The Misanthrope Essay, Tiffany Chen, Wylie P.5

The Misanthrope by Moliere is as much a tale of comedy as it is an insightful commentary on life relationships. With his especially hilarious and complex scenes with Celimene and Arsinoe pointing out each other’s flaws, and Alceste criticizing failed poet Oronte, Moliere awakens “thoughtful laughter” in his audience to achieve his purpose in criticizing the flawed, over-polite relationships and lack of frankness in French society.
Celimene and Arsinoe engage in a bitter but seemingly civilized disagreement over each other’s flaws, ironically without even realizing the very flaws in the dispute itself. Celimene is first given so-called advice by Arsinoe, who suggests that Celimene may benefit from knowing that her coquettish behavior is much rumored and abhorred by her equals in society – but that, of course, Arsinoe came to her defense. Arsinoe’s not-so-sly attempt at a sly attack reveals the false front that polite, classy individuals must put forth – a thin façade over blatantly harsh critique. Readers scoff at the transparent attempt at civilized insults, therefore scoffing at the society that is responsible for cultivating this type of behavior. When Celimene retaliates under the guise of “returning the favor” and suggests that Arsinoe is only prude because she cannot attract men, readers laugh at the unnecessary formality of the exchange. Celimene refuses to insult Arsinoe directly, instead covertly characterizing their acquaintance as a structured, robotic give-and-take relation, of action (Arsinoe’s insult) requiring an equal and opposite reaction (Celimene’s insult). But relationships are not science, not governed by the laws of physics but rather driven by visceral emotion and genuine connections; at least, they should be. By helping readers realize that beyond Celimene’s and Arsinoe’s flaws there is an even greater flaw in their relationship, Moliere criticizes the French society and culture that is the cause of such superficial exchanges.
Of course, no study into clever humor can be complete without a mention of Alceste’s blunt, incisive witticisms, specifically in his critique of Oronte’s poetry. Alceste’s words are punny and sarcastic, but what really evokes snickers and nourishes new ideas in readers is Oronte’s naivety and unintelligence. Oronte asks for the truth from Alceste while snobbishly expecting either honest amazement at his poetry, or false flattery if it isn’t the best. The first expectation reveals the lack of real meaning in social class; though Oronte is well-liked in high society and has many connection in court, Alceste realizes how truly unintelligent (and terrible at poetry) the upper class can be. Could social rank not be a direct measure of individual and intellectual worth?! Oronte says no; but Moliere says yes, and readers agree after this exchange. Oronte’s second expectation – for flattery even if his poem isn’t up to par – characterizes him as a naïve child, babied by an overly protective society to expect kindness instead of the harsh and hurtful truth that Alceste gives. His ego deflated, Oronte garners no sympathy form readers, but rather gets their scorn, disapproval, and laughter. Moliere humors reader with the pointless mechanisms of social structure, thus contributing to this critique of French society.
The frivolous falsities of society are brought to light by these scenes, as Moliere brings to the fore the deeply entrenched flaws of his society, accomplishing his goal of comedy with incisive truisms. As someone once said, “There is no comedy without truth, and no truth without comedy” – and his work is living proof. With his Misanthrope, Moliere shows truths about society so that, perhaps, society may become less frivolous and more open to changing and embracing truth.

Tiffany Chen, wyl.p5.t2