Molière's comedic genius reshaped the theatrical landscape of his time by blending elements of French farce with the Italian commedia dell’arte. By individualizing stock characters and weaving them into the fabric of his contemporary society, he crafted plays that were both entertaining and profound. His works often highlight the consequences of obsession, serving as a reminder of the complexity of human nature, where both virtue and folly coexist.

The Roots of Molière's Comedy

Molière’s comedic artistry drew from two primary sources: the French farce and the commedia dell’arte. French farce, with its roots in medieval storytelling, relied on plots filled with trickery, mistaken identities, and physical humor—elements that appealed to audiences across different eras. The commedia dell’arte, on the other hand, introduced to France from Italy, provided a framework for improvisation and stylized performance, featuring actors in masks representing archetypal characters.

Molière ingeniously fused these traditions, crafting plays that retained the farcical elements of deception and disguise while incorporating the commedia’s stylized production and dialogue. His characters, such as the miserly or the hypocritical doctor, were rooted in commedia stereotypes but transformed into individualized figures that reflected the society of his time. Through this synthesis, Molière preserved the universal essence of these character types while imbuing them with a distinctly French sensibility.

Structure and Theme in Molière’s Plays

The structural foundation of Molière’s comedies often mirrored the simplicity of traditional French farces. His plots typically involved identifying a character driven by obsession—referred to as the dupe—who would then be subjected to a series of comedic humiliations orchestrated by more sympathetic trickster characters. The audience, aligned with the tricksters, relished in the eventual triumph over the dupe, whose obsession justified their defeat.

Yet, Molière’s comedies were not mere vehicles for slapstick humor. They contained a deeper commentary on human nature and society. Molière’s plays reminded audiences that while moderation was ideal, human beings are inherently drawn to obsession. This duality, present in his own life, gave his works a tragic dimension as well as comedic appeal. Through his characters, Molière explored themes such as the folly of irrational obsession and the societal constraints on women, as vividly depicted in "The School for Wives" and "The Misanthrope."

The School for Wives

First performed in 1662, "The School for Wives" is a seminal work that examines the dynamics of power and gender. The play centers on Arnolphe, a man determined to mold his young ward, Agnès, into an ideal, obedient wife by keeping her sheltered and ignorant. His plans are thwarted by the youthful lovers Horace and Agnès, whose natural affections and clever maneuvers expose Arnolphe’s folly.

The play not only critiques the societal norms that restrict women’s freedoms but also underscores the dangers of obsession and egotism. Molière uses the character of Chrysalde, the raisonneur, to voice the wisdom of moderation, contrasting Arnolphe’s misguided attempts to control and possess with the ideal of the rational gentleman, the honnête homme.

"The School for Wives" also sparked controversy, prompting Molière to defend his work in "The Critique of ‘The School for Wives,’" where he articulated his belief in the universality of his satire and defended his craftsmanship against accusations of impropriety.

Tartuffe

"Tartuffe," first produced in 1664, represents a more complex departure from simple farce, delving into themes of religious hypocrisy and the vulnerabilities of the gullible. Orgon, the play’s dupe, is blinded by his obsession with Tartuffe, a sanctimonious charlatan who exploits religious piety for personal gain. The play’s intrigue unfolds as Orgon’s family and servants, led by his wife Elmire and the feisty maid Dorine, strive to reveal Tartuffe’s true...