AN UNDERGRADUATE THESIS
Presented as Partial Fulfilment of the Requirements for the Degree of Sarjana Sastra
in English Letters
By
YABES ELIA SURYANTO Student Number: 034214061
ENGLISH LETTERS STUDY PROGRAMME DEPARTMENT OF ENGLISH LETTERS
FACULTY OF LETTERS SANATA DHARMA UNIVERSITY
AN UNDERGRADUATE THESIS
Presented as Partial Fulfilment of the Requirements for the Degree of Sarjana Sastra
in English Letters
By
YABES ELIA SURYANTO
Student Number: 034214061
ENGLISH LETTERS STUDY PROGRAMME DEPARTMENT OF ENGLISH LETTERS
FACULTY OF LETTERS SANATA DHARMA UNIVERSITY
YOGYAKARTA 2008
The unexamined life is not
worth living.
(Socrates)
There are no whole truths; all
truths are half-truths. It is trying
to treat them as whole truths that
plays the devil.
(Alfred
North
Whitehead)
For my beloved Mother, Yetty Kemawati
Raharja
In heaven
For your incredible struggle
to give my deepest appreciation to my favorite characters, Jesus and Socrates who have inspired me in every cell of my brain. They have proved me the
greatness of the texts in giving influences in people’s life.
Second, I would like to thank my advisor, Paulus Sarwoto, S.S., M.A, for his thoughts, believes and every seconds during my thesis writing process. I
would like you to know that you are the most annoying, yet my favorite teacher.
My deepest gratitude also goes to my adored mother, Yetty Kemawati
Raharja. Thank you for showing me that every human is a super human. Thank you for your life.
Thanks to my older sister, Yitra Ambarukmi Sutrisni S.E. I will never
make until this far without you. Thank you for giving me chances and
understanding. Thanks to you for allowing me walk along with you by my side.
My special thanks goes to I Putu Jody Sudiartawan and Andreas Teguh
Sujarwadi S.S for giving me ‘home’ every time I feel lonely. Thanks to my great friends Wahyu Adi Putra Ginting, S.S. and Wahmuji for their special guidance.
Thank you for correcting my ill sentences. My special thanks also go to my
‘family’ Budi Utomo, Sunu, Gideon, Sugeng Utomo, Galang, Bigar, Kethek,
Ramto and Badu. I also would like to express my thanks to all my friends especially Kentang, Boim, Tombro, Nitnot, Wedhus, Tiara, Danik, Stella, Tumpal, Dika, Cosmas, Asep, Dodik, Mbendol, Bayu and all English Letters
can not find any words to show my gratefulness. You are the reason in everything.
You are my steps in my walks. I am the luckiest man because of you, the logic of
my thought and the love of my emotion.
TITLE PAGE... i
CHAPTER I: INTRODUCTION ... 1
A. Background of the Study ... 1
B. Problem Formulation ... 4
C. Objectives of the Study ... 4
D. Definition of Terms ... 5
CHAPTER II: THEORETICAL REVIEW ... 6
A. Review of Related Studies... 6
B. Review of Related Theories... 7
1. Elements of Drama …... 7
CHAPTER III: METHODOLOGY ………. 20
C. The Influences of the Intrinsic Elementsin the History ………… 58
1. Character ………... 58
2. Plot……….. 61
CHAPTER V: CONCLUSION …... 65
BIBLIOGRAPHY …... 67
APPENDIX ………. 69
English Letters, Faculty of Letters, Sanata Dharma University, 2008.
Begin with personal interests with this work, Molière’s Tartuffe, the writer tries to find historical information on this play. The writer finds that this play has its own special records. The finding on its special records and historical background inspire the writer to do deeper analysis on this play. The absolute power and its hegemony, as a way maintaining it, become the focus on this study. The writer chooses this topic because of his finding that the hegemony of absolute power has been some major problems in many countries over centuries.
The problems to be answered in this thesis are: (1) how the plot and characters are described in Tartuffe?, (2) how the history influences the plot and characters in Tartuffe?, (3) how the plot and characters in Tartuffe influenced the history?
The study of this thesis is a library research. It takes most information and references from books. The study uses the new historicism approach since the aim is to find the inter-influential relationship of literature and history in its connection with hegemony of absolute power.
Through this study, the writer discovers the inter-influential relationship of literary text and historical text in its connection with hegemony. The first influences are found in the intrinsic elements of the play, plot and character. The important role of absolute power, including its benefits and consequences, in the reign of Louis XIV, influenced the plot of the play. The ruling system of Louis XIV emphasized on the role of the king influenced Molière, the writer of the play, in creating Orgon’s characteristics. The second influences are in the history. A character in this play, Tartuffe, annoyed the church. This character caused the church to give an execution on Molière for heresy. The plot, on the contrary, caused Louis XIV to save the writer of the play from his execution.
xii
YABES ELIA SURYANTO. Inter-influential Relationship of Literature and History in its Connection with Hegemony: A Parallel Reading on Molière’s Tartuffe and Mark Kishlansky’s Louis XIV. Yogyakarta: Jurusan Sastra Inggris, Fakultas Sastra, Universitas Sanata Dharma, 2008.
Berawal dari selera individu atas sebuah karya dari Molière yang berjudul
Tartuffe, penulis mencoba mencari catatan sejarah yang berhubungan dengan karya ini. Penulis menemukan bahwa karya ini memiliki catatan sejarah yang istimewa. Penemuan-penemuan atas catatan sejarah dan latar belakang sejarah dari karya inilah yang menginspirasi penulis untuk melakukan analisa yang lebih lanjut. Kekuasan absolut dan hegemoni nya, yang dipandang sebagai salah satu cara untuk mempertahankan kekuasaan, menjadi focus dari studi ini.
Rumusan masalah yang akan dijawab dalam studi ini adalah: (1) bagaimana plot dan karakter dijabarkan dalam karya ini?, (2) bagaimana sejarah mempengaruhi plot dan karakter di dalam karya ini?, (3) bagaimana plot dan karakter dalam karya ini mempengaruhi sejarah?
Studi ini merupakan studi pustaka, artinya mayoritas informasi dan referensi bersumber pada buku. Studi ini menggunakan pendekatan new historicism karena tujuan utama dari studi ini adalah untuk menemukan hubungan antara karya sastra dan sejarah yang saling mempengaruhi dalam hubungannya dengan hegemoni kekuasaan absolut.
A. Background of the Study
When the writer read the play, Molière’s Tartuffe, at the first time, the writer was interested in its conflict and the personality of each character.
However, this play was not made just for the beauty in literature but it was made
for criticism. At the first time, the writer noticed that this play is Molière’s, the
writer of this play, critic towards hypocritical church through the characterization
in Tartuffe. However, when the writer read the history and recognized what happened in France in 17th century, he then realized that this play is not only criticizing the church but also producing a possibility that it shows Molière’s
disagreement towards the absolute power of Louis XIV.
Tartuffe was performed at the first time in Great Palace Versailles with the royal court as the audience. After this play was performed, it made the church
annoyed because of the content. The play was banned for the public performance.
Although Tartuffe was extremely popular with audiences and was acclaimed by Louis XIV, the Archbishop of Paris issued a decree threatening to excommunicate anyone performing, attending, or even reading the play. It was not until 1669—after the bulk of political and religious power had shifted away from his most adamant opponents—that Molière was permitted to perform publicly the final version of the play.<Pavloski>
Though this play has ever been banned, yet the writer believes a
remarkable literary work will never die, even it will get stronger, if someone tries
to kill it. This play has also become an evidence that literary work, sometimes, is
the mirror of reality. In literature, people can find historical facts which happened
in the real life. Moreover, if the people can see the reality deeper than it seems,
they can see that there are comedy, tragedy, drama and ode in the real world
usually seen in a literary piece. This play, in addition to becoming a reflection of
the reality, was not only influenced by the reality but also, interestingly,
influenced the reality.
That’s why when the writer knows that even though it had been banned
but Tartuffe is still alive till today and the writer trusts that the influence of
historical facts may reveal good lesson toward today’s life. And it makes the
writer consider that this play is worth studying.
Another reason is, absolute power had been some major problem in many
countries over centuries. The example of absolute power which occurred not long
ago was done by Soeharto in Indonesia (1968-1998). It proves that even absolute
power had existed for a long time ago, it is still alive now.
William Ewart Gladstone (1809 - 1898), a British statesman who is
referring to proposed electoral reforms and extension of the franchise (Reform
Bill, 1867) in hisspeech to the British Parliament stated that “I venture to say that
every man who is not presumably incapacitated by some consideration of personal
unfitness or of political danger is morally entitled to come within the pale of the
constitution”. Another opinion from Maximilien Robespierre (1758 - 1794), a
law which violates the indefeasible rights of man is essentially unjust and
tyrannical; it is not a law at all”.
Many people disagree with absolute power and they will do their efforts to
against it. There are a lot of examples of the act against absolute power which is
happened in many countries such as America, in their war of independence
(1775-1783), England which is known as Puritan revolution (1640-1660), French
revolution (1789-1799).
The writer can not give any judgements on the act of opposing the
absolute power whether it is good or bad. The writer interests in the process on
how people get involved in the absolute power. The evidences from the history
show that there are a lot of people who involve in this matter whether they are
supporting by doing or against it. This phenomenon is widely occurred throughout
the world even all religions in this world believe that the God has the absolute
power. For those reasons, in the writer’s opinion, absolute power which is the
most popular phenomenon in the society is worth studying.
In Microsoft® Student 2008 [DVD], Antonio Gramsci, a Marxist political
theorist defined Hegemony as the ways in which ruling classes use a dominant
ideology to conceal their control of the masses. It is obviously seen that the
concept of hegemony is closely related with the absolute power since it can be the
most applicable and easiest way to maintain that condition, therefore studying the
concept of hegemony will give a better chance to deal with the existence of
absolute power, whatever position is taken. Therefore, the title of this study is
Hegemony: A Parallel reading on Molière’s Tartuffe and Mark Kishlansky’s Louis XIV.The purpose of this study is finding the significance of the hegemony of absolute power and revealing the process of this hegemony. Therefore the
readers who oppose the absolute power may have better chance to defeat it and
the readers who support it may have better chance to maintain or to achieve it.
The writer will give the readers a freedom to choose since the writer believes that
many people will refuse to be controlled by other people but those many people
will take the chance to have control on the other.
B. Problem Formulation
1. How are the plot and characters described in Tartuffe?
2. How does history influence the plot and characters in Tartuffe? 3. How do plot and characters in Tartuffe influence history?
C. The Objective of the Study
The objective of this study is to answer the questions in the problem
formulation. Firstly, by revealing the intrinsic elements, especially the plot and
characters in Tartuffe, the writer can reveal the significances of the history towards this play. Secondly, the writer can show on how this play influences
history. Finally, by knowing those influences, the writer can relate the influences
D. Definition of Term
As it is stated before, the term hegemony according to Gramsci is the ways
in which ruling classes use a dominant ideology to conceal their control of the
masses (Microsoft® Student 2008 [DVD]).
Barry Burke believes that by hegemony, Gramsci meant the permeation
throughout society of an entire system of values, attitudes, beliefs and morality that has the effect of supporting the status quo in power relations.
Dominant groups in society, including fundamentally but not exclusively
the ruling class, maintain their dominance by securing the 'spontaneous consent'
of subordinate groups, including the working class, through the negotiated
construction of a political and ideological consensus which incorporates both
A. Review on Related Studies
Molière's Tartuffe as a satire on religious fanaticism
This was written by Lyman Allen Baker (1996). In this study, the author
wanted to show that what was written by Wilbur, a translator of Tartuffe who wrote some analyzes on the primary source used in this thesis, misses the point of
the premise that Molière’s criticism, using the character of Tartuffe, applied only
to people who are religious but do not act in accordance with their sincere
professions. Orgon, who would easily believe and obey what church said, was
used to criticize the traditional Christian. It is shown through Orgon who believes
in Tartuffe because he comes from the church.
In this work, it is obviously shown that Orgon’s attitude is recognizably a
parody of St. Augustine. He was successful in commanding the Roman Empire
and Protestant reformers.
It was also described that Cleante is the one who can think clearly since he
argues that God wants his people to enjoy their life instead of mortify their flesh.
In this research, the writer agrees with the opinion of Lyman Allen Baker
that Orgon is used to criticize the power from the church. However, Baker did not
go deeper in her analysis. She only regarded Orgon as the victim of the church’s
power, not as the victim of something bigger than that: something behind the
church which is an absolute power held by the church in that time.
The writer believes that a deeper analysis regarding the absolute power
from the church making Orgon as a victim is needed. There is a larger matter
involved such as why Orgon becomes a victim and how the power of the church
relates to its hegemony. Therefore, the writer tries to analyze the larger context
related with the absolute power and its hegemony. The writer tries to find the
inter-influential relationship of literary text and historical text in its connection
with hegemony of absolute power.
B. Review on Related Theories
1. Elements of Drama
The object of this study is a drama, which has some intrinsic elements.
Therefore, theory of elements of drama is provided. There are some intrinsic
elements of drama but there are only two elements which are discussed. The other
elements are not related to the problem in this study.
a. Plot
Plot is one of the most important elements in a story since it will guide the
reader to understand the story better. Plot will show the readers the significant of
every event from the beginning until the end of the story.
Based on Microsoft Student 2008, plot is the narrative and thematic development of the story—that is, what happens and what these events mean.
English novelist E. M. Forster, author of works such as A Room with a View
emphasis falling on causality.” In other words, plot is a series of contiguous
events that has a connection to one another, not a fragmented of unrelated
episodes.
Rohrberger and Woods in Reading and Writing about Literature (1971:21) divide the plot of the story into four stages.
1. The first stage is exposition in which the author gives some
information about characters. The information is useful for readers
in order to understand what will happen in the story.
2. The author afterwards brings forward the complication or often be
called conflict. The stage is called raising action because the
conflict leads higher action for characters.
3. The third stage is the climax in which the action comes in the
highest level.
4. The stage is the resolution, or denouement. The characters find
some ways to minimize the conflict. Another term to describe this
stage is falling action.
According to Aristotle's Poetics, a plot in literature is "the arrangement of incidents" that (ideally) each follows plausibly from the other. The plot is like the
pencil outline that guides the painter's brush. Aristotle notes that a string of
unconnected speeches, no matter how well-executed, will not have as much
emotional impact as a series of tightly connected speeches delivered by imperfect
According to Abrams (1971: 159), plot is constituted by events and actions
which directly order the achieving particular emotional and artistic effects. He
also suggests that a plot is also a bare synopsis of the temporal order of what
happens in a literary work.
According to Terrin Lynch Adair there are five elements of plot. The first
is point of attack. This is the moment of the play at which the main action of the
plot begins. This may occur in the first scene, or it may occur after several scenes
of exposition. The point of attack is the main action by which all others will arise.
It is the point at which the main complication is introduced. Point of attack can
sometimes work hand in hand with a play’s inciting incident, which is the first
incident leading to the rising action of the play. Sometimes the inciting incident is
an event that occurred somewhere in the character’s past and is revealed to the
audience through exposition.
The second element is exposition. Exposition is important information that
the audience needs to know in order to follow the main story line of the play. It is
the aspects of the story that the audience may hear about but that they will not
witness in actual scenes. It encompasses the past actions of the characters before
the play’s opening scenes progress.
The third element is rising action. Rising action is the section of the plot
beginning with the point of attack and/or inciting incident and proceeding forward
to the crisis onto the climax. The action of the play will rise as its set up a
of the play and usually create a sense of continuous mounting suspense in the
audience.
The next element is climax/crisis. All of the earlier scenes and actions in a
play will build technically to the highest level of dramatic intensity. This section
of the play generally refers to the moment of the play’s climax. This is the
moment where the major dramatic questions rise to the highest level, the mystery
hits the unraveling point, and the culprits are revealed. This should be the point of
the highest stage of dramatic intensity in the action of the play. The whole
combined actions of the play generally lead up to this moment.
Resolution/Obligatory scene is the last element of plot. The resolution is
the moment of the play in which the conflicts are resolved. It is the solution to the
conflict in the play, the answer to the mystery, and the clearing up of the final
details. This is the scene that answers the questions raised earlier in the play. In
this scene the methods and motives are revealed to the audience.
b. Character and Characterization
Character is the most critical element in the play. Most of the times, the
reader can get the main idea of the play by seeing it through the characters.
According to Barnet, Berman and Burto, character has two meanings: (1) a figure
of literary work, and (2) personality, that is the mental and the moral qualities of
the figure, as when we may say that X’s character is strong, or weak, or immoral,
In Glossary of Literary Terms (1981: 20-21) Abram defines character as the person presented by the author as being endowed with moral and disposition
qualities that can be evaluated from the dialogue and the action.
In the book entitled Approach to Literature, Little gives explanation of how to study a character. According to him, a character can be studied from: First,
his or her basic characteristics. This can be seen from:
i. The physical condition of the characters, including his or her age.
ii. The social relationship, which mean the personal relationship with
other characters or wider social relationship, such as social class
and occupation.
iii. The mental qualities, this is typical ways of thinking, feeling, and
acting.
Second, it can be seen from his or her appearance from various points of view.
This includes:
i. How the character sees himself or herself
ii. How other characters see him or her
iii. How he or she develops or fails to develop during the course of the
story
Third, is from his or her place in the work. It means:
i. The treatment of the author (sketched of fully rounded portrayed
descriptively or dramatically treatment sympatically or
unsympathetically)
iii. His or her relation to the theme. For example: whether the
character embodies something important that the author has to say.
In order to be believable or convincing, the characterization must observe
at least 3 principles (Perrine, 1969: 69). Firstly, the character must be consistent in
their behavior. They must have a strong and appropriate reason if they change. In
other words, a character may remain stable or unchanged or she/he may undergo a
radical change in her/his outlook and deposition from the beginning to the end of
the story, but she/he must be consistent with her/his behavior traits.
2. Theory of Absolute Power
According to William Benton and Helen Hemingway Benton (1983), the
etymology of the term ‘power’ is traced back to a Latin root (potere, potesse, or
posse), essentially meaning, “to be able to” or having the capacity to do something. One common meaning of “power” now a rather ambiguous term is
“the ability to act”, “capacity to produce a result”, or simply “strength”. In politic,
this meaning became more specialized, referring to the ability to affect the actions
of others; that is, to produce alteration in their behavior. The most common
classification of power would divide it into economic, social, and political
categories essentially institutional classification. Political power pertains to the
state or government, economic power to the financial and production
establishments, and social power to the remaining institution. Similar, but more
elaborate, classifications that have been suggested would include religious,
social and political power. From another perspective, this various type of power
can be regarded as referring to control over different kinds of valued resources.
Political scientists who have pursued this line of thought most explicitly list eight
types of human values: power, respect, rectitude, affection, well-being, wealth,
skill, and enlightenment. Since power can be based on the control over any of this
values, there are eight basic types of power (“forms of influence”): political
power, councillorship, mentorship, personal influence, violence, economic power,
expertness, and advisory influence respectively (The New Encyclopedia Britannica 1983:697-702).
In the international encyclopedia, the leader who has absolute power can
not allow anyone else to have any power whatever; he must depend on no one,
thus he must be able to dispense at anytime with any of his subordinates. The
analysis of absolute power is often concerned, therefore, with the identification of
elites and leadership, the discovery of the ways in which power is allocated to
different strata, relations among leaders and between leaders and non leader, and
so forth. The leader who has absolute power has a right issue commands;
subordinates perceive an obligation to obey. If the character of the communication
is questioned, then the leader is diminished and the bond that holds the
participants together is in danger of being served. The leader will be strong when
subordinates anticipated of superior even before they are voiced (Sills,
3. Theory of Hegemony
According to Gramsci, the term ‘hegemony’ is the ways in which ruling
classes use a dominant ideology to conceal their control of the masses
(Microsoft® Student 2008 [DVD]).
Strinati states that dominant groups in society, including fundamentally
but not exclusively the ruling class, maintain their dominance by securing the
'spontaneous consent' of subordinate groups, including the working class, through
the negotiated construction of a political and ideological consensus which
incorporates both dominant and dominated groups." (Strinati, 1995: 165)
The writer also found the definition from Barry Burke that by hegemony,
Gramsci meant the permeation throughout society of an entire system of values, attitudes, beliefs and morality that has the effect of supporting the status quo in
power relations.
In WordNet® 3.0 by Princeton University stated that the dominance or
leadership of one social group or nation over others; "the hegemony of a single
member state is not incompatible with a genuine confederation"; "to say they have
priority is not to say they have complete hegemony"; "the consolidation of the
United States' hegemony over a new international economic system"
Based on those definitions on hegemony, the writer learned that hegemony
is related to political power. Since this study also discusses about political power,
the writer put the opinion that ‘politics influences literature’ from Edward Said.
scholarship, social theory, and history writing is by no means equivalent to saying
that culture is therefore a demeaned or denigrated thing”(Said, 1978:14).
C. Review on Historical Facts
This study tries to juxtapose historical facts and literary text and tries to
read the historical records within the frame of literature, then relates it to the
concept of absolute power. Since this drama was written in 17th century in France, the writer chooses to provide particular data to make the analysis clearer.
Most of the facts on Louis XIV were taken from Microsoft Student 2008
as the main sources, as the writer sees that this source is reliable and easy to be
accessed.
This is a short summary on Louis XIV which is taken from Microsoft
Student 2008 written by Mark Kishlansky.
Louis XIV (1638-1715), king of France (1643-1715), known as the Sun King. Louis, third monarch of the Bourbon family, ruled for 72 years, the longest reign in European history. His rule typified the period of absolute monarchy in the second half of the 17th century, during which time kings ruled without the restraint of representative institutions. This epoch is widely known as the age of Louis XIV because other European monarchs imitated and competed with developments in France. Louis inherited a kingdom that was internally divided, militarily exhausted, and nearly bankrupt. He left to his heirs the greatest power in the Western world.
during the long years of war, taxes increased, and the countryside was left vulnerable to punishing famines.
From this source, it can be learned that after Mazarin, a principal minister
from Louis XIII, died in 1661, Louis XIV ruled the country without a chief
minister, something no French king had done in history. Mark Kishlansky also
states that the system of absolute monarchy from Louis XIV emphasized the role
of the king and no monarch was more successful in creating the image of
monarchy than Louis XIV.
Other data from Microsoft Encarta 2008 which was taken for the evidence
in chapter IV are the data on some achievements and losses of Louis XIV. Louis
made the achievements in the areas of art, science, economy and military.
From 1661 until 1689, Louis built a royal palace named Versailles. This
royal palace is a part of an artistic renaissance that flourished under Louis XIV.
Louis also gave royal patronage to the great playwrights Molière and Jean
Baptiste Racine. Louis also created three French academies, later part of the
Institut de France, to support the study of fine arts, languages, and sciences:
L’Académie des Beaux Arts (1648), the L’Académie des Inscriptions et
Belles-Lettres (1663), and L’Académie des Sciences (1666).
Louis XIV trusted financial area in the hands of Colbert. Colbert used a
policy known as mercantilism. This policy formed the basis for an economic
recovery in the middle years of Louis’s reign. The improvements on the domestic
manufacturing led to improvements in transportation. Colbert also established
In military, Louis worked with his minister Michael Le Tellier and Le
Tellier’s son, the Marquis de Louvois, to build up French defenses. They
expanded the size of the French army from 100,000 in 1661 to 300,000 in 1688
and then to 400,000 in 1702. They also built fortifications at river crossings and
conquered strategically placed towns, especially along the Rhine.
Unfortunately, Louis also had his losses. The main source of this study
states that Louis XIV revoked the Edict of Nantes in 1685. This revocation caused
about 200,000 Huguenots, Protestants in France, fled France rather than convert to
Catholicism. Since many Huguenots are highly skilled craftsmen, the loss of
many highly productive citizens depressed the French economy. This revocation
also caused Protestants states, especially England and Holland, worried about the
revival of religious warfare. In 1689, England, Holland, Denmark and Austria
formed the League of Augsburg, called Grand Alliance. Mark Kishlansky also
stated that The War of the Spanish Succession (1701-1714) was the most brutal
and costly of Louis’s military endeavors. For the first time in over a century,
French armies lost battles, most notably by John Churchill, 1st Duke of
Marlborough, at the Battle of Blenheim (in what is now Germany) in 1704 and at
Ramillies (in what is now Belgium) in 1706.
Another source from Philippe Erlanger in Encyclopedia Britannica
supports the evidences from Kishlansky. Erlanger stated that Louis XIV was the
protector of writers, notably Molière and Jean Racine, whom he ordered to sing
Another source, written by Evans, stated that there was a great rejoicing in
France when Louis XIV died in 1715. Moreover, the Parlement of Paris nullified
the will, stating that Louis XIV left actual power in the hands of his son by Mme
de Montespan named the Duc du Maine, after his death.
Other evidences which are stated in chapter IV comes from Pavloski. She
stated that the production of Molière’s renowned work, Tartuffe, skewered and offended several aspects of upper-class French society, the Roman Catholic
Church, and the influential underground society. She also stated that although
Tartuffe was extremely popular with audiences and was acclaimed by Louis XIV, the Archbishop of Paris issued a decree threatening to excommunicate anyone
performing, attending, or even reading the play. In this page, Pavloski also stated
that Louis XIV’s personal support saved Molière from his execution for heresy.
D. Theoretical Framework
In this analysis, all theories mentioned in the previous sub-chapter will be
used to answer the problems in the problem formulation. The first problem is to
find the intrinsic elements of the play which is related to the absolute power and
the second problem is to read the historical facts through the frame of the play’s
intrinsic elements.
The first theory is theory of elements of drama. In order to read the
historical facts within the frame of literary works which become the second
first using their theories. However, only two elements of drama which are
discussed in this study, they are plot and characters.
The second theory, theory on absolute power, is used to give the clear
description about absolute power. Since this study is about understanding the
effect of absolute power, a better understanding on the concept of absolute power
is needed.
The third is the historical facts on the life Louis XIV. These facts are
relevant with this study since this study tries to make a parallel reading between
historical facts and literary text.
The last theory is theory of hegemony. This theory is needed because in
this study, hegemony becomes the main cause of the influences between literary
text and historical texts.
After reading the script of the play, finding some elements which are
connected with the concept of absolute power, and knowing the historical facts on
the life Louis XIV, as it is stated before, the writer tries to read the historical facts
within the frame of the literary text to find the effects of hegemony of absolute
A. Object of the Study
This play, Tartuffe, was written by Jean-Baptiste Poquelin, known as Molière, in 1664 and firstly translated in 1670. The writer uses the translated
version by Richard Wilbur in the book entitled Types of Drama Plays and Contexts 8thedition published by Longman in 2001. In this book, beside the script of the play, a commentary on Tartuffe was added. The translated play in this book consists of 32 pages. It consists of 4 pages of commentary and other information,
and 28 pages of the script of the play.
This play has its special records. According to the information added in
the book entitled Types of Drama Plays and Contexts, after it was performed for the first time before the royal court and Louis XIV, it was banned. In 1667, this
play was entitled L’imposteur and some minor changes on the character was done. However, in the same year, this version was also banned by the clergy after its
first performance. The ban was lifted in 1669 and it was reproduced several times
in several countries.
This play is about a hypocrite person named Tartuffe who tries to take
over all of Orgon’s, a noble man, possessions and wife by hiding in the name of
religion. This play ends with the king’s words saves Orgon from his misfortune
caused by his believes on Tartuffe.
Another object in this study is a historical text on Louis XIV taken from Microsoft Encarta 2008 [DVD]. This text was written by Mark Kishlansky, a
professor in Harvard University. The printed version of this text consists of 7
pages. Besides the main data on Louis XIV on this page, additional information,
such as related articles, quotations, further reading and websites related with
Louis XIV, are provided in the form of links to another page. In this page, some
pictures related with Louis XIV are also provided.
On this page, the data on Louis XIV, from his early life until his death, is
provided. The data also consists of achievements, losses and some wars involving
Louis XIV. The data is divided into 9 chapters from introduction until evaluation
and legacy.
B. Approach of the Study
The writer uses new historicism in this study since the writer tries to do a
parallel reading between historical facts and literary text. The writer also tries to
read the historical facts in a new way, reading it within the frame of literary text.
The term ‘new historicism’ was invented by the American’s critic
Stephen Greenblat in 1980 in his book Renaissance Self-Fashioning. Peter Barry, in his book Beginning Theory (1995:172), stated that a simple definition of the new historicism is that it is a method based on parallel reading of literary text and
non-literary text, usually of the same historical period. It rejects to believe a
The first difference between new and ‘old’ historicism is ‘old’ historicism
treats historical facts as background of the text. Nevertheless, new historicism
rejects to believe a literary foreground and historical background.
The second difference is in the method of the analyses. When old
historicism method only find in text the truth based on the historical context, new
historicism tries to read the historical facts within the frame of literary text.
Based on those differences, the result of the analyses will be obviously
different between new and old historicism. The result using old historicism will be
almost the same for some critics, but new historicist will has another
interpretation with other critics with the same approach; therefore it will produce a
new interpretation in reading the historical facts.
In other words, new historicism gives freedom to the writer to his liberal
idea, so that there will be a new concept but still based on the historical facts.
Another famous statement to describe new historicism is from American critics;
Louis Montrose, new historicism combined interest in ‘the textuality of history
and the historicity of the text’. (Barry, 1995: 172)
Peter Barry (1995:175) believes that new historicism does not belong to a
historical movement but it creates new history.
New historicist essays always themselves another remaking, another permutation of the past, as the play or the poem under discussion is juxtaposed with a chosen document, so that a new entity is formed.
C. Method of the Study
This thesis is a library research which means the writer takes all the
information and references from the book, either it is printed or an e-book. This
study uses two kinds of resources, main resources and secondary resources. The
primary sources are Tartuffe, written by Molière, translated by Richard Wilbur in
Types of Drama Plays and Contents, for the literary text and the facts on Louis XIV in Microsoft Student 2008 contributed by Mark Kishlansky.
The secondary resources are the sources which are related with the topic in
this study, including essay, theories and references, which are used to analyze the
main sources.
There were several steps used in this study. First of all, the writer read the
script of Tartuffe as a literary text and clearly understood the intrinsic elements in the play such as plot and characteristics. Then, the writer observed the characters,
especially Orgon and Tartuffe, and the plot closely.
The next step was collecting the facts in 17th century since it is the time when Moliére wrote the script of the play.
After there were enough data and understanding, the writer tried to read
non-literary text within the frame of literary text, thus the writer could find an
inter-influential relationship of literary text and historical text.
The first step, in analyzing the text, was identifying the plot in Tartuffe. Identifying process was done by seeing through the whole text from the beginning
until the end of the play using the theory on plot. The plot is important because
part. The second step was identifying the characteristics of Orgon and Tartuffe.
By doing the identifying process on the characters and plot, later the writer can
use it in the next step.
After done with the literary text, the writer tried to use the results from
previous processes to find the influences between the literary text and historical
text. First, the influences in the intrinsic elements by the history were shown.
Secondly, the influences in the history by the intrinsic elements were shown in the
next analysis. Hegemony was regarded as the main cause of those influences.
Then, the last step was making conclusion. The conclusion was made from
Before going further into the analysis, first of all, the writer tried to
elaborate the plot and the characters of the play in order to give better view and
understanding for the analysis. These two elements helped the writer answers the
questions in the problem formulation as depicted in the first chapter. Both of them
influenced the history and, at the same time, are influenced by the history.
A. The Intrinsic Elements on Tartuffe 1. Plot
The plot in Tartuffe goes forward from the beginning to the ending. The
classification of the plot was based on theory on plot from Terrin Lynch Adair.
These are some points that can be found in the play.
a. Exposition
The story begins with a conversation between Madame Pernelle, Elmire,
Damis, Mariane, Dorine, and Cleante, Elmire's brother. Madame Pernelle,
Orgon’s mother, tries to warn them that they are sinners and that they should
follow Tartuffe since he is the most faithful person she ever knows. However, the
rest of the people do not believe it because they know who Tartuffe really is and,
on the contrary, they try to convince Madame Pernelle that Tartuffe is not as good
as she thinks. Madame Pernelle still does not believe them and she demands them
to follow Orgon to believe in Tartuffe. This is ended with Madame Pernelle’s
leaving in anger for the rest of the family still do not believe in her.
MADAME PERNELLE. I must. This house appalls me. No one in it will pay attention for a single minute. Children, I take my leave much vexed in spirit. I offer good advice, but you won’t hear it. You all break in and chatter on and on. It’s like a madhouse with the keeper gone (Wilbur in Sylvan Barnet, William Burto, Lesley Ferris & Gerald Rabkin, 2001:470).
----
DAMIS. Your man Tartuffe is full of holly speeches…
MADAME PERNELLE. And practices precisely what he preaches. He’s a fine man, and should be listened to. I will not hear him mocked by fools like you.
DAMIS. Good God! Do you expect me to submit to the tyranny of that carping hypocrite? Must we forgo all joys and satisfactions because that bigot censures all our actions?
DORINE. To hear him talk- and he talks all the time- there’s nothing one can do that’s not a crime. He rails at everything, your dear Tartuffe.
MADAME PERNELLE. Whatever he reproves deserves reproof. He’s out to save your souls, and all of you must love him, as my son would have you do.
DAMIS. Ah no, Grandmother, I could never take to such a rascal, even for my father sake. That’s how I feel, and I shall not dissemble his every action makes me seethe and tremble with helpless anger, and I have no doubt that he and I will shortly have it out.
DORINE. Surely it is a shame and a disgrace to see his man usurp the master’s place- to see this beggar who, when he first came, had not a shoe or shoestring to his name so far forget himself that he behaves as if the house were his, and we his slaves.
MADAME PERNELLE. Well, mark my words, your souls would fare far better if you obeyed his precepts to the letter (Wilbur in Sylvan Barnet, William Burto, Lesley Ferris & Gerald Rabkin, 2001:471).
The first act has described that there are two groups, the one
supporting Tartuffe (Madame Pernelle and Orgon), and the opposite, the
misunderstanding or misconception about Tartuffe between the two
groups.
b. Point of Attack
It is stated in the second chapter that the point of attack is the moment of
the play at which the main action of the plot begins. This may occur in the first
scene, or it may occur after several scenes of exposition. The point of attack is the
main action by which all others will arise. It is the point at which the main
complication is introduced. Point of attack can sometimes work hand in hand with
a play’s inciting incident, which is the first incident leading to the rising action of
the play. From this part, Orgon’s character is revealed. He cares Tartuffe more
than his own wife and it is because he is obviously blinded by Tartuffe’s behavior.
DORINE. Your wife, two days ago, had a very bad fever, and a fierce headache which refused to leave her.
ORGON. Ah. And Tartuffe?
DORINE. Tartuffe? Why, he’s round and red, bursting with health, and excellently fed.
ORGON. Poor fellow!
DORINE. That night, the mistress was unable to take a single bite at the dinner-table. Her headache-pains, she said, were simply hellish.
ORGON. Ah. And Tartuffe?
DORINE. He ate his meal with relish, and zealously devoured in her presence a leg of mutton and a brace of pheasants.
ORGON. Poor fellow!
DORINE. Well, the pains continued strong, and so she tossed and tossed the whole night long, now icy-cold, now burning like a flame. We sat beside her bed till morning came.
ORGON. Ah. And Tartuffe?
DORINE. Why, having eaten, he rose and sought his room, already in a doze, got into his warm bed, and snored away in perfect peace until the break of the day.
Cleante, Elmire’s brother, tries to give advices not to easily judge someone
by a careless observation but, unfortunately, Orgon is as hard as a rock.
CLÉANTE. That girl was laughing at your face, and though I’ve no wish to offend you, even so I’m bound to say that she had some excuse. How can you possibly be such a goose? Are you dazed by this man hocus-pocus that all the world, save him, is out of focus? You’ve given him clothing, shelter, food, and care; why must you also…
ORGON. Brother, stop right there. You do not know the man of whom you speak.
CLÉANTE. I grant you that. But my judgment’s not so weak that I can’t tell, by his effect on others…
ORGON. Ah, when you meet him, you two will be like brothers! There’s been no loftier soul since time began. He is a man who… a man who… an excellent man. To keep his precept to be reborn, and view this dunghill of a world with a scorn. Yes, thanks to him I’m changed man indeed. Under his tutelage my soul’s been freed from earthly loves, and every human tie: my mother, children, brother, and wife could die, and I’d not feel a single moment’s pain (Wilbur in Sylvan Barnet, William Burto, Lesley Ferris & Gerald Rabkin, 2001:474).
This part gives the clearer problem faced by this family, that Orgon who
become the head of the family, have been deceived by Tartuffe and strongly
believes him no matter what other members of the family say about him. Orgon’s
belief will become the key to open the next doors of more complicated problems.
c. Rising Action
This part is filled with some problems. The first problem is present
between Mariane and his father, who forces her to marry Tartuffe regardless her
wish to marry another man, Valere. Orgon believes that a father will give the best
decision for his daughter, regardless anything, and a daughter is responsible to
ORGON. Did you not hear me?
MARIANE. Of whom, sir, must I say that I am fond of him, and would rejoice in being his wife, if that should be your choice? ORGON. Why, of Tartuffe.
MARIANE. But, Father, that’s false, you know. Why would you have me say what isn’t so?
ORGON. Because I am resolved it shall be true. That it’s my wish should be enough for you.
MARIANE. You can’t mean, Father…
ORGON. Yes, Tartuffe shall be allied by marriage to this family, and he’s to be your husband, is that clear? It’s a father privilege…(Wilbur in Sylvan Barnet, William Burto, Lesley Ferris & Gerald Rabkin, 2001:476)
Dorine tries to convince Orgon that Tartuffe will not become the perfect
husband for his daughter due to Tartuffe’s real personality. However, because of
Dorine’s position as Orgon’s servant and as a woman, which are not in the best
positions to give advices and because of Orgon’s characteristics, Dorine fails to
convince him about his decision.
DORINE. All right, then: we believe you, sad to say. But how a man like you, who looks so wise and wears a moustache of such splendid size, can be so foolish as to…
ORGON. Silence please! My girl, you take to many liberties. I’m master here, as you must not forget.
----
ORGON. This servant-girl presumes to save my soul! DORINE. You would do well to ponder what I’ve said.
ORGON. Daughter, we’ll disregard this dunderhead. Just trust your father’s judgment. Oh, I’m aware that I once promised you to young Valére; but now I hear he gambles, which greatly shocks me; what’s more, I’ve doubts about his orthodoxy. His visit to church, I note, are very few (Wilbur in Sylvan Barnet, William Burto, Lesley Ferris & Gerald Rabkin, 2001:477).
Then the conflict grows more complicated when Tartuffe shows his true
intention by seducing Orgon’s wife, Elmire. Damis hides eavesdropping their
conversation. Damis, who is short-tempered, comes out from his hiding; loses his
DAMIS (emerging from the closet where he has been hiding). No! we’ll not hush up about this vile affair; I heard it all inside that closet there, where Heaven, in order to confound the pride of this great rascal, prompted me to hide. Ah, now I have my long-awaited chance to punish his deceit and arrogance. And give my father clear and shocking proof of the black character of his dear Tartuffe. ----
DAMIS. No, I must do what I think right. Madam, my heart is bursting with delight, and, say whatever you will, I’ll not consent to lose the sweet revenge on which I’m bent. I’ll settle matters without much ado; and here, most opportunely, is my cue (Wilbur in Sylvan Barnet, William Burto, Lesley Ferris & Gerald Rabkin, 2001:485).
However, when Orgon comes and Damis tells that his wife was seduced
by Tartuffe, instead of believing him, he is angry at his son for his disobedience.
Orgon does not believe in his own son and forces him to apologize to Tartuffe for
his false accusation. Obviously, Damis insists on his attitude, and that makes
Orgon mad at him, disinherit him and force him to leave the house.
DAMIS. …Yes, I’m surprised him with your wife, and heard his whole adulterous offer, every word. She, with her all too gentle disposition, would not have told you of his propositions; but I shall not make terms with brazen lechery, and feel that not to tell you would be treachery.
----
DAMIS. You’re going to force her to accept his hand?
ORGON. Yes, and this very night, d’you understand? I shall defy you all, and make it clear that I’m the one who gives the orders here. Come, wretch, kneel down and clasp his blessed feet, and his pardon for your black deceit.
DAMIS. I ask that swindler’s pardon? Why I’d rather…
ORGON. So! You insult him and defy your father! A stick! A stick! (To Tartuffe.) No, no—release me, do. (To Damis.) Out of my house this minute! Be off with you, and never dare to set foot in it again (Wilbur in Sylvan Barnet, William Burto, Lesley Ferris & Gerald Rabkin, 2001:485,486).
After Damis leaves the house, Orgon apologizes Tartuffe for his son’s
ORGON. …I’ll give to you alone clear deed and title to everything I own. A dear, good friend and son-in-law-to-be is more than wife, or child, or kin to me. Will you accept my offer, dearest son?
In this part, there are two problems. First, Orgon forces Mariane to wed
Tartuffe and Orgon disinherit his own son and gives Damis’ inheritance to
Tartuffe. Those problems, obviously, exist because of Orgon’s unchangeable
judgment and his power and because of that, the problems lead to the climax.
d. Climax
Elmire feels that her husband has already been totally blinded by Tartuffe.
Realizing this, she challenges Orgon to test his judgments on Tartuffe by hiding
under the table when Elmire tries to seduce Tartuffe. Orgon agrees with that and
finally he knows the truth. Losing his temper, Orgon jumps out from his hideout,
and forces Tartuffe to leave the house. However, instead of leaving, Tartuffe turns
to order Orgon to leave his own home since he and Tartuffe have drawn out the
deed that stated the house belongs to Tartuffe now.
ORGON (intercepting him). …I’ve long suspected you, and had a feeling that soon I’d catch you at your double—dealing. Just now, you’ve given me evidence galore; it’s quite enough; I have no wish for more.
----
TARTUFFE. No, I’m the master, and you’re the one to go! This house belongs to me, I’ll have you know, and I shall show you that you can’t hurt me by this contemptible conspiracy. That those who cross me know not what they do, and that I’ve means to expose and punish you, avenge offended Heaven, and make you grieve that ever you dared order me to leave (Wilbur in Sylvan Barnet, William Burto, Lesley Ferris & Gerald Rabkin, 2001:492).
This is the climax of the play; Orgon has a very serious problem because
he already gives all his belongings to Tartuffe through the deed that has been
signed by both of them. This is a very serious problem for the entire family since
the power of the deed cannot be changed by anyone, except the king himself.
e. Resolution
Feeling in despair, Orgon tries to run leaving his home because he hears
that Tartuffe has ordered an officer to arrest Orgon. The story ends with an
unpredictable ending. The officer, brought by Tartuffe to rest Orgon, turns to
arrest Tartuffe because the king has known the truth that Tartuffe tries to deceive
Orgon and takes over Orgon's house. The king ordered the officer that Tartuffe is
the one who suppose to be brought to custody.
TARTUFFE (to the Officer). Sir, spare me all this clamor; it’s growing shrill. Please carry out your orders, if you will.
OFFICER. Yes, I’ve delayed too long, Sir. Thank you kindly. You’re just the proper person to remind me. Come, you are off to join the other boarders in the king’s prison, according to his orders. TARTUFFE. Who? I, Sir?
OFFICER. Yes.
TARTUFFE. To prison? This can’t be true (Wilbur in Sylvan Barnet, William Burto, Lesley Ferris & Gerald Rabkin, 2001:497)!
The play ends with a happy ending, with Tartuffe is sent into custody and
Orgon and his family are saved from their misfortune.
After the elaboration of the plot, the next intrinsic element that is going to
be discussed is characters. The next subchapter is the elaboration of the characters
2. Character a. Orgon
Orgon is one of the main characters in the play. It is proven by his
appearance. He appears in almost all part of the play: in five acts, Orgon appears
in four. Orgon also has a significant role not only in the plot of the story but also
in the play’s point of view perceiving the concept of absolute power. Before
discussing the influences of history towards the characteristics of Orgon, the
writer will describe Orgon’s characteristics which can be seen in the text.
i. Care
It is true that Orgon’s attitudes towards his family are quite forceful.
Nonetheless, this is because of his care of the purpose of making his family
become better, on his own judgments.
He forces Mariane to marry Tartuffe because he thinks that Tartuffe is the
most suitable person for being his daughter’s husband. Orgon thinks that Mariane
will be happy if she marries a man who is religious, and refuses Mariane’s wish to
marry Vallere because he doubts Vallere’s faith towards God. In his opinion,
Tartuffe is the most faithful person who will manage to be the ideal husband for
his daughter.
ORGON. That will do. Speak of his poverty with reverence. His is a pure and saintly indigence which far transcends all worldly pride and pelf. He lost his fortune, as he says himself, because he cared for heaven alone, and so was careless of his interest here below. I mean to get him out of his present straits and help him to recover his estates-which, in his part of the world, have no small fame. Poor though he is, he’s a gentleman just the same.
ORGON. Daughter, we’ll disregard this dunderhead. Just trust your father’s judgment. Oh, I’m aware that I once promised you to young Valére; but now I hear he gambles, which greatly shocks me; what’s more, I’ve doubts about his orthodoxy. His visit to church, I note, are very few (Wilbur in Sylvan Barnet, William Burto, Lesley Ferris & Gerald Rabkin, 2001:477).
In act 3, Orgon disinherits Damis and orders him to leave his house
because he wants Damis to learn to respect his father and to respect a faithful
person.
ORGON. Villain, be still! I know your motives; I know you wish him ill: yes, all of you—wife, children, servants, all—conspire against him and desire his fall, employing every shameful trick you can to alienate me from this saintly man…(Wilbur in Sylvan Barnet, William Burto, Lesley Ferris & Gerald Rabkin, 2001:486)
In act 4, when Orgon finally knows the real personality of Tartuffe and his
intention towards his wife, he becomes strongly against Tartuffe, whom he trusted
very much in the beginning, and forces Tartuffe to leave his house. It can be seen
that Orgon actually loves his wife, Elmire, and wants to protect her from the man
who wants to ruin their family.
ORGON (intercepting him). Hold on, my passionate fellow, not so fast! I should advise a little more restraint. Well, so you thought you’d fool me, my dear saint! How soon you wearied of the saintly life—wedding my daughter, and coveting my wife (Wilbur in Sylvan Barnet, William Burto, Lesley Ferris & Gerald Rabkin, 2001:492)!
From the evidences above, Orgon can be considered as a man who cares of
his family, and wants to protect them, but he has another characteristic, which
ii. Strictness
Orgon is a strict person, especially when it is related to religious matters.
He does not give any tolerance to the people who are unfaithful. He believes that
all things related to the religion will bring happiness.
Those reasons make him bring Tartuffe into the house. Orgon sees
Tartuffe as a faithful person and cares of heaven only. Orgon believes that inviting
Tartuffe in the house will bring nothing but good to the family.
Orgon believe that Tartuffe has changed him into a better person. Better
means to care for heaven more than anything else in this world.
ORGON. Ah, when you meet him, you two will be like brothers! There’s been no loftier soul since time began. He is a man who… a man who… an excellent man. To keep his precept to be reborn, and view this dunghill of a world with a scorn. Yes, thanks to him I’m changed man indeed. Under his tutelage my soul’s been freed from earthly loves, and every human tie: my mother, children, brother, and wife could die, and I’d not feel a single moment’s pain. (Wilbur in Sylvan Barnet, William Burto, Lesley Ferris & Gerald Rabkin, 2001:474)
He also believes that he must protect a pious man, takes care of him and
pleases him since they are sent by God.
ORGON. Villain, be still! I know your motives; I know you wish him ill: yes, all of you—wife, children, servants, all—conspire against him and desire his fall, employing every shameful trick you can to alienate me from this saintly man. Ah, but the more you seek to drive him away, the more I’ll do to keep him. Without delay, I’ll spite this household and confound its pride by giving him my daughter as his bride(Wilbur in Sylvan Barnet, William Burto, Lesley Ferris & Gerald Rabkin, 2001:486).
Orgon also will not tolerate any unfaithful actions. He believes that an
unfaithful person will not bring any happiness; therefore, he must keep that
ORGON. Daughter, we’ll disregard this dunderhead. Just trust your father’s judgment. Oh, I’m aware that I once promised you to young Valére; but now I hear he gambles, which greatly shocks me; what’s more, I’ve doubts about his orthodoxy. His visit to church, I note, are very few (Wilbur in Sylvan Barnet, William Burto, Lesley Ferris & Gerald Rabkin, 2001:477).
From those evidences presented above, it can be seen that Orgon is really
believe in his religion. He must do everything based on his faith to God and he
must keep the unfaithful person away from him and his family. Orgon’s strong
faith creates his strictness that will not allow any tolerance.
iii. Arrogance
It is obviously seen that Orgon’s arrogance leads to his unwillingness to
consider other opinions. He only believes in himself since he does not trust that
there is another person better than him. He regards himself as a noble man, who is
better than a maid, Dorine. The writer found that Orgon says to Dorine “This
servant-girl presumes to save my soul!” (Wilbur in Sylvan Barnet, William Burto,
Lesley Ferris & Gerald Rabkin, 2001:477). His intention from this statement can
be interpreted that a servant girl is not suppose to give advices to her master.
He also believes that he can judge someone’s personality better than
anyone.
ORGON. Brother, your language savors of impiety. Too much free-thinking’s made your faith unsteady, and as I’ve warned you many times already, ‘twill get you into trouble before you’re through (Wilbur in Sylvan Barnet, William Burto, Lesley Ferris & Gerald Rabkin, 2001:474).
----
young Valére; but now I hear he gambles, which greatly shocks me; what’s more, I’ve doubts about his orthodoxy. His visit to church, I note, are very few. (Wilbur in Sylvan Barnet, William Burto, Lesley Ferris & Gerald Rabkin, 2001:477)
Orgon always believes that he is greater than other persons and because of
that, he can have a higher status. His authoritarian status, which makes him higher
than anyone in his family, makes him forget than anyone can make a mistake. By
only stating his status and despite another lower status than him, Orgon believes
that a judgment from higher status is better.
ORGON. Yes, Tartuffe shall be allied by marriage to this family, and he’s to be your husband, is that clear? It’s a father privilege…(Wilbur in Sylvan Barnet, William Burto, Lesley Ferris & Gerald Rabkin, 2001:476)
----
ORGON. This servant-girl presumes to save my soul! ----
ORGON. Silence please! My girl, you take too many liberties. I’m master here, as you must not forget (Wilbur in Sylvan Barnet, William Burto, Lesley Ferris & Gerald Rabkin, 2001:477).
From those three characteristics, it can be said that Orgon actually loves
his family and wants to protect them from any evil. Yet, most of times his
arrogance and his strictness make him unable go well along with his family. Later
in the further analysis, it will be explained how this character is influenced by the
characteristics of Louis XIV, the king of France at that time.
b. Tartuffe
Another character which will be analyzed is Tartuffe. Tartuffe is the
further analysis on this character will be discussed later, but now the writer tries to
elaborate the characteristics of this character first.
Hypocrisy
Tartuffe was invited by Orgon to join the family because, according to
Orgon, he can give good influences to his family. Tartuffe blinds Orgon with his
religious acts, but his truly intentions are to fraternize Orgon’s wife and to take all
Orgon’s properties.
Tartuffe shows his first acts when he met Orgon for the first time. He tells
him that he already left his property because he cares for heaven than anything
else.
ORGON. That will do. Speak of his poverty with reverence. His is a pure and saintly indigence which far transcends all worldly pride and pelf. He lost his fortune, as he says himself, because he cared for heaven alone, and so was careless of his interest here below. I mean to get him out of his present straits and help him to recover his estates-which, in his part of the world, have no small fame. Poor though he is, he’s a gentleman just the same (Wilbur in Sylvan Barnet, William Burto, Lesley Ferris & Gerald Rabkin, 2001:477).
Another action of Tartuffe is done when he meets Dorine. He says to her
to cover her bosom because he is afraid that his flesh is too weak so that he can
keep his holiness.
TARTUFFE (taking a handkerchief from his pocket). For mercy’s sake, please take this handkerchief, before you speak.
DORINE. What?
However, his first true intention was seen when he meets Elmire
personally. He offers her to have a scandal with him.
TARTUFFE. I may be pious, but I’m human too: with your celestial charms before his eyes, a man has not the power to be wise. I know such words sound strangely, coming from me, but I’m no angel, nor was meant to be, and if you blame my passion, you must needs reproach as well the charms on which it feeds. …In short, I offer you, my dear Elmire, love without scandal, pleasure without fear (Wilbur in Sylvan Barnet, William Burto, Lesley Ferris & Gerald Rabkin, 2001:484).
The last real motive and characteristics of Tartuffe were seen at last when
Orgon finally knows that he seduces his wife. Tartuffe wants to take all of
Orgon’s belongings.
TARTUFFE. No, I’m the master, and you’re the one to go! This house belongs to me, I’ll have you know, and I shall show you that you can’t hurt me by this contemptible conspiracy. That those who cross me know not what they do, and that I’ve means to expose and punish you, avenge offended Heaven, and make you grieve that ever you dared order me to leave (Wilbur in Sylvan Barnet, William Burto, Lesley Ferris & Gerald Rabkin, 2001:492).
From the evidences above, it can be concluded that Tartuffe’s real
intentions and motives are to take Orgon’s wife and property away. In order to
achieve that, Tartuffe needs to pretend to be a pious person in front of Orgon, the
leader of the family.
Tartuffe may have other characteristics, but the writer only stated his
hypocrisy since this is the relevant characteristics with this study. The further
analysis on Tartuffe will be discussed later.
B. The Influences of the History in the Intrinsic Elements
In the analyses on the influences of the history in the intrinsic elements,
the writer put all the evidences found in the primary source, Microsoft Encarta
2008 [DVD], in second chapter. The evidences which were found from the other
sources were put in the following analyses. This arrangement was made for
efficiency reasons.
1. Plot
As stated before, the story goes and ends when someone tries to use their
power over other people. The power of Orgon makes him almost lose all of his
belongings but another power, from the king, saves him. The role of power in this
play is a reflection of the reality which happened in that time, when Louis XIV
became the ruler of this country.
In other words, the plot of this play was made because of the atmosphere
of absolute power strongly influenced the social and political condition in the time
when this play was written. It is possible that the writer of the play intended to do
so to make a memorial picture of France at that time, but it is also possible that it
was made not in a deliberate purpose. It happened because the atmosphere of
absolute power was just too strong in that time so it influenced the writer of the
play unconsciously.
The writer believes that there is a possibility that the plot, indeed, was
made because it was influenced by the same condition in the history. The writer
