In the next few decades, psychoanalysis sought to make sense of the trivial, thinkers inquired into the status of the mass-produced object, and the rise of feminist and Labour movements posed the prosaic and essential question of material comforts. Modernist art and literature focused on the mundane, as emblematized by the everyday object, which now crystallized our changing relation to the world. Papers could examine the claim that the poetry and prose, the visual and performing arts, and the music of the Modernist era accounted for a shift in object relations with an intensity of observation in proportion with the changes which so profoundly affected the experience of living in industrial times.
Alceste is reprimanding his friend Philinte for constantly betraying his integrity by conforming to the hypocritical uses and customs of polite society. An extended debate occurs between Alceste and Philinte. They argue about how genuinely and honestly a man can conduct his affairs in society. Alceste believes that a man must at all costs be honest with himself and with all of his acquaintances.
Alceste also maintains that no self-respecting man can accept a compliment as genuine when he is perfectly aware that all compliments are paid equally without distinction as to merit.
He insists that quality be considered before people praise their fellows and that honesty dictate all judgments. Philinte argues that compliments are merely tactful maneuvers to ease the strain of getting along with people. One cannot speak his mind openly in all situations and must yield at times to the general customs prevailing in society.
Philinte asks Alceste to stop criticizing mankind and turn his attention to his impending lawsuit. He recommends that Alceste pay a visit to the judge or send someone who will solicit the judge's favor for him. Alceste adamantly refuses to stoop to such devices and insists that his suit must be tried purely on the basis of justice.
Philinte then asks Alceste if he perceives those values which he so highly esteems in the woman he loves. Alceste admits that he sees her faults, but he is still bewitched by her.
Analysis Note the division of the scenes. It was a tradition in the French neoclassic stage for a scene to end when a new character appeared onstage or when a character left the stage. Sometimes when the entrance or exit occurs within the length of a few short exchanges of dialogue, this practice seems highly artificial; however, in the actual production of the play, none of these scene divisions interfered with the continuity of the action, since the curtain was never lowered except at the end of an act.
Alceste and the contrasting Philinte appear together onstage. We can clearly see from the start that Alceste is an intemperate person, as he immediately complains about people betraying their integrity.
There is a heavy tone to most of the raving Alceste does, whereas Philinte seems much more reasonably contained, allowing his friend to spurt forth his rage before saying much.
Alceste's language is characterized by harsh and bitter castigation of his fellow man: We see that Alceste and Philinte are friends in spite of the language that Alceste uses. We get the impression that Philinte is tolerating his friend's idiosyncrasies, while not entirely contradicting them.
A duality in our opinion toward Alceste crops up this early in the play.
The Misanthrope and Other Plays: A New Selection by Jean-Baptiste Moliere Molière () combined all the traditional elements of comedy—wit, slapstick, spectacle and satire—with a deep understanding of character to create richly sophisticated dramas which have always delighted audiences. Play Summary Bookmark this page Manage My Reading List Alceste, the misanthrope, explains to Philinte that he hates mankind because there is so much hypocrisy, deceit, and false flattery in the world that he can't find a man who will speak the truth openly. Vulgarity in literature and the visual arts of the English-speaking world Paris, France, 2 June Deadine for proposals: 7 Marh Conference organised by the doctoral student research group OVALE – part of the VALE research group, EA, Sorbonne University.
Although we feel that he is a bit radical in his opinions, we cannot completely reject all of his statements: As noted above, we do agree with Alceste's ideas about sincerity and honesty, but then we must also agree with Philinte when he complains "This philosophic rage is a bit overdone.
Philinte astutely remarks that Alceste has deviated from the norm: Certainly he would not agree with Alceste, who wants to flee from all of mankind, but just how much would he accept Philinte's view that we must be "a bit merciful to human nature" and not "judge it with the utmost rigor.
In connection with the lawsuit with which Alceste is involved, Philinte asks Alceste what he will bring to court in his behalf. Alceste answers that he will bring reason, justice, and the rightness of his cause. Philinte wants Alceste to call on the judges and pay his respects to them, but Alceste refuses because he feels that the case should be judged entirely by its merits.The Misanthrope STORY OF THE PLAY Molière’s comic masterpiece centers on the character of the French courtier Alceste and the beautiful young widow Célimène he hopes to marry.
But the two have radically different personalities: Alceste is . Alceste, the misanthrope, explains to Philinte that he hates mankind because there is so much hypocrisy, deceit, and false flattery in the world that he can't find a man who will speak the truth openly.
He asserts that all people should be completely frank and honest with one another. Philinte asks. Not so with Moliere's "The Misanthrope". Although written some years ago, it is a funny and clever today as ever (actually, much cleverer today, given the state of today's comedy in comparison).
The key is that the characters and situations presented are as common today as in 17th century France/5(27).
Chapter VI A dissertation on the art of flying. Among the artists that had been allured into the happy valley, to labour for the accommodation and pleasure of its inhabitants, was a man eminent for his knowledge of the mechanick powers, who had contrived many engines both of use and recreation.
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. Molière's protagonist, Alceste, is .
Plot Overview. Alceste, a French aristocrat, raves to his friend Philinte about the corruption of French society. Alceste identifies hypocrisy as one of mankind's worst flaws.