Misanthrope Essay: Erin Chan, Period 4, Asher

Wealth. Class. Status. Reputation. All are entities highly prized and sought after in high society – but all are entities that require their owners to sacrifice their claims on integrity. Moliere’s The Misanthrope communicates this message through the character of the wealthy, beautiful, and desired Céliméne, the epitome of French high society. She proves to be the perfect catalyst of thoughtful laughter through her inconsiderate and petty words and actions – provoking readers to truly question the supposed superiority of the morals and integrity of the elite.

Céliméne’s physical appearance – young, beautiful, poised, and feminine – is an ironic contrast to how Moliere shapes her ugly character, which has little consideration for the feelings of those around her. A prime example of this is the humor found in Céliméne’s seemingly infinite number of male suitors – whom she teases, leads on, and never firmly declines. The comical nature of Céliméne’s flirtatious personality, complemented by infatuated suitors, makes for an entertaining play. But Moliere forces his readers to see how Céliméne’s actions have no consideration for the emotions of her suitors. Alceste, Acaste, Clitandre, and Oronte are all strung like puppets by the woman of their affections, and are subsequently, emotionally beaten throughout the play. She purposely flirts with all the men and toils with their emotions on pure whim, with no concern that her suitors are genuinely in love with her.

Céliméne does not only show her unattractive character through her encounters with men, but also through her encounters with other women. When Arsinoé attempts to inform Céliméne of petty gossip aimed towards her, Céliméne’s petty and catty personality emerges in full force. She mocks Arsinoé, using her own words against her. She insults Arsinoé, calling her unattractive and old, and accusing her of leading on men while claiming to be a respectable, religious, woman. She points out Arsinoé’s insecurities and exploits them – making Arsinoé, who is already insecure standing next to the divine woman who already has the affections of her desired Alceste – feel absolutely wretched about herself. The dialogue is written cleverly and very humorously as Moliere intended, leaving no sting out of the fact that Céliméne absolutely attacks and tears down Arsinoé’s confidence.

Ultimately, Céliméne exists to communicate that the character and integrity of the elites of French society is corrupt. Moliere weaves Céliméne’s dialogue and actions to evoke laughter from his audience, but leaves all intent exposing the petty, inconsiderate, and disrespectful nature of those of high status. He leaves a lasting impression in the minds of readers, and one lingering question in the minds of ordinary readers: these people are supposed to be “better” than me?