The Misanthrope: Analysis of Setting
"The Misanthrope" is a comedic play by Molière that explores themes of social hypocrisy, love, and moral integrity, set primarily in the lavish salon of the wealthy widow Célimène in 17th-century Paris. This salon serves as a social hub where distinguished guests gather, reflecting the customs of the affluent Parisian elite. Initially perceived as a venue for superficial interactions, the setting evolves into a space for deeper philosophical discussions, particularly through the character of Alceste, the titular misanthrope, who critiques societal norms while pursuing his affection for Célimène.
As Alceste grapples with the dichotomy of his values and his love for Célimène, the salon becomes a backdrop for conflict between personal desires and societal expectations. His insistence on honesty and moral rigor clashes with Célimène's more conventional approach to social engagements, leading to tension and ultimately an unhappy resolution. The salon's atmosphere both supports and complicates their relationship, highlighting the complexities of human emotion and social interaction. This juxtaposition of light-hearted social gatherings with serious moral inquiries invites audiences to reflect on the nature of authenticity in relationships and the challenges of balancing personal values with social obligations.
The Misanthrope: Analysis of Setting
First published: 1667 as Le Misanthrope (English translation, 1709)
First produced: 1666
Type of work: Drama
Type of plot: Comedy of manners
Time of work: Seventeenth century
Places Discussed
Célimène’s salon
Célimène’s salon. Parisian apartment in which the wealthy widow Célimène holds receptions to which she invites distinguished guests, in the custom of wealthy Parisian women of the seventeenth century. At first, audiences assume that Célimène is merely another frivolous rich woman who passes her time hosting fancy parties and engaging in vapid conversations. However, she invites not merely superficial people, such as Philinte and Oronte, but also the rigidly outspoken young Alceste (the “misanthrope” of the play’s title), who is in love with her.
In the formal setting of the salon, Alceste discusses serious moral questions, such as honesty and ethics, while at the same time courting Célimène in a manner surprising for such a rich suitor. Instead of paying her traditional compliments, Alceste criticizes her for the types of guests whom she invites to her home and suggests that she should banish from her apartment men whose behavior is not becoming a woman as serious as herself. Célimène appreciates his unexpected frankness but is surprised when he insists that she leave her Paris to follow him to his country estate. She is unwilling to make such a sudden decision to leave her Parisian apartment. Alceste’s inflexibility causes this comedy to end in an unhappy ending for both characters. Alceste does not understand that he should be more sensitive to Célimène’s emotional needs and not simply expect her to abandon everything for him. The salon in which this comedy takes place creates specific expectations that create numerous surprises in the minds of Molière’s audiences.
Bibliography
Gossman, Lionel. Men and Masks: A Study of Molière. Baltimore, Md.: The Johns Hopkins University Press, 1963. Divides Molière’s plays into two groups: those, like The Misanthrope, that reach a social stalemate and those, like Les Fourberies de Scapin (1671), that transcend that apparent dead end. Includes an entire chapter on The Misanthrope.
Guicharnaud, Jacques. Molière: A Collection of Critical Essays. Englewood Cliffs, N.J.: Prentice-Hall, 1964. Very useful collection that treats The Misanthrope in the context of Molière’s other plays, of other theatrical and comedic traditions (including Charlie Chaplin), and as a supremely experimental work.
Knutson, Harold C. The Triumph of Wit: Molière and Restoration Comedy. Columbus: Ohio State University Press, 1988. Considers Molière’s influence on Restoration comedy in England and concludes that, rather than excessive English borrowing from Molière, both sorts of comedy sprang from similar social circumstances.
Lewis, D. B. Wyndham. Molière: The Comic Mask. New York: Coward-McCann, 1959. A rich description of Molière’s life and works that immerses readers in the world of seventeenth century France. Sees The Misanthrope as the greatest of his works and the one closest to his heart.
Mander, Gertrud. Molière. Translated by Diana Stone Peters. New York: Frederick Ungar, 1973. Includes descriptions and analyses of fourteen plays and a usefully detailed chronology of Molière’s life.