Gaines, James F. “Tartuffe and the Paradoxes of Faith.” Literature Criticism from 1400 to 1800, edited by Lawrence J. Trudeau, vol. 200, Gale, 2012. Literature Resource Center, http://link.galegroup.com/apps/doc/H1420106979/LitRC?u=mill30389&sid=LitRC&xid=3f8f3dc5. Accessed 11 July 2019. Originally published in Molière and Paradox: Skepticism and Theatre in the Early Modern Age, Gunter Narr Verlag, 2010, pp. 91-107.
In this book, the author attempts to offer a relationship between the problem of proof (if we are to trust what has been seen or heard) with the possession of faith. From the book, Orgon’s naivety stems from believing everything that he sees rather than assessing the situation in order to understand what has been hidden. Gaines, on the other hand, seems to suggest that whilst his belief is correctly refocused when he stops have faith in things based on the outward appearance and instead place his belief in what is not obvious by assessing what he can see. Throughout the book, Gaines’s understanding and elucidation appear to emphasize the character of Orgon, whom he accepts was freely inclined to being swindled rather than the fraudulence of Tartuffe. The author seems to encourage the readers to assess situation exhaustively instead of merely focusing on the outward appearance of a situation. This is key is people are to avoid being swindled and duped over unfounded beliefs.
Spingler, Michael. “The King’s Play: Censorship and the Politics of Performance in Molière’s Tartuffe.” Literature Criticism from 1400 to 1800, edited by Lawrence J. Trudeau, vol. 200, Gale, 2012. Literature Resource Center, http://link.galegroup.com/apps/doc/H1420106978/LitRC?u=mill30389&sid=LitRC&xid=026fb5eb. Accessed 11 July 2019. Originally published in Comparative Drama, vol. 19, no. 3, Fall 1985, pp. 240-257.
From the play, Michel Spingler Moliere started to solve the issue of integrating critical views of politics and society into the structure of the play throughout the five years from 1664 and 1669 when he struggled against Tartuffe’s prosecutors. He experienced difficulties in getting the playback on the board and he also refused to concede entirely to religious and royal authority which led to religious and political censorship and opened the possibilities of avoiding them a primary concern of the work. Michel Spingler Moliere had to develop a strategy that he would use to preserve the independence of his vision while also maintaining the integrity of his dramatic thoughts whilst ostensibly submitting to the censoring religious authority. He developed a number of strategies that encompassed transforming the theater into a self-conscious tool of ironic social and political commentary. Tartuffe can be regarded to be Moliere’s exemplary political work, illuminating and framing the approaches of both Le Misanthrope and Dom Juan. A critical analysis of the plat symbolizes his apprehensions which mat helps us to identify the nature of social and political criticism in the various plays throughout this period and also offer an explanation for his exploration of politics of performance.
CAPRON, AURÉLIE C. “Molière and Paradox: Skepticism and Theater in the Early Modern Age.” Comparative Drama, vol. 47, no. 1, Spring 2013, pp. 113–115. EBSCOhost, search.ebscohost.com/login.aspx?direct=true&db=lkh&AN=86824516&site=lrc-plus.
At first glance, it appears that the 17th-century comedy does not contain vast philosophical insight. This notion was propagated by the intellectual and religious institutions of the time which has remained for centuries. This book has sought to demystify this perception by providing careful assessments of Moliere’s comedies. Aurélie has dedicated a lot of his research throughout the book to Moliere, focusing on developing and publishing numerous articles that touch on the paradoxes in the Moliere’s play. This book borrows from most of these articles that are published in different books and journals between 1992 and 2003. This book particularly collects comprehensive ideas, adding to them and developing an interconnected entity which demonstrates how the recurrent paradoxes in the Moliere’s plat attract a parallel to the opinions on skepticism and attempt to place Moliere in this movement.
Gossman, Lionel. “Molière and Tartuffe: Law and Order in the Seventeenth Century.” The French Review, vol. 43, no. 6, 1970, pp. 901–912. JSTOR, www.jstor.org/stable/386525.
Most of Moliere’s comedies follow the common new comedy theme that demonstrates the struggle between a son and his father. In Charles Mauron’s terms, these comedies represented a desired and necessary experience of rebellion against the law, father, reality, order, law, and stealing of the mother, that seem a tragedy, which is transmuted in the fantasy world of comedy into a victory. The entire concept of revolt and triumph can be appreciated by all partied since they are passed off as simple play and fantasy. Through the Moliere’s comedies, tensions are released, and then there is a spectacular return that is refreshed to the inhibitions and constraints of adult, mature, societal life. According to the book, the structure of Moliere’s comedies illustrate a situation of rivalry and victory of the son over his father.
WALLACE, R. JAY. “Hypocrisy, Moral Address, and the Equal Standing of Persons.” Philosophy & Public Affairs, vol. 38, no. 4, 2010, pp. 307–341. JSTOR, www.jstor.org/stable/40926873.
According to the book, hypocrisy is multifarious and pervasive; however, it remains morally obscure. Condemnation of other people with regard to hypocrisy remains one of the most common forms of moral criticism in today’s world. The author believes that criticism makes up a nearly universal moral currency, which is identified and also taken seriously by other persons who can have varying opinions in most of the first-order moral views. When two people disagree about a substantive issue on social policy or individual morality, it may appear to be merely partisan, and consequently ineffective. In stark contrast to this, a charge of hypocrisy purposes to isolate an internal inconsistency in an individual’s perception, and this something that should make one critically assess things even though they do not accept other people’s functional value. The author also believes that the internal consistency of a person may appear to be a minor individual failing whose moral consequence is uncertain when likened to the wrongs of coercion, oppression, cruelty, duplicity, and injustice.