La bonne action de M. Avare (Collection Monsieur Madame) (French Edition)

He cannot therefore love his family or entertain any relations with them other than relations of violence and tyranny.

La Bonne Action De M. Avare

And to conclude, going back to the words of Koppisch: They seek above all the absolute power that society leads them to believe that they are due. In addition, because of their obsession, the heavy father feels he is able to regain the domination and self-affirmation that he seeks.

However, despite this logic that may explain their despotic approach to parenting, the heavy fathers are still in disaccord with what is expected of them, and of the directives that would make them successful paternal authorities. These downfalls will be the focus of study in the next chapter. However, what are the causes for which the fathers do not receive the respect and compliance they believe they are due? The answer to this question lies in the revealing of negative traits demonstrated by Orgon, Harpagon and Argan that deter any deference issued by their household.

This discussion will start with an exploration of the notion of reciprocity and its relevance in the lives of the heavy fathers. While scholarly research has found that the advocacy of paternal absoluteness was integral to the advancement of religious and political groups as discussed in the first chapter , 24 this push for authoritativeness was countered by a calling into question of the danger of excess.

Furthermore, in a seemingly paradoxical turn, it would appear that the Church was at the root of this concern. Therefore, on one hand paternal authority was proscribed by the Church as it was deemed essential to its institution, yet on the other hand a concern about the risk of too much power existed. In other words, a sort of reciprocity must exist between the father and his household.

If he expects his family to carry out his desires, he must conduct himself in a way that is deserving of deference. This idea of reciprocity is evinced in various documents from the seventeenth century. However, returning to the notion that religion was a driving force in the challenge of excess power, early in the seventeenth century, 25 Cardinal Richelieu wrote the Instruction du chrestien in which he gave the following comment on the fourth commandment: Yet despite not being written in an official manner, natural paternal love and reciprocity were important aspects of fatherhood in the seventeenth century.

Natural paternal love should be understood as the affection that a father was expected to have for his child, while reciprocity entails behaviour on behalf of the father that corresponds to and reflects the respect that his child shows him. One might even posit that these fathers are almost incapable of reciprocity.

UBC Theses and Dissertations

Having secured for Harpagon a young prospect for a wife, Frosine expects that she will be remunerated. A financial reward is particularly important to her as she is involved in a trial. However, even though he is aware of this, Harpagon sidesteps the issue and shirks her request for money. Abandoning a helpless Froisine, Harpagon demonstrates the refusal of both sympathy and cooperation.

Despite the fact that Froisine has helped him with one of his problems, he is not willing to aid her with hers. In the two plays where the heavy fathers have sons, the natural love referred to by Richelieu is not easily discernable. Instead, what is apparent is that the fathers deem and treat their sons as adversaries. In the second scene of the second act, the series of retorts in the form of questions attests to the monetary struggle between these two characters: Perceptible through this sequence of accusations are a father and a son who are mutually ashamed of each other, which is not quite the type of reciprocity preached during the seventeenth century.

In Tartuffe, Damis tries to expose Tartuffe in order to liberate his father from the grasp that the imposter has on him. Rather than believing his son, Orgon is angered by what he believes is insolence. The result is the iteration of various ways to tell his son to keep quiet: Thus, by behaving in such a way in response to what was meant to be an honourable act by his son, Orgon, too, proves that reciprocity and natural paternal love are not always assured.

The culmination of the disputes between father and son in both plays is the same.

La Bonne Action De M. Avare by Roger Hargreaves

Similar words are pronounced by Orgon. To Damis he says: However, according to Richelieu, as an extension to the idea of reciprocity presented in his comment to the fourth commandment, paternal love necessitates that a father not punish his child excessively Specifically, of fathers it is written: Through the act of banishment, Harpagon and Orgon give in to the fault of excess and prove to be directly in opposition of the guidance of the Instruction du chrestien.

Argan explains his decision in the following manner: Yet, this mode of punishment is also addressed by Richelieu. Still, this seems to have little effect on Argan. Orgon and Harpagon too have daughters whom they try to marry off to men they have no desire of marrying. Mariane reveals this sentiment in her discussion with Dorine: Sur cette autre union quelle est donc votre attente?

Thus all three fathers go against the precept that directs them not to give children spouses they cannot love. Hence, any insolence on behalf of the daughters may too be justified due to the lack of reciprocity shown to them by their fathers. Despite the fact that seventeenth century religious and political institutions promoted paternal authority, there was also an aspect of reciprocity that started to develop alongside.

This reciprocity was a reaction to the harm of excess, and it meant that fathers should treat their household in a way that demonstrated their natural paternal love. Returning to the analysis of Harpagon, Argan and Orgon choosing husbands that their daughters refuse, it is apparent that these heavy fathers fail to consider the contentment of others as they are too preoccupied with gratifying themselves.

His miserliness consumes him to the point that no argument can make him reconsider. Driven by his obsession, Harpagon fails to consider anything other than his own interests while neglecting those of his children. He explains his choice citing his perceived sickness: Again the heavy father focuses on his own needs rather than the 31 happiness of his daughter. Argan even admits quite selfishly: Should this heavy father succeed in helping Tartuffe regain his goods, Orgon would have triumphed over his family.

Consequently, this heavy father, like the other two, still puts his own interests before those of his household. The way in which the denial of instant gratification leads to fury and the way in which the fathers yearn to be the perpetual centre of the household both illustrate a great narcissism Knutson The maxim continues into a deep analysis of amour-propre but it is evident that even these first few lines are of extreme pertinence to the heavy fathers discussed. Law and Order in the Seventeenth Century. The modern, autonomous individual is modeled on the absolute monarch, and vice versa.

Every absolutist, and every would-be sovereign subject, is inevitably the rival of everyone else. Yet, to feel as if he has attained this level of authority, the father demands that all his desires be fulfilled. When this does not happen, the father antagonizes the rest of his household, and chaos seems to ensue. As will be seen, it is partially due to this type of behaviour that fathers are not shown deference and that disorder exists in the household. Koppisch points out for example: Harpagon mistreats his servants, who, in turn, wish their master no good.

To defend themselves against him, members of the household adopt certain of his worst flaws. Impudence on behalf of both children and servants are illustrated in all three plays, and they are two of the best indications of the social disorder in the households. Moreover, as we have already discussed situations in which children do not obey their fathers, focus will now be placed on the behaviour of the servants.

The servants in the three plays do not hesitate to step out of place and behave in a somewhat brazen manner. However, it is the maids who seem to have a particular tendency to stand up to their masters. In Tartuffe, the first things we hear about Dorine are spoken by Madame Pernelle: Thus, from the onset, the audience is aware that Dorine is not one to hold her tongue. Indeed, when Orgon reveals to Mariane his plan to have her marry Tartuffe, Dorine is quick to 34 let her opinion be known. In fact, she practically calls her master crazy: Evidently, her frankness frustrates and angers Orgon.

Toinette, too, in Le Malade imaginaire irritates the head of the household by constantly interrupting him. For instance, when Argan says: Later, she continues to take this commanding tone and says: Even more indicative of the disruption of social order is the way in which the servants have a better understanding of what goes on in the household than do their masters. Where the head of the household should be knowledgeable to an almost omniscient degree, instead they seem to have a poor understanding of the members of their household and the matters at hand.

For example, he does not realize nor accept the fact that his horses are in poor condition. It is therefore evident that Harpagon is blind to the poor condition in which his avarice has led him to keep his household. Furthermore, unwilling to change in his 35 ways, he proves to remain blind to the effects of his avarice. When prompted, Mariane tells Dorine: Furthermore, Dorine knows that Tartuffe will likely be cuckolded if Mariane is forced to marry him: Thus, it is here the servant who must explain to the father the consequences of an unfavourable marriage. This undermines the traditional roles of a master and servant and it is the one who is usually in the dominant position who lectures and educates the other.

In a similar situation, Toinette, the servant, is the confidante of the daughter. When asked to guess what their next conversation will be about, Dorine replies: Toinette admits to Mariane: As a result, again it is apparent that the domestic is the most aware person of the household, when this should really be the father. This demonstration of amour-propre has serious consequences since ultimately, it is one of the causes for which the fathers do not receive the obedience they crave. Rather, the consequence of this amour-propre is disorder in the household.

As our plays illustrate, order in the households of Orgon, Harpagon, and Argan has been disrupted to the point that servants as well as children are impudent towards the fathers. However, subversion also exists in the way that servants prove to be more aware of the happenings in the household, and are more insightful with regards to the effects of undesirable marriage.

Fathers no longer act as fathers and this neglect of their duties may be responded to by the neglecting of obedience on behalf of the rest of the family. Furthermore, as will be discussed next, this ignorance of the situations surrounding him is in itself a large impediment to the goal of absolute authority of the heavy father. Elmire even says in Tartuffe: According to Marie-Claude Canova- Green, a character might behave in a way in which he believes he is projecting his ideal self Such behaviour is due to a despotic and self-centred nature, so that he may get the attention of others and so that he may dominate them and be loved by them Ibid.

Moreover, in their desire to cling to this image, 37 largely distorted by their imagination, the characters behave in an increasingly extravagant way, which to others appears simply ridiculous Canova-Green These characteristics are all demonstrated by Orgon, Harpagon, and Argan. They all crave absolute power and they all demonstrate a self-absorbed personality.

While their behaviour is largely influenced by an obsession that they utilize to attain superiority and self-affirmation, they are often considered by others to conduct themselves quite absurdly. With an obsession with bad health, Argan wants to convince the other characters of the play that he is ill. Additionally, all of this is agreed to by Argan. However, through this retort it is apparent that he is not observably ill and Toinette is implying that he is probably in perfect health. Yet, Argan refuses to accept that he free of malady and he yearns for others to accept his way of thinking.

Yet, this heavy father refuses to be convinced otherwise. In spite of being told that he appears well, Argan maintains the fantasy of his sickness. As discussed in the last section of the previous chapter, Orgon is preoccupied with both improving himself morally as well as ensuring that he is the absolute authority in his household. However, at different points in the play, Orgon is forced to realize that he does not behave in a way that matches how he wishes others to perceive him.

In terms of righteousness, Orgon believes that with the arrival of Tartuffe he has learned to become more pious. Aggravated by the way his servant talks to her, Orgon complains: It would appear that Orgon cannot control his anger, thus breaking the illusion of his self-perceived new found piety. Regarding authoritativeness, Orgon believes that he behaves as an effective absolute leader. Orgon says to himself: Yet, he is unsuccessful in convincing the rest of his household of this delusion. Hubert provides an extensive description of the way Harpagon has deluded himself and how he wishes to impose this mindset on others: The contradiction lies in the discrepancy between the public image of himself which he so ludicrously strives to impose on others, and the reality of his sordid avarice and usuary.

No doubt, he is the only person taken in by this false image of his own creation, [ As such, Harpagon is no different from the other two heavy fathers. Seeking self-affirmation and propelled by amour-propre, the heavy fathers believe that they portray the most optimal representation of themselves. However, this is far from the truth. Angered by this avowal, it is clear that Harpagon refuses to accept that others see him as nothing other than a miser.

In other words, Harpagon is unable to accept reality. For instance, when his son tells him: Ceux qui le disent, en ont menti. Although his avarice and his fear of being stolen from are the motivations for him denouncing any claims of his wealth, this is another example of Harpagon wishing to appear a certain way but making it hard for people to buy into the illusion. Although in the middle of a conversation Harpagon is distracted by a noise and says: His excessive fear of being stolen from consequently leads to situations in which he indirectly proves he has some money put aside.

Yet, Harpagon tells everyone: Lead by avarice, Harpagon tries to convince all the other characters of his lack of wealth when clearly he has some money in a cassette that has just been returned to him. His words contradict the situation which has just been proven. In an article, Christian Biet discusses the mistaken way in which Harpagon views himself and the world. Furthermore, he attributes a symbolic nature to the glasses that Harpagon takes on as a representation of his lunacy Plagued with this incomprehension of the world and the way in which they are viewed it is understandable why a child would not want to demonstrate subservience towards his or her father.

The heavy fathers also fail to properly evaluate the present concerns of their household. This is apparent, for example in the way they fail to properly assess irony, so that when the truth is being presented to them they are still ignorant. He is expressing his honest opinion as a man who pines for a woman. Thus, for quite some time, Harpagon is blind to the already growing relationship between his son and his future wife.

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