Tartuffe

ISBN: 1854596373
ISBN 13: 9781854596376
By: Molière Martin Sorrell

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Classic Classics Currently Reading Drama Fiction French Play Plays School To Read

About this book

Condemned and banned for five years in Molière’s day, Tartuffe is a satire on religious hypocrisy. Tartuffe worms his way into Orgon’s household, blinding the master of the house with his religious "devotion," and almost succeeds in his attempts to seduce his wife and disinherit his children before the final unmasking.

Reader's Thoughts

Bunga Mawar

Ini buku klasik dunia dengan kisah standar. Klasik karena ditulis oleh pengarang Perancis Moliere (nee Jean Baptiste Poquelin) di abad ke-17. Setting-nya tentu masyarakat Perancis masa itu di bawah naungan Raja Louis XIV. Kisahnya standar saja memang, plotnya lurus menggambarkan konflik antara Gerombolan Si Baik dan Si Jahat serta bagaimana di akhir kisah Si Jahat akan sengsara mendapat ganjaran, sedangkan Si Baik akan hidup bahagia.Hal yang membuat edisi terjemahan Bahasa Indonesia ini tidak biasa adalah pengantar yang ditulis oleh tokoh Teater Koma, N. Rintiarno. Saat baru berusia 20 tahun, Rintiarno pernah ambil peran dalam pentas cerita ini bersama Teater Populer. Menariknya, pembaca yang tidak kenal Moliere jadi tahu bahwa penulis yang karyanya ini telah berabad-abad menghibur banyak orang ini, tak selalu melahirkan karya-karyanya di tengah hidup yang menyenangkan. Bagaimana Tartuffe ini bisa kita nikmati sekarang, ternyata merupakan kompromi antara kritik Moliere dengan perkenan petinggi Gereja Katolik masa itu.Saya jadi suka drama ini karena banyak kutipan yang kocak dan bakal bisa diterapkan kalau suatu ketika, misalnya menghadapi bocah bebal yang suka hik-hik-an secara tidak produktif :). Terjemahannya juga bagus; gaya bicara kaku dan bagai ucapan sripanggung memang aslinya dari Moliere, unsur humornya sangat bisa diikuti. Dorine, salah satu karakter pelayan, jadi tokoh yang saya tunggu naik panggungnya, karena sikapnya yang lugas dan berani, sekaligus bebal, hehe... Kutipan favorit dari Nyonya Pernelle:"Untukmu lima huruf alias bodoh, Nak;"Tartuffe, Babak I, adegan 1.

Ana Mardoll

Tartuffe / 0-151-00281-9With scathing satire, gorgeous poetry, clever word choice, and a beautiful English translation, Tartuffe viciously attacks religious hypocrites who posture and preen in public and the dupes who are foolish enough to believe that holiness can only be measured by the outward show of morality. Moliere utilizes the sharp-witted servant girl motif to provide a cutting Greek chorus and to propel the action in a way that the obedient daughter stereotype cannot. In the end, hypocrisy is exposed for the ugly stain that it is, and punished with humiliation and repudiation.The story here is superb, and Moliere is careful to skewer only the hypocritical religious, and not the true believer. When the once-dupe sees the light of Tartuffe's hypocrisy and declares that all religion is now bunk, he is cautioned to avoid exchanging one extreme for another. Look for the good in all men, he is told, regardless of religious affiliation, but do not shun the religious simply because they are so.~ Ana Mardoll

Kassia

As a Christian myself, I read Tartuffe with close precision. Taking apart each verse, I tried to figure out if the play was really an attack on Christianity and my faith. However, after close examination of the play, I found that the play doesn’t really try to attack the Christian faith. Rather, it tries extremely hard to avoid such an attack, and instead simply targets the hypocrites in the Church at the time. Many parts of the play show the respect that Moliere had for religion. An example of this is when Cleante is speaking to Tartuffe. He says, “No, no; let’s simply do what Heaven ordains, / And let no other thoughts perplex our brains.” (IV.1.43-44) Here, Cleante is not making fun of religion. Instead, he is trying to emphasize the most important aspects of Christianity. On the other hand, Moliere attacks hypocrites by attacking the character of Tartuffe in his play. Tartuffe says, “No one shall know our joys, save us alone, / And there’s no evil till the act is known.” (IV. 5.117-205) Here, Tartuffe twists the teachings of the Bible around. He’s saying that if nobody catches them committing the sin, then it’s not considered a sin. I found Tartuffe to represent a lot of problems in both the Church and the world. By portraying Tartuffe as a hypocrite and as an antagonist, Moliere effectively attacks the problem in society. I agree with Moliere in that even today, there are many hypocrites in the many religions and cultures. However, hypocrites only have power and influence when a person gives it to them. I believe that as people become more aware of the people around them, nobody will fall into the trap of hypocrites, who only do things to suit their selfish needs.

Tony

71. TARTUFFE, or, The Hypocrite. (1664). Moliere. ****. I haven’t read any of Moliere’s plays since my college days, and that was a long time ago. Thought I’d pick a few and re-read them. This, obviously, was the first, and is the best known of his comedies. Moliere – that was his pseudonym; his real name was Jean-Baptiste Poquelin – was a favorite of Louis XIV, who enjoyed his broad humor. This was in spite of many of his plays being banned by the Church, or, if not banned, at least forced to go through an editing process. Tartuffe is the name of a character in this play. He is an outwardly pious individual who had inserted himself and his teachings into the life of M. Orgon and his mother, Mme Pernelle. They both became infatuated with Tartuffe and invited him to stay at their house and become one of the family. Tartuffe, however, is soon shown to be a true hypocrite (or, imposter) who is wearing his piety as a disguise and a way of weaseling his way into the family fortune. All of the rest of the family see through Tartuffe’s disguise rather quickly and try to convince M. Orgon that he is being taken for a ride. Orgon, however, is convinced that Tartuffe is a truly good man, and even goes so far as to cede all his property to him and to promise his daughter, Mariane, to him in marriage – even though she is engaged to and in love with another young man, Valere. What finally brings matters to a head is when Tartuffe tries to make love to Elmire, Orgon’s wife. At first, Orgon doesn’t believe her, but she has him hide under a table so that he can hear for himself the next episode when the toe of them, Elmire and Tartuffe, meet. Orgon is convinced, now, that he had been duped and wants to take actiion against Tartuffe, but Tartuffe plays his last card. Since he now owns Orgon’s house and riches, he brings the law against him and orders him and the rest of the family out of his house. There’s lots of confusion at this point as to how the family will get out of this mess, but all turns out OK at the end. The play attacks religious hypocracy and blind piety in the form of Tartuffe’s deceit while maintaining a comic outlook on the parties involved. The play itself is written in verse; each line is twelve syllables long, with rhyming couplets. The structure is called an Alexandrine. After a while, the reading becomes easier and you find yourself following the rythm of the play with ease. Recommended.

Dhini

sebuah lakon drama komedi-satir, yang sangat menarik..benar2 menarik.Tartuffe adalah seorang gembel yang biasa terlihat di dekat gereja, tempat Orgon beribadah. Suatu ketika, Orgon terlibat percakapan dengan nya dan ia merasa bahwa Tartuffe itu adalah seorang yang amat dekat dengan Tuhan, justru karena kegembelannya itu. Akhirnya Orgon, mengajak Tartuffe untuk tinggal di rumahnya.Kehadiran Tartuffe membuat semua orang di rumah tersebut, termasuk para pembantu, gerah dan muak, kecuali tentunya Orgon & Ibunya. Mereka berdua sangat mempercayai Tartuffe dan selalu mengikuti sarannya.Dengan wewenang yang diberikan Orgon, Tartuffe mengatur kondisi rumah yang ditinggalinya itu. Dia melarang hubungan anak perempuan Orgon dengan tunangannya, dia mengundang banyak gembel dan dengan kelicikannya dia membuat Orgon mengusir anak laki-lakinya. Dia bahkan berusaha merayu istri Orgon!Dengan kelicikannya juga, dia membuat Orgon hampir kehilangan hartanya...

miaaa

I'm asking myself, and keep looking at the introduction, 'was this book really published in 17th century?' I'm practically astounded and enjoy every bits of it.Pathetic people always amuse me. I'd rather have a personal conversation with my God than showing off to other people that I go to church on regular basis. Dude I know some people who go to church to find a hubby/wife/bf/gf!***Hanya bisa bilang, Tartuffe hebat! Setiap orang harusnya tidak setengah-setengah dalam melakukan apapun. Jika kau orang baik, maka lakukanlah kebaikan tanpa ada 'tapi' atau menuntut/mengharapkan balasan dari setiap tindakanmu. Jika kau bajingan, paling tidak jadilah bajingan yang dengan total menyulitkan hidup orang lain. Tartuffe tidak setengah-setengah menipu orang, menjadi seorang munafik dan pintar membuat Orgon, seorang bangsawan, tertipu mentah-mentah. Perlu taktik yang tidak biasa bukan untuk menyamarkan kedok seperti ini?Aku tidak pernah bisa menikmati sandiwara di panggung, sekeren apa pun itu perutku pasti berisik keroncongan dan mataku melemah ke kekuatan 5watt. Tapi saat baca karya Moliere ini, two tumbs up buat penerjemahnya, aku sangat bisa membayangkan setiap adegan dan tidak bosan dengannya.

Bruce

(my translation is by Morris Bishop)At first glance a relatively easy play to categorize simply as farce, further reflection on Molière’s Tartuffe raises vexing questions. The story is simple. A religious zealot, Tartuffe, is rescued from poverty by Orton and brought to live in his benefactor’s home where his strict moral attitudes raise havoc with the rest of the family. Eventually Tartuffe makes the mistake of wooing Orton’s wife, Elmire, is kicked out of the house (but only after Orton has surrendered the deed to all his belongings to Tartuffe), and at the end all is made right.Is Tartuffe as religious hypocrite, as some characters in the play assert? Perhaps. But he might also believe what he says he believes, being overcome at last by lust and avarice. It is an old story that we have seen played out many times, most notably with televangelists who finally reveal that they have feet of clay. At any rate, he is an unattractive figure, self-righteous, manipulative, and sanctimonious. It is curious that he makes his first entrance on stage only in Act III of this five act work.Elmire is level-headed, unswayed by Tartuffe’s advances, and faithful to Orton even when he is at his most obnoxious. Elmire’s brother Cléante is the voice of reason, moderation, and calm throughout. Orton and Elmire have two children, the mousey Mariane and the impetuous Damis. Dorine is Mariane’s companion, and she is refreshingly mouthy, bold, and critical of both Tartuffe and Orton. Valère, Mariane’s betrothed, has a small but sympathetic role.Why do all the characters except Orton see Tartuffe for who he is? Partly because they don’t like their usual social habits disrupted and partly because they see through Tartuffe’s inappropriate behavior toward Elmire. It is clear that they all hate him, and their convictions are justified in the end.To me, the most interesting question is why Orton is taken in by Tartuffe to begin with. Does he affirm Tartuffe because he has been Tartuffe’s rescuer, his affirmation somehow affirming his own charity? Because Tartuffe acts as a surrogate who controls the family in a way Orton himself would like to do but apparently cannot? Has Orton a sort of hereditary propensity to credulity, suggested by the fact that his own mother, Madame Pernelle, is also taken in by Tartuffe? Nothing about Tartuffe seems attractive; why then does Orton support him? I can find no satisfactory answer. We certainly see all around us people attracted to the kind of narrow-minded and judgmentally pious religiosity that Tartuffe personifies.This play has been interpreted as being an indictment of religious hypocrisy but could also be interpreted as being anti-religious and anticlerical in a broader sense. Certainly the Church in France condemned it when it was first produced. So did the King until it was apparently revised into making the King a deus ex machina who sets all to rights at the end. At any rate, the dialogue is droll and moves quickly. I would like to see the play produced.

Lit Bug

Moliere is the best-known writer of French comic satires, and this play was written in 1664, in French. French comedy abounds in wit and satire garbed in comedy full of puns among other literary devices.Owing to the merciless satire on orthodox religion, it was banned for five years. English Restoration comedies of classic authors such as Congreve and Wycherley are a direct result of the French influence.The French (original) version is far richer in allusiveness than the English one. Would rate the former version 4/5, the English one 3.5/5

Ana Mardoll

Tartuffe / 0-151-00281-9With scathing satire, gorgeous poetry, clever word choice, and a beautiful English translation, Tartuffe viciously attacks religious hypocrites who posture and preen in public and the dupes who are foolish enough to believe that holiness can only be measured by the outward show of morality. Moliere utilizes the sharp-witted servant girl motif to provide a cutting Greek chorus and to propel the action in a way that the obedient daughter stereotype cannot. In the end, hypocrisy is exposed for the ugly stain that it is, and punished with humiliation and repudiation.The story here is superb, and Moliere is careful to skewer only the hypocritical religious, and not the true believer. When the once-dupe sees the light of Tartuffe's hypocrisy and declares that all religion is now bunk, he is cautioned to avoid exchanging one extreme for another. Look for the good in all men, he is told, regardless of religious affiliation, but do not shun the religious simply because they are so.~ Ana Mardoll

Realini

Tartuffe by MoliereReading a new book can change your perspective. Tartuffe made me look at Moliere from a very different angle. For me, Moliere used to mean: light comedies, satire and some characters that will come off very badly- we will laugh at them and learn never to do the same, if we are to avoid public opprobrium.Tartuffe begs to differ and made me see that this classification was, if not completely wrong, at least shortsighted.The chance to see and appreciate Moliere much more was given by a production in French, which was a unique opportunity to appreciate the Beauty of the language.Over time, I had the chance to see a play performed by the Comedie Francaise on a stage in Bucharest- for that matter; the British National Theater performed at …our National Theater.I was not taken aback by the Comedy Francaise which gave a whiff of cabotinage, but the British were excellent, with a modern Richard III, with a Nazi twist.The audio performance of Tartuffe was “Magnifique” and made me understand my rather grave error in underestimating Moliere…surely, I enjoyed his plays and even movie adaptations (especially those with Luis de Funes) but I did not esteem Moliere.Now I am in awe and find the great writer inspiring…by the way, awe and inspiration are two of the ten positivity traits, as researched and explained in Positivity by Barbara Fredrickson. What I also missed in some of the other Moliere plays was the Grace, noblesse, gallantry, beauty, politeness which were traits of that Middle Age, French society.After reading about the appalling state of the human body in even the highest circles the most noble aristocracy and the king himself, I was flabbergasted and…disgusted.The lack of hygiene, the throwing of faeces through the window, down on the streets (which even now takes place in shanty towns in Africa and other poor places) and the lack of what today is basic care for the state of one’s body were terrifying. People of the future will be appalled by the fact that we do not have gadgets that control and keep at maximum levels the freshness of our breath, the perspiration on our body, probably even the cleanness of our thoughts and mind…But the language used by Moliere reminds me that his was an age when people were gallant, polite, noble and graceful…noblesse oblige.I may be a terrible snob, especially since (and/or because) I was born in a humble abode, but I have a penchant for nobility, aristocracy. Blue blood may sometimes be associated with genetic diseases caused by inbreeding, but for me a noble still has a je ne sais quoi.Tartuffe made me also think of my soft spot for the French culture. My daughter has been studying at the Lycee Francais for the past eight (I think) years, including maternelle. I love Proust, Camus, Pere Goriot, Le Rouge et Le Noir, Flaubert, Monet, Degas, Manet, Renoir, but meeting real French people can be a challenge.True, coming to Romania is life changing event and adapting to the ways of a sometimes semi-barbaric society can be traumatizing.And yet…I cannot figure out and sometimes accept the attitude of people who pretend they know better- so much better that they teach you lessons, but when it comes to doing things, they take all the worse habits- parking in the craziest spots, hitting the other cars around, acting superior, but driving with inferior attention, patronizing others who may know much more about their own culture, writers and painters than they do…this is for some I have met at school, in person and managed to avoid getting knocked up, driven over by …it is true that I have taken this crazy(?) habit of using a bicycle which does not seem to be in vogue in France, or anyway, not when applied in the French Guyana …And when I look at their president, who should be representative, right…I have a nostalgia for Emil Constantinescu, who was more of a leader, dignified than the one who is cheating on a girlfriend, sneaking out in a ridiculous way on a scooter.Moliere has used satire to laugh at and improve human frailties, and with all its shortcomings what a belle époque that was…what language, what manners, Ou sont les neiges d’antan

Ahmed Azimov

عظمة موليير تكمن في شعبويته، في تواصله مع الجمهور، في سعيه الى قيمة أخلاقية حداثية لمجتمعه كما جين أوستن.ربما قيمة نصوصه أدبيا لاتوازي تلك العظمة.

Manny

When I read this play for the first time, I had a strange feeling that I'd seen it somewhere before. Cretinous Orgon can't understand what's obvious to the audience and everyone else in the play, namely that the slimy cleric Tartuffe is not only trying to ruin him, but also to get into his wife's pants. He seems to have neatly engineered his own downfall when - hey presto! - a deus ex machina saves the day. It's very funny.After a little thought, I realized that this is the basic structure of several of Frank Oz's films, e.g. Little Shop of Horrors, In & Out and his 2004 remake of The Stepford Wives. In each case, the completely illogical ending only heightens the preceding satire. Any chance of Oz directing a Muppett version of Tartuffe? I can just see Miss Piggy as Elmire...

Caleb

Hahaha, this book had some really funny parts.

e.c.h.a

Lampu perlahan meredup. Suasana mulai hening. Tirai pun di buka. Musik klasik mengalun perlahan. Di panggung berdiri Ny. Pernelle, Marianne, Damian, Elmire, Dorine. Adegan pun terus berlanjut hingga ke Babak 5. Musik pun bergerak dramatis. Pause. Tepuk tangan gemuruh. Layar pun tertutup. Lampu kembali bergerak terang. Dan tepuk tangan semakin bergemuruh saat para pelakon keluar kembali.***Itu lah yang saya rasakan saat membaca naskah drama ini, saya layaknya sedang duduk di kursi di dalam gedung teater menikmati Drama Komedi karya Moliere.Naskah ini memang ditulis di abad 17, tetapi masih bisa dinikmati hingga sekarang. Permasalah yang menjadi akar dari cerita komedi ini masih sangat sering terjadi di kehidupan saat ini. Dialog-dialog yang tajam tetapi penuh komedi. Tak hentinya saya tertawa saat mebayangkan adegan tersebut dilakoni di panggung teater.Dari semua tokoh saya paling suka dengan Dorine, memang Dorine hanya seorang pembantu. tetapi Dorine mempunyai pemikiran kritis.Adegan favorit saya saat Orgon, Dorine dan Marianne berada dalam satu adegan. Mempermasalahkan perjodohan Mariane dengan Tartuffe. Love that scene so much!Hidup Dorine!!!

علی

تارتوف یا شیاد، یکی از مشهورترین کمدی های مولیر است. اورگون و مادرش تحت نفوذ تارتوف اند. او حقه بازی ست که در هیات زاهدی مدعی ست با دستگاه خداوندی و کلیسا ارتباط دارد. اورگون و مادرش کاری بدون اجازه ی تارتوف انجام نمی دهند. خانواده اورگون تلاش می کنند تا او و مادرش را از دام تارتوف برهانند. اما اورگون اعلام می کند که قصد دارد دخترش ماریانه را که نامزد جوانی به نام والر است، به تارتوف بدهد. خانواده برای افشای تارتوف نقشه ای می چینند و در پنهان شاهد صحنه ای می شوند که تارتوف به المیره همسر اورگون، اظهار میل و تمنا می کند. اما نقشه با جوشی شدن پسر اورگون و پریدن زود هنگامش از مخفی گاه به بیرون، بهم می ریزد. اورگون به تحریک تارتوف، پسرش را از خانه اخراج می کند و تمام دارایی اش را به تارتوف می بخشد. این بار المیره تلاش می کند تا طی نقشه ای شیادی تارتوف را بر ملا کند. تارتوف که این بار کم مانده به المیره تجاوز کند، افشا می شود و اورگون او را هم از خانه بیرون می کند. اما تارتوف به زودی مدعی تملک تمام مال و منال اورگون می شود و قصد دارد اورگون و خانواده را از خانه بیرون کنند. ناگهان پلیس به دستور لویی 14 وارد می شود و تارتوف را به جرم شیادی دستگیر می کند. والره و ماریانه نامزد می شوند و نمایش نامه به خوشی تمام می شود.ژان باپتیست پوکولین، معروف به مولیر (1673-1622) کمدی نویس قرن هفده فرانسه، ابتدا تحت تاثیر "کمدی دلآرته" بود. کم کم به کمدی فارس روی آورد و بسیاری از آثار مشهورش از این نوع است. از اثار نمایشی مولیر از دوران مشروطه تا دهه های اول قرن حاضر شمسی، بارها نمایش نامه هایی به فارسی اقتباس و اجرا شده است. مشهورترین آثارش، ابتدا با همان اسم؛ "تارتوف"، "میزانتروپ"، "بورژوا ژانتیوم"، و سپس با نام های فارسی نظیر "مریض خیالی"، "خسیس" و "تارتوف ریاکار" به فارسی بازنویسی شده اند. پس از مشروطیت ترجمه ی آثار مولیر معمول شد و تقریبن تمامی کمدی های مشهورش به فارسی ترجمه شدند. از آنجا که این نمایش نامه ها کمدی و به زبان فرانسه بوده، ظاهرن اولین نمایش نامه هایی ست که به فارسی ترجمه شده چرا که اولین محصلین ایرانی معمولن به کشورهای فرانسه زبان نظیر فرانسه، بلژیک و سوئیس اعزام می شدند و زبان فرانسه تا پیش از کودتای 1332، در مدارس و دانشگاه ها تدریس می شد. ظاهرن اولین اثر مولیر که به فارسی برگردانده شده، "میزانتروپ" است و میرزاحبیب اصفهانی آن را ترجمه کرده، بعد هم محمد حسن خان اعتمادالسلطنه "طبیب اجباری" را به فارسی برگردانده. یکی دیگر از علل محبوبیت مولیر در ایران، هزل و هجو ریاکاری مذهبی و دسیسه های اصحاب کلیسا و دربار و اشراف، در این نمایش نامه هاست. نوشته اند که مولیر روز و شب می نوشت و از آنجا که خود کارگردان و اغلب بازیگر نمایش نامه هایش هم بود، کار شبانه روزی سلامتی اش را بخطر انداخت و در پنجاه سالگی درگذشت. حتی مرگش روی صحنه اتفاق افتاد. او که سل ریوی داشت، هنگام اجرای مریض خیالی، روی صحنه به سرفه افتاد و با وجودی که نمایش را به آخر رساند، افتاد، و ساعاتی بعد درگذشت.

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