Abstract
In Chapter 2, we examined the question of religious hypocrisy, focusing on the figures of Tartuffe and Louis XIV. In the present chapter, we shall focus on another key aspect of Tartuffe’s character— one that is both related to and distinct from his hypocrisy: his zealotry or, in modern parlance, fanaticism. Although religious zealotry was a feature of counterreformation France and still in evidence in the 1660s, Tartuffe’s zealotry has been somewhat overlooked since and its importance in the controversy underestimated. I hope to redress this imbalance here by reasserting the nature and significance of Tar-tuffe’s performance of zealotry and by examining the extent to which zealotry and hypocrisy were (and were not) perceived as being coterminous. Among other sources, I shall draw on the insights of the great preacher Louis Bourdaloue (1632–1704), whose sermons are not the staple diet of moliéristes1 but do, I believe, shed considerable light on the Tartuffe controversy. I am using the term zealotry here to describe a type of religiosity that tends toward conspicuousness, owing to its particular concern with the lives and souls of others. The zealot is a proselytizer; he seeks to change the world around him via his encounters with the people around him. The most subtle type of encounter would be through fervent prayer, though more commonly the zealot is identified as such by his delivery of audacious, hectoring sermons or, if he is a lay person, by boldly offering his opinions in his capacity as lay spiritual director or self-appointed advisor and sermonizer.
Access this chapter
Tax calculation will be finalised at checkout
Purchases are for personal use only
Preview
Unable to display preview. Download preview PDF.
Notes
See Julia Prest, Theatre under Louis XIV: Cross-Casting and the Performance of Gender in Drama, Ballet and Opera, New York: Palgrave, 2013, 28–30. The complete cast list for the 1669 performances of Tartuffe is known (but not that of earlier performances) thanks to the Gazette. The suggestion that Mme Pernelle was always played by a male actor in Molière’s lifetime is supported by the fact that the role was taken over by André Hubert (who had previously performed the part of Damis) upon Louis Béjart’s retirement in 1670. While Mme Pernelle’s limp may have disappeared at this point, neither her dress nor her falsetto (and the comic effects thereof) did.
Henri Bergson, Le Rire: Essai Sur La Signification Du Comique, Bibliothèque de Philosophie Contemporaine, Paris: Presses Universitaires de France, 1947 (105).
William Howarth, Molière, a Playwright and His Audience, Major European Authors, Cambridge: Cambridge University Press, 1982 (202).
See Gérard Defaux, “Un point chaud de la critique moliéresque: Molière et ses raisonneurs,” Travaux de linguistique et de littérature 18: 2 (1980): 115–32, on mediocrity, in the sense of an avoidance of extremes, being considered a positive quality in the seventeenth century. Defaux writes of François de Sales’s Introduction à la vie dévote (1609) as “une introduction au juste milieu” (122) (an introduction to the happy medium). Of course, even de Sales’s milieu sits firmly on the side of religion on the worldly-versus-religious spectrum.
See Guy Leclerc, “Dom Juan dans la bataille de Tartuffe,” Europe 441–42 (1966): 51–58 (55).
Antony McKenna develops this idea in Molière dramaturge libertin, Paris: Champion, 2005 (45–71).
Constant Venesoen, “Dom Juan ou ‘la conversion manquée,’” Revue belge de philologie et d’histoire 51: 3 (1973): 542–55.
Copyright information
© 2014 Julia Prest
About this chapter
Cite this chapter
Prest, J. (2014). What Is a Faux Dévot?. In: Controversy in French Drama. Palgrave Macmillan, New York. https://doi.org/10.1057/9781137344007_4
Download citation
DOI: https://doi.org/10.1057/9781137344007_4
Publisher Name: Palgrave Macmillan, New York
Print ISBN: 978-1-349-46594-1
Online ISBN: 978-1-137-34400-7
eBook Packages: Palgrave Theatre & Performance CollectionLiterature, Cultural and Media Studies (R0)