The misenthrope

Act 1: Scene 1

Alceste, a French aristocrat, argues with his friend Philinte about the proper way to treat those for whom one has little respect. Alceste insists on brutal—total honesty—criticizing Philinte's notion that such honesty might be rude or inappropriate. Philinte suggests that Alceste be more accepting of human flaw and not so critical of the behavior of others.

In his talk of honesty, Alceste reveals that he is presently embroiled in some sort of lawsuit. Philinte, attempting to find fault in Alceste's theories of human relationships, points out that Alceste seems to turn a blind eye to the faults of Célimène, the woman whom he is presently courting. Alceste counters, stating that he does recognize Célimène's faults and points them out upon noticing them.

Act 1: Scene 2

Oronte, another of Célimène's courtiers, appeals to Alceste, praising Alceste's honorable qualities and suggesting that the two men become friends. Alceste is hesitant, stating that they should not make any sort of friendship agreement until they come to know each other better. Oronte then proposes that Alceste offer his critique of a poem Oronte has written. Though reluctant at first, Alceste ultimately agrees to hear the poem.

Alceste reacts with disgust as Oronte begins his recitation. Philinte, on the other hand, praises the sonnet. Out of earshot of Oronte, Alceste berates Philinte for flattering the poor writing. When Oronte finishes his recitation, Alceste suggests that he give up writing and stick to what he does best. Alceste presents an example of what he considers good poetry. Insulted, Oronte challenges Alceste to write something better that what Oronte has presented. Alceste turns down the challenge.

Act 1: Scene 3

Philinte criticizes Alceste for the way he has treated Oronte. Alceste cuts Philinte off, demanding that he leave. Philinte refuses to leave, telling Alceste not to "be absurd."

Analysis: Act 1

At the opening of The Misanthrope, we immediately learn that the play will have at least some elements of farce. Molière's protagonist, Alceste, is comically extreme. He rants about the flaws and failures of humankind, allowing no exceptions. The playwright suggests that such behavior, however right or noble it might be, will not fit well in the world of the play. We learn that Alceste is embroiled in a lawsuit, suggesting that he even reaches the extreme of breaking the law. At first, Alceste is the caricature of the disgruntled old man, telling Philinte, "I find mankind so odious that I should hate to have it approve of me" (1.1). Molière later clouds this initial characterization as the play evolves. He begins The Misanthrope in much the same way he begins his other comedies, but later acts reveal an experiment with form and style.

In the first scene, Molière establishes Philinte as the straight man to the misanthropic Alceste. Philinte is a voice of reason; he understands that politeness and forgiveness are just as important as honesty. For Molière, Philinte exemplifies the proper way to navigate French society. The playwright also uses Philinte to buffer our harsh opinion of Alceste. We might believe that Alceste—if Philinte has befriended him—must not be all that bad. Philinte also pushes a message of greater society's indifference to an individual's gripes. Though Philinte agrees with some of what Alceste has to say, he tells Alceste, "The world won't change its ways on account of anything you may do." He implores Alceste to be practical, to behave within society limits—not because such limits are just, but because they are inevitable.

As he parodies Alceste's disposition, Molière also pokes fun at French aristocracy, specifically targeting Oronte. From the outset, Oronte is pompous and outspoken, attempting to formalize even what most would consider emotional interactions outside the realm of formality. Oronte suggests that he and Alceste shake hands to confirm their affection for one another, implying an aristocratic notion that pacts and rules supercede feelings and emotion. Molière also points to the idleness of the aristocracy. Given their immense wealth, French aristocrats need not work, so they instead turn their attentions to hobbies of intellect. Molière suggests that such hobbies might not be the best fit for the aristocracy. Far from original, Oronte's poem appears to achieve only a basic pattern of rhyming. When Alceste advises Oronte to give up poetry, the incensed Oronte challenges Alceste to do better, suggesting an aristocratic inability to take criticism.

Alceste is also a member of the aristocracy, as far as we can tell at this point. Although he rejects the vices of hypocrisy and false intellect, he too does little in the way of work, spending most of his time in court or pestering Célimène. Additionally, Alceste is haughty in his own way, considering himself superior because of his strict code of ethics. Ironically, he criticizes the class of which he is a member. More broadly, Alceste shuns all of mankind, of which he is also part. This may mean that he despises himself. Perhaps, in his assault on others, Alceste assaults himself as well. Indeed, his unhappiness stems from his relationship to others. Were he alone, he might be satisfied, but as a part of society his lack of social tact dooms him to misanthropy.

Dramaturgically speaking, Act 1 immediately establishes the central conflict of the play: Alceste's struggle to relate to others—and to himself. Molière does not keep many secrets from us, showing his characters as they truly are from the very beginning. Indeed, character is Molière's primary focus. Though he sets up Alceste's conflict almost immediately, he provides little in the way of real action. For much of the first act, the characters philosophize about the nature of mankind, advancing their opinions regarding the proper way to carry oneself. In turn, we learn a great deal about each of the characters in the first act, but little about where the play is headed. Nonetheless, Alceste's bitterness may foreshadow his eventual fate.

Act 2: Scene 1

Alceste confronts Célimène about what he believes to be her poor behavior. He criticizes her for entertaining the advances of multiple suitors and insists that she demonstrate more discretion, specifically questioning her affection for one specific suitor, Clitandre. Célimène assures Alceste that he need not worry, stating that she has true affection for him. Célimène does mention, however, that Clitandre might be able to help her with a lawsuit in which she is involved.

Alceste largely rejects Célimène's arguments, however, and he suggests that she might be expressing her love to other suitors as well. Offended, Célimène vows to "unsay all that I have said in the past." Subsequently, Alceste censures himself for being so jealous and hopelessly in love.

Act 2: Scene 2

Alceste reacts angrily when Célimène agrees to accept a visit from Acaste. Célimène contends that she must stay in good favor with Acaste because he carries considerable clout in "Court circles."

Act 2: Scene 3

Célimène's servant, Basque, announces the arrival of Clitandre. The disgruntled Alceste insists that he is leaving. Célimène asks him to stay, but he stubbornly refuses.

Act 2: Scene 4

Célimène's cousin Éliante arrives with Philinte, Acaste, and Clitandre. Still present, Alceste demands that Célimène "explain" herself to all present. She ignores him. The suitors listen intently as Célimène gossips, quite negatively, about several people of the Court. Alceste argues to Célimène and the others that, while they are quick to point out the faults of others, they will likely be just as quick to ingratiate themselves with those same people they criticize. Célimène maintains that Alceste is arguing for argument's sake and dismisses his negativity as unfounded.

Opposing Alceste, the other suitors praise Célimène, calling her "perfect," "charming and gracious." Alceste argues that, in being critical of Célimène, he is demonstrating a true, honest love for her. Éliante mentions that love does not usually take this form, describing man's typical inclination to find merit in the faults of a lover.

Act 2: Scene 5

Basque announces the arrival of a man to see Alceste. Alceste asks the Officer to enter.

Act 2: Scene 6

The Officer announces that the Marshals of France (a judicial body created to settle matters of honor) would like to see Alceste about his "squabble with Oronte." Alceste finds the request ridiculous, and refuses to withdraw his criticism of Oronte's poem. Philinte pleads for Alceste to be reasonable. Eventually, Alceste agrees to go see the Marshals.

Analysis: Act 2

Like Alceste, Célimène first appears as a sketch of a character type. With her gossiping and flirtatiousness, Célimène seems to represent the stereotypical spoiled daughter. She enjoys her society as much as Alceste despises it, setting up the central irony of the play: Alceste falls hopelessly in love with a representative of the society he abhors. Molière does not imply that Célimène's behavior is appropriate or moral. Rather, he uses her to comment of the lifestyle of one who has completely given herself over to the values of society. Alceste, who is probably more moral, at least more honest, than Célimène, is unhappy. The second act begs the question of whether morality or happiness is more important.

In a sense, Célimène projects her own style of misanthropy. While Alceste's ill will extends to the whole of society, Célimène's is targeted, and as such, more biting. In Act II, scene iv, Célimène demonstrates her capacity to bear malice when she mediates a gossip session among her suitors. Célimène differs from Alceste in that her misanthropy is tactful. She speaks behind the backs of those whom she criticizes, not to their faces as Alceste does. Additionally, Célimène's honed sense of humor obscures the severity of her insults. She entertains her suitors with her mockeries, whereas Alceste entertains no one with his.

With the gossip session, Molière indicates that mockery is a social construct. Without the encouragement of the suitors, Célimène would have less reason to degrade others. Alceste points out to the suitors, "Her satirical humour is fed and watered by your wicked flattery" (2.4). In Alceste's ideal world, neither mockery nor flatter would exist. Such a world being implausible, however, society must find some medium, and perhaps flattery alone is not all bad. We can certainly imagine a type of flattery that does not encourage the recipient to mock. Act 2, Scene 4, depicts a world of floating values in which there is no concrete standard. The only obvious faults appear to be those connected to extreme values. Alceste's complete refusal to acquiesce marks his rejection of societal values, however ambiguous those might be.

In what is probably Éliante's most important speech (at the end of 2.4), she introduces the concept of justification. She defines a "man in love" as one who recognizes his lover's faults as virtues. Here, Molière maintains the ambivalence of ethics. Few would argue that love is wrong or wicked, but what if it blinds those in love from the truth? By Éliante's argument, love could be blamed for contributing to falsehood. Conversely, Alceste might be incapable of love because he cannot accept dishonesty in any form. He argues that "the proof of true love is to be unsparing in fault- finding" (II.iv), but this reasoning seems to define some kind of distant, theoretical love, not the visceral love that Éliante describes. Molière suggests that Alceste is at war with himself over the nature of his love for Célimène. Often, he tries to fight his deep, uncontrollable frustration with Célimène by applying the rationality of his system of beliefs. Like all humans, Alceste falls victim to the whims of the heart.

The first major turning point comes at the end of Act 2, when Alceste is summoned to appear before the Marshals of France. All at once, Alceste's standing with Célimène and his standing before the law are threatened. Molière uses Alceste's court case to move the play to a point of greater crisis. For the first time, the playwright employs suspense as a dramatic device.

Act 3: Scene 1

Clitandre and Acaste discuss their affections for Célimène. When Clitandre asks why Acaste is always so cheerful, Acaste arrogantly notes that he is young, rich, and attractive, and therefore has no reason not to be cheerful. Acaste's disposition changes when he admits that his love for Célimène goes unrequited. He and Clitandre agree that, should one of them fall out of favor with Célimène, he will stop courting her, yielding to the other.

Act 3: Scene 2

Célimène discovers that Clitandre and Acaste are still in the house. Clitandre claims, "It's love that detains us."

Act 3: Scene 3

Basque announces the arrival of Arsinoé, a woman whose company neither Célimène nor Acaste can bear. Célimène mentions that Arsinoé has feelings for Alceste, thus making Arsinoé jealous of Célimène.

Act 3: Scene 4

Arsinoé informs Célimène that people have been speaking critically of her "flirtatiousness." While Arsinoé claims to have spoken in defense of Célimène, Arsinoé comes across as insincere, and her jealousy of Célimène is apparent. Arsinoé recommends that Célimène change her ways.

Célimène responds to the attack on her character by criticizing Arsinoé's "excessive piety" and pretentiousness, suggesting that Arsinoé is a hypocrite. Célimène adds that people have been discussing Arsinoé's faults as well. Célimène allows that it may just be Arsinoé's age that causes her to behave as she does. Arsinoé rebuffs, arguing that Célimène should be careful not to place too much value on her youth. Arsinoé claims that Célimène's courtiers are attracted to her lack of restraint, not her "good qualities."

Act 3: Scene 5

Alceste enters as Célimène leaves, and Alceste and Arsinoé are left alone together. Arsinoé praises Alceste's integrity, expressing her disapproval of the way the Court has handled Alceste's legal matters. Alceste rejects Arsinoé's compliments, contending that she should be more discriminating in her flattery. Arsinoé continues, however, mentioning that she could "pull a few strings" to get Alceste a "post at Court." Alceste rejects her offer. In a last-ditch attempt to gain Alceste's affection, Arsinoé tells him that Célimène has been deceiving him. Arsinoé claims that she has proof of Célimène's deception at her house.

Analysis: Act 3

Act 3, Scene 1 is our first and only chance to see two suitors (other than Alceste) alone, candidly discussing their attraction to Célimène. In a sense, the scene provides a "behind the scenes" look at the motivations of Clitandre and Acaste. The scene begins with Acaste's speech about his own virtues and abilities, though his confidence soon gives way to his despair over Célimène's rejection. For once, someone other than Alceste demonstrates anguish. Acaste's anguish, however, is private, whereas Alceste's sense of honesty requires that he admit his shame to Célimène. Acaste possesses the will to play the game of courtship without exposing his true self. Alceste, on the other hand, prefers straightforwardness to game- playing. The pact that Clitandre and Acaste make to better their chances of winning over Célimène furthers this notion of game-playing. This scene contrasts the typical approach to romance with Alceste's unorthodox method. Molière satirizes both.

With the scene between Célimène and Arsinoé (3.4), Molière explores the idea that people—his characters, at least—find a way of saying what they really mean, but that they do so indirectly. Alceste may save time by forfeiting decorum with his frankness, but the others save their social integrity by taking the circuitous route to criticism. In 3.4, Arsinoé provides a long list of society's grievances against Célimène, but she then claims to have taken Célimène's side. Célimène then mimics Arsinoé's passive-aggressive style by listing Arsinoé's faults while claiming to have defended Arsinoé in public. Both women, then, get to say what they really think of one another without having to take credit o responsibility for their own words. Molière depicts a society in which one is punished only by taking responsibility for his or her potentially offensive thoughts (Alceste, for example). Of course, the passive-aggressive approach endorsed by Arsinoé and Célimène is doomed to failure of another sort. The two women cannot help but become enraged at one another; indeed, by the end of the scene, they have commenced verbal warfare.

In Act 3, Molière develops the notion of masks, showing how certain characters wear false identities to cover their true selves. The characters are perhaps afraid of exposing themselves to a world that might not welcome them. Arsinoé, for example, would have others believe that she is a proper, God-fearing woman, uninterested in the company of men. However, Molière makes it clear that Arsinoé does want a relationship, with Alceste. Arsinoé refrains from flirtation, not because she is uninterested in such behavior, but because she knows that her flirtation would not yield the results that Célimène's does. Arsinoé wears a mask that provides comfort and keeps her from risking emotional pain in much the same way that Acaste disguises his heartbreak with upbeat confidence (3.1).

Tied to the theme of masks is the concept of acting. Molière reminds us that theater and life are similar in their superficiality and conscious deception. Just as the actors playing Molière's characters "put on" certain dispositions to carry the message of the play, so do the characters act the parts that they think will better their social or romantic position. In this exploration Molière uncovers the theatrical element of French society. Of course, theater is more than just the art of lying. Alceste employs the drama of exaggeration to call attention to himself, and Célimène uses comic devices to make her gossip more appealing. Indeed, Molière's characters are often in performance, with Célimène's house their stage. The formality of the theater parallels the formality—and the duplicity—with which the characters relate to one another. Nevertheless, even given the "acting" of the characters, Molière begins, in Act 3, to break down the one-dimensional identities he established in Act 1. The characters slowly reveal additional pieces of their true selves. Acaste's breakdown in front of Clitandre is only the first in a series of truthful moments that demonstrate the complexity of the characters.

Act 4: Scene 1

Philinte recounts to Éliante the story of Alceste's partial apology to Oronte in Court. Éliante calls Alceste's behavior "peculiar," but also "noble and heroic" because of Alceste's honesty. Philinte and Éliante then discuss Alceste's affection for Célimène, questioning his decision to pursue a relationship with someone whose affections seem so fickle. Philinte says that Alceste would do better to turn his attention to Éliante. Éliante states that, although she would be reluctant to be Alceste's second choice, she would probably allow herself to fall for him. Philinte tells Éliante that he would like to win her favor if she fails to win Alceste's.

Act 4: Scene 2

Having found a letter written by Célimène to Oronte, Alceste claims he has proof of her deceit. Alceste asks Éliante to help him avenge himself against Célimène, proposing that Éliante become the object of his affections. Éliante maintains that Alceste's relationship with Célimène is not lost, and Alceste vows to confront Célimène about her infidelity. Philinte and Éliante exit.

Act 4: Scene 3

Furious, Alceste confronts Célimène, claiming that he cannot take responsibility for what his "wrath" might lead him to do. Célimène admits to writing a letter to Oronte, but considers Alceste's behavior ridiculous. She does not demonstrate any guilt for what she has done. Distraught, Alceste demands that Célimène tell him that the letter was intended for a woman, so that Alceste's heart and mind can rest, assured that she is loyal to him.

Alceste's protestations stir Célimène to anger, and she extorts that he does not deserve her love. Now in anguish, Alceste proclaims his love for her, hoping, perhaps against his better judgment, that she will remain his.

Act 4: Scene 4

Alceste's manservant, Du Bois, enters in a panic, demanding that Alceste pack to leave at once. Du Bois claims that he has spoken with a man who has notified him that Alceste is in danger of arrest—a result of his ongoing lawsuit. Unable to glean enough information from Du Bois, Alceste leaves to find out more about the matter at hand. He tells Célimène that he will be back to speak with her.

Analysis: Scene 4

In Act 4 we learn that even the confident Célimène hides a sensitive interior life. The attention she pays Alceste indicates a true attraction to him, betraying the image of a carefree girl she puts forth. Célimène speaks vaguely of the love she feels for Alceste (4.3), and Éliante tells Philinte of Célimène, "She's not entirely sure of her feelings herself." In breaking apart the masks of his leading characters, Molière shows that The Misanthrope is not a simple, typical satire. The play is a comedy, but it seeks also to comment on human emotions and relationships. By the end of Act 4, we can no longer accept that Alceste and Célimène—or any of the other characters, for that matter—are stereotypes. Subtle human emotions and their accompanying actions are now at play. Even Alceste seems less inclined to criticize, as he seeks a reason to forgive Célimène for her love letter to Oronte. Ironically, Alceste wants to be lied to, to be told that Célimène sent the letter to a woman. The man who adheres to a doctrine of honesty would have that doctrine suspended to put him at peace.

Act 4 welcomes the one true, pleasantly surprising love affair in the play, that between Philinte and Éliante. Although the depth of their mutual attraction is not fully realized in Act 4, a sweet and sincere romance begins. In uncovering this relationship, Molière hints that our—and his own—attention has been misplaced. The real heroes of the story have been hiding up until this point. The Philinte-Éliante love affair is made all the more touching by the simplicity of these characters. Neither has any outstanding or particularly unique characteristic, unlike the dramatically unique Alceste and Célimène, whose relationship is the focal point of the story. Molière implies that individuality, in its extreme form, deters love. Apparently, something other than a defining trait draws Philinte to Éliante. By avoiding the drama of Court society, Philinte and Éliante are able to establish a deeper connection, one not based upon superficialities. We might even argue the rest of the play is a red herring to this romance. In spite of all of the efforts to woo Célimène, nothing ever really happens in that arena. The one solid accomplishment of the play is the eventual union of Philinte and Éliante, which is finalized in Act 5.

As the love affair between Philinte and Éliante begins to blossom, the relationship between Alceste and Célimène continues to fall apart. When Alceste discovers a letter he believes to demonstrate Célimène's deception of him, he attempts to apply the same type of justice to her as has been used against him. He says the letter "convicts" her, and he marvels that she can "still persist in the face of this overwhelming evidence" (4.3), seeking to try her for her "crimes" against him. Alceste appears to think that if he can be tried for hurting Oronte's feelings, so can Célimène be brought to justice for shaming him. Thus, although Alceste finds his lawsuit ridiculous, he tries to apply the same tenets of law to his relationship with Célimène. However, Alceste lacks the strength to carry out his verdict. He admits to being hopelessly drawn to Célimène. Again, Molière juxtaposes formality with emotion. In this case, Alceste attempt at legal rationality loses out to his own visceral impulses. Ultimately, he asks Célimène to lie about intended recipient of the letter to make him feel better.

As the act draws to a close, Alceste receives news that he must leave or be subject to arrest. This moment, in Act 4, Scene 4, marks the final crisis of the plot. If Alceste decides to leave, he must also decide if his troubles with Célimène are worth resolving. In vowing to return to finish his conversation with Célimène, Alceste shows a willingness to compromise not present in earlier acts. His misanthropy appears to weaken as his situation becomes more desperate.

Act V, scene i

Outraged that a verdict has been passed against him, Alceste vows to live the rest of days in solitude, away from the society he has come to abhor. He tells Philinte that, in addition to the unfortunate verdict, his adversary has falsely attributed authorship of an obscene book to him. On top of all of this, Oronte has begun supporting the rumor. Philinte encourages Alceste to be reasonable, to challenge the verdict before committing to a life of solitude. Alceste objects, stating that he wants the verdict to stand has a glaring example of "the wickedness" of the times. He reveals his intention to test Célimène's love by asking her to withdraw from society with him.

Act V, scene ii

Oronte demands that Célimène decide between him and Alceste. Agreeing with Oronte, Alceste makes the same demand. Both men agree to concede if Célimène chooses the other. Célimène calls their requests "inappropriate," not wanting to publicly offend the one she does not choose. She decides to let Éliante "be the judge" of her affections.

Act V, scene iii

Éliante refuses to decide between Alceste and Oronte for Célimène, stating that Célimène has a responsibility to be open and honest to all present.

Act V, scene iv

Acaste and Clitandre enter with a letter written by Célimène, demanding that she take responsibility for it. They read the letter, which insults each of Célimène's suitors and describes what she sees as their flaws. Decidedly tired of Célimène's insults, Acaste and Clitandre leave. Oronte follows them out, shocked that Célimène would insult him so. Alceste tells Arsinoé that she has no chance of gaining his love. She leaves, angry.

At this point, Alceste invites Célimène to retreat into solitude with him. She rejects the offer, but says that she will agree to marry him. Insulted, Alceste says that he wants nothing to do with her. Célimène leaves.

Alceste then tells Éliante that he cannot marry her, deeming himself "unworthy." She interrupts him, telling him not to worry, for she plans to devote herself to Philinte. Alceste again states his plan to live somewhere remote from society. As Philinte and Éliante exit, Philinte remarks that they must encourage Alceste to abandon his plan.

Analysis

In this final act, Molière parallels Alceste's attitudinal separation from the cast with his physical separation. Alceste literally cannot exist in the world of the world of the play. He never comes to terms with his distaste for mankind, and mankind never gives its acceptance of Alceste's behavior. The legal system—a symbol and a voice of the standards and values of the society of the play—continues to find fault with Alceste. He learns that he has lost his court case, which solidifies his decision to retire to solitude.

Though Célimène seems to develop into a more mature, perhaps more loving woman over the course of the play, she ends up not far from where she began, saying, "Solitude is a frightening prospect when you are twenty. I don't feel I have the necessary fortitude or strength to bring myself to take such a decision" (V.iv). Célimène is attached to the society just as much as Alceste is separated from it. We can hardly imagine who Célimène might be or what she might do were she in a setting where she had no access to gossip or flirting. Molière creates the comic image of Célimène and Alceste alone together forever—a disastrous, but hilarious, consequence.

At the very end of the play, Philinte and Éliante announce their love for one another, demonstrating that a true romance can exist in a corrupt world. Molière suggests that selflessness is a prerequisite for such a relationship. Indeed, Philinte and Éliante leave the stage talking not of themselves, but of their responsibility to keep Alceste from banishing himself.

Although Molière's satire targets the corruption of French society, the playwright does demonstrate that this corruption has its limits. At play's end, Célimène is left alone because her letters and gossip have crossed the boundary between innocent fun and real offensiveness. We do not feel much sympathy for her bruised suitors, however, as they expose their own hypocrisy in leaving Célimène. The suitors are perfectly willing to join in the fun of criticizing their acquaintances, provided that they are not included as targets themselves.

The Misanthrope ends with an unlikely happy ending. Philinte and Éliante are the lucky couple—not Alceste and Célimène. Alceste meets the only end that might bring him peace. In reality, the union of Alceste and Célimène would likely not be a happy ending at all. Perhaps Molière honors his protagonist and his stern values by giving him exit from the society he despises.