Molier: Mizantropi”
Faqe 1
Context
The playwright history knows as Molière was born Jean-Baptiste Poquelin in Paris in 1622. The
young Molière likely established his affinity for theater at an early age, given the cultural and
theatrical fertility of the Paris of his youth. One should note, however, that his plays are not
entirely French-influenced, as he borrows from Spanish and Italian influences as well.
Molière was well educated: he studied at the Jesuit Collège de Clermont and later studied law.
He even had a brief career in law, which may partly explain his inclusion of lawsuits and legal
strife in The Misanthrope. After a brief stint as a lawyer, Molière turned his attention to acting
around 1642, at which point he joined in creating the Illustre Théâtre, a company whose success,
although sporadic, gave Molière opportunity to commit himself full-time to the theater. Though
he is best known as a playwright, Molière never stopped acting. His experience as an actor led to
the creation of some of the most intense character studies in theater at the time, plays that require
great effort and skill on the actor's part.
The Misanthrope (1666) is at least partially autobiographical, although the extent to which
Alceste mirrors the playwright is a point of contention among scholars. Molière was likely
involved in a lawsuit while he wrote parts of the play, and he is known to have been in poor
health, both of which may have given rise to misanthropic behavior. Nonetheless, it is difficult to
imagine that Molière's misanthropy reached the extent of Alceste's bitterness. The Misanthrope is
far more sophisticated than a simple autobiography, and critics have generally stayed away from
searching for incessant parallels between Alceste and Molière.
The farcical element of The Misanthrope is more subdued than in Molière's other comedies, such
as Tartuffe (1664) or Those Learned Ladies. Perhaps discouraged by the 1666 banning of
Tartuffe, a play many found offensive because of its assault on church hypocrisy, Molière
embarked on a more serious study of human relationships with The Misanthrope. He does poke
fun at French aristocracy, but this satire is overshadowed by Molière's attention to those human
flaws to which all are subject.
Although Molière typically worked within certain stylistic and traditional constraints, he was
unique in his quest to experiment and to create new types of theater. The Misanthrope
demonstrates Molière's twisting of the traditional farce or satire, which typically used flat
stereotypes to make a broad comment on social or political issues. Alceste and Célimène, along
with the play's other characters, are more multidimensional, their behavior more ambivalent. In
The Misanthrope, Molière uses a style that allows the audience to sympathize with his characters
and to seek more subtle meanings in his work. While Alceste is not a stereotype, he is an
extreme, implying Molière's criticism of certain human traits—a departure from his earlier
attacks on broader class traits.
Additionally, The Misanthrope is distinct from Molière's other work in its relative lack of
movement. The fact that not much happens in the form of plot development forces the audience
or reader to pay particularly close attention to character behavior and motivation.
Faqe 2
Character List
Alceste - The protagonist and title character. Alceste is not a happy man. He is unforgiving, incapable of
coming to terms with the flaws of human nature, and quick to point out faults in others. He is not an evil
man, however, and we may be sympathetic to him given the even manner in which he dispenses
criticism—to everyone, including himself. The highly principled Alceste is brutally honest, which often
offends others. He cannot bear flattery or insincere compliment. Célimène is Alceste's greatest source of
agony: Alceste recognizes that love is his weakness and that he cannot reject Célimène, even though he
abhors her behavior. His love for Célimène is the only force capable of subverting his firm values.
Alceste's age—he is probably the oldest of the characters—and disposition set him apart from the rest of
the company at Célimène's home.
Célimène - A young woman who is the object of desire of several men in The Misanthrope. Célimène is
the center of attention for much of the play. Her suitors—Alceste, Oronte, Acaste, and Clitandre—all seek
her affection, yet she makes no firm commitment to any of them. Molière implies that Célimène might
somehow belong to Alceste, possibly through an arranged marriage, but this does not keep her from
flirting. Célimène is happy and confident, but not without fault; she loves to gossip, and she is critical of
nearly everyone she meets. She is careless in her insults, and she ultimately stirs the ire of those who once
loved her. Célimène seems to enjoy life for the most part, but she is unwilling to give herself over to the
conventions and decorum of her society.
Philinte - A polite and tactful man who is well adapted to the society of the play. Philinte, who avoids
the type of offensive straightforwardness that characterizes Alceste, is almost so well adjusted as to come
across as boring. Philinte lacks the sharp wit and cleverness of many of the other characters, but is
appealing in his selflessness. Philinte bears a genuine concern for Alceste as he seeks to keep Alceste
from destroying all of his relationships. Philinte is also admirable for his self-control and patience in
dealing with the object of his affection, Éliante. In many ways, Philinte is the straight man to the absurd
and often comically disgruntled Alceste.
Éliante - The object of Philinte's romantic attentions. Éliante possesses a deep understanding of the
French society in which she lives. She also demonstrates a keen insight into the relationship between the
sexes and occasionally offers a witty critique of how men in love behave. Éliante is loving and
compassionate, if a bit confused about where her own desires lie. She shifts her affections from Alceste to
Philinte over the course of the play. Éliante is not shy, as she expresses her opinions of others when the
situation demands it. However, Éliante never reaches the extremes of her cousin Célimène in gossiping
and making fun of the people of the court. Éliante has found a point of balance between propriety and
conformity.
Oronte - An outspoken man who seeks to be an integral part of his society. Experimenting with poetry,
Oronte fashions himself a multi-talented man, though the mediocrity of his poem calls this particular
talent into question. Though he appears confident, he reveals his insecurities when criticized. He cares
very much about what people think of him, and he even challenges Alceste in court for criticizing his
poem. Like most of the others, Oronte is in love with Célimène. His love is not, however, stronger than
his pride, and he abandons Célimène after she insults him. Oronte demands the honesty of those with
whom he associates. Whether or not he can handle this honesty depends upon the situation.
Arsinoé - A bitter woman who is older, unattractive, unpleasant, and thus unable to attract men. Arsinoé
masks her frustration with extreme manners and piety. She is openly critical of Célimène out of jealousy,
as she herself seeks the love of Alceste. Arsinoé is also willing to betray the confidence of supposed
friends, as we see when she tells Alceste of Célimène's deception. Though Arsinoé does participate in the
gossip and rumor-mongering about the Court, it does not make her happy. Perhaps the only thing that
could make her happy—Alceste's love—is beyond her reach.
Acaste - A young and egotistical marquis. Acaste considers himself a prime candidate for the role of
Célimène's lover. He is unabashed in singing his own praises, which may explain his confusion and
frustration over Célimène's rejection. Acaste demonstrates true anguish in speaking of his unrequited love
for Célimène; he desires the love of Célimène to such an extent that he strikes a deal with Clitandre to
bolster his chances of wooing her.
Clitandre - Another marquis chasing Célimène's love. Clitandre seems less desperate than the other
suitors for her affection. His greatest joy comes from his participation in a gossip session with Célimène.
Ultimately, Clitandre has enough pride and confidence to give up on Célimène when she insults him.
Du Bois - Alceste's jittery, bumbling manservant. Du Bois's comic subservience to Alceste is a major
element of the farcical nature of The Misanthrope. Out of nervousness in trying to tell Alceste everything,
Du Bois actually says virtually nothing. Du Bois is of little help to his master, regardless of his good
intentions. His ineptitude attracts the sympathy of his theater audience.
Basque - Célimène's manservant. Basque, a minor character, is loyal to his mistress, promptly
announcing the arrival of her visitors.
Officer - A messenger of the Marshals of France. The Officer requests that Alceste present himself
before the Marshals to justify his insult to Oronte's poem.
Faqe 3
Analysis of Major Characters
Alceste
Alceste is the protagonist and title character of The Misanthrope, as well as the genesis of the
play's central conflict—the clashing of Alceste's value system with the status quo. Frustrated by
the lack of sincerity and the prevalence of corruption in the society around him, Alceste
frequently lectures others about the value of honesty and the ills of hypocrisy. Unfortunately for
him, no one really listens. As one man among many who do not share his views, Alceste is
isolated. However, in spite of his isolation, he does garner the affections of both men and
women. Philinte seems to respect Alceste's integrity, and both Arsinoé and Célimène
demonstrate attraction to him.
Alceste's journey through the play does change him in some ways. By the end, he shows a
willingness to forgive, offering his hand in marriage to Célimène even though she has offended
him. Additionally, Alceste admits his own weaknesses, recognizing that he, like everyone else, is
prone to fall victim to love. Alceste, does not, however, change completely; indeed, he ends up
quite close to where he began, enraged at Célimène's behavior.
Molière uses Alceste in part as a satirical device. The playwright shows that a strict code of
ethics cannot survive the society he satirizes. However, Alceste is more of a character study than
he is a symbol. He is multi- dimensional, as comic extremism and common human emotion are
juxtaposed within him.
Célimène
Although Alceste drives the action of The Misanthrope, the world of the play revolves around
Célimène. She is young, energetic, and naughty enough to pique everyone's interest. Just as
Alceste is set apart by his sour attitude, Célimène stands out by her charm and wit. Nearly every
man of the court has his eye on her. She has learned to operate within her society almost
perfectly: she flirts and gossips enough to remain the center of attention, with a knack for saying
the right things to the right people. Célimène and Alceste are complete opposites, and their
relationship—especially his attraction to her—is one of the play's great ironies. The fact that she
cares for him indicates her susceptibility to emotion.
In the play's final scenes, Célimène journeys too far in the direction of carelessness. Her gossip
comes back to haunt her when several of her suitors discover a letter she has written that pokes
fun at all of their faults. Eventually, all the suitors, except for Alceste, desert her. Though
confident, Célimène is unsure of what she wants. She never demonstrates any intense desires or
frustrations, which may explain her lack of a strong value system. Célimène is sharp-witted in
attacking others, but her ability to apply a keen eye to her own feelings and intentions is dubious.
She shows a proclivity to want others to make decisions for her: after Oronte and Alceste ask her
to choose between them, she turns to Éliante to decide on her behalf. In short, for all of her
charm, Célimène lacks maturity. Molière suggests that this maturity will be difficult to develop if
Célimène does not start taking more responsibility for her words and deeds.
Philinte
Molière blesses Philinte with a sharp sense of balance. Célimène may play society well, but
Philinte respects this society. He is forgiving and he accepts that people are flawed. Of course,
this makes Philinte a bit boring, but also makes him a nice contrast to Alceste. Philinte serves as
an informal advisor to Alceste, suggesting that Alceste consider moderation in his dealings with
others. Unfortunately, Alceste does not heed his friend's advice, and he continues to damage his
social standings. Philinte is a selfless friend, offering himself to Éliante conditionally, allowing
Alceste first rights to her. Philinte is also the only male figure in the play who does not compete
for Célimène's adoration.
Ultimately, Molière rewards Philinte with the only successful relationship in the play. In the final
scene, Philinte and Éliante share their feelings for one another and exit together. The playwright
implies that modesty and restraint are the proper code of behavior. Such a code is foreign to
Alceste and Célimène, both of whom are left unhappy and alone at the end of the play.
In some ways, Philinte is a narrator. Much of the action of the The Misanthrope, aside from his
romance with Éliante, does not involve Philinte. He comments to Alceste and Éliante on the
more volatile characters as they carry the story along. Philinte's temperament never really
changes and his actions are never impulsive.
Éliante
Like Philinte, Éliante is well adjusted. She generally avoids gossip—in contrast to her cousin,
Célimène—and she seems content not to be the center of attention. Éliante distinguishes herself
from Philinte with her wit and her shrewd observance of human behavior. Where Philinte might
abstain from comment, Éliante jumps in with a well thought out opinion. She delivers an
intelligent critique of the way men behave when in love, and she offers a balanced analysis of
Alceste's behavior. Éliante also stands up to her cousin when Célimène requests that Éliante
choose a lover for her. Éliante refuses, forcing Célimène to get herself out of her own mess.
Éliante's only noticeable weakness lies her ambivalence towards Alceste. She appears to feel
some sort of obligation to Alceste, even agreeing to become his lover so that he might avenge
Célimène's deception. Ultimately, though, Éliante decides that her heart lies with Philinte.
Indeed, Éliante and Philinte are the perfect match in many ways. Just as Philinte is the only
completely respectable man in the play, Éliante is the only woman not guilty of obvious
hypocrisy and deceit. With their moderate behavior and true—or so we are led to believe—
devotion to one another, Éliante and Philinte represent a moral and social stability lost to the rest
of the Court. In the pairing of Éliante and Philinte, Molière offers a new spin on the traditional
happy ending. Although the ostensible "hero"—Alceste—cannot find happiness, the real heroes
do. They remain selfless to the end, following Alceste off to keep him from leaving.
Faqe 4
Themes, Motifs, and Symbols
Themes
The Hypocrisies of Social Behavior
Though disagreeable, Alceste is often right, especially when it comes to discerning hypocrisy.
For all of the characters but Alceste, life is a balancing of flattery and gossip. Célimène behaves
as if she enjoys the company of her suitors, but a letter from her, made public in the final act,
suggests otherwise. Arsinoé claims to take Célimène's side when her name falls under criticism,
but the old woman attempts to undermine Célimène's relationship with Alceste by telling Alceste
of a love letter written by Célimène to Oronte.
However, Molière does not seem to be totally opposed to hypocrisy. He suggests that a little
duplicity may be allowable, as long as no one gets hurt. The people of the Court are too insecure
to accept the kind of brutal honesty that Alceste endorses. Without some flattery and the
occasional white lie, any amicability among the characters would disappear. Philinte embodies
the closest-to-perfect balance of truth and deception. He dislikes Oronte's poem, but tactfully
refrains from insulting Oronte. However, when honesty is called for, Philinte is truthful. He is
unafraid to admit his true feelings for Éliante, and, when Alceste's ranting gets out of hand,
Philinte disciplines him with an honest critique of Alceste's behavior.
The Acceptance of Human Flaw
French society rejects Alceste, not because he is wrong or immoral, but because he is intolerant
of human shortcomings. Indeed, the world might be better place if everyone could accept
Alceste's doctrine of brutal honesty, but such is not the case. Ironically, Alceste seems able to
recognize his own flaws, but he remains unable to accept the faults of others. Molière suggests
that the only way to survive the society he depicts is to mix integrity with tact. Philinte serves as
exemplar of Molière's prototype for proper social function. Philinte understands Alceste's
frustrations, but realizes that venting those frustrations publicly will only bring trouble.
Molière's characters also demonstrate a tendency to deny their own flaws. By wearing the mask
of "excessive piety," Arsinoé buries her own social ineptitude. She is not pious for the sake of
piousness, but because she cannot accept her inability to attract men. Likewise, Alceste denies
his love for Célimène (though not always) by carrying on about her deplorable traits. Ironically,
the characters often use their criticism of each other to help them deny their own faults. The
suitors, especially, are often so caught up in gossip that they have no time for self-reflection.
The Irrationality of Love
A large part of Alceste's angst derives from his inability to harness his love for Célimène. He
knows of her faults (and reminds her of them frequently) and he knows that her values and
manners do not mimic his. Yet he loves her still. Alceste, whose life proceeds according to a
strict, rational code of ethics (rational in his mind), learns that love is not reasonable or rational.
Alceste often curses the hold that Célimène has upon him, recognizing that, although he is
strong-willed in maintaining his version of integrity, he is still victim to human emotion. In this
way, he cannot separate himself from the mankind that he abhors.
The Misanthrope searches for the proper balance between reason and love. Molière would not
likely advocate giving oneself completely over to "the irrationality of love." Some tact and
observance of decorum is certainly necessary. But, one must be assertive in satisfying one's
emotions. Part of the comedy of the play derives from the romantic dormancy of the suitors.
They show up at Célimène's house and essentially sit around and wait on her to bestow her
affections upon them. At least Alceste actively discusses his attraction to Célimène, however
angst-ridden that attraction may be. Philinte may be the only character who gladly accepts love's
irrationality. He and Éliante appear truly happy at play's end.
The Rationality of Compromise
For Molière, Philinte is the portrait of rationality. He understands that living among others
requires tact and discretion. Philinte has opinions, but he reserves expressing them for occasions
in which he will not offend others—quite the opposite of Alceste's behavior. Molière does make
a distinction between morality and rationality. We might argue that Alceste is more moral, or at
least more true to himself than Philinte. Philinte is clearly more rational, understanding that one
must compromise, even compromises one's own set of values in order to satisfy others.
Just when one might think that Alceste has learned something about the art of compromise, he
exhibits a comic resistance to striking a deal with Célimène. In the final scene of the play,
Alceste asks Célimène to abandon society with him—a ridiculous proposal. Célimène, not
wanting to resign to isolation, proposes that they marry but remain in Paris. Alceste refuses what
is probably the best outcome that he could have imagined at the beginning of the play. One could
argue that Alceste refuses Célimène's offer only because it represents a compromise. Alceste
cannot stand not to have it his way completely.
Motifs
The Legal System
The Misanthrope is strewn with mention of court cases and legal battles. Alceste is involved with
two lawsuits, one with Oronte before the Marshals of France and another about which the
audience knows little detail. Additionally, Célimène briefly mentions her involvement in a
lawsuit. Molière uses the French legal system as a metaphor for societal constraint. Alceste's
personal relationships are strained, just as his standing before the law is threatened. On a
figurative level, Alceste's misanthropy separates him from the other characters. More literally,
the court demands Alceste's physical separation from society. Alceste's personal offenses
translate into legal offenses.
Letters
Célimène's letters provide impetus for much of the dramatic action of the play. Alceste's
discovery of a letter to Oronte supposedly drives him to confront Célimène about her infidelity.
Later, the suitors discover a letter from Célimène that insults of them, resulting in their
abandoning her. For the character of Célimène, these letters represent another level of
superficiality. In the company of her suitors, Célimène is flirtatious and friendly, a cover perhaps
for her true opinions of them. Her letters are a symbol of the distance between the social
Célimène and the private, critical Célimène. With the writing and distribution of letters,
Célimène is able to distance herself from her more offensive thoughts.
Deal-Making
The men of The Misanthrope attempt to impose some kind of rigidity to human relationships and
emotion by seeking commitments with one another. Oronte hopes to secure Alceste's friendship
with a handshake, an act that appears ridiculous given the differences between Oronte and
Alceste. Similarly, Clitandre and Acaste attempt to strike a deal over their attractions for
Célimène: if one of the men falls out of favor with her, he will step aside to better the chances of
the other. With the motif of deal-making, Molière exposes the disconnect between formality and
emotion.
Symbols
Célimène's House
The openness of Célimène's house parallels her own personal openness to the advances of her
suitors. Men are allowed to come and go freely, and Célimène does not show any discretion as to
who comes and who goes. Beyond its role as a symbol of Célimène's flirtatiousness, the house
serves as a conduit for the action of the play. The fluidity of entrances and exits moves the play
along and provides the opportunity for interruptions and discoveries.
Oronte's Poem
Oronte's poem is one of the more satirical elements of the play. The poem acts as a testament to
the pretentiousness of French aristocracy, implying the false confidence of aristocrats like
Oronte. Oronte's poem is comically bad, calling into question the intelligence and ability of the
upper class. Perhaps Molière is demonstrating the existence of the upper class by inheritance
alone and not by merit.
Alceste's "Rustic Solitude"
The "solitude" that Alceste seeks—a physical separation from society—represents his attitudinal
and moral separation from the other characters. This solitude might also represent Alceste's
delusion. Indeed, it would be difficult for him to totally retire from others' company. Alceste
deceives himself in thinking that such a retirement is a feasible alternative, an alternative he
creates because he cannot bear the reality of having to find a way to exist with others. Philinte
understands this; as the play draws to a close, he follows Alceste in an attempt to convince him
not to leave. While Alceste insists on the honesty of others, he deceives himself.
Faqe 5
Act I
Summary
Act I, scene i
Alceste, a French aristocrat, argues with his friend Philinte about the proper way to treat those
for whom one has little respect. Alceste insists on brutal—total honesty—criticizing Philinte's
notion that such honesty might be rude or inappropriate. Philinte suggests that Alceste be more
accepting of human flaw and not so critical of the behavior of others.
In his talk of honesty, Alceste reveals that he is presently embroiled in some sort of lawsuit.
Philinte, attempting to find fault in Alceste's theories of human relationships, points out that
Alceste seems to turn a blind eye to the faults of Célimène, the woman whom he is presently
courting. Alceste counters, stating that he does recognize Célimène's faults and points them out
upon noticing them.
Act I, scene ii
Oronte, another of Célimène's courtiers, appeals to Alceste, praising Alceste's honorable qualities
and suggesting that the two men become friends. Alceste is hesitant, stating that they should not
make any sort of friendship agreement until they come to know each other better. Oronte then
proposes that Alceste offer his critique of a poem Oronte has written. Though reluctant at first,
Alceste ultimately agrees to hear the poem.
Alceste reacts with disgust as Oronte begins his recitation. Philinte, on the other hand, praises the
sonnet. Out of earshot of Oronte, Alceste berates Philinte for flattering the poor writing. When
Oronte finishes his recitation, Alceste suggests that he give up writing and stick to what he does
best. Alceste presents an example of what he considers good poetry. Insulted, Oronte challenges
Alceste to write something better that what Oronte has presented. Alceste turns down the
challenge.
Act I, scene iii
Philinte criticizes Alceste for the way he has treated Oronte. Alceste cuts Philinte off, demanding
that he leave. Philinte refuses to leave, telling Alceste not to "be absurd."
Analysis
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. He rants about the flaws
and failures of humankind, allowing no exceptions. The playwright suggests that such behavior,
however right or noble it might be, will not fit well in the world of the play. We learn that
Alceste is embroiled in a lawsuit, suggesting that he even reaches the extreme of breaking the
law. At first, Alceste is the caricature of the disgruntled old man, telling Philinte, "I find mankind
so odious that I should hate to have it approve of me" (I.i). Molière later clouds this initial
characterization as the play evolves. He begins The Misanthrope in much the same way he
begins his other comedies, but later acts reveal an experiment with form and style.
In the first scene, Molière establishes Philinte as the straight man to the misanthropic Alceste.
Philinte is a voice of reason; he understands that politeness and forgiveness are just as important
as honesty. For Molière, Philinte exemplifies the proper way to navigate French society. The
playwright also uses Philinte to buffer our harsh opinion of Alceste. We might believe that
Alceste—if Philinte has befriended him—must not be all that bad. Philinte also pushes a
message of greater society's indifference to an individual's gripes. Though Philinte agrees with
some of what Alceste has to say, he tells Alceste, "The world won't change its ways on account
of anything you may do." He implores Alceste to be practical, to behave within society limits—
not because such limits are just, but because they are inevitable.
As he parodies Alceste's disposition, Molière also pokes fun at French aristocracy, specifically
targeting Oronte. From the outset, Oronte is pompous and outspoken, attempting to formalize
even what most would consider emotional interactions outside the realm of formality. Oronte
suggests that he and Alceste shake hands to confirm their affection for one another, implying an
aristocratic notion that pacts and rules supercede feelings and emotion. Molière also points to the
idleness of the aristocracy. Given their immense wealth, French aristocrats need not work, so
they instead turn their attentions to hobbies of intellect. Molière suggests that such hobbies might
not be the best fit for the aristocracy. Far from original, Oronte's poem appears to achieve only a
basic pattern of rhyming. When Alceste advises Oronte to give up poetry, the incensed Oronte
challenges Alceste to do better, suggesting an aristocratic inability to take criticism.
Alceste is also a member of the aristocracy, as far as we can tell at this point. Although he rejects
the vices of hypocrisy and false intellect, he too does little in the way of work, spending most of
his time in court or pestering Célimène. Additionally, Alceste is haughty in his own way,
considering himself superior because of his strict code of ethics. Ironically, he criticizes the class
of which he is a member. More broadly, Alceste shuns all of mankind, of which he is also part.
This may mean that he despises himself. Perhaps, in his assault on others, Alceste assaults
himself as well. Indeed, his unhappiness stems from his relationship to others. Were he alone, he
might be satisfied, but as a part of society his lack of social tact dooms him to misanthropy.
Dramaturgically speaking, Act I immediately establishes the central conflict of the play:
Alceste's struggle to relate to others—and to himself. Molière does not keep many secrets from
us, showing his characters as they truly are from the very beginning. Indeed, character is
Molière's primary focus. Though he sets up Alceste's conflict almost immediately, he provides
little in the way of real action. For much of the first act, the characters philosophize about the
nature of mankind, advancing their opinions regarding the proper way to carry oneself. In turn,
we learn a great deal about each of the characters in the first act, but little about where the play is
headed. Nonetheless, Alceste's bitterness may foreshadow his eventual fate.
Faqe 6
Act II
Summary
Act II, scene i
Alceste confronts Célimène about what he believes to be her poor behavior. He criticizes her for
entertaining the advances of multiple suitors and insists that she demonstrate more discretion,
specifically questioning her affection for one specific suitor, Clitandre. Célimène assures Alceste
that he need not worry, stating that she has true affection for him. Célimène does mention,
however, that Clitandre might be able to help her with a lawsuit in which she is involved.
Alceste largely rejects Célimène's arguments, however, and he suggests that she might be
expressing her love to other suitors as well. Offended, Célimène vows to "unsay all that I have
said in the past." Subsequently, Alceste censures himself for being so jealous and hopelessly in
love.
Act II, scene ii
Alceste reacts angrily when Célimène agrees to accept a visit from Acaste. Célimène contends
that she must stay in good favor with Acaste because he carries considerable clout in "Court
circles."
Act II, scene iii
Célimène's servant, Basque, announces the arrival of Clitandre. The disgruntled Alceste insists
that he is leaving. Célimène asks him to stay, but he stubbornly refuses.
Act II, scene iv
Célimène's cousin Éliante arrives with Philinte, Acaste, and Clitandre. Still present, Alceste
demands that Célimène "explain" herself to all present. She ignores him. The suitors listen
intently as Célimène gossips, quite negatively, about several people of the Court. Alceste argues
to Célimène and the others that, while they are quick to point out the faults of others, they will
likely be just as quick to ingratiate themselves with those same people they criticize. Célimène
maintains that Alceste is arguing for argument's sake and dismisses his negativity as unfounded.
Opposing Alceste, the other suitors praise Célimène, calling her "perfect," "charming and
gracious." Alceste argues that, in being critical of Célimène, he is demonstrating a true, honest
love for her. Éliante mentions that love does not usually take this form, describing man's typical
inclination to find merit in the faults of a lover.
Act II, scene v
Basque announces the arrival of a man to see Alceste. Alceste asks the Officer to enter.
Act II, scene vi
The Officer announces that the Marshals of France (a judicial body created to settle matters of
honor) would like to see Alceste about his "squabble with Oronte." Alceste finds the request
ridiculous, and refuses to withdraw his criticism of Oronte's poem. Philinte pleads for Alceste to
be reasonable. Eventually, Alceste agrees to go see the Marshals.
Analysis
Like Alceste, Célimène first appears as a sketch of a character type. With her gossiping and
flirtatiousness, Célimène seems to represent the stereotypical spoiled daughter. She enjoys her
society as much as Alceste despises it, setting up the central irony of the play: Alceste falls
hopelessly in love with a representative of the society he abhors. Molière does not imply that
Célimène's behavior is appropriate or moral. Rather, he uses her to comment of the lifestyle of
one who has completely given herself over to the values of society. Alceste, who is probably
more moral, at least more honest, than Célimène, is unhappy. The second act begs the question
of whether morality or happiness is more important.
In a sense, Célimène projects her own style of misanthropy. While Alceste's ill will extends to
the whole of society, Célimène's is targeted, and as such, more biting. In Act II, scene iv,
Célimène demonstrates her capacity to bear malice when she mediates a gossip session among
her suitors. Célimène differs from Alceste in that her misanthropy is tactful. She speaks behind
the backs of those whom she criticizes, not to their faces as Alceste does. Additionally,
Célimène's honed sense of humor obscures the severity of her insults. She entertains her suitors
with her mockeries, whereas Alceste entertains no one with his.
With the gossip session, Molière indicates that mockery is a social construct. Without the
encouragement of the suitors, Célimène would have less reason to degrade others. Alceste points
out to the suitors, "Her satirical humour is fed and watered by your wicked flattery" (II.iv). In
Alceste's ideal world, neither mockery nor flatter would exist. Such a world being implausible,
however, society must find some medium, and perhaps flattery alone is not all bad. We can
certainly imagine a type of flattery that does not encourage the recipient to mock. Act II, scene
iv, depicts a world of floating values in which there is no concrete standard. The only obvious
faults appear to be those connected to extreme values. Alceste's complete refusal to acquiesce
marks his rejection of societal values, however ambiguous those might be.
In what is probably Éliante's most important speech (at the end of II.iv), she introduces the
concept of justification. She defines a "man in love" as one who recognizes his lover's faults as
virtues. Here, Molière maintains the ambivalence of ethics. Few would argue that love is wrong
or wicked, but what if it blinds those in love from the truth? By Éliante's argument, love could be
blamed for contributing to falsehood. Conversely, Alceste might be incapable of love because he
cannot accept dishonesty in any form. He argues that "the proof of true love is to be unsparing in
fault- finding" (II.iv), but this reasoning seems to define some kind of distant, theoretical love,
not the visceral love that Éliante describes. Molière suggests that Alceste is at war with himself
over the nature of his love for Célimène. Often, he tries to fight his deep, uncontrollable
frustration with Célimène by applying the rationality of his system of beliefs. Like all humans,
Alceste falls victim to the whims of the heart.
The first major turning point comes at the end of Act II, when Alceste is summoned to appear
before the Marshals of France. All at once, Alceste's standing with Célimène and his standing
before the law are threatened. Molière uses Alceste's court case to move the play to a point of
greater crisis. For the first time, the playwright employs suspense as a dramatic device.
Faqe7
Act III
Summary
Act III, scene i
Clitandre and Acaste discuss their affections for Célimène. When Clitandre asks why Acaste is
always so cheerful, Acaste arrogantly notes that he is young, rich, and attractive, and therefore
has no reason not to be cheerful. Acaste's disposition changes when he admits that his love for
Célimène goes unrequited. He and Clitandre agree that, should one of them fall out of favor with
Célimène, he will stop courting her, yielding to the other.
Act III, scene ii
Célimène discovers that Clitandre and Acaste are still in the house. Clitandre claims, "It's love
that detains us."
Act III, scene iii
Basque announces the arrival of Arsinoé, a woman whose company neither Célimène nor Acaste
can bear. Célimène mentions that Arsinoé has feelings for Alceste, thus making Arsinoé jealous
of Célimène.
Act III, scene iv
Arsinoé informs Célimène that people have been speaking critically of her "flirtatiousness."
While Arsinoé claims to have spoken in defense of Célimène, Arsinoé comes across as insincere,
and her jealousy of Célimène is apparent. Arsinoé recommends that Célimène change her ways.
Célimène responds to the attack on her character by criticizing Arsinoé's "excessive piety" and
pretentiousness, suggesting that Arsinoé is a hypocrite. Célimène adds that people have been
discussing Arsinoé's faults as well. Célimène allows that it may just be Arsinoé's age that causes
her to behave as she does. Arsinoé rebuffs, arguing that Célimène should be careful not to place
too much value on her youth. Arsinoé claims that Célimène's courtiers are attracted to her lack of
restraint, not her "good qualities."
Act III, scene v
Alceste enters as Célimène leaves, and Alceste and Arsinoé are left alone together. Arsinoé
praises Alceste's integrity, expressing her disapproval of the way the Court has handled Alceste's
legal matters. Alceste rejects Arsinoé's compliments, contending that she should be more
discriminating in her flattery. Arsinoé continues, however, mentioning that she could "pull a few
strings" to get Alceste a "post at Court." Alceste rejects her offer. In a last-ditch attempt to gain
Alceste's affection, Arsinoé tells him that Célimène has been deceiving him. Arsinoé claims that
she has proof of Célimène's deception at her house.
Analysis
Act III, scene i is our first and only chance to see two suitors (other than Alceste) alone, candidly
discussing their attraction to Célimène. In a sense, the scene provides a "behind the scenes" look
at the motivations of Clitandre and Acaste. The scene begins with Acaste's speech about his own
virtues and abilities, though his confidence soon gives way to his despair over Célimène's
rejection. For once, someone other than Alceste demonstrates anguish. Acaste's anguish,
however, is private, whereas Alceste's sense of honesty requires that he admit his shame to
Célimène. Acaste possesses the will to play the game of courtship without exposing his true self.
Alceste, on the other hand, prefers straightforwardness to game- playing. The pact that Clitandre
and Acaste make to better their chances of winning over Célimène furthers this notion of gameplaying. This scene contrasts the typical approach to romance with Alceste's unorthodox method.
Molière satirizes both.
With the scene between Célimène and Arsinoé (III.iv), Molière explores the idea that people—
his characters, at least—find a way of saying what they really mean, but that they do so
indirectly. Alceste may save time by forfeiting decorum with his frankness, but the others save
their social integrity by taking the circuitous route to criticism. In III.iv, Arsinoé provides a long
list of society's grievances against Célimène, but she then claims to have taken Célimène's side.
Célimène then mimics Arsinoé's passive-aggressive style by listing Arsinoé's faults while
claiming to have defended Arsinoé in public. Both women, then, get to say what they really think
of one another without having to take credit o responsibility for their own words. Molière depicts
a society in which one is punished only by taking responsibility for his or her potentially
offensive thoughts (Alceste, for example). Of course, the passive-aggressive approach endorsed
by Arsinoé and Célimène is doomed to failure of another sort. The two women cannot help but
become enraged at one another; indeed, by the end of the scene, they have commenced verbal
warfare.
In Act III, Molière develops the notion of masks, showing how certain characters wear false
identities to cover their true selves. The characters are perhaps afraid of exposing themselves to a
world that might not welcome them. Arsinoé, for example, would have others believe that she is
a proper, God-fearing woman, uninterested in the company of men. However, Molière makes it
clear that Arsinoé does want a relationship, with Alceste. Arsinoé refrains from flirtation, not
because she is uninterested in such behavior, but because she knows that her flirtation would not
yield the results that Célimène's does. Arsinoé wears a mask that provides comfort and keeps her
from risking emotional pain in much the same way that Acaste disguises his heartbreak with
upbeat confidence (III.i).
Tied to the theme of masks is the concept of acting. Molière reminds us that theater and life are
similar in their superficiality and conscious deception. Just as the actors playing Molière's
characters "put on" certain dispositions to carry the message of the play, so do the characters act
the parts that they think will better their social or romantic position. In this exploration Molière
uncovers the theatrical element of French society. Of course, theater is more than just the art of
lying. Alceste employs the drama of exaggeration to call attention to himself, and Célimène uses
comic devices to make her gossip more appealing. Indeed, Molière's characters are often in
performance, with Célimène's house their stage. The formality of the theater parallels the
formality—and the duplicity—with which the characters relate to one another. Nevertheless,
even given the "acting" of the characters, Molière begins, in Act III, to break down the onedimensional identities he established in Act I. The characters slowly reveal additional pieces of
their true selves. Acaste's breakdown in front of Clitandre is only the first in a series of truthful
moments that demonstrate the complexity of the characters.
Faqe 8
Act IV
Summary
Act IV, scene i
Philinte recounts to Éliante the story of Alceste's partial apology to Oronte in Court. Éliante calls
Alceste's behavior "peculiar," but also "noble and heroic" because of Alceste's honesty. Philinte
and Éliante then discuss Alceste's affection for Célimène, questioning his decision to pursue a
relationship with someone whose affections seem so fickle. Philinte says that Alceste would do
better to turn his attention to Éliante. Éliante states that, although she would be reluctant to be
Alceste's second choice, she would probably allow herself to fall for him. Philinte tells Éliante
that he would like to win her favor if she fails to win Alceste's.
Act IV, scene ii
Having found a letter written by Célimène to Oronte, Alceste claims he has proof of her deceit.
Alceste asks Éliante to help him avenge himself against Célimène, proposing that Éliante
become the object of his affections. Éliante maintains that Alceste's relationship with Célimène
is not lost, and Alceste vows to confront Célimène about her infidelity. Philinte and Éliante exit.
Act IV, scene iii
Furious, Alceste confronts Célimène, claiming that he cannot take responsibility for what his
"wrath" might lead him to do. Célimène admits to writing a letter to Oronte, but considers
Alceste's behavior ridiculous. She does not demonstrate any guilt for what she has done.
Distraught, Alceste demands that Célimène tell him that the letter was intended for a woman, so
that Alceste's heart and mind can rest, assured that she is loyal to him.
Alceste's protestations stir Célimène to anger, and she extorts that he does not deserve her love.
Now in anguish, Alceste proclaims his love for her, hoping, perhaps against his better judgment,
that she will remain his.
Act IV, scene iv
Alceste's manservant, Du Bois, enters in a panic, demanding that Alceste pack to leave at once.
Du Bois claims that he has spoken with a man who has notified him that Alceste is in danger of
arrest—a result of his ongoing lawsuit. Unable to glean enough information from Du Bois,
Alceste leaves to find out more about the matter at hand. He tells Célimène that he will be back
to speak with her.
Analysis
In Act IV we learn that even the confident Célimène hides a sensitive interior life. The attention
she pays Alceste indicates a true attraction to him, betraying the image of a carefree girl she puts
forth. Célimène speaks vaguely of the love she feels for Alceste (IV.iii), and Éliante tells Philinte
of Célimène, "She's not entirely sure of her feelings herself." In breaking apart the masks of his
leading characters, Molière shows that The Misanthrope is not a simple, typical satire. The play
is a comedy, but it seeks also to comment on human emotions and relationships. By the end of
Act IV, we can no longer accept that Alceste and Célimène—or any of the other characters, for
that matter—are stereotypes. Subtle human emotions and their accompanying actions are now at
play. Even Alceste seems less inclined to criticize, as he seeks a reason to forgive Célimène for
her love letter to Oronte. Ironically, Alceste wants to be lied to, to be told that Célimène sent the
letter to a woman. The man who adheres to a doctrine of honesty would have that doctrine
suspended to put him at peace.
Act IV welcomes the one true, pleasantly surprising love affair in the play, that between Philinte
and Éliante. Although the depth of their mutual attraction is not fully realized in Act IV, a sweet
and sincere romance begins. In uncovering this relationship, Molière hints that our—and his
own—attention has been misplaced. The real heroes of the story have been hiding up until this
point. The Philinte-Éliante love affair is made all the more touching by the simplicity of these
characters. Neither has any outstanding or particularly unique characteristic, unlike the
dramatically unique Alceste and Célimène, whose relationship is the focal point of the story.
Molière implies that individuality, in its extreme form, deters love. Apparently, something other
than a defining trait draws Philinte to Éliante. By avoiding the drama of Court society, Philinte
and Éliante are able to establish a deeper connection, one not based upon superficialities. We
might even argue the rest of the play is a red herring to this romance. In spite of all of the efforts
to woo Célimène, nothing ever really happens in that arena. The one solid accomplishment of the
play is the eventual union of Philinte and Éliante, which is finalized in Act V.
As the love affair between Philinte and Éliante begins to blossom, the relationship between
Alceste and Célimène continues to fall apart. When Alceste discovers a letter he believes to
demonstrate Célimène's deception of him, he attempts to apply the same type of justice to her as
has been used against him. He says the letter "convicts" her, and he marvels that she can "still
persist in the face of this overwhelming evidence" (IV.iii), seeking to try her for her "crimes"
against him. Alceste appears to think that if he can be tried for hurting Oronte's feelings, so can
Célimène be brought to justice for shaming him. Thus, although Alceste finds his lawsuit
ridiculous, he tries to apply the same tenets of law to his relationship with Célimène. However,
Alceste lacks the strength to carry out his verdict. He admits to being hopelessly drawn to
Célimène. Again, Molière juxtaposes formality with emotion. In this case, Alceste attempt at
legal rationality loses out to his own visceral impulses. Ultimately, he asks Célimène to lie about
intended recipient of the letter to make him feel better.
As the act draws to a close, Alceste receives news that he must leave or be subject to arrest. This
moment, in Act IV, scene iv, marks the final crisis of the plot. If Alceste decides to leave, he
must also decide if his troubles with Célimène are worth resolving. In vowing to return to finish
his conversation with Célimène, Alceste shows a willingness to compromise not present in
earlier acts. His misanthropy appears to weaken as his situation becomes more desperate.
Faqe 9
Act V
Summary
Act V, scene i
Outraged that a verdict has been passed against him, Alceste vows to live the rest of days in
solitude, away from the society he has come to abhor. He tells Philinte that, in addition to the
unfortunate verdict, his adversary has falsely attributed authorship of an obscene book to him.
On top of all of this, Oronte has begun supporting the rumor. Philinte encourages Alceste to be
reasonable, to challenge the verdict before committing to a life of solitude. Alceste objects,
stating that he wants the verdict to stand has a glaring example of "the wickedness" of the times.
He reveals his intention to test Célimène's love by asking her to withdraw from society with him.
Act V, scene ii
Oronte demands that Célimène decide between him and Alceste. Agreeing with Oronte, Alceste
makes the same demand. Both men agree to concede if Célimène chooses the other. Célimène
calls their requests "inappropriate," not wanting to publicly offend the one she does not choose.
She decides to let Éliante "be the judge" of her affections.
Act V, scene iii
Éliante refuses to decide between Alceste and Oronte for Célimène, stating that Célimène has a
responsibility to be open and honest to all present.
Act V, scene iv
Acaste and Clitandre enter with a letter written by Célimène, demanding that she take
responsibility for it. They read the letter, which insults each of Célimène's suitors and describes
what she sees as their flaws. Decidedly tired of Célimène's insults, Acaste and Clitandre leave.
Oronte follows them out, shocked that Célimène would insult him so. Alceste tells Arsinoé that
she has no chance of gaining his love. She leaves, angry.
At this point, Alceste invites Célimène to retreat into solitude with him. She rejects the offer, but
says that she will agree to marry him. Insulted, Alceste says that he wants nothing to do with her.
Célimène leaves.
Alceste then tells Éliante that he cannot marry her, deeming himself "unworthy." She interrupts
him, telling him not to worry, for she plans to devote herself to Philinte. Alceste again states his
plan to live somewhere remote from society. As Philinte and Éliante exit, Philinte remarks that
they must encourage Alceste to abandon his plan.
Analysis
In this final act, Molière parallels Alceste's attitudinal separation from the cast with his physical
separation. Alceste literally cannot exist in the world of the world of the play. He never comes to
terms with his distaste for mankind, and mankind never gives its acceptance of Alceste's
behavior. The legal system—a symbol and a voice of the standards and values of the society of
the play—continues to find fault with Alceste. He learns that he has lost his court case, which
solidifies his decision to retire to solitude.
Though Célimène seems to develop into a more mature, perhaps more loving woman over the
course of the play, she ends up not far from where she began, saying, "Solitude is a frightening
prospect when you are twenty. I don't feel I have the necessary fortitude or strength to bring
myself to take such a decision" (V.iv). Célimène is attached to the society just as much as
Alceste is separated from it. We can hardly imagine who Célimène might be or what she might
do were she in a setting where she had no access to gossip or flirting. Molière creates the comic
image of Célimène and Alceste alone together forever—a disastrous, but hilarious, consequence.
At the very end of the play, Philinte and Éliante announce their love for one another,
demonstrating that a true romance can exist in a corrupt world. Molière suggests that selflessness
is a prerequisite for such a relationship. Indeed, Philinte and Éliante leave the stage talking not of
themselves, but of their responsibility to keep Alceste from banishing himself.
Although Molière's satire targets the corruption of French society, the playwright does
demonstrate that this corruption has its limits. At play's end, Célimène is left alone because her
letters and gossip have crossed the boundary between innocent fun and real offensiveness. We do
not feel much sympathy for her bruised suitors, however, as they expose their own hypocrisy in
leaving Célimène. The suitors are perfectly willing to join in the fun of criticizing their
acquaintances, provided that they are not included as targets themselves.
The Misanthrope ends with an unlikely happy ending. Philinte and Éliante are the lucky
couple—not Alceste and Célimène. Alceste meets the only end that might bring him peace. In
reality, the union of Alceste and Célimène would likely not be a happy ending at all. Perhaps
Molière honors his protagonist and his stern values by giving him exit from the society he
despises.
Faqe 10
Key Facts
full title · The Misanthrope or Le Misanthrope
author · Molière
type of work · Play
genre · Satire; farce
language · French
time and place written · Early 1660s, Paris
date of first publication · 1666
tone · In satirizing French aristocracy, Molière strikes a light, but critical tone. With his deft use
of irony, he exposes the hypocrisies of Célimène, her suitors, and the protagonist, Alceste—
although Molière's judgment of Alceste is less severe than his critique of others. Molière praises
reason and compromise while condemning extremism in any form. The Misanthrope is
undoubtedly a comedy, but undertones of social dysfunction and true personal anguish are
present.
setting (time) · Late seventeenth century
setting (place) · Célimène's elegant home in Paris
protagonist · Alceste
major conflict · Alceste's difficulty in reconciling his set of values with his love for the young,
carefree, and flirtatious Célimène
rising action · Alceste learns of Célimène's deception and seeks her out to find out the whole
truth; Alceste loses his court case and risks arrest by staying in Paris
climax · Célimène's suitors learn that she has insulted all of them in a letter; Alceste decides to
retire from society for good
falling action · Alceste rejects Célimène's offer to marry him when she refuses to seek solitude
with him; Philinte and Éliante plan to discourage Alceste from leaving society
themes · The hypocrisies of social behavior; the acceptance of human flaw; the irrationality of
love; the rationality of compromise
motifs · The legal system; letters; deal-making
symbols · Célimène's house; Oronte's poem; Alceste's "rustic solitude"
foreshadowing · Oronte reacts angrily to Alceste's criticism, foreshadowing Oronte's legal
action against Alceste; Éliante appreciates Philinte's expression of attraction to her,
foreshadowing their eventual relationship; Célimène holds a gossip session with her suitors,
foreshadowing her later betrayal of the same suitors with her gossip
faqe 11
Quiz
Which man does NOT court Célimène?
(A) Alceste
(B) Oronte
(C) Philinte
(D) Clitandre
According to Alceste, who is a lousy poet?
(A) Oronte
(B) Philinte
(C) Célimène
(D) Rimbaud
To what does Célimène attribute Arsinoé's disagreeable qualities?
(A) Illness
(B) Divorce
(C) Age
(D) Stupidity
What does Alceste do in response to Oronte's sonnet?
(A) Challenges Oronte to a duel
(B) Becomes ill
(C) Leaves the room
(D) Gives an example of a good poem
Who is Alceste's adversary before the Marshals of France?
(A) Acaste
(B) Oronte
(C) Basque
(D) The play never provides a name
What does Célimène do when Alceste and Oronte ask her to choose between them?
(A) She picks one of them
(B) She turns to Éliante to make the decision for her
(C) She begins to cry
(D) She immediately rejects both of them
Who arrives to inform Alceste that he might be arrested?
(A) Basque
(B) Arsinoé
(C) Acaste
(D) Du Bois
What does Alceste vow to do when he learns he has lost his court case?
(A) Kill his opponent in the case
(B) Challenge the verdict
(C) Remove himself from society
(D) Commit suicide
With whom does Philinte begin a romance at the end of the play?
(A) Éliante
(B) Célimène
(C) Arsinoé
(D) None of the above
Who first informs Alceste that Célimène is deceiving him?
(A) Philinte
(B) Arsinoé
(C) Du Bois
(D) Acaste
Which of the following does Acaste NOT credit for his cheerfulness?
(A) Youth
(B) Equestrian skills
(C) Good looks
(D) Wealth
How does Alceste propose to avenge himself against Célimène when he learns of her infidelity?
(A) File a lawsuit against her
(B) Ignore her
(C) Spread a rumor about her
(D) Give his heart to Éliante
Who is Célimène's cousin?
(A) Basque
(B) Éliante
(C) Acaste
(D) Philinte
What is offered as proof of Célimène's deception?
(A) A letter from Célimène to a courtier besides Alceste
(B) The testimony of her cousin
(C) A missing necklace
(D) A letter from a courtier to Célimène
In what way could Arsinoé "pull some strings" for Alceste?
(A) She could convince Célimène to love him
(B) She could help him sneak out of town
(C) She could publicly disgrace Oronte
(D) She could get him a position at Court
Which of the following does Arsinoé cite as one of Célimène's faults?
(A) Shyness
(B) Flirtatiousness
(C) Sour mood
(D) Pretentiousness
What compromise does Célimène ultimately offer Alceste?
(A) She will remove herself from society with him
(B) She will marry him, but not run away with him
(C) She will share him with Éliante
(D) She will devote part of herself to Alceste, part to Oronte
In the end, why do all suitors but Alceste abandon Célimène?
(A) She chooses to devote herself to Alceste
(B) They all fall in love with other women
(C) They are offended by a letter she has written
(D) They are hungry
According to Du Bois, if Alceste does not leave, what might happen?
(A) Alceste might be killed
(B) Alceste might be forced into an arranged marriage with Arsinoé
(C) Alceste might lost much of his fortune
(D) None of the above
Who does Alceste scold for praising Oronte's poem?
(A) Philinte
(B) Arsinoé
(C) Célimène
(D) Du Bois
Which of the following pairs strikes a deal to increase the chances that one of them will gain
Célimène's favor?
(A) Acaste and Oronte
(B) Clitandre and Oronte
(C) Acaste and Clitandre
(D) Oronte and Philinte
Who is the misanthrope of the play's title?
(A) Philinte
(B) Oronte
(C) Acaste
(D) Alceste
Where does the play take place?
(A) In Célimène's house
(B) In Alceste's house
(C) In the French royal palace
(D) In a local courthouse
Who supports Alceste's plan to flee society?
(A) Philinte
(B) Arsinoé
(C) Éliante
(D) None of the above
Why does Alceste refuse to challenge the verdict against him?
(A) He does not have enough money to do so
(B) He wants the verdict to stand as an example of mankind's corruption
(C) He has too much respect for his opponent in the case
(D) He knows that the verdict might be overturned without his challenge