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By Julia Prest (auth.)
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Additional info for Controversy in French Drama: Molière’s Tartuffe and the Struggle for Influence
14 However careful men are in their attempts to disentangle the true from the false, if the one about whom it is written that “he enlightens every man that comes into the world” does not cast his invisible light on the objects under scrutiny and on people’s understanding, we shall never be able to make that distinction. And as Bourdaloue observed later in his sermon Sur la vraie et la fausse piété, “on entre dans les hôpitaux, on visite des prisons, on console des affligés, on soulage des malades, on assiste des pauvres; et tel peut-être qui fait voir sur cela plus d’assiduité et plus de zèle, est celui qui exerce moins la miséricorde chrétienne” (II, 219) (people visit What Is a F AU X D É V OT ?
Rochemont is right to observe that the audience never sees any of the possible dévots alone, just as they never see Tartuffe alone, either. But he is also right to suggest, one assumes unwittingly, that the 42 Controversy in French Drama theatre is in a privileged position with regard to the vexed question of hypocrisy since its conventions dictate that what is spoken alone—notably, in the revelatory monologue (of which there are of course none in this particular play)—be understood as sincere.
Anne was reassured. Meanwhile, another powerful force, in the shape of Mazarin, complained that Anne was spending too much time on her devotions and even suggested that the dévots (many of whom openly disapproved of her intimate relationship with the cardinal)56 were deliberately keeping her occupied in order that she have less time to spend with him. Just as Tartuffe was to become a pawn in the conflict between dévot and mondain factions, so in a similar fashion was Anne of Austria a site of conflict between Mazarin and the dévots.
Controversy in French Drama: Molière’s Tartuffe and the Struggle for Influence by Julia Prest (auth.)