In contemporary society, the role that Tartuffes king plays can be viewed as silly and surprising, but when applied to Molires time period and social context, it is quite pleasurable and genius. Though Molires work is itself a comedy, more wit can be extracted today since the fictional king was simply a microcosm of King Louis XIV. His satire was traditional in that it followed the convention of ridiculing his contemporary society, but as in Tartuffes scenario, he may have pushed too far, ridiculing prominent religious figures. It is because of this untouched boundary that Molire gave his king two roles instead of one central purpose.
To understand both roles as Molire intended, one must first examine his social context in the Neoclassical period. Unlike any period that preceded it, the Neoclassical era focused on current issues and contemporary society; no longer were there stories involving far-away kingdoms and towns. Also known as the Age of Reason, the period focused on intellectual and rational though anything outside of this would be ridiculed back to normal. But because Molire lived in an absolutist society under King Louis XIVs rule, he most likely would have never dared to oppose the king (in his writing) as he was a necessary proponent to the granting of Molires productions that involved ridiculing the religious aristocracy.
In Neoclassical comedies themselves, many common conventions were used, and it is because of these conventions that we find the first role of Tartuffes king. Often satire writers would employ the use of microcosms to help display their characters against the backdrop of real-life situations. For example, Orgon as the father of his household represented the existing families in France while the king represented both the country and King Louis XIV. Writers also often employed a tool known as dues ex machina, or a figure or event stepping in at last minute to resolve any tension that had built in the play. Any reader unfamiliar with the Neoclassical period probably would expect an unhappy ending for Orgon and his family since the plot remains unresolved seemingly to the last page of the book; but, as the reader eventually finds out, the king saves the day at literally the last possible minute when Orgon is just getting ready to flee. This convention was not designed for plausibility, but instead evoked pleasure in the Neoclassical audience; thus, these literary conventions became the first significant role of the character.
As stated earlier, more entertainment is derived from the play when we discover the kings true purpose. During King Louis XIVs rule, he was in the midst of a civil war known as La Fronde (1648-1653) while simultaneously and slowly stripping away the power of Frances nobility. This was even reference early in the comedy by Dorine:
Yes but [Orgonss] son is even worse deceived / His folly must be seen to be believed. / In his late troubles he played an able part / And served his king with a wise and loyal heart. (Molire 17)
Molire referred to Orgon as having a wise and loyal heart simply for serving the king during the Fronde. He strategically butters up the king by including such phrasing in hopes of ensuring his support of the production. Whether or not Molire supports the kings rule, he must play the game of politics by pleasing the king for his own benefit. In the last pages of the book, we find that he takes no reservation in doing so, as the officer character reads,
Twas hardly likely that this man could cozen / A King whos foiled such liars by the dozen / With one keen glance, the King perceived the whole / Perverseness and corruption of [Tartuffes] soul. (162)
Clearly thinking that this tactic will work, Molire pushes harder by adding lines to Clante that show how Orgon should be reasonable and show gratitude to the king:
(To Orgon) Meanwhile, go kneel before your sovereigns throne / And thank him for the mercies he has shown / Orgon: / Well said: lets go at once and, gladly kneeling / Express the gratitude which all are feeling. (163)
As if there were infinite reasons for the king to doubt Molires point, Molire persistently wrote flattery to the king, trying to persuade him to stop acting on the dvots behalves:
Enlightened kings such as yourself have no need to have [writers] wishes pointed out; they see, like God, what we need, and know better than we what they should grant to us. It is sufficient to place my interests in the hands of your Majesty and to await respectfully whatever it may please your Majesty to ordain. (First Petition 1)
Molire essentially humbles King Louis XIV as a god-like human who has only done great things for his country and that by seeing his play live, it would ease[his] fatigues of his conquests, give him innocent pleasure after such noble labors, and give laughter to [himself after giving] tremors to all of Europe (2). Hopefully Molire got his point across to the king.
Molire obviously intended the entire time of his writing to create a dual role for his king character; not only did it satisfy the conventions of Neoclassical writing, but it also ameliorated his work getting off the ground. And though it was funny in his time period, it nevertheless provides contemporary readers laughter today. The history behind the dual-role king may even act as a hidden Easter egg, serving as a tertiary role of Molires king amusingly unbeknownst to him at the time.
Works Cited
First Petition. The Catholic University of America. 28 February 2008.
Molire. Tartuffe. Trans. Richard Wilbur. New York: Harvest Books, 1968.
Already have an account? Log In Now
3818