has to say, he tells

Alceste, "The world won't change its ways on account of anything you may do." He

implores Alceste to be practical, to behave within society limits—not because such limits

are just, but because they are inevitable.

As he parodies Alceste's disposition, Molière also pokes fun at French aristocracy,

specifically targeting Oronte. From the outset, Oronte is pompous and outspoken,

attempting to formalize even what most would consider emotional interactions outside

the realm of formality. Oronte suggests that he and Alceste shake hands to confirm their

affection for one another, implying an aristocratic notion that pacts and rules supercede

feelings and emotion. Molière also points to the idleness of the aristocracy. Given their

immense wealth, French aristocrats need not work, so they instead turn their attentions to

hobbies of intellect. Molière suggests that such hobbies might not be the best fit for thearistocracy. Far from original, Oronte's poem appears to achieve only a basic pattern of

rhyming. When Alceste advises Oronte to give up poetry, the incensed Oronte challenges

Alceste to do better, suggesting an aristocratic inability to take criticism.

Alceste is also a member of the aristocracy, as far as we can tell at this point. Although he

rejects the vices of hypocrisy and false intellect, he too does little in the way of work,

spending most of his time in court or pestering Célimène. Additionally, Alceste is

haughty in his own way, considering himself superior because of his strict code of ethics.

Ironically, he criticizes the class of which he is a member. More broadly, Alceste shunsall of mankind, of which he is also part. This may mean that he despises himself. Perhaps,

in his assault on others, Alceste assaults himself as well. Indeed, his unhappiness stems

from his relationship to others. Were he alone, he might be satisfied, but as a part of

society his lack of social tact dooms him to misanthropy.

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Dramaturgically speaking, Act I immediately establishes the central conflict of the play:

Alceste's struggle to relate to others—and to himself. Molière does not keep many secrets

from us, showing his characters as they truly are from the very beginning. Indeed,

character is Molière's primary focus. Though he sets up Alceste's conflict almost

immediately, he provides little in the way of real action. For much of the first act, the

characters philosophize about the nature of mankind, advancing their opinions regardingthe proper way to carry oneself. In turn, we learn a great deal about each of the characters

in the first act, but little about where the play is headed. Nonetheless, Alceste's bitterness

may foreshadow his eventual fate.

Act II

Summary

Act II, scene i

Alceste confronts Célimène about what he believes to be her poor behavior. He criticizes

her for entertaining the advances of multiple suitors and insists that she demonstrate more

discretion, specifically questioning her affection for one specific suitor, Clitandre.

Célimène assures Alceste that he need not worry, stating that she has true affection for

him. Célimène does mention, however, that Clitandre might be able to help her with a

lawsuit in which she is involved.

Alceste largely rejects Célimène's arguments, however, and he suggests that she might be

expressing her love to other suitors as well. Offended, Célimène vows to "unsay all that Ihave said in the past." Subsequently, Alceste censures himself for being so jealous and

hopelessly in love.

Act II, scene ii

Alceste reacts angrily when Célimène agrees to accept a visit from Acaste. Célimène

contends that she must stay in good favor with Acaste because he carries considerable

clout in "Court circles."

Act II, scene iii

Célimène's servant, Basque, announces the arrival of Clitandre. The disgruntled Alceste

insists that he is leaving. Célimène asks him to stay, but he stubbornly refuses.

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Act II, scene iv

Célimène's cousin Éliante arrives with Philinte, Acaste, and Clitandre. Still present,

Alceste demands that Célimène "explain" herself to all present. She ignores him. The

suitors listen intently as Célimène gossips, quite negatively, about several people of the

Court. Alceste argues to Célimène and the others that, while they are quick to point out

the faults of others, they will likely be just as quick to ingratiate themselves with those

same people they criticize. Célimène maintains that Alceste is arguing for argument's

sake and dismisses his negativity as unfounded.

Opposing Alceste, the other suitors praise Célimène, calling her "perfect," "charming and

gracious." Alceste argues that, in being critical of Célimène, he is demonstrating a true,

honest love for her. Éliante mentions that love does not usually take this form, describing

man's typical inclination to find merit in the faults of a lover.

Act II, scene v

Basque announces the arrival of a man to see Alceste. Alceste asks the Officer to

enter.

Act II, scene vi

The Officer announces that the Marshals of France (a judicial body created to settle

matters of honor) would like to see Alceste about his "squabble with Oronte." Alceste

finds the request ridiculous, and refuses to withdraw his criticism of Oronte's poem.

Philinte pleads for Alceste to be reasonable. Eventually, Alceste agrees to go see theMarshals.

Analysis

Like Alceste, Célimène first appears as a sketch of a character type. With her gossiping

and flirtatiousness, Célimène seems to represent the stereotypical spoiled daughter. She

enjoys her society as much as Alceste despises it, setting up the central irony of the play:

Alceste falls hopelessly in love with a representative of the society he abhors. Molière

does not imply that Célimène's behavior is appropriate or moral. Rather, he uses her to

comment of the lifestyle of one who has completely given herself over to the values of

society. Alceste, who is probably more moral, at least more honest, than Célimène, is

unhappy. The second act begs the question of whether morality or happiness is more

important.

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In a sense, Célimène projects her own style of misanthropy. While Alceste's ill will

extends to the whole of society, Célimène's is targeted, and as such, more biting. In Act

II, scene iv, Célimène demonstrates her capacity to bear malice when she mediates a

gossip session among her suitors. Célimène differs from Alceste in that her misanthropy

is tactful. She speaks behind the backs of those whom she criticizes, not to their faces as

Alceste does. Additionally, Célimène's honed sense of humor obscures the severity of her insults. She entertains her suitors with her mockeries, whereas Alceste entertains no one

with his.

With the gossip session, Molière indicates that mockery is a social construct. Without the

encouragement of the suitors, Célimène would have less reason to degrade others.

Alceste points out to the suitors, "Her satirical humour is fed and watered by your wicked

flattery" (II.iv). In Alceste's ideal world, neither mockery nor flatter would exist. Such a

world being implausible, however, society must find some medium, and perhaps flattery

alone is not all bad. We can certainly imagine a type of flattery that does not encouragethe recipient to mock. Act II, scene iv, depicts a world of floating values in which there is

no concrete standard. The only obvious faults appear to be those connected to extreme

values. Alceste's complete refusal to acquiesce marks his rejection of societal values,

however ambiguous those might be.

In what is probably Éliante's most important speech (at the end of II.iv), she introduces

the concept of justification. She defines a "man in love" as one who recognizes his lover's

faults as virtues. Here, Molière maintains the ambivalence of ethics. Few would argue

that love is wrong or wicked, but what if it blinds those in love from the truth? ByÉliante's argument, love could be blamed for contributing to falsehood. Conversely,

Alceste might be incapable of love because he cannot accept dishonesty in any form. He

argues that "the proof of true love is to be unsparing in fault- finding" (II.iv), but this

reasoning seems to define some kind of distant, theoretical love, not the visceral love that

Éliante describes. Molière suggests that Alceste is at war with himself over the nature of

his love for Célimène. Often, he tries to fight his deep, uncontrollable frustration with

Célimène by applying the rationality of his system of beliefs. Like all humans, Alceste

falls victim to the whims of the heart.The first major turning point comes at the end of Act II, when Alceste is summoned to

appear before the Marshals of France. All at once, Alceste's standing with Célimène and

his standing before the law are threatened. Molière uses Alceste's court case to move the

play to a point of greater crisis. For the first time, the playwright employs suspense as a

dramatic device.

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Act III

Summary

Act III, scene i

Clitandre and Acaste discuss their affections for Célimène. When Clitandre asks whyAcaste is always so cheerful, Acaste arrogantly notes that he is young, rich, and

attractive, and therefore has no reason not to be cheerful. Acaste's disposition changes

when he admits that his love for Célimène goes unrequited. He and Clitandre agree that,

should one of them fall out of favor with Célimène, he will stop courting her, yielding to

the other.

Act III, scene ii

Célimène discovers that Clitandre and Acaste are still in the house. Clitandre

claims, "It's love that detains us."

Act III, scene iii

Basque announces the arrival of Arsinoé, a woman whose company neither Célimène nor

Acaste can bear. Célimène mentions that Arsinoé has feelings for Alceste, thus making

Arsinoé jealous of Célimène.

Act III, scene iv

Arsinoé informs Célimène that people have been speaking critically of her "flirtatiousness." While Arsinoé claims to have spoken in defense of Célimène, Arsinoé

comes across as insincere, and her jealousy of Célimène is apparent. Arsinoé

recommends that Célimène change her ways.

Célimène responds to the attack on her character by criticizing Arsinoé's "excessive

piety" and pretentiousness, suggesting that Arsinoé is a hypocrite. Célimène adds that

people have been discussing Arsinoé's faults as well. Célimène allows that it may just be

Arsinoé's age that causes her to behave as she does. Arsinoé rebuffs, arguing that

Célimène should be careful not to place too much value on her youth. Arsinoé claims thatCélimène's courtiers are attracted to her lack of restraint, not her "good qualities."

Act III, scene v

Alceste enters as Célimène leaves, and Alceste and Arsinoé are left alone together.

Arsinoé praises Alceste's integrity, expressing her disapproval of the way the Court has

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handled Alceste's legal matters. Alceste rejects Arsinoé's compliments, contending that

she should be more discriminating in her flattery. Arsinoé continues, however,

mentioning that she could "pull a few strings" to get Alceste a "post at Court." Alceste

rejects her offer. In a last-ditch attempt to gain Alceste's affection, Arsinoé tells him that

Célimène has been deceiving him. Arsinoé claims that she has proof of Célimène's

deception at her house.

Analysis

Act III, scene i is our first and only chance to see two suitors (other than Alceste) alone,

candidly discussing their attraction to Célimène. In a sense, the scene provides a "behind

the scenes" look at the motivations of Clitandre and Acaste. The scene begins with

Acaste's speech about his own virtues and abilities, though his confidence soon gives way

to his despair over Célimène's rejection. For once, someone other than Alceste

demonstrates anguish. Acaste's anguish, however, is private, whereas Alceste's sense of

honesty requires that he admit his shame to Célimène. Acaste possesses the will to play

the game of courtship without exposing his true self. Alceste, on the other hand, prefers

straightforwardness to game- playing. The pact that Clitandre and Acaste make to better

their chances of winning over Célimène furthers this notion of game-playing. This scene

contrasts the typical approach to romance with Alceste's unorthodox method. Molière

satirizes both.

With the scene between Célimène and Arsinoé (III.iv), Molière explores the idea that

people—his characters, at least—find a way of saying what they really mean, but that

they do so indirectly. Alceste may save time by forfeiting decorum with his frankness,

but the others save their social integrity by taking the circuitous route to criticism. In

III.iv, Arsinoé provides a long list of society's grievances against Célimène, but she then

claims to have taken Célimène's side. Célimène then mimics Arsinoé's passive-aggressive

style by listing Arsinoé's faults while claiming to have defended Arsinoé in public. Both

women, then, get to say what they really think of one another without having to take

credit o responsibility for their own words. Molière depicts a society in which one is

punished only by taking responsibility for his or her potentially offensive thoughts

(Alceste, for example). Of course, the passive-aggressive approach endorsed by Arsinoéand Célimène is doomed to failure of another sort. The two women cannot help but

become enraged at one another; indeed, by the end of the scene, they have commenced

verbal warfare.

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In Act III, Molière develops the notion of masks, showing how certain characters wear

false identities to cover their true selves. The characters are perhaps afraid of exposing

themselves to a world that might not welcome them. Arsinoé, for example, would have

others believe that she is a proper, God-fearing woman, uninterested in the company of

men. However, Molière makes it clear that Arsinoé does want a relationship, with

Alceste. Arsinoé refrains from flirtation, not because she is uninterested in such behavior, but because she knows that her flirtation would not yield the results that Célimène's does.

Arsinoé wears a mask that provides comfort and keeps her from risking emotional pain in

much the same way that Acaste disguises his heartbreak with upbeat confidence (III.i).

Tied to the theme of masks is the concept of acting. Molière reminds us that theater and

life are similar in their superficiality and conscious deception. Just as the actors playing

Molière's characters "put on" certain dispositions to carry the message of the play, so do

the characters act the parts that they think will better their social or romantic position. In

this exploration Molière uncovers the theatrical element of French society. Of course,theater is more than just the art of lying. Alceste employs the drama of exaggeration to

call attention to himself, and Célimène uses comic devices to make her gossip more

appealing. Indeed, Molière's characters are often in performance, with Célimène's house

their stage. The formality of the theater parallels the formality—and the duplicity—with

which the characters relate to one another. Nevertheless, even given the "acting" of the

characters, Molière begins, in Act III, to break down the one-dimensional identities he

established in Act I. The characters slowly reveal additional pieces of their true selves.

Acaste's breakdown in front of Clitandre is only the first in a series of truthful moments

that demonstrate the complexity of the characters.

Act IV

Summary

Act IV, scene i

Philinte recounts to Éliante the story of Alceste's partial apology to Oronte in Court.

Éliante calls Alceste's behavior "peculiar," but also "noble and heroic" because of

Alceste's honesty. Philinte and Éliante then discuss Alceste's affection for Célimène,

questioning his decision to pursue a relationship with someone whose affections seem so

fickle. Philinte says that Alceste would do better to turn his attention to Éliante. Éliante

states that, although she would be reluctant to be Alceste's second choice, she would

probably allow herself to fall for him. Philinte tells Éliante that he would like to win her

favor if she fails to win Alceste's.

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Act IV, scene ii

Having found a letter written by Célimène to Oronte, Alceste claims he has proof

of her deceit. Alceste asks Éliante to help him avenge himself against Célimène,

proposing that Éliante become the object of his affections. Éliante maintains that

Alceste's relationship with Célimène is not lost, and Alceste vows to confront Célimène

about her infidelity. Philinte and Éliante exit.

Act IV, scene iii

Furious, Alceste confronts Célimène, claiming that he cannot take responsibility for what

his "wrath" might lead him to do. Célimène admits to writing a letter to Oronte, but

considers Alceste's behavior ridiculous. She does not demonstrate any guilt for what she

has done. Distraught, Alceste demands that Célimène tell him that the letter was intended

for a woman, so that Alceste's heart and mind can rest, assured that she is loyal to him.

Alceste's protestations stir Célimène to anger, and she extorts that he does not deserve her

love. Now in anguish, Alceste proclaims his love for her, hoping, perhaps against his

better judgment, that she will remain his.

Act IV, scene iv

Alceste's manservant, Du Bois, enters in a panic, demanding that Alceste pack to leave at

once. Du Bois claims that he has spoken with a man who has notified him that Alceste is

in danger of arrest—a result of his ongoing lawsuit. Unable to glean enough information

from Du Bois, Alceste leaves to find out more about the matter at hand. He tellsCélimène that he will be back to speak with her.

Analysis

In Act IV we learn that even the confident Célimène hides a sensitive interior life. The

attention she pays Alceste indicates a true attraction to him, betraying the image of a

carefree girl she puts forth. Célimène speaks vaguely of the love she feels for Alceste

(IV.iii), and Éliante tells Philinte of Célimène, "She's not entirely sure of her feelings

herself." In breaking apart the masks of his leading characters, Molière shows that The

Misanthrope is not a simple, typical satire. The play is a comedy, but it seeks also to

comment on human emotions and relationships. By the end of Act IV, we can no longer

accept that Alceste and Célimène—or any of the other characters, for that matter—are

stereotypes. Subtle human emotions and their accompanying actions are now at play.

Even Alceste seems less inclined to criticize, as he seeks a reason to forgive Célimène for

her love letter to Oronte. Ironically, Alceste wants to be lied to, to be told that Célimène

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sent the letter to a woman. The man who adheres to a doctrine of honesty would have that

doctrine suspended to put him at peace.

Act IV welcomes the one true, pleasantly surprising love affair in the play, that

between Philinte and Éliante. Although the depth of their mutual attraction is not fully

realized in Act IV, a sweet and sincere romance begins. In uncovering this relationship,

Molière hints that our—and his own—attention has been misplaced. The real heroes of

the story have been hiding up until this point. The Philinte-Éliante love affair is made all

the more touching by the simplicity of these characters. Neither has any outstanding or

particularly unique characteristic, unlike the dramatically unique Alceste and Célimène,

whose relationship is the focal point of the story. Molière implies that individuality, in its

extreme form, deters love. Apparently, something other than a defining trait draws

Philinte to Éliante. By avoiding the drama of Court society, Philinte and Éliante are able

to establish a deeper connection, one not based upon superficialities. We might even

argue the rest of the play is a red herring to this romance. In spite of all of the efforts towoo Célimène, nothing ever really happens in that arena. The one solid accomplishment

of the play is the eventual union of Philinte and Éliante, which is finalized in Act V.

As the love affair between Philinte and Éliante begins to blossom, the relationship

between Alceste and Célimène continues to fall apart. When Alceste discovers a letter he

believes to demonstrate Célimène's deception of him, he attempts to apply the same type

of justice to her as has been used against him. He says the letter "convicts" her, and he

marvels that she can "still persist in the face of this overwhelming evidence" (IV.iii),

seeking to try her for her "crimes" against him. Alceste appears to think that if he can betried for hurting Oronte's feelings, so can Célimène be brought to justice for shaming

him. Thus, although Alceste finds his lawsuit ridiculous, he tries to apply the same tenets

of law to his relationship with Célimène. However, Alceste lacks the strength to carry out

his verdict. He admits to being hopelessly drawn to Célimène. Again, Molière juxtaposes

formality with emotion. In this case, Alceste attempt at legal rationality loses out to his

own visceral impulses. Ultimately, he asks Célimène to lie about intended recipient of the

letter to make him feel better.

As the act draws to a close, Alceste receives news that he must leave or be subject toarrest. This moment, in Act IV, scene iv, marks the final crisis of the plot. If Alceste

decides to leave, he must also decide if his troubles with Célimène are worth resolving. In

vowing to return to finish his conversation with Célimène, Alceste shows a willingness to

compromise not present in earlier acts. His misanthropy appears to weaken as his

situation becomes more desperate.

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Act V

Summary

Act V, scene i

Outraged that a verdict has been passed against him, Alceste vows to live the rest of daysin solitude, away from the society he has come to abhor. He tells Philinte that, in addition

to the unfortunate verdict, his adversary has falsely attributed authorship of an obscene

book to him. On top of all of this, Oronte has begun supporting the rumor. Philinte

encourages Alceste to be reasonable, to challenge the verdict before committing to a life

of solitude. Alceste objects, stating that he wants the verdict to stand has a glaring

example of "the wickedness" of the times. He reveals his intention to test Célimène's love

by asking her to withdraw from society with him.

Act V, scene iiOronte demands that Célimène decide between him and Alceste. Agreeing with

Oronte, Alceste makes the same demand. Both men agree to concede if Célimène

chooses the other. Célimène calls their requests "inappropriate," not wanting to publicly

offend the one she does not choose. She decides to let Éliante "be the judge" of her

affections.

Act V, scene iii

Éliante refuses to decide between Alceste and Oronte for Célimène, stating that Célimènehas a responsibility to be open and honest to all present.

Act V, scene iv

Acaste and Clitandre enter with a letter written by Célimène, demanding that she take

responsibility for it. They read the letter, which insults each of Célimène's suitors and

describes what she sees as their flaws. Decidedly tired of Célimène's insults, Acaste and

Clitandre leave. Oronte follows them out, shocked that Célimène would insult him so.

Alceste tells Arsinoé that she has no chance of gaining his love. She leaves, angry.

At this point, Alceste invites Célimène to retreat into solitude with him. She rejects the

offer, but says that she will agree to marry him. Insulted, Alceste says that he wants

nothing to do with her. Célimène leaves.

Alceste then tells Éliante that he cannot marry her, deeming himself "unworthy." She

interrupts him, telling him not to worry, for she plans to devote herself to Philinte.

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Alceste again states his plan to live somewhere remote from society. As Philinte and

Éliante exit, Philinte remarks that they must encourage Alceste to abandon his plan.

Analysis

In this final act, Molière parallels Alceste's attitudinal separation from the cast with his

physical separation. Alceste literally cannot exist in the world of the world of the play.He never comes to terms with his distaste for mankind, and mankind never gives its

acceptance of Alceste's behavior. The legal system—a symbol and a voice of the

standards and values of the society of the play—continues to find fault with Alceste. He

learns that he has lost his court case, which solidifies his decision to retire to solitude.

Though Célimène seems to develop into a more mature, perhaps more loving woman

over the course of the play, she ends up not far from where she began, saying, "Solitude

is a frightening prospect when you are twenty. I don't feel I have the necessary fortitude

or strength to bring myself to take such a decision" (V.iv). Célimène is attached to thesociety just as much as Alceste is separated from it. We can hardly imagine who

Célimène might be or what she might do were she in a setting where she had no access to

gossip or flirting. Molière creates the comic image of Célimène and Alceste alone

together forever—a disastrous, but hilarious, consequence.

At the very end of the play, Philinte and Éliante announce their love for one another,

demonstrating that a true romance can exist in a corrupt world. Molière suggests that

selflessness is a prerequisite for such a relationship. Indeed, Philinte and Éliante leave the

stage talking not of themselves, but of their responsibility to keep Alceste from banishinghimself.

Although Molière's satire targets the corruption of French society, the playwright does

demonstrate that this corruption has its limits. At play's end, Célimène is left alone

because her letters and gossip have crossed the boundary between innocent fun and real

offensiveness. We do not feel much sympathy for her bruised suitors, however, as they

expose their own hypocrisy in leaving Célimène. The suitors are perfectly willing to join

in the fun of criticizing their acquaintances, provided that they are not included as targets

themselves.

The Misanthrope ends with an unlikely happy ending. Philinte and Éliante are the lucky

couple—not Alceste and Célimène. Alceste meets the only end that might bring him

peace. In reality, the union of Alceste and Célimène would likely not be a happy ending

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at all. Perhaps Molière honors his protagonist and his stern values by giving him exit

from the society he despises.

Important Quotations Explained

1. I expect you to be sincere and as an honourable man never to utter a single word that

you don't really mean.

Uttered by Alceste in the opening scene of The Misanthrope, this line quickly establishes

Alceste's extreme value system. His expectation that Philinte never say a single dishonest

word is somewhat of a ridiculous request; we immediately recognize that Alceste will be

impossible to please. Alceste's comment seems especially extreme juxtaposed with

Philinte's rational defense of the practice of occasionally bending the truth. With this

quotation, then, Molière establishes the central conflict of the play—Alceste's

unwillingness to forgive the faults of his fellow man. Molière also defines Alceste's

supposition that he somehow carries higher status than his acquaintances. Alceste expects

Philinte to behave a certain way—implying that Philinte has an obligation to do so.

Additionally, this line helps set the comic tone of the play. Departing from his earlier

comedies, Molière focuses his satire on human behavior rather than attacking larger

classes and social system. Alceste is not the typical farcical stereotype, but he does

represent extreme values. In this sense, he is the caricature of a prudish grump. Over the

course of the play, Molière dissolves this particular image of Alceste, but it never

disappears completely.

2. There's a season for love and another for prudishness, and we may consciously choose

the latter when the hey-day of our youth has passed—it may serve to conceal some of

life's disappointments.

This passage from Act III, scene iv, captures Célimène's carefree—and often careless—

spirit, as she speaks to Arsinoé. Célimène realizes that her youth is limited, so she

therefore makes no apology for the freedom from propriety that youth affords her. Her

words reveal a certain understanding of the cycle of life. She shows keen insight in

blaming Arsinoé's age, rather than a character flaw, for the older woman's behavior.

Célimène's words also touch upon a deeper theme in the play—that of masking one's true

self. She mentions that age might be used to "conceal," to distance oneself from the pains

and prejudices of life. Age is only one of a variety of concealments applied in The

Misanthrope. Even Célimène appears to be hiding her true feelings from Alceste. We

25



Though Alceste still intends to forswear the company of others, by the time this quotation

appears (in Act V, scene iv) he begins to show signs of change. His earlier

pretentiousness appears to have diminished as he admits, indirectly, to his own "frailty."

At last, Alceste caves to his own emotion. However, he does not fully come to terms with

his weakness. He reluctantly confesses his own shortcomings; he does not embrace them.

Alceste has not yet learned that one can be both "wise" and at fault. He is a man of extremes. By his logic, if he is not "wise" then he must be "frail."

With the play's ending—which comes shortly after this quotation—Molière demonstrates

just how tenuous Alceste's transformation is. When Célimène rejects Alceste's proposal

that she leave society behind and come with him, he immediately regresses. Nonetheless,

the hint of change remains, leaving us with the hope that Alceste might one day be both

accepted and accepting.

Key Facts

FULL TITLE · The Misanthrope or Le Misanthrope

AUTHOR · Molière

TYPE OF WORK · Play

GENRE · Satire; farce

LANGUAGE · French

TIME AND PLACE WRITTEN · Early 1660s, Paris

DATE OF FIRST PUBLICATION · 1666

TONE · In satirizing French aristocracy, Molière strikes a light, but critical tone. With his

deft use of irony, he exposes the hypocrisies of Célimène, her suitors, and the protagonist,

Alceste—although Molière's judgment of Alceste is less severe than his critique of

others. Molière praises reason and compromise while condemning extremism in any

form. The Misanthrope is undoubtedly a comedy, but undertones of social dysfunctionand true personal anguish are present.

SETTING (TIME) · Late seventeenth century

SETTING (PLACE) · Célimène's elegant home in Paris

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PROTAGONIST · Alceste

MAJOR CONFLICT · Alceste's difficulty in reconciling his set of values with his love for

the young, carefree, and flirtatious Célimène

RISING ACTION · Alceste learns of Célimène's deception and seeks her out to find out the

whole truth; Alceste loses his court case and risks arrest by staying in Paris

CLIMAX · Célimène's suitors learn that she has insulted all of them in a letter; Alceste

decides to retire from society for good

FALLING ACTION · Alceste rejects Célimène's offer to marry him when she refuses to

seek solitude with him; Philinte and Éliante plan to discourage Alceste from leaving

society

THEMES · The hypocrisies of social behavior; the acceptance of human flaw; the

irrationality of love; the rationality of compromise

MOTIFS · The legal system; letters; deal-making

SYMBOLS · Célimène's house; Oronte's poem; Alceste's "rustic solitude"

FORESHADOWING · Oronte reacts angrily to Alceste's criticism, foreshadowing Oronte's

legal action against Alceste; Éliante appreciates Philinte's expression of attraction to her,

foreshadowing their eventual relationship; Célimène holds a gossip session with her

suitors, foreshadowing her later betrayal of the same suitors with her gossip

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Moliere's the Misanthropist

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