chiasmus, comedy of intrigue, comedy of manners, doublings, ISBN 0-920980-30-9, L'Avare, Micheline Bourbeau-Walker, The Age of Theatre in France, The Miser
L’Avare by François Boucher (drawing) and Laurent Cars (engraving) (Photo credit: Pinterest)
- Plautus (c. 254 – 184 BCE)
- commedia dell’arte
- French 17th-century misers: sources
- Hellenic (ancient Greek) sources
- French medieval farces and fabliaux
- translations into English
As indicated in a previous post, Molière‘s L’Avare, The Miser, was first performed on 9 September 1668 at the Théâtre du Palais-Royal. It is a five-act play, in prose, inspired by Roman dramatist Plautus‘ (254 – 148 BCE) Aulularia, the Pot of Gold. As we have seen, it is also rooted in the commedia dell’arte as well as Italian comedies and tales, and in France’s own medieval farces and the largely scatological fabliaux.
However, Molière also drew his material from La Belle Plaideuse (1655), by François le Métel de Boisrobert, which features a father-as-usurer, and Jean Donneau de Visé‘s La Mère coquette (1665), where a father and son are in love with the same woman.
L’Avare is one of Molière’s better-known comedies and it was translated into English by Thomas Shadwell (1772) and Henry Fielding, the author of Tom Jones. However, it was not a huge success in Molière’s own days. It has been speculated that Molière’s audience expected a play written in verse, the nobler alexandrine verse (12 feet or syllables), first used in the twelfth-century Roman d’Alexandre.
The dramatis personæ is:
Harpagon, father to Cléante, in love with Mariane.
Cléante, Harpagon’s son, lover to Marianne.
Valère, son to Anselme, lover to Élise, and “intendant” to Harpagon
Anselme / Dom Thomas d’Alburcy, father to Valère and Mariane, and
Master Simon, broker.
Master Jacques, cook and coachman to Harpagon.
La Flèche, valet to Cléante.
Brindavoine, and La Merluche, lackeys to Harpagon.
A Magistrate and his Clerk.
Élise, daughter to Harpagon.
Mariane, daughter to Anselme.
Frosine, an intriguing woman.
Mistress Claude, servant to Harpagon.
The scene is at Paris, in Harpagon’s house.
We will be focusing on the manner in which the young couples featured in the Miser, L’Avare, manage to overcome the obstacle to their marriage. Short of a miracle, they are condemned to do as their father’s greed dictates. All the elements of L’Avare’s plot are introduced in the first act of the play, which reflects the Græco-Roman origins of comedy and tragedy. As a five-act play, Molière’s L’Avare is a ‘grande comédie,’ not a farce (Molière wrote both), and its plot is the archetypal struggle, also called the agôn, between, on the one hand, the alazṓn of Greek comedy, or the blocking character, and, on the other hand, the eirôn, the young couple and their supporters: valets, maids, zanni. In other words, it is a traditional blondin-berne-barbon plot. The young couples will succeed in marrying.
A Comedy of Manners and A Comedy of Intrigue
- doublings: two young couples and two fathers
- Harpagon is the father of Élise and Cléante
- Anselme is Valère and Mariane’s father, which we do not know until the fifth act (V. v) of the comedy
L’Avare is both a comedy of manners, a form we inherited mostly from Greek dramatist Menander, and a comédie d’intrigue, a comedy where the plot prevails. As the portrayal of a miser, L’Avare is a comedy of manners (see the full text in Wikisource and eBook #6923). Harpagon’s greed constitutes the obstacle to the marriage of Cléante (Harpagon) and Mariane as well as the marriage of Valère and Élise (Harpagon).
Cléante gambles and wins, which allows him to buy elegant clothes and court Mariane, but he does not have sufficient money to marry and must therefore go to a moneylender. Ironically, the moneylender happens to be Harpagon himself who demands no less than the now metaphorical “pound of flesh” (Shylock) as repayment. The moneylender episode—act two, scene two (II. i) [II. 2]—shows to what extent Harpagon’s greed is an obstacle to the marriage of our young couples. The plot advances in that Cléante cannot obtain a loan that might enable his marriage. Another “trick” must be devised. However, plot and manners (greed) are inextricably woven.
Obstacles to Two Marriages
- “genre” art
- a family tyrant
The action takes place in Harpagon’s house in Paris and can be described as genre art, a depiction of ordinary people engaged in ordinary activities. Will G Moore has remarked that Molière’s characters
“[a]re concerned with everyday life; the stuff of which it was made was by tradition the doings of ordinary people in ordinary surroundings.”
L’Avare is a five-act comedy, but it is written in prose, not verse, and Harpagon, our blocking character, is an enriched bourgeois. Although he does not feed his horse properly, he owns a carriage and he has servants. As depicted by François Boucher, the interior of his house is rather elegant. However, he is extremely greedy and he behaves as though he owned his children. He is a domestic tyrant. In act one, Harpagon states that he has arranged for his children to marry, but has not consulted them. Cléante will marry a “certain widow,” our tyrant has just heard of, and Élise will be “given” to Mr. Anselme, a gentleman who will not request the customary dowry, or “sans dot”
Quant à ton frère, je lui destine une certaine veuve dont ce matin on m’est venu parler; et, pour toi, je te donne au seigneur Anselme. (Harpagon to Élise, [I. iv])
[As to your brother, I have thought for him of a certain widow, of whom I heard this morning; and you I shall give to Mr. Anselme. [1. 6] [eBook #6923]
Élise does not know Mr Anselme and refuses to marry him, threatening to commit suicide. As for Harpagon, he plans to marry Mariane, who loves his son (Cléante). For Harpagon, Mr Anselme is a perfect choice because Élise will marry at no cost to the miser: “sans dot.” (I. iv FR) (I. 6 EN)
Valère will attempt to save Élise from a marriage to a person other than himself. Valère, Harpagon’s “intendant,” begs Harpagon to free Élise. However, the objections he presents are followed by Harpagon’s “sans dot” (without a dowry). Molière’s blocking characters are inflexible or rigid. This rigidity is the feature Henri Bergson (18 October 1859 – 4 January 1941) attached to the comical or comedic in his Laughter. Valère’s objections having been rebuked by a litany of “sans dot,” he is literally speechless. He simply repeats what the Harpagon, the miser, has told him:
Lorsqu’on s’offre de prendre une fille sans dot, on ne doit point regarder plus avant. Tout est renfermé là-dedans, et sans dot tient lieu de beauté, de jeunesse, de naissance, d’honneur, de sagesse, et de probité. (Valère à Harpagon, I. v)
[When a man offers to marry a girl without a dowry, we ought to look no farther. Everything is comprised in that, and “without dowry” compensates for want of beauty, youth, birth, honour, wisdom, and probity.] (I. 10) [eBook #6923]
But there is some hope. As the story goes, Valère’s father, Dom Thomas d’Alburcy, is believed to have drowned when he and his family (his wife, Valère and Mariane) were fleeing Naples. It appears, however, that Dom Thomas has survived and that he is a man of means. Valère was looking for him when he met Élise. At her request, he decided to stay near her and made himself Harpagon’s “intendant,” but someone else is looking for Valère’s father.
Mais enfin, si je puis, comme je l’espère, retrouver mes parents, nous n’aurons pas beaucoup de peine à nous le rendre favorable. J’en attends des nouvelles avec impatience, et j’en irai chercher moi-même, si elles tardent à venir. (I. i)
[However, if I can find my parents, as I fully hope I shall, they will soon be favourable to us. I am expecting news of them with great impatience; but if none comes I will go in search of them myself.] [I.1]
The curtain will then fall on an anagnorisis (V. v) [V. 5], a recognition scene. However, when Anselme enters Harpagon’s house and hears that there is opposition to the contract he has come to sign, he tells Harpagon that he will not coerce a woman into a mariage, which frees Élise. He also remarks that he will not “lay claim to a heart which has already bestowed itself,” thereby allowing Mariane, his daughter, to marry Cléante, Harpagon’s son, rather than Harpagon.
Ce n’est pas mon dessein de me faire épouser par force, et de rien prétendre à un cœur qui se serait donné ; mais pour vos intérêts, je suis prêt à les embrasser ainsi que les miens propres. (Anselme to Harpagon [V. v])
[It is not my intention to force anybody to marry me, and to lay claim to a heart which has already bestowed itself; but as far as your interests are concerned, I am ready to espouse them as if they were my own.] (V. 5) [eBook #6923]
Anselme seems a fine gentleman whom the anagnorisis (V. v) [V. 5], the dénouement (see Dramatic Structure, Wikipedia), will identify as Valère and Mariane’s father. A greedy Harpagon has chosen Anselme as the perfect groom because Anselme would marry Élise without requesting the customary dowry, or at no cost to the miser: “sans dot.” (I. v) [I. 5]
Qu’il faut manger pour vivre, et non pas vivre pour manger. (III. i)
A Comedy of Intrigue
- a plot or intrigue
- a chiasmus (a mirror image in a sentence)
- a quiproquo (a misunderstanding)
- the doubling of the father figure (mirror image)
Harpagon’s greed is enormous, so students are taught that Molière concentrates on manners rather than the plot. He does, but in L’Avare, although the plot is mainly episodic, manners and plot (intrigue) are inextricably linked. For instance, when Harpagon is having a meal prepared to celebrate the marriage(s) that are to take place that very day, Harpagon hears Valère say that il faut manger pour vivre and not vivre pour manger, that one should eat to live and not live to eat, Harpagon so loves Valère’s witty chiasmus, that he wants these words engraved in gold and placed above his fireplace. (III. i) [III. 1] It is unlikely that Harpagon would use gold to celebrate greed, but it is true to character and comical. A meal often ends comedies and may solemnize a wedding.
Moreover, it is a quiproquo, a comical misunderstanding which, in L’Avare, leads to the anagnorisis. When Harpagon realizes his cassette has disappeared and may have been stolen, he loses his composure and accuses Valère, at the instigation of Maître Jacques. Maître Jacques resents the trust Harpagon has placed in Valère. If he could, Harpagon would have Valère drawn and quartered. Valère has not stolen Harpagon’s cassette, but he and Élise have signed a promise to marry another. Valère has ‘robbed’ Harpagon, but it is Élise he has taken, not a cassette. (V. iii & iv) [V. 3 & 4] [eBook #6923]
Anselme first steps foot on the stage as the battle rages. Given Élise’s promise, he cannot and would not marry her. However, Valère stands accused of a theft and wants to tell his story. The anagnorisis has now begun. To give himself credibility, Valère says that he is the son of Dom Thomas d’Alburcy, which Anselme hesitates to believe because he is a friend of Dom Those and, to his knowledge, all members of Dom Thomas’ family drowned as they were trying to flee Naples, which is not the case.Valère says that he was rescued by Pedro, a servant, and later adopted by the captain of the ship he and Pedro were allowed to board. He can prove his identity. As he speaks, Mariane realizes that Valère is her brother.
For their part, Mariane and her mother were also saved, but their helpers were corsaires, pirates, who enslaved them. Following ten years of enslavement, they were released and they returned to Naples where they could not find Dom Thomas d’Alburcy. They therefore picked up a small inheritance in Genoa and moved to Paris. Mariane’s mother is Valère’s mother and Dom Thomas d’Alburcy’s wife. As he watches this scene, Dom Thomas learns that no member of his family died leaving Naples. He has just found his children and his wife. He would not stand in the way of Valère and Mariane’s marriage who wish to marry Harpagon’s children. Le sieur Anselme knows le sieur Harpagon.
Le Ciel, mes enfants, ne me redonne point à vous, pour être contraire à vos vœux. Seigneur Harpagon, vous jugez bien que le choix d’une jeune personne tombera sur le fils plutôt que sur le père. Allons, ne vous faites point dire ce qu’il n’est point nécessaire d’entendre, et consentez ainsi que moi à ce double hyménée. (V. v)
[Heaven, my dear children, has not restored you to me that I might oppose your wishes. Mr. Harpagon, you must be aware that the choice of a young girl is more likely to fall upon the son than upon the father. Come, now, do not force people to say to you what is unnecessary, and consent, as I do, to this double marriage.] [V. 5] [eBook #6923]
Molière’s L’Avare has an intrigue which resembles the intrigue of most comedies. A young couple wishes to marry, but a blocking character, or alazṓn, prevents their marriage. However, Molière has doubled the young couple who are a brother and sister wishing to marry a brother and a sister, so Molière has therefore doubled the father figure which happens during the anagnorisis. As Dom Thomas d’Alburcy, Anselme is the eirôn who allows the young couples to marry.
The anagnorisis, the recognition scene, does not take place unannounced. As mentioned earlier, as he despairs,Valère tells Élise that he hopes to find his father who may still be alive. Act one (I. i) [I. 1] has prepared the reader or spectator:
Mais enfin, si je puis comme je l’espère, retrouver mes parents, nous n’aurons pas beaucoup de peine à nous le rendre favorable. (Valère à Élise, I. i)
[However, if I can find my parents, as I fully hope I shall, they will soon be favourable to us.] [I. 1] [eBook #6923]
In L’Avare, Molière does not use a deus ex machina. He simply introduces a second father figure who will allow the young couples to marry and will pay all costs. L’Avare‘s young couple are in fact very resourceful, but one cannot marry without money. Mariane (Dom Thomas) recoils at wishing Harpagon’s death, feelings that are reciprocated by Cléante (Harpagon).
Mon Dieu, Frosine, c’est une étrange affaire, lorsque pour être heureuse, il faut souhaiter ou attendre le trépas de quelqu’un, et la mort ne suit pas tous les projets que nous faisons. (Mariane à Frosine, III. iv)
[Oh, Frosine! What a strange state of things that, in order to be happy, we must look forward to the death of another. Yet death will not fall in with all the projects we make.] [III. 8] [eBook #6923]
Que veux-tu que j’y fasse ? Voilà où les jeunes gens sont réduits par la maudite avarice des pères ; et on s’étonne après cela que les fils souhaitent qu’ils meurent. (II. i)
[What would you have me do? It is to this that young men are reduced by the accursed avarice of their fathers; and people are astonished after that, that sons long for their death.] [II. 1] [eBook #6923]
When his father falls, accidentally, Cléante is worried:
Qu’est-ce, mon père, vous êtes-vous fait mal ? (III. ix)
[What’s the matter, father? Have you hurt yourself?] [III. 14] [eBook #6923]
Critic Northrop Frye states that “[t]he tendency of comedy is to include as many people as possible in its final society: the blocking characters are more often reconciled or converted than simply repudiated.”
As for Harpagon, although he may he has been tyrannical, when Dom Thomas and the young couples leave to bring good news to Dom Thomas’ wife, Harpagon is off to see his dear cassette. His cassette, a casket, his vital to Harpagon.
Et moi, voir ma chère cassette. (I. vi)
[And I to see my dear casket.][1. 6] [eBook #6923]
I have already suggested that Molière uses doubling and fusion of functions. Harpagon is a miser and will remain a miser ready to sacrifice his children. It is a sad reflection on humanity but perhaps less sad than the intervention of a deus ex machina. Dom Thomas d’Alburcy is a major member of the play’s society, the intervention of a second father figure allows the happy ending the play demands. An anagnorisis may not be as dazzling a dénouement as the intervention of a deus ex machina, the prince in Tartuffe and a godlike figure in Dom Juan, but all’s well that ends well.
Love to everyone ♥
- Misers in Literature (22 November 2016)
- Pantalone and Molière’s Miser (20 November 2016)
- Molière’s George Dandin (24 June 2016)
- Destiny in L’École des femmes (10 June 2016)
- L’École des femmes, part two (2 June 2016)
- L’École des femmes, part one (29 May 2016)
- Recurrence in Molière: Le Dépit amoureux (24 May 2016)
- Molière’s Tartuffe, a reading (17 May 2016)
- Edmond Geffroy’s Molière (11 May 2016)
- Molière: Farces and “Grandes Comédies” (8 May 2016)
- Molière’s Enigmatic Comedies (6 May 2016)
- Molière’s Dom Juan (25 February 2016)
- Pantalone: la Commedia dell’arte (20 June 2014)
- Molière: Farces and “Grandes Comédies” (8 May 2016)
Sources and Resources
The Miser is a Wikisource eBook (Charles Heron Wall, translator)
The Miser is an Internet Archive publication EN
The Miser is a Project Gutenberg publication [eBook #6923] EN
The Miser, Henri Fielding is an eText EN
L’Avare is a toutmoliere.net publication FR
Molière21 is a research group
Le Salon littéraire FR
The Miser is a LibriVox text publication (YouTube)
Laughter, Henri Bergson is an Internet Archive publication EN
 L’Avare in Maurice Rat, Œuvres complètes de Molière (Paris : Éditions Gallimard, coll. La Pléiade, 1956), p. 968.
 Will G. Moore, Molière, a New Criticism (Oxford, Oxford University Press, 1968 , pp. 69-70.
 Northrop Frye, Anatomy of Criticism (Princeton: Princeton University Press, 1973 ), p. 165.
 Micheline Bourbeau-Walker, « Le Misanthrope, ou la comédie éclatée, » in David Trott & Nicole Boursier, eds. L’Âge du théâtre en France (Edmonton, Alberta: Academic Printing and Publishing, 1988 ), 53 – 63. (papers from a conference held in Toronto, May 14 – 16, 1987) ISBN 0-920980-30-9 — PQ527.A33 1988
© Micheline Walker
1 December 2016